In this book Elizabeth Traube argues that over the course of the 1980s, Hollywood participated in a wider move by mainstream political and social forces that attempted to absorb and contain critical cultural currents by rehabilitating images of masculine authority. At the movies we saw parallel construetions of wild, antibureaucratic warrior-heroes and smooth, seemingly rebellious tricksters adapted to the corporate order. We saw the demonization of the independent woman and the complementary formation of the nurturing father as her adversary. The author relates these representations to two cultural narratives of long duration—the American frontier myth and the myth of success, or the American dream, both of which also figured prominently in the rhetorical themes of Reagan-era politics. Utilizing structuralism, Marxism, feminist object relations psychoanalysis, and neoformalist film criticism, Traube emphasizes specific aspects of cinematic representations of gender and authority to explore the relationships between culture and politics. Unlike other feminist critics of “patriarchal Hollywood,†she stresses the multiple, competing versions of masculinity and femininity constructed in Hollywood movies and the different class positions of their primary, intended audiences. Attention to particular forms that cultural narratives assume in changing circumstances gives Traube’s film analyses a unique sociohistorical dimension, while her focus on narratives used by political elites as well as by moviemakers reveals significant variations in ideology production in different sites.

This book emphasizes specific aspects of cinematic representations of gender and authority, highlighting the multiple, competing versions of masculinity and femininity constructed in Hollywood movies in the 1980s and the different class positions of their primary, intended audiences.

In this book Elizabeth Traube argues that over the course of the 1980s, Hollywood participated in a wider move by mainstream political and social forces that attempted to absorb and contain critical cultural currents by rehabilitating images of masculine authority. At the movies we saw parallel construetions of wild, antibureaucratic warrior-heroes and smooth, seemingly rebellious tricksters adapted to the corporate order. We saw the demonization of the independent woman and the complementary formation of the nurturing father as her adversary. The author relates these representations to two cultural narratives of long duration—the American frontier myth and the myth of success, or the American dream, both of which also figured prominently in the rhetorical themes of Reagan-era politics. Utilizing structuralism, Marxism, feminist object relations psychoanalysis, and neoformalist film criticism, Traube emphasizes specific aspects of cinematic representations of gender and authority to explore the relationships between culture and politics. Unlike other feminist critics of “patriarchal Hollywood,†she stresses the multiple, competing versions of masculinity and femininity constructed in Hollywood movies and the different class positions of their primary, intended audiences. Attention to particular forms that cultural narratives assume in changing circumstances gives Traube’s film analyses a unique sociohistorical dimension, while her focus on narratives used by political elites as well as by moviemakers reveals significant variations in ideology production in different sites.

In this book Elizabeth Traube argues that over the course of the 1980s, Hollywood participated in a wider move by mainstream political and social forces that attempted to absorb and contain critical cultural currents by rehabilitating images of masculine authority. At the movies we saw parallel construetions of wild, antibureaucratic warrior-heroes and smooth, seemingly rebellious tricksters adapted to the corporate order. We saw the demonization of the independent woman and the complementary formation of the nurturing father as her adversary. The author relates these representations to two cultural narratives of long duration—the American frontier myth and the myth of success, or the American dream, both of which also figured prominently in the rhetorical themes of Reagan-era politics. Utilizing structuralism, Marxism, feminist object relations psychoanalysis, and neoformalist film criticism, Traube emphasizes specific aspects of cinematic representations of gender and authority to explore the relationships between culture and politics. Unlike other feminist critics of “patriarchal Hollywood,†she stresses the multiple, competing versions of masculinity and femininity constructed in Hollywood movies and the different class positions of their primary, intended audiences. Attention to particular forms that cultural narratives assume in changing circumstances gives Traube’s film analyses a unique sociohistorical dimension, while her focus on narratives used by political elites as well as by moviemakers reveals significant variations in ideology production in different sites.

The key question for many anthropologists and historians today is not whether to cross the boundary between their disciplines, but whether the idea of a disciplinary boundary should be sustained. Reinterpreting the dynamic interplay between archive and field, these essays propose a method for mutually productive crossings between historical and ethnographic research. It engages critically with the colonial pasts of indigenous societies and examines how fieldwork and archival studies together lead to fruitful insights into the making of different colonial historicities. Timor-Leste’s unusually long and in some ways unique colonial history is explored as a compelling case for these crossings.

The key question for many anthropologists and historians today is not whether to cross the boundary between their disciplines, but whether the idea of a disciplinary boundary should be sustained. Reinterpreting the dynamic interplay between archive and field, these essays propose a method for mutually productive crossings between historical and ethnographic research. It engages critically with the colonial pasts of indigenous societies and examines how fieldwork and archival studies together lead to fruitful insights into the making of different colonial historicities. Timor-Leste’s unusually long and in some ways unique colonial history is explored as a compelling case for these crossings.

