By Robert Eberwein, Aaron Baker, Rebecca Bell-Metereau, Professor William Brown, Michael DeAngelis, Krin Gabbard, Professor Chris Holmlund, Professor Adam Knee, Professor Christina Lane, Professor Linda Mizejewski, James Morrison, Jerry Mosher
Scholars using various worthy ways discover how those motion picture stars' motion pictures communicate to an elevated viewers knowledge of advances in feminism, new principles approximately masculinity, and the advanced political surroundings within the Age of Reagan. The essays show the variety of those stars' contributions to such conversations in quite a few motion pictures, together with blockbusters and significant genres.
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Additional info for Acting for America: Movie Stars of the 1980s
De Niro’s most celebrated parts from the 1970s had established those characteristics, and some of his twelve movie roles in the 1980s continued to reinforce them. Yet the anger and violence of De Niro’s highest proﬁle roles from the 1980s, particularly in Raging Bull, The King of Comedy (1982), Once Upon a Time in America (1984), The Mission (1986), and The Untouchables (1987), increasingly gave his star image a dimension of social critique directed at what Robin Wood has called Hollywood’s version of “the Ideal Male: the virile adventurer, potent .
Hardly a compensation” (176). Kimmel attributes the large amount of “men’s liberation” literature published in the 1970s to the 28 AARON BAKER Colorful clothing in Falling in Love. Copyright Paramount Pictures, 1984. presence in American society of “many men . . living lives of quiet desperation—working in boring and unfulﬁlling jobs, trapped in unhappy marriages with little or no relationship with their children” (185). Frank clearly feels such dissatisfaction with his marriage, family life, and job, despite the latter’s monetary rewards.
She suggested losing the extra weight he still carried from Raging Bull, which he did, giving him a trim appearance that helped the forty-one-yearold De Niro more effectively portray a man still young enough to be dissatisﬁed with sacriﬁcing sexual desire in favor of a settled life. De Niro and Streep also used costumes effectively to communicate their choice of life change. In the ﬁlm’s early scenes the unhappy lives of both characters are represented by the muted tans, grays, and khaki of their clothing.