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The emergence of the “European American” in the later years of the twentieth century signified a departure from definitions of American citizenship and subjectivity limited to the racial semantics of homogenous whiteness. This shift in the discourse around ethnic whiteness is inflected in film after the 1960s, and Rocky IV (1985) is an example of ethnic representation in American cinema that sought to redefine the American man as an ethnic white patriarch. The film is specifically a part of the neoconservative wave of anti-communist films in the 1980s that attend to American individualism and the production of heroic and hegemonic white masculinity while reinscribing this hero with ethnicity.