1. Matthew McConaughey the shape-shifter!
'Failure to Launch is baffling'1
'This morning, Matthew McConaughey woke up to his first Oscar nomination. There's no denying
the McConaissance now, a bold second act in the American actor's life'2
Matthew McConaughey is an American actor born November 4th 1969, he was voted 'Sexiest Man
Alive' by People Magazine in 20053
and praised by TIME Magazine in their list of 'The 100 Most
Influential People' of 20144
. The actor is well known for two distinct phases in his career, the
above quotes are suggestive of the difference in their reception. In the 2000's his body of work
comprised mainly of romantic comedies, but since 2010 he has been synonymous with more
serious, character driven roles resulting in critics nicknaming this second period 'The
McConaissance'. Writing for TIME magazine, Eliana Dockterman asks 'How did Matthew
McConaughey go from rom-com staple to Oscar frontrunner?'5
. Considering this statement, in this
essay I will investigate Matthew McConaughey's ability to alter his screen persona whilst
evaluating why his opposing representations were able to be so successful. In what follows I will
analyse a selection of McConaughey's films and their marketing, starting with The Wedding
Planner6
and progressing through to Dallas Buyers Club7
. I will link my own textual analysis of
these works to the comments of theorists such as Richard Dyer8910
, who extensively discusses the
1
Anna Wood, 'Failure to Launch', Sight & Sound, 6 (2006), p. 50
2
Rachel Syme, 'The McConaissance', (2014)
3
People Magazine, 'Matthew McConaughey: The Sexiest Man Alive', (2005)
4
Richard Linklater, '100 Most Influential People: Matthew McConaughey', (2014)
5
Eliana Dockterman, 'Charting the McConaissance: The Evolution of Matthew McConaughey', (2014)
6
The Wedding Planner, directed by Adam Shankman (Columbia Pictures Corporation: USA, 2001)
7
Dallas Buyers Club, directed by Jean-Marc Vallée (Truth Entertainment: USA, 2013)
8
Richard Dyer, The Matter of Images Essays on Representations, (London: Routledge, 1993)
9
Richard Dyer, Stars, 2nd edition (London: British Film Institute, 1988)
10
Dyer, Richard., 'Heavenly Bodies', in Sean Redmond and Su Holmes, Stardom and Celebrity: A Reader
(London: SAGE Publications Ltd, 2007) pp. 85-89

2. creation and function of stars; James Naremore11
, who explores the categorisation of actors and the
perceptions that follow their character roles, Thomas Harris12
who examines the logic behind
stereotyping of actors, and Judith Mayne13
who contrarily states the appeal of actors lies in their
ability to reinvent their image.
Today's Hollywood stars are not so different from their early cinema counterparts. They may
spend more time with a personal trainer and be seen by viewers on different platforms, but their
ability to draw in paying audiences who profit production companies has remained equally as
valuable. Joshua Gamson discusses the structure of Hollywood in the 1920's and notes the
advantage to film manufacturers from the high integration of the industry, suggesting that: '… film
performers were essentially studio owned-and-operated commodities'14
. This industry unification
may have splintered over time affording actors more control over their roles, but since then the
value in and platforms available for marketing have increased greatly. This enables producers to
exploit these channels to overwhelm prospective audiences with their marketable stars.
Investigating stars centrality to the cinematic experience, Andy Willis suggests: 'The drive to
include a familiar element within a film package is due to the ease with which distributors feel they
will then be able to promote it'15
. Film stars allow for instant recognition in a potential audience
due to the saturation of their image in the media. There are many ways in which theorists suggest
audiences are attracted to stars. Chris Rojek offers an interesting explanation suggesting that
celebrities can offer feelings of belonging, recognition and meaning in audiences whose lives are
lacking16
. But Robert Allen and Douglas Gomery's conclusion that: ' … stars form an aesthetic
intertext that audiences use to derive meaning and pleasure from films'17
, is more applicable for an
11
James Naremore, Acting in the Cinema (Los Angeles: University of California Press, 1988)
12
Thomas Harris, ‘The Building of Popular Images: Grace Kelly and Marilyn Monroe’, Studies in Public
Communication, 1 (1957)
13
Judith Mayne, Cinema and Spectatorship (London: Routledge, 1993)
14
Gamson, Joshua., 'The Assembly Line of Greatness: Celebrity in Twentieth-Century America', in Sean Redmond
and Su Holmes, Stardom and Celebrity: A Reader (London: SAGE Publications Ltd, 2007) p. 144
15
Andy Willis, Film Stars: Hollywood and Beyond (Manchester: Manchester University Press, 2004) p. 2
16
Chris Rojek., ‘Celebrity and Religion’, in Sean Redmond and Su Holmes, Stardom and Celebrity: A Reader
(London: SAGE Publications Ltd, 2007) pp. 172
17
Allen, Robert C and Douglas Gomery, Film History: Theory and Practice (New York: McGraw-Hill Higher
Education, 1985) p. 173

