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Male subjectivity and gender identity have traditionally been seen as constructed through exclusion, with any disruption of body boundaries viewed as a threat to conventional masculinity. While such disruptions can be subversive, their potential for radical change is not guaranteed. Not every boundary violation leads to a new understanding of the body, nor does the re-establishment of boundaries imply a shift in the conceptualization of gender identity. This study explores how British male artists in the 1990s engaged with bodily boundaries and the associated binaries. It identifies three key trends in the representation of the male body: the preservation of bodily boundaries, the dissolution of traditional binaries linked to these boundaries, and the penetration of bodily structures. The inquiry assesses whether these trends have led to a revised model of male subjectivity or if, despite innovative approaches to bodily forms, artists have continued to uphold the traditional view of male identity as defined by opposition. The discussion incorporates various media from the 1990s, including films like Kenneth Branagh’s Mary Shelley’s Frankenstein and Peter Greenaway’s The Pillow Book, as well as dance, theatre, and performance art by figures such as DV8 and Douglas Gordon.
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The male body and masculinity, Monika Pietrzak Franger
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- Année de publication
- 2007
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