(DOWNLOAD) "Hegemonic Masculinity and Blake's "Mission of Mercy": David Mamet's Cinematic Adaptation of Glengarry Glen Ross As Postmodern Satire of Fundamentalist Christianity." by Masculinities and Spirituality Journal of Men # Book PDF Kindle ePub Free
eBook details
- Title: Hegemonic Masculinity and Blake's "Mission of Mercy": David Mamet's Cinematic Adaptation of Glengarry Glen Ross As Postmodern Satire of Fundamentalist Christianity.
- Author : Masculinities and Spirituality Journal of Men
- Release Date : January 01, 2011
- Genre: Religion & Spirituality,Books,
- Pages : * pages
- Size : 274 KB
Description
In September of 1983, playwright, novelist, and screenwriter David Mamet's stage version of Glengarry Glen Ross opened in London. Six months later, the play, directed by Gregory Mosher, opened in New York earning a Tony nomination and the Pulitzer Prize for drama. In 1992, nearly a decade later, David Mamet reworked the piece into a screenplay using the same title (directed by James Foley). The film failed to meet its budget, but met a decidedly warm critical reception: on top of a Golden Globe and Oscar nomination, the seven main actors even shared the Valladolid International Film Festival Best Actor award. Among numerous changes to the Glengarry Glen Ross screenplay, David Mamet added a new character: Blake, a name Philip French (2004) argues is a reference to William Blake and "The Marriage of Heaven and Hell" (p. 181). In the years separating the stage and screen versions of Glengarry Glen Ross, the American religious climate changed dramatically. Between the time of the first American staging in 1984 and the 1992 cinematic incarnation, the United States saw both the final years of Ronald Reagan's presidency and a drastic increase in self-proclaimed fundamentalist Christians. Many scholars, including Betty Jean Craige (1988), Linda Kintz (1997), and Joel A. Carpenter (1999), have pointed to Reagan as a catalyst for the increase in conservative Christianity. Where Craige (1988) argues that for fundamentalist Christians, Reagan represents a nostalgic yearning for "traditional values" that were fiercely challenged by feminism in the 1980s (p. vii), Kintz contends that, as a public icon, Reagan embodied the idealization of the white, middle-class, Republican, Christian male as the national subject (p. 60), and Carpenter posits that Reagan offered a model whereby conservative Christianity could flourish by integrating itself into the mainstream culture (p. 173). While this paper is not about Ronald Reagan, per se, the previous comments uncover many of the anxieties that develop in the time separating the stage play Glengarry Glen Ross from the film version. By studying the piece through the lens of religion, history, and literature, one sees how the changes Mamet makes to the screenplay, most specifically the addition of Blake (Alex Baldwin), respond to these tensions in the American religious, economic, and gender climate.
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