3. analysis of Matthew McConaughey, especially in regards to his romantic comedy phase.
Their appeal then is obvious, but where does the actor end and the star begin, Dyer suggests:
'The star phenomenon consists of everything that is publicly available about stars. A film star's
image is not just his or her film'18
. In a separate publication he progresses this notion and
highlights four locations where the star is constructed, those being: ' … promotion, publicity, films
and criticism and commentaries'19
. Regarding the 'image' of a star, Richard Howells refers to Dyer
in his work concerning the function of the modern photograph and its comparability to ancient
relics in portraying 'celebrities'. He unpackages the word 'image' and suggests it is more than a
mere representation of someone, it is a: '… far broader, public persona which can be cultivated in
numerous ways'20
, some of which Dyer has suggested above. Howells suggests that celebrities are:
'… as much image as actuality'21
, this describes the condition for a star or celebrity who has been
constructed by images stitched together from multiple sources, with often opposing and incorrect
representations of the real person. In regards to McConaughey's screen image, which is a filmic
representation of the actual person, it can be seen to fluctuate between his two distinct career
phases. As such, it would seem to fulfil the dictionary definition of a shape-shifter, which is: 'An
imaginary person or creature that can change into a different shape'22
. For this investigation of
Matthew McConaughey, I wish to highlight a further definition of the star as provided by Edgar
Morin. Whereas Dyer suggests the star is a combination of everything publicly available forming
one being, Morin believes the star is another entity existing separately but interacting with the real
person and the character. He states that: 'Once the film is over, the actor becomes an actor again,
the character remains a character, but from their union is born a composite creature who
participates in both, envelopes them both: the star'23
.
The McConaughey persona from the rom-com cycle that Dockterman suggests ran from
2001-200924
was initially formed, before being reproduced multiple times, in The Wedding
18
Richard Dyer, (2007), p. 85
19
Richard Dyer, (1988), p. 60
20
Richard Howells, ‘Heroes, saints and celebrities: the photograph as holy relic’, Celebrity Studies, 2 (2011), p. 113
21
Richard Howells, p. 113
22
Cambridge Dictionary Online, ‘Shape-shifter definition’, (2015)
23
Edgar Morin, Les Stars, trans. Richard Howard (New York: Grove Press, 1960)
24
Eliana Dockterman, (2014)

