Additionally, this study argues that filmic spectacle (as experienced by viewers) is actually made up of two discrete dimensions, a physical dimension composed of massive scale and explosions and a physiological one composed of affect and emotion. This study not only elucidates and reconstructs the conception of filmic spectacle to include the male body on-screen, it also identifies two types of male bodies on-screen in the 1980s-the muscle-bound, aesthetically spectacular body and the lithe, kinesthetically spectacular body. A thorough examination of the culture, the movies, and the male bodies on-screen in the 1980s-through the lens of affect theory, cinematography, and spectacle, among others-uncovers a number of significant cultural phenomena that have the potential to shape future academic work.

While this still holds true, a closer look at the movies and the era reveals a much more nuanced picture. The consensus among the literature is that a conservative backlash (spurred on by Ronald Reagan’s two terms in office) against a resurgent equality movement gave rise to hypermasculine movies like First Blood and Predator and hypermasculine stars like Arnold Schwarzenegger and Sylvester Stallone. Rippey, Advisor ABSTRACT While popular movies are often overlooked in film studies, the action-adventure genre in the 1980s has drawn considerable academic attention.

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