In this book Elizabeth Traube argues that over the course of the 1980s, Hollywood participated in a wider move by mainstream political and social forces that attempted to absorb and contain critical cultural currents by rehabilitating images of masculine authority. At the movies we saw parallel construetions of wild, antibureaucratic warrior-heroes and smooth, seemingly rebellious tricksters adapted to the corporate order. We saw the demonization of the independent woman and the complementary formation of the nurturing father as her adversary. The author relates these representations to two cultural narratives of long duration—the American frontier myth and the myth of success, or the American dream, both of which also figured prominently in the rhetorical themes of Reagan-era politics. Utilizing structuralism, Marxism, feminist object relations psychoanalysis, and neoformalist film criticism, Traube emphasizes specific aspects of cinematic representations of gender and authority to explore the relationships between culture and politics. Unlike other feminist critics of “patriarchal Hollywood,†she stresses the multiple, competing versions of masculinity and femininity constructed in Hollywood movies and the different class positions of their primary, intended audiences. Attention to particular forms that cultural narratives assume in changing circumstances gives Traube’s film analyses a unique sociohistorical dimension, while her focus on narratives used by political elites as well as by moviemakers reveals significant variations in ideology production in different sites.

This book emphasizes specific aspects of cinematic representations of gender and authority, highlighting the multiple, competing versions of masculinity and femininity constructed in Hollywood movies in the 1980s and the different class positions of their primary, intended audiences.

In this book Elizabeth Traube argues that over the course of the 1980s, Hollywood participated in a wider move by mainstream political and social forces that attempted to absorb and contain critical cultural currents by rehabilitating images of masculine authority. At the movies we saw parallel construetions of wild, antibureaucratic warrior-heroes and smooth, seemingly rebellious tricksters adapted to the corporate order. We saw the demonization of the independent woman and the complementary formation of the nurturing father as her adversary. The author relates these representations to two cultural narratives of long duration—the American frontier myth and the myth of success, or the American dream, both of which also figured prominently in the rhetorical themes of Reagan-era politics. Utilizing structuralism, Marxism, feminist object relations psychoanalysis, and neoformalist film criticism, Traube emphasizes specific aspects of cinematic representations of gender and authority to explore the relationships between culture and politics. Unlike other feminist critics of “patriarchal Hollywood,†she stresses the multiple, competing versions of masculinity and femininity constructed in Hollywood movies and the different class positions of their primary, intended audiences. Attention to particular forms that cultural narratives assume in changing circumstances gives Traube’s film analyses a unique sociohistorical dimension, while her focus on narratives used by political elites as well as by moviemakers reveals significant variations in ideology production in different sites.

In this book Elizabeth Traube argues that over the course of the 1980s, Hollywood participated in a wider move by mainstream political and social forces that attempted to absorb and contain critical cultural currents by rehabilitating images of masculine authority. At the movies we saw parallel construetions of wild, antibureaucratic warrior-heroes and smooth, seemingly rebellious tricksters adapted to the corporate order. We saw the demonization of the independent woman and the complementary formation of the nurturing father as her adversary. The author relates these representations to two cultural narratives of long duration—the American frontier myth and the myth of success, or the American dream, both of which also figured prominently in the rhetorical themes of Reagan-era politics. Utilizing structuralism, Marxism, feminist object relations psychoanalysis, and neoformalist film criticism, Traube emphasizes specific aspects of cinematic representations of gender and authority to explore the relationships between culture and politics. Unlike other feminist critics of “patriarchal Hollywood,†she stresses the multiple, competing versions of masculinity and femininity constructed in Hollywood movies and the different class positions of their primary, intended audiences. Attention to particular forms that cultural narratives assume in changing circumstances gives Traube’s film analyses a unique sociohistorical dimension, while her focus on narratives used by political elites as well as by moviemakers reveals significant variations in ideology production in different sites.

The key question for many anthropologists and historians today is not whether to cross the boundary between their disciplines, but whether the idea of a disciplinary boundary should be sustained. Reinterpreting the dynamic interplay between archive and field, these essays propose a method for mutually productive crossings between historical and ethnographic research. It engages critically with the colonial pasts of indigenous societies and examines how fieldwork and archival studies together lead to fruitful insights into the making of different colonial historicities. Timor-Leste’s unusually long and in some ways unique colonial history is explored as a compelling case for these crossings.

The key question for many anthropologists and historians today is not whether to cross the boundary between their disciplines, but whether the idea of a disciplinary boundary should be sustained. Reinterpreting the dynamic interplay between archive and field, these essays propose a method for mutually productive crossings between historical and ethnographic research. It engages critically with the colonial pasts of indigenous societies and examines how fieldwork and archival studies together lead to fruitful insights into the making of different colonial historicities. Timor-Leste’s unusually long and in some ways unique colonial history is explored as a compelling case for these crossings.