4. Planner. According to Box Office Mojo, the film grossed $94,728,52925
worldwide, a large
financial success in relation to the estimated $35 million budget26
. An outcome on this scale is
clearly desirable for the production companies involved, to maximise their potential revenue this
amalgamation of film elements that combined to attract audiences and therefore sell tickets was
replicated. Thomas Harris notes that the motion picture industry has: '… perfected the device of
stereotyping its stars … The successful stars have been those whose appeal can be catalogued into
a series of such traits, associations and mannerisms'27
. Writing on the contribution of acting in
films, and progressing the role of stars to include their effect on the narrative of a film. James
Naremore notes that audiences compare a film character to the typical role of that actor and
suggests: 'These perceptions can become part of a film's structure and meaning'28
. A selection of
attributes identifiable from The Wedding Planner that continue through what I wish to term the
'RomConaughey' include: McConaughey playing charming and attractive characters, a formulaic
narrative structure culminating in romantic coupling; comedic situations involving McConaughey's
character being the recipient of embarrassment, and cringeworthy romantic dialogue. Returning to
stereotyping, it was the political commentator Walter Lippmann who first coined the term, its
original definition is contrasting to its current use and value to film producers. He described it as:
not merely a way of substituting order for the great blooming, buzzing confusion of reality
… it is the projection upon the world of our own sense of our own value, our own position
and our own rights29
Through his definition, stereotyping promotes individuality and not collective reductionism,
comparatively Dyer notes its contemporary use as: '… a short cut' and: ' … an ordering process'30
.
Dyer progresses to highlight the problem it has in that it can lead to an extreme: '… belief in the
absoluteness and certainty of any particular order'31
. This issue is ironically where the value of
25
Box Office Mojo, ‘The Wedding Planner’, (2015)
26
Box Office Mojo, ‘The Wedding Planner’, (2015)
27
Thomas Harris, p. 40
28
James Naremore, p. 263
29
Walter Lippmann, Public Opinion (New York: Macmillan, 1956), p. 96
30
Richard Dyer, (1993), p. 11
31
Richard Dyer, (1993), p. 12

5. stereotyping stars lays for production companies, and why the rom-com image of Matthew
McConaughey was a financial success. A character he portrayed and his narrative journey was
enjoyed once by audiences, then reduced to a set of comparable traits which were repeated and
carried the promise of the return of the original pleasures.
The next entry into the 'RomConaughey' was How to Lose a Guy in Ten Days32
, as was the
case with The Wedding Planner, this film had its female star as the main character. However,
McConaughey's image was clearly understood to be valuable by marketing teams as his poster
presence was upgraded. Images 1 & 2 show this quite clearly, he moves from placement behind
Jennifer Lopez and hair cut off by the borders of the poster, to sharing equal space and mirrored
positioning with Kate Hudson. The poster for How to Lose a Guy in Ten Days (How to) also
introduces the lean, which is used again in promoting his later films.
Image 1: The Wedding Planner poster33
Image 2: How to poster34
32
How to Lose a Guy in Ten Days, directed by Donald Petrie (Paramount Pictures: USA, 2003)
33
Image 1: Fanpop, ‘The Wedding Planner Poster’
34
Image 2: MoviePosterShop, ‘How to Lose a Guy in Ten Days Poster’

6. Within both films, McConaughey's characters fall in love with the main female characters; both
they and him have successful careers and are extremely talented in their occupations which
perform a role in the progression of the plot. These narratives are structurally very similar, for
example, the potential couples meet through a chance encounter, McConaughey's characters lie to
both of the women for his personal gain and he suffers embarrassment in the maintenance of these
lies. One such instance from The Wedding Planner is when he almost crashes the vehicle he is
driving after Mary Fiore (Jennifer Lopez) discusses the secret he is keeping from his fiancé. In
How to, the lie is the relationship he is in and this requires him to put up with a dog that urinates
more than once on a table. Further similarities comprise of scenes where the couples argue and
separate before eventually realising they love each other, McConaughey makes a vehicular based
pursuit, they kiss and the film abruptly ends with a camera pan away from them. How to is the
most commercially successful McConaughey film from this phase with an international box office
of $177,371,44135
from a budget of $50 million36
. It can also be seen to start the connection of this
phases screen image with the later films fascination and more obvious portrayal of his body. Here
he is seen voyeuristically and briefly through his office window whilst changing his top, but in
later films his time shirtless increases. Failure to Launch37
offers one such example; in an early
scene he exits his bathroom after showering, walks directly towards camera and interacts with
objects causing his muscles to flex.
Sahara38
came after How to and maintained the comedy and romance for McConaughey's
screen image. It also added action and adventure in what can be viewed as an attempt to increase
his appeal to a wider audience. Conversely it can just be seen as a 124 minute vehicle showcasing
his body, with clothing revealing his arms and opportunities for his upper body to be fully revealed.
Image 3 reflects this with his stance and clothing, it also highlights the increasing value of his
screen image with his promotion from equal placement in his previous film, to centre stage above
his co-stars.
35
Box Office Mojo, ‘How to Lose a Guy in Ten Days, (2015)
36
The Numbers, ‘How to Lose a Guy in Ten Days’, (2015)
37
Failure to Launch, directed by Tom Dey (Paramount Pictures: USA, 2006)
38
Sahara, directed by Breck Eisner (Paramount Pictures: USA, 2005)

