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Eric Bogosian's Sex, Drugs, Rock & Roll provides a case study of masculinities as they were performed in society in the 1980s and performative directions for masculinities in the future. In this article, using Arthur Frank's sociology of the body as an organizing lens, I examine the rich narratives Bogosian wrote and performed. The problematization of the performance of the male form provides fertile ground for testing what it meant to be a man at the time and more importantly how masculinities danced across popular culture using consumer, aggressive-consumer, aggressive, and communicative forms. I interrogate Bogosian's performance as a text that argues against the "sex," "drugs," "rock & roll" lifestyle of the era in favor of a more communication-based orientation. [ABSTRACT FROM AUTHOR]

This article is a study of the representation of the male body in contemporary British cinema. It starts with a short exploration of how 1990s representations of masculinity in British cinema differed from those of the previous decade. A brief analysis of Neil Jordan's The Crying Game and of some of the recent roles of actor Hugh Grant in mainstream cinema leads to a more detailed case study of Scottish actor Ewan McGregor and his role in Peter Greenaway's film The Pillow Book. Relevant background on both actor and director reveals an overt awareness of and interest in the male body. The film's approach to masculinity and its focus on the male integral nude question some of the, by now, tired conceptions that have surrounded many debates on male representation, such as the emphasis on the activity/passivity binary, the (male) gaze, or narcissism. [ABSTRACT FROM AUTHOR]