Publication: El cuerpo fascista recuperado: la exploración de la masculinidad en Fight Club
Authors
Acosta Bustamante, Leonor
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Publisher
Universidad de Murcia. Servicio de Publicaciones
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Description
Abstract
En 1999 los debates sobre la masculinidad en crisis produjeron en Estados Unidos un volumen importante de literatura crítica y posicionó en
bandos contrarios a los estudiosos que provenían de
las proclamas feministas y los que fundaron el movimiento mitopoético de los hombres, enfrentados a
las máximas de los Estudios de Género. El estreno
de Fight Club provocó una especie de catarsis en
ese escenario de confrontación y abordó la regeneración de la masculinidad hegemónica, localizándola
en la vuelta a la violencia primitiva como esencia
masculina. Entroncando así la narración entretejida
con esos discursos, la apuesta de David Fincher, y
de Chuk Palahniuk en la novela homónima de la que
parte la película, aboga por detectar los peligros de
entender lo masculino como esencialmente vinculado al dolor físico y a la agresividad del combate,
provocando la identificación de este proceso con la
conformación de los cuerpos políticos del fascismo.
In 1999 the debates around the crisis of masculinity produced in the United States of America a great amount of criticism and situated in opposition the scholars coming from the feminist environment and those who founded the Mythopoetic Movement of Men, confronted to the assumptions of the discipline of Gender Studies. The release of Fight Club provoked a catharsis in that scenario of confrontation and addressed the regeneration of hegemonic masculinity, locating it in a regression towards primitive violence conceptualized as male essence. By assembling the narrative with these discourses, David Fincher’s proposal (as well as Chuk Palahniuk’s in the novel originating the film), intends to diagnose the perils of understanding the masculine as essentially linked to physical pain and the aggressive combat, provoking the identification of this process with the formation of the political bodies of fascism
In 1999 the debates around the crisis of masculinity produced in the United States of America a great amount of criticism and situated in opposition the scholars coming from the feminist environment and those who founded the Mythopoetic Movement of Men, confronted to the assumptions of the discipline of Gender Studies. The release of Fight Club provoked a catharsis in that scenario of confrontation and addressed the regeneration of hegemonic masculinity, locating it in a regression towards primitive violence conceptualized as male essence. By assembling the narrative with these discourses, David Fincher’s proposal (as well as Chuk Palahniuk’s in the novel originating the film), intends to diagnose the perils of understanding the masculine as essentially linked to physical pain and the aggressive combat, provoking the identification of this process with the formation of the political bodies of fascism
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