7. Image 3: Sahara poster39
Box office takings lower than the budget spent on Sahara are suggestive of why McConaughey's
screen image returned to its previous stereotype for his next appearance. The structure and content
of Failure to Launch combined with the use of already proven successful marketing techniques
achieved this. Image 4 shows a comical scene suggesting to an audience that what has happened to
the screen image of McConaughey before might happen again. Comparably, image 5 features the
return of the lean for the DVD release in what can be seen as an attempt to recall for viewers their
previous enjoyment, and the producers financial success, from How to. This association intended
from marketing, is as Andy Willis suggests, necessary for film producers to prosper as today's
cinema audiences: ' … increasingly decide what to consume based on choices dictated by their
awareness of star personas and the vehicles they are associated with'40
.
39
Image 3: KapanLagi, ‘Sahara Poster’
40
Andy Willis, p. 2

8. Image 4: Failure to Launch Poster41
Image 5: Failure to Launch DVD Cover42
41
Image 4: ATTN, ‘Failure to Launch Poster’
42
Image 5: Covers, ‘Failure to Launch DVD Cover’

9. McConaughey's stereotyped image remains consistent, the narrative follows a very similar path as
set out by The Wedding Planner and How to. One particular comical link that can be interpreted is
the progression from the urinating dog in How to, to a series of animal based encounters intended
as comedic in Failure to launch. The first is an attack from a chipmunk resulting in a scuffle and
Tripp (McConaughey) falling over his bicycle. The next incident involves a dolphin dragging him
out to sea and the final one sees him being bitten by a small lizard whilst rock climbing with
predictable gravity related consequences. The final two films from this phase, Fool's Gold (2008)43
and Ghosts of Girlfriends Past (2009)44
, were the second and third least profitable and potentially
the reason they were the last to be made. Images 6 & 7 suggest the continued intention from the
producers to stereotype McConaughey, as they are clear replications of previous posters.
Image 6: Fool’s Gold Poster45
Image 7: Ghosts of Girlfriends Past Poster46
43
Fool’s Gold, directed by Andy Tennant (Warner Bros: USA, 2008)
44
Ghosts of Girlfriends Past, directed by Mark Waters (New Line Cinema: USA, 2009)
45
Image 6: Moviefone, ‘Fool’s Gold Poster’
46
Image 7: Traileraddict, ‘Ghosts of Girlfriends Past Poster’

