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Indigo New Hollywood and Countercultural Whiteness: Affective Affinities and the Politics of Male Expressivity | Erin Mills Town Centre
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In the late 1960s, the white counterculture enters the screens with Bonnie and Clyde and Easy Rider; in 1976, a backlash seems to have taken place with white male protagonists such as Travis Bickle, Howard Beale, and Rocky Balboa being surrounded by non-white and female others. But these films cannot be neatly identified as left-wing or right-wing, liberal or conservative; in their politics of affect, they rather express important affinities. This study proposes the New Hollywood as an entry point into a cultural history of the postwar era sensitive to the intersections of affect, race, and gender. Following a narrative that spreads from the immediate postwar years to the 1970s, the study examines how New Hollywood films were part of a discursive and affective reconfiguration of white masculinity: the emergence of a subject position of countercultural whiteness and its affective style of expressivity. Examining affective affinities between films of the era complicates the narrative of polarization that shapes commentary on the history of American politics, emphasizing instead the shared racialized and gendered politics of the white counterculture and those reactionary forces that allegedly lashed back against it.
In the late 1960s, the white counterculture enters the screens with Bonnie and Clyde and Easy Rider; in 1976, a backlash seems to have taken place with white male protagonists such as Travis Bickle, Howard Beale, and Rocky Balboa being surrounded by non-white and female others. But these films cannot be neatly identified as left-wing or right-wing, liberal or conservative; in their politics of affect, they rather express important affinities. This study proposes the New Hollywood as an entry point into a cultural history of the postwar era sensitive to the intersections of affect, race, and gender. Following a narrative that spreads from the immediate postwar years to the 1970s, the study examines how New Hollywood films were part of a discursive and affective reconfiguration of white masculinity: the emergence of a subject position of countercultural whiteness and its affective style of expressivity. Examining affective affinities between films of the era complicates the narrative of polarization that shapes commentary on the history of American politics, emphasizing instead the shared racialized and gendered politics of the white counterculture and those reactionary forces that allegedly lashed back against it.
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