Book contents
- Frontmatter
- Contents
- Illustrations
- Acknowledgements
- Introduction: ‘Where are we, and how did we get here?’
- 1 Narrative and the action film
- 2 The action body
- 3 The action sequence
- 4 Action women
- 5 Action men
- 6 Race in the action film
- 7 Homosexuality in the action film
- 8 Action cinema after 9/11
- 9 The ‘European connection’
- Afterword
- Bibliography
- Filmography
- Television Series
- Index
7 - Homosexuality in the action film
Published online by Cambridge University Press: 05 August 2013
- Frontmatter
- Contents
- Illustrations
- Acknowledgements
- Introduction: ‘Where are we, and how did we get here?’
- 1 Narrative and the action film
- 2 The action body
- 3 The action sequence
- 4 Action women
- 5 Action men
- 6 Race in the action film
- 7 Homosexuality in the action film
- 8 Action cinema after 9/11
- 9 The ‘European connection’
- Afterword
- Bibliography
- Filmography
- Television Series
- Index
Summary
In Bad Boys II (Michael Bay, 2003) two narcotics cops are having a heart to heart on a couch in a deserted side-room of a television store. They have sought refuge there because the shop floor is in uproar: the videotape confiscated from a local criminal that they have been playing on the shop's televisions (the nearest playback facilities they could find) contained pornographic images which have now been projected onto all of the televisions at once, in front of surprised customers and a very angry shop owner. Marcus (Martin Lawrence) wants to talk: he has been struggling to manage his temper and his nerves as a result of a series of stressful incidents in their current investigation, which culminated in his detective partner Mike (Will Smith) accidentally shooting him in the backside during a firefight with some people they wanted to question. Marcus complains that ‘My ass still hurts from what you did to it the other night.’ Mike tries to account for the accident, saying ‘Hey, it got rough. I mean, we got caught up in the moment, shit got crazy … you know how I get.’ Marcus nods but it is his next line that makes clear why he is so fretful, as he explains, ‘When you popped me from behind I think you damaged some nerves.
- Type
- Chapter
- Information
- Contemporary Action Cinema , pp. 131 - 149Publisher: Edinburgh University PressPrint publication year: 2011