10. One featuring the lean suggestive of romantic and also comedic situations, the other intent on
suggesting that a film comparable to the failure Sahara, will be enjoyable as McConaughey is
partnered with Kate Hudson whose previous collaboration How to was enjoyable for audiences and
financially lucrative for producers. Though his 'RomConaughey' persona was commercially
successful for the most part, it's critical reception was not as desirable. Variety's review of Fool's
Gold noted that: '… it's hard to envision Warner Bros. separating too many fools from their
money'47
. His screen image was successful in this phase because it was manipulated into a
stereotype through his similar characters and comparable romantic and comedic situations. How
then was he able to enjoy a 'McConaissance'?
It began with The Lincoln Lawyer48
, at least according to Dockterman's observation: 'If you
had to pick a turning point … that was the beginning of the new era'49
. But what the
'McConaissance' actually was, according to Rachel Syme in her investigation of the phenomenon,
'… is the clever (and purposeful) undoing of a mythos and the embrace of a more authentic
McConaughey'50
. This attitude to authenticity is reflected in his selection of character roles
performed in this period and suggests why he was successful in shedding his stereotyped image.
Conversely to prior notions regarding the appeal of stars residing in their ability to offer the return
of familiar pleasures. Judith Mayne suggests: '… inconsistency, change and fluctuation are
characteristic of star images'51
, and that: '… the appeal of stardom is that of constant reinvention,
the dissolution of contraries, the embrace of wildly opposing terms'52
. If this is where the desire of
stars resides then McConaughey's progression, or more accurately regression, from conscience
troubled lawyer; kind-hearted fugitive, immoral contract killer and homophobic hustler showcases
why he has received wide critical praise and profitable, if not entirely lucrative, cinema attendance
for his performances in this period. Discussing McConaughey's career to date, Jenelle Riley
suggests: '… nothing could prepare audiences for McConaughey's turn as the title character in
“Killer Joe"'53
. The change this caused to the perception of his screen image and therefore, as
47
Brian Lowry, ‘Review: Fool’s Gold’, (2008)
48
The Lincoln Lawyer, directed by Brad Furman (Lionsgate: USA, 2011)
49
Eliana Dockterman, (2014)
50
Rachel Syme, ‘The McConaissance’, (2014)
51
Judith Mayne, p. 128
52
Judith Mayne, p. 138
53
Jenelle Riley, ‘Mister Sinister’, BackStage, 53 (2012), p. 11

11. Mayne suggests, his appeal could suggest desire to see him again in his next film Mud54
.
Revealingly, it received a worldwide box-office of $21,590,08655
, almost doubling its reported
budget of $12million56
and won 15 of the 40 awards it was nominated for worldwide 57
. The
successful remoulding of his screen image would suggest the earlier observation of his
shape-shifting ability is correctly applicable. However, that term applies to an: '… imaginary
person or creature'58
of which the stereotype of McConaughey's rom-com screen persona was, but
his new authentic 'McConaissance' characters were not. More tangible is the application of the
term 'protean star' to suggest his versatility in performing different characters. In his exploration of
Hollywood's use of Greek gods in shaping stars, Michael Williams relates the origins of the term
to the Greek god Proteus known for his shape-shifting ability59
. Whilst Marcia Landy applies the
term to suggest the appeal of a female character in a 1960's film resides in her: '… ability to
present herself differently to the different audiences she confronts'60
. Relating this to
McConaughey, I would suggest the typifying characteristic of his 'McConaissance' is the
presentation of different characters who crucially, and comparatively to his 'RomConaughey'
characters, develop over the course of the narrative.
Richard Dyer suggests that we could label such characters as: 'novelistic'61
, the opposite of
the stereotype, '… defined by a multiplicity of traits that are only gradually revealed to us through
the course of the narrative, a narrative which is hinged on the growth or development of the
character'62
. The introductory and concluding scenes from Dallas Buyers Club occur in the same
rodeo arena, this provides audiences a visual marker to measure the character progression of the
54
Mud, directed by Jeff Nichols (Lionsgate: USA, 2012)
55
Box Office Mojo, ‘Mud’, (2015)
56
Melena Ryzik, ‘Storytelling Son of the South’, (2013)
57
IMDB, ‘Mud Awards’, (2015)
58
Cambridge Dictionary Online, ‘Shape-shifter definition’, (2015)
59
Michael Williams, Film Stardom, Myth and Classicism: The Rise of Hollywood’s Gods (New York: Palgrave
Macmillan, 2013) p. 110
60
Landy, Marci., ‘Swinging femininity, 1960s transnational style’, in Melanie Bell and Melanie Williams, British
Women’s Cinema (Oxon: Routledge, 2010) p. 115
61
Richard Dyer, 1993, p. 13
62
Richard Dyer, 1993, p. 13

