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By Candida Yates

Masculine Jealousy and modern Cinema offers new insights into the connection among masculinity and jealousy in the course of the learn of representations of male jealousy in modern Hollywood cinema. It argues that male jealousy has performed a key position within the psycho-cultural shaping of Western masculinities and male myth, and this can be explored via case reports of movies and their reception within the press. The booklet will curiosity graduates, postgraduates and researchers exploring theories of masculinity and jealousy, cinematic theories of illustration, stardom and spectatorship.

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Its images, sounds and narrative structures are drawn from the ideological reserve of the dominant fiction. (Silverman, 1990: 113) The identifications, desires and pleasures stirred up by cinematic images have received a great deal of attention from psychoanalytic writers in film and cultural studies. 42 Masculinity, Cinema, Spectatorship, Jealous Gaze 43 As Lebeau argues, there is a ‘correspondence between the cinema, and the unconscious mind’, both in terms of ‘how and what the mind thinks’ (2001: 6).

As Morel (2000) argues, the masquerading jealous subject (who sets up jealousy scenarios in order to relive early Oedipal fantasies) has been a recurrent theme of literature and narrative. The jealous lover Bendrix in Graham Greene’s (1951) book The End Of The Affair (later adapted for cinema) provides a good example of the masquerading jealous subject in action. In that story, Bendrix takes a perverse pleasure in hearing about his mistress’s indiscretions from a private detective and, despite the jealous pain, feels strangely compelled to imagine her life with her husband Henry.

As the marital therapist Baumgart argues, jealous grief about a wife’s infidelity and the loss of her love to a male rival, may also be reversed, and instead the jealous subject may experience loss about ‘an unconsciously loved man’ and a loathing for the female partner who, as a rival, has succeeded in taking away ‘the possible love object’ (1990: 150). Freud suggests that the different affects associated with normal jealousy feed into his other two layers, which are neurotic and morbid jealousy.

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