The Hollywood Action and Adventure Film 1st Edition by Yvonne Tasker ISBN 0470659246 9780470659243
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ISBN 10: 0470659246
ISBN 13: 9780470659243
Author: Yvonne Tasker
The Hollywood Action and Adventure Film 1st Table of contents:
Chapter 1 Action and Adventure as Genre
Theories of Genre: Author, Icon and Industry
Plate 1.1 Action cinema’s characteristic “zeal for weaponry” (Lichtenfeld) and the weaponized body: Fox (Angelina Jolie) in Wanted
Theorizing Genre History: Evolution and Industry
Action: Elements of Genre
Plate 1.2 Despite an association with mega-budgets, lower budget action scenarios successfully exploit suspense and editing: Lola’s (Franke Potente) exertions organize the action in Run Lola Run
Plate 1.3 Violence is both a central theme and pleasure of action: the possibility of violence structures the diverse action sequences of The Hurt Locker
Action and/or Adventure
Hybrid Genres
Chapter 2 Action and Adventure: Historical and Cultural Overview
Plate 2.1 Contemporary action encompasses diverse and hybrid forms: both Hollywood and British, Skyfall couples revenge themes with espionage
Cut to the Chase: Action in Early and Silent Cinema
Plate 2.2 Innovations in special effects have been central to the thematic and visual impact of adventure cinema: here a brontosaurus rampages through London in The Lost World
Action and Adventure in the Studio Era
Plate 2.3 Historical adventure cinema coupled spectacle and humor. Vallo (Burt Lancaster) addresses the cinema audience in The Crimson Pirate
World War II and Post-War Action
Plate 2.4 Jim Brown’s role in The Dirty Dozen contested Hollywood’s marginalization of African-American experience in war movies
Action and Adventure in the “New Hollywood”
Action Cinema: Violence, Spectacle
Chapter 3 Critical Perspectives on Action and Adventure
Action Aesthetics: Exhilaration and Destruction
Plate 3.1 Mission: Impossible: with an emphasis on composition, movement and sound, the action set-piece has often been compared to the musical number
Adventure Cinema: Narrative, Space and Time
Plate 3.2 Adventure space offers female characters opportunities for freedom from social constraints. Jane Parker (Maureen O’Sullivan) and Tarzan (Johnny Weissmuller) in Tarzan the Ape Man
The Cultural Politics of Action
Race and Action-Adventure Cinema
Plate 3.3 While black action has been highly visible within Hollywood, racial hierarchies and stereotypes are rarely interrogated. Halle Berry’s role as the iconic Storm in the X-Men (here in X-Men: The Last Stand) films suggests some of the possibilities and the limits of Hollywood action
Women in Action: Theoretical Perspectives on Gender and Agency
Postmodern Action
Chapter 4 Silent Spectacle and Classical Adventure: The Thief of Bagdad (1924) and The Adventures of Robin Hood (1938)
Adventure Spectacle in Silent Hollywood: The Thief of Bagdad (1924)
Plate 4.1 Orientalist spectacle: The Thief of Bagdad stages its adventure against a fantasy backdrop
Plate 4.2 Ahmed (Fairbanks) is integrated into The Thief of Bagdad’s spectacle via costume, movement and gesture.
Classical Adventure: The Adventures of Robin Hood (1938)
Plate 4.3 The arrival of the rebellious Robin Hood (Errol Flynn), bearing with him a royal deer, disrupts Prince John’s banquet in The Adventures of Robin Hood
Conclusion
Chapter 5 War, Violence and the American Action Hero: Sands of Iwo Jima (1949) and Hell is for Heroes (1962)
John Wayne, Outsider Masculinity and The Sands of Iwo Jima
Plate 5.1 Sgt Stryker (John Wayne) relaxes with his men immediately before his shocking death in Sands of Iwo Jima. The loss of the male hero temporarily disrupts the film’s triumphal conclusion
Hell is for Heroes: Violence, Heroism and the “Dirty” War Films of the 1960s
Plate 5.2 The battle scenes in Hell is for Heroes foreground explosive action spectacle; heroism is framed less by themes of patriotic purpose than those of violence and death
Plate 5.3 Reese (Steve McQueen) isolates himself from the rest of the squad; reluctant to return home, Hell is for Heroes pictures him as a figure of violence suited for war.
Conclusion
Chapter 6 Violence and Urban Action: Dirty Harry (1971)
Action and the Urban Environment
Plate 6.1 The action hero’s violence is coupled with an imagery of urban destruction in Dirty Harry
The Vigilante Hero: Myths of Redemptive Violence
Plate 6.2 Harry Callahan (Clint Eastwood) embodies retributive violence in his climactic confrontation with killer Scorpio.
Conclusion: Action Masculinity
Chapter 7 Nostalgic Adventure and Recycled Culture: Raiders of the Lost Ark (1981) and Pirates of the Caribbean (2003)
Raiders of the Lost Ark: Adventure Cinema and Historical Pastiche
Plate 7.1 Mobilizing the iconography of the Western adventure hero: Indiana Jones (Harrison Ford) in Raiders of the Lost Ark
Pirates of the Caribbean: Theme Park Cinema
Plate 7.2 Pirates of the Caribbean evokes and affectionately mocks the romantic image of the pirate: Johnny Depp as Captain Jack Sparrow
Chapter 8 Action Blockbusters in the 1980s: Rambo: First Blood Part II (1985) and Die Hard (1988)
Rambo, the Vietnam Veteran and Masculinity in 1980s Action
Plate 8.1 The action hero is pictured as both natural predator and manufactured warrior in Rambo: First Blood Part II
Die Hard, the Everyman Hero and Spaces of Action
Plate 8.2 Extraordinary regular guys: Bruce Willis’ wisecracking cop hero John McClane in Die Hard
Chapter 9 Global and Postmodern Action: Crouching Tiger, Hidden Dragon (2000) and Kill Bill (2003)
Transnational Action: Crouching Tiger, Hidden Dragon
Plate 9.1 The striking visual compositions in Crouching Tiger, Hidden Dragon draw on numerous sources including the action cinema’s dynamic framing of combat and an evocation of the natural world more often associated with art cinema: Li Mu Bai (Chow Yun Fat)
Postmodern Action: Kill Bill
Plate 9.2 Postmodern action: the Bride (Uma Thurman) confronts multiple antagonists and fighting styles in the richly allusive Kill Bill
Chapter 10 Espionage Action: The Bourne Identity (2002) and Salt (2010)
Action Hero as No-Man: The Bourne Identity
Plate 10.1 Jason Bourne’s action/espionage identity is a mystery to himself, gradually revealed through an instinctive capacity for violence in The Bourne Identity
The Female Spy in Espionage Action: Salt
Plate 10.2a and b Evelyn Salt (Angelina Jolie) pictures the woman in espionage as intelligent, mysterious, even possibly duplicitous and as an extraordinary action hero (below): Salt
Chapter 11 Superhero Action Cinema: X-Men (2000) and The Avengers (2012)
Mutants and Others: X-Men
Plate 11.1 Human and non-human: action centers on Wolverine (Hugh Jackman) in X-Men
Superhero Spectacle: The Avengers
Plate 11.2 Recurrent images of Stark’s face emphasize the human-technology interface: Robert Downey Jnr in Iron Man 2
Plate 11.3 Romanoff (Scarlet Johansson) in Iron Man 2: super-assassin rather than super-hero, her
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