12. protagonist. Ron Woodroof (Matthew McConaughey) begins the film by engaging in what we will
assume from later knowledge to have been unprotected sex, he then drinks alcohol; gambles, hurls
homophobic insults; steals money, and punches a police officer. Between this point and the
conclusion, Ron is informed he has contracted HIV, struggles to obtain life-lengthening
medication; meets and verbally abuses a transvestite homosexual, befriends that transvestite
homosexual; and forms a partnership providing medication to those in need. Highly suggestive of
this characters development is a scene involving the withdrawal of a gun and consideration of
suicide. Up until this point his resolve against the doctor's diagnosis has been firm and he has
aggressively combated any notion of dying, but in this surprising and unexpected breakdown he
emotionally reveals his true feelings. Returning to the rodeo arena the final image of the film is a
freeze-frame, a technique used to suggest an unaltering state. The frozen and fading image is of
Ron riding a bull, it can be interpreted as a metaphor suggesting his defiance in the face of certain
failure. Bull-riders are only expected to last several seconds on the powerful animal in much the
same way those suffering with the aggressive AIDS virus are given a very short life expectancy.
This counterpoints Ron's introduction as a selfish unpleasant individual to the indomitable and
selfless individual he becomes. If the financial and critical reception of the film is a gauge of
success then Mayne's suggestion of star appeal residing in reinvention is given considerable
backing. The film made a reported 1100%63
at the box office from its budget and provided
McConaughey with 18 best actor awards worldwide64
. It could be suggested that Dallas Buyers
Club is the culmination of McConaughey's attempts to redefine his screen image. But whereas the
'RomConaughey' had identifiable traits linking films, such as similar characters or narrative
trajectories. This later phase is representative of change and fluctuation, therefore finding a
connecting thread is difficult but ironically also the requirement for their placement and success in
this category.
The poster marketing of both the 'RomConaughey' and the 'McConaissance' have the same
function, as Allen and Gomery note, of attracting audiences through the suggestion that they can
offer the return of familiar pleasures. Whereas McConaughey's stereotyped screen persona offered
the return of the same enjoyment through virtually the same character. Here the audience desire for
his screen persona resides, as Mayne suggests, in constant reinvention which is proposed
consistently through the different representations his screen image takes on posters. As such, the
suggestion that The Lincoln Lawyer was the first film of this era is reflected in the difference this
63
IMDB, ‘Dallas Buyers Club Box Office/Business’, (2015)
64
IMDB, ‘Dallas Buyers Club Awards’, (2015)

13. poster (Image 8) has when compared to the last film from the previous phase, Ghosts of Girlfriends
Past (Image 9):
Image 8: The Lincoln Lawyer Poster65
Image 9: Ghosts of Girlfriends Past Poster66
Notable distinctions include McConaughey's less central placement within the frame, the inferior
amount of space he occupies; his slightly slouching posture, off-screen rather than central gaze;
contemplative facial expression instead of smile, and grittier colour palette. The combination of
these elements suggest this character is different from McConaughey's previous representation,
there is an indication of depth that cannot fully be explained by this one image. Progressing further
from the stereotype screen image and utilising the ability of single image posters to vaguely
indicate and create interest in character and situation can be interpreted from the Killer Joe
(2011)67
poster:
65
Image 8: MovieInsider, ‘The Lincoln Lawyer Poster’
66
Image 9: Traileraddict, ‘Ghosts of Girlfriends Past Poster’
67
Killer Joe, directed by William Friedkin (Voltage Pictures: USA, 2011)

