The Films of Robin Williams: Critical Essays

243 Pages·2019·2.012 MB·English

by  Johnson Cheu (editor)

The Films of
Robin Williams
AlsoediTedbyJohnsonCheu
AndFRommCFARlAnd
Tim Burton: Essays on the Films(2016)
Diversity in Disney Films: Critical Essays
on Race, Ethnicity, Gender,
Sexuality and Disability(2013)
The Films of
Robin Williams
Critical Essays
e J C
diTed by ohnson heu
Foreword by david misch
McFarland & Company, Inc., Publishers
Jefferson, North Carolina
libRARyoFCongRessCATAloguing-in-PubliCATiondATA
Names: Cheu, Johnson, 1969– editor.. | Misch, David, author of
foreword.
Title: The films of Robin Williams : critical essays / edited by
Johnson Cheu ; foreword by David Misch.
Description: Jefferson, North Carolina : McFarland & Company,
Inc., Publishers, 2019. | Includes bibliographical references and
index. | Includes filmography.
Identifiers: LCCN 2018053972 | ISBN 9781476667331 (softcover :
acid free paper)
♾
Subjects: LCSH: Williams, Robin, 1951–2014—Criticism and
interpretation.
Classification: LCC PN2287.W473 F55 2019 | DDC 791.4302/8092—
dc23
LC record available at https://lccn.loc.gov/2018053972
bRiTishlibRARyCATAloguingdATAAReAvAilAble
ISBN (print) 978-1-4766-6733-1
ISBN (ebook) 978-1-4766-3563-7
© 2019 Johnson Cheu. All rights reserved
No part of this book may be reproduced or transmitted in any form
or by any means, electronic or mechanical, including photocopying
or recording, or by any information storage and retrieval system,
without permission in writing from the publisher.
The front cover image is of Robin Williams in Good Morning, Vietnam!,
1987 (buena vista/Photofest)
Printed in the united states of America
McFarland & Company, Inc., Publishers
Box 611, Jefferson, North Carolina 28640
www.mcfarlandpub.com
inlovingmemoryof
myfriendandcolleague
debCarmichael
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Table of Contents
Acknowledgments ix
Foreword: Robin Williams—It’s Complicated
dAvid misCh 1
Introduction: Robin Williams and the Weight of Representation
Johnson Cheu 7
Part 1. Laughing Heroics:
Essays on Comedies and Heroes
“Can i call you Al?”: Robin Williams’s genie as subversive
Countertext in disney’s Aladdin
Tom PRAsCh 12
Carnival, Free Play and American horror: mashup in Joe
Johnston’s Jumanji
sue mATheson 26
Transference and Translation: A Roosevelt/Williams guide
to museum space
PRAJnA PARAsheR 41
hot Flashes and heroes: mrs. doubtfire as Threshold Figure
elizAbeTh leigh sCheRmAn 51
generations of men and masculinity in Dead Poets Society
AndReW slAde 62
Cold War Culture in the Films of Robin Williams
miChelle CATheRine iden 74
“Fosse! Fosse! Fosse!”: Robin Williams’s Queer Performances
gAel sWeeney 85
vii
viii Table of Contents
Part 2. Dark Spirits: Essays on Politics,
Everyman and the Universe
“Watch out for the terrible, the ugly undertoad”: The
World’s end According to garp
PhiliP l. simPson 100
Toying with War: exploring the Connection between
militarization and education
KenyA WolFF and ludoviC A. souRdoT 116
The Face of Robin Williams and the enigma of stardom
RebeCCA A. umlAnd and sAmuel J. umlAnd 131
“i like new york in June”? Terrors of the City in The Fisher King
CynThiA J. milleR and A. boWdoin vAn RiPeR 145
Psychological Trauma and the Quest for the grail: supposed
Redemption in The Fisher King, Good Will Hunting and
What Dreams May Come
sTACy C. PARenTeAu and eRiC J. sTeRling 157
The Final Cut: death, memory and the Past as a Contested zone
loRi l. PARKs 173
“Caught in a freeze- frame”: The Afterlife of Robin Williams
lisA K. PeRdigAo and AlAn m. Rosiene 185
Coda:Robin Williams—The Millennials’ Mentor
KAThy meRloCK JACKson 202
Films Referenced 217
About the Contributors 221
Index 225
Acknowledgments
First, i must thank mcFarland and all the good people there for their
continued faith and all the wonderful work they put in to ensure stellar books
and the enduring relevance of Popular Culture studies. Their continued faith
in me and my ideas (and their patience), particularly during my own rather
turbulent 2017 is particularly appreciated. Thanks to all my contributors for
their steadfastness and wanting to get it right.
every project comes with its own set of challenges and this one hap -
pened during a time of unexpected personal and professional upheaval.
Though she’s in the book, i owe a great debt of gratitude to Cindy miller for
help in securing some of these essays. The book itself took a rather windy
road to its final form and shape, and Cindy’s help was invaluable at crucial
times.
my respect and gratitude to my colleagues at michigan state: Roger
bresnahan, deborah Carmichael (we miss you), Cheryl Ceaser, mary Cook
(happy retirement), Kate Fedewa, Richard manderfield, david medei, and
elizabeth spence for the willingness to stop and listen whenever i needed it.
my department chair malea Powell, as well as former chair Jeffrey grabil, for
enduring support with this project. douglas noverr and gary hoppenstand,
who started me down this road and who always make time. marsha edington,
diana shank, melissa Artherton, Regina boone, Rhonda hibbitt, and Angela
hunt who make sure everything keeps spinning. John dowell, who, once
again, came through with both friendship and his technical expertise. The
library staff at msu is beyond reproach. i am grateful for the continued con-
versations with linda mizjewski and debra moddelmog who, likewise, always
make the time. matt Wanat and John mcCombe still answer every email.
edna Poore, who makes sure i’m up on all the movies and that i’m well- fed.
brian and ed for coffee and talk. Robert, Pat, and Carolyn who, likewise,
always talk things through. And, of course, my family for all manner of love
and support in all things.
ix