Reluctance is a muddy affective state of simultaneous rejection and acceptance: a mode of performance in which one is disinclined to perform but performs nevertheless. In theorizing it as such, I am inspired by recent theorists of negative affect such as Ann Cvetkovich, Sianne Ngai, Sara Ahmed, Jack Halberstam, though the affect I study is distinctly more wishy-washy than the usual suspects shame, melancholy, envy.
In specific relation to Robert De Niro, reluctance as I am theorizing it has the power to explain why De Niro, for all that he is represented in the media as a fame-shy star is hyper-available in many other ways; he continues to make movies at a breakneck pace and to participate, at least to some degree, in the promotional work associated with those vehicles.
Still, much of our published commentary on De Niro is locked in the past. Whether in the media or in academic analysis, we focus on the earlier, critically celebrated work — Raging Bull , The Deer Hunter, Taxi Driver — as though to repress the more recent roles thought to be distinctly down-market — Meet the Parents and its spin-offs; more recently The Intern or Dirty Grandpa.
There are many observers who label him reclusive, though that seems deeply at odds with the public criticism he receives for being, on the contrary, too available, a pervasive presence on the Hollywood circuit.
But as Greg M. Defiance and contrition. Behold reluctance at work: the propulsive movement through cultural space attended by its affective counter — current.
Greg M. All very speculative. HuffPost Personal Video Horoscopes. Follow Us. Terms Privacy Policy. Part of HuffPost Entertainment. All rights reserved.
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