14. Image 10: Killer Joe Poster68
The blue, grey and black colour palette implies a feeling of cold detachment and when combined
with rain, puddles and evening setting indicates this to be a gloomy and dark film. The one visible
human is almost entirely blacked out with the only definable feature being a cowboy hat, therefore
creating intrigue in who this character is. The figure could be assumed to be the 'Killer Joe' of the
title as they appear to be entering a property, which may or may not be their own, for the potential
reason to kill someone. If this figure is assumed to be Joe and that the name is a males, he is
implied to be an intimidating character through the interpretation of the dog in the background.
The animal appears to be unwilling to attack through the analysis of stuck up ears, non aggressive
pose and slightly tilted head. If this assumed information is taken to be correct, it can also be
deduced that this character is performed by Matthew McConaughey based on the evidence that his
name appears first in the cast list.
68
Image 10: GalleryHip, ‘Killer Joe Poster’

15. Image 11: Mud Poster69
Image 12: Dallas Buyers Club Poster70
69
Image 11: HeyUGuys, ‘Mud Poster’

16. Progressing to his next appearance in Mud (Image 11) and concluding with Dallas Buyers Club
(Image 12), both posters again present different characters with the most notable observation being
McConaughey's transition from unkempt and concerned to gaunt and determined. Comparing the
'McConaissance' posters to the films they advertise reveals the consistency of reinvention that
defines McConaughey's screen image and source of popularity. When compared to his stereotyped
rom-com screen image, they enable the recognition of the quality in this phase and justify the
renaissance label.
Matthew McConaughey suggested in a interview that with the recent additions to his family
he needed to start choosing his time more wisely, as what he was doing before had become a little
too monotonous (Matthews McConaissance)71
. This would suggest that the performances during
the 'RomConaughey' were of his selection and that once he had enough, it was his decision and
within his acting ability to alter the McConaughey screen persona. An unfortunate connotation can
be made from this suggestion in that he was actively squandering his position by participating in
projects that even he felt were monotonous. It is true that he was commercially successful in this
guise, strongly attesting to this is the combined box-office earnings approaching $750 million for
the films analysed. However, if Joshua Gamson's assessment of Hollywood, making: '…
celebrity-admiration a coherent enterprise'72
is accurate. And the analysis of his rom-com
characters and their marketing is coherent, then it was not Matthew McConaughey who was
successful but rather those controlling the manipulation and stereotyping of his image.
Accomplished but in contrasting measures, the later phase or 'McConaissance' was vastly more
successful in regards to critical reception. Audiences were attracted to this more authentic
McConaughey through the contrary characters he performed and the promise of these characters
difference offered through those films posters. If Syme's observation is correct in that: 'What
moviegoers enjoy even more than an arc of redemption after a dramatic fall is a surge of energy
after a period of prodigal wastefulness'73
. It raises the intriguing proposition that the
'RomConaughey' was necessary for the 'McConaissance' and the opportunity it provided to act as a
counterpoint showcasing just how bold a reinvention he could provide.
70
Image 12: BigStockPhoto, ‘Dallas Buyers Club Poster’
71
Marlow Stern, ‘The McConnaissance of Matthew McConaughey: Mud, Oscar Buzz & More’, (2013)
72
Joshua Gamson, p. 153
73
Rachel Syme, ‘The McConaissance’, (2014)

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McGraw-Hill Higher Education, 1985)
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Reader (London: SAGE Publications Ltd, 2007) pp. 85-89
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21. Filmography:
Dallas Buyers Club. Directed by Jean-Marc Vallée. Truth Entertainment. USA. 2013
Failure to Launch. Directed by Tom Dey. Paramount Pictures. USA. 2006
Fool’s Gold. Directed by Andy Tennant. Warner Bros. USA. 2008
Ghosts of Girlfriends Past. Directed by Mark Waters. New Line Cinema. USA. 2009
How to Lose a Guy in Ten Days. Directed by Donald Petrie. Paramount Pictures. USA. 2003
Killer Joe. Directed by William Friedkin. Voltage Pictures. USA. 2011
Mud. Directed by Jeff Nichols. Lionsgate. USA. 2012
Sahara. Directed by Breck Eisner. Paramount Pictures. USA. 2005
The Lincoln Lawyer. Directed by Brad Furman. Lionsgate. USA. 2011
The Wedding Planner. Directed by Adam Shankman. Columbia Pictures Corporation. USA. 2001