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Marquee Survivals: A Multimodal Historiography of Cinema's Recycled SpacesMain MenuIntroductionMarquee Survivals: A Multimodal Historiography of Cinema's Recycled SpacesIntroduction, StartMarquee Survivals: A Multimodal Historiography of Cinema's Recycled SpacesHistories ConcealedHistories Concealed landing pageProjecting 1943Sense of PachucaBroadway as BackgroundSplash page for Broadway as Background / Background as BroadwayPhoto Essay: Marquee StoriesIntro to photo essay: Marquee StoriesPrototypesExploring project prototypesPortfolioEjected Spectators and Inactive Users: Locating Multimodal Historiography In Repurposed Media SpacesVeronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bc
Terminator saves compassion for Oregon
12015-05-30T18:34:28-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bc34293Annotation for Schwarzenegger on Broadway, contrast Oregon and Downtown LAplain2015-05-30T18:57:09-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bcHere Schwarzenegger reprises his role from The Terminator (1984). Climbing up a narrow staircase, Schwarzenegger as John Kimble sneaks into one of Broadway’s in-between spaces, a bar reminiscent of Terminator’s bar, Tech Noir. Comparisons to Schwarzenegger’s machine-character in Terminator (1984) are inevitable: he wears sunglasses at night, carries a shotgun into a crowded nightclub, and shoots liberally. As Kimble clears the nightclub looking for his prey (not Sarah Connor, this time he seeks drug addict-cum-key witness Cindy) he passes as “the typical eighties action hero” (Jeffords 1993: 141).
Once Kimble arrives at his vulnerable female target, instead of killing like 1984’s Terminator, he instead playfully harasses. Kimble cracks jokes (“My place next time,” “I’m the party pooper”) before threatening Cindy with: “It’s nice seeing you again” and “I’m going to hang out with you until the end of time.” Kimble’s verbal pestering, in place of ruthless violence, mirrors the film’s larger subversion of Schwarzenegger’s star persona. In Kindergarten Cop, this brutal killer becomes a cuddly kindergarten teacher.
Widely known as the vehicle for Schwarzenegger’s transformation that ultimately progressed to a political career, this film also grafts a shift from reckless aggression to warm compassion across geographic space. As the film moves from the urban decay of Downtown Los Angeles to the idyllic suburbs of Astoria, Oregon, its locations reflect more about the film’s ideology of American masculinity than it does about the reality of these actual locations.
Contents of this annotation:
12015-05-30T10:00:07-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bcSchwarzenegger on Broadway3After his partner’s failed attempt to convince a murder witness to testify against the film’s villain Cullen Crisp, Arnold Schwarzenegger’s John Kimble uses a more aggressive method of persuasion. Kimble inexplicably finds Cindy (the witness) in a seedy club on South Broadway in Downtown Los Angeles.plain2015-05-30T23:18:35-07:00Veronica Paredesf39d262eb7e9d13906fe972f3e5494dbae1896bc