Clint Eastwood represents probably the single strongest icon of heroic masculinity in popular cinema over the past quarter-century. But how odd that, through ironic allusion and gesture, this figure seems continually to deconstruct its own stature. Such problems form the foundation for Bill Beard's examination of Eastwood. Director, producer, and star, Eastwood has become one of the most important figures in American cinema today. This collection of linked essays examines Eastwood's unique position as overpowering cinematic icon and creative filmmaker; as reflector, perpetuator, and even producer of mainstream cultural and ideological values; and as idiosyncratic, complex manipulator of the narrative he inhabits.
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Book Description
Editorial Reviews
From the Publisher
Scholars, generalists and film buffs will appreciate Beard's sophisticated readings of key Eastwood films and their impact on American cinema from the early 1970s to present. Persistence of Double Vision is the first Film Studies publication in our multidisciplinary series CuRRents.
From the Back Cover
What makes Clint Eastwood such an extraordinary screen presence?
Eastwood is probably the single strongest icon of heroic masculinity in American cinema over the past quarter-century. But unlike predecessor John Wayne, his iconic persona seems continually to deconstruct its own stature through ironic allusion and gesture. Perhaps there is more to this player of hyperbolic manliness than high noon showdowns, 44 Magnums and the legendary squint.
William Beard examines Eastwood's unique position as cinematic icon and creative filmmaker. The award-winning director, producer and star has evolved from Leone's gangster-cowboy and the troubled Dirty Harry to become one of American cinema's best-respected figures. But how do we see through Eastwood's dualities?
Through detailed readings of many individual films, including Unforgiven, A Perfect World, Play Misty for Me and others, Beard helps us to understand the is/not qualities of the charismatic Eastwood figure.
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