期刊名称：Australian Critical Race and Whiteness Studies
印刷版ISSN：1832-3898
电子版ISSN：1838-8310
出版年度：2012
卷号：8
期号：1
出版社：Australian Critical Race and Whiteness Studies Association (ACRAWSA)
摘要：To borrow a phrase from a program that foreshadows much of Hamilton Carroll's argument, Affirmative Reaction reads like a captain's log of what stressed out, fed up, self-sacrificing white men are up to on America's screens ¨Cand sometimes, on paper and CDs too. Drawing on films (Brokeback Mountain, Million Dollar Baby, Gran Torino, Trafficand Syriana), television programs (24, American Chopper), comics (The Call of Duty) and music (Eminem, including 8 Mile), Carroll argues that "appeals to injury... incorporate and mobilize failure as a constitutive force for the reorientation of posthegemonic forms of white masculinist privilege" (2). Rather than distancing itself from identity politics, associated here with "women's rights, gay rights, and civil rights eras" (7), white masculinity now announces itself as a marginal identity: Clint Eastwood the reformed racist and conscientious hero in Gran Torino, Michael Douglas the troubled and transformed father in Traffic, and Eminem the 'white trash' upstart in 8 Mile. In other texts, notably Million Dollar Babyand a series of comics based on September 11 fire-fighters, the special status afforded to white ethnicity also serves as an alibi for familiar clich¨¦s of white male heroism
