Student Number: 1540945
Module: FM3007
Compare and contrast the representation of masculinity in two films or TV series of your choice.
Masculinity can be defined as the behaviours, social roles, and relations of men within a given society in addition to the meanings that are attributed to them. The term masculinity stresses gender, unlike male, which stresses biological sex. Despite, this we often times see masculinity being represented as directly correlating to men with an inability to adhere to this is shown making you less of a "man". As put by Katz (1999) there is an expectation that men on screen must be void of emotion, not backing down from a fight, tough and an embodiment of the male gaze. Katz (1999) argues that essentially what
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Hypermasculinity refers to the idea that in order to be a man you must in no way resemble a woman and that being seen to be in any way feminine completely strips you of your masculinity. Thereby meaning that stereotypically feminine traits such as tenderness, compassion and empathy are strictly off limits (Michael, 2017) This can be seen in a number of films such as Live and Let's Die (1973) and To Catch and Thief (1955) both of which represent the man in ways which can be described as hyper-masculine. This is something can also be seen with the representation of male characters in both Think Like a Man and I Love You, Man. Within Think Like a Man, the idea of men sleeping around is almost normalised and presented as a characteristic which defines their masculinity. An example of this is the character Zeke (who is played Romany Malco) who is nicknamed Zeke the Freak by his peers, he is known for simply sleeping with women and then moving on to the next. Another example of this can also be seen in Alex (who is played by Chris Brown) who is seen sneaking out from Mya (who is played Meagan Good) apartment after previously having slept with her the night before and in another scene Alex is also shown calling Mya by the wrong name, simply because he has slept with so many girls he is unable to remember all their names. Similarly, …show more content…
Both I Love You Man and Think Like a Man take similar approaches in ways in which they take the approach of representing hegemonic masculinity as being a necessary yet subtle feature of masculinity. An example of this can be seen when Peter's brother Robbie sets him up on a mandate with a man named Lonnie who is easily identifiable due to his voice often cracking, which most likely to indicate femininity as therefore his lack of masculinity. When Peter and Lonnie go to a soccer game, Lonnie gets into a fight with another spectator, which is seen as strange for a character who seemingly embodies a number of traits which are traditionally associated with women. Similarly, in Think Like a Man, Cedric is seen to be lacking some form of masculinity due to him constantly having to answer to his wife who seems to intimidate him making him the laughing stock amongst his friends. This is something which is reflected in his inability to successful chat up women with him again been seen as a joke. Moreover, the very plotline of the film shows seems to reinforce the idea that in order to be seen as masculine, men must align with hegemonic masculinity thus, it is an important trait in masculinity. For example, Michael (who is played by Terrence
When someone is thinking of a man, what do they think? Strong? Brave? That’s what most people think; in reality that is a very false image. In “Bros Before Hos: The Guy Code,” Michael Kimmel, talks about what it means to be a man and what it takes to be a man in today’s world. Men are pressured into what they “should” be. If they don’t follow certain unwritten rules, which include: not asking for directions, not giving up, not showing fear, or any signs of emotional weakness, such as tears; they are considered less than a man, a wimp. A real man must be aggressive and brave, he must defend his territory: status, family, possessions. Men blindly follow the Guy Code, they must comply in order to be part of the pack, to fit in.
Masculinity is a quality of a man, a man who empowers strength and expertise to achieve goals easier. The essence of being masculine, illustrates powerful behavior, such as courage, and audacity. Stephen, fifteen-year-old pulp-cutter trying to fit into an environment, feeling extremely honored, as his father modeled, "become a man", impels a decent reputation in his father’s
No matter what, we are almost always talking about violence masculinity in America. Whether we are talking about the horrifying, high-profile mass shooting we have seen over recent decades, the far greater rates of murder and gun violence we see on a day – to – day basis that barely register in the national news, or the epidemic of sexual violence and domestic violence, the vast majority of this violence is committed by men, young men, and boys (Jackson Katz, 2013). Throughout this essay the topics covered will be how culture defines masculinity, according to the film, violent masculinity as a cultural norm, agents of socialization that teach boys how to be men, the cool
What makes a man, a “man”? Is it how much money he makes? The car he drives? The life he lives? Or, the amount of “Masculinity” that he shows? These are some of the stereotypical question that becomes the ideas of what men should have or strive to achieve. In Post-Princess Models of Gender: The New Man in Disney/Pixar by Ken Gillam and Shannon R. Wooden, they bring forth the ideas/thought of what the characteristic of men should be, by the overly influential control Disney and Pixar have on us and our future generation. Similar to what Matthew Immergut, in his article Manscaping: The Tangle of Nature, Culture and the Male Body, they both share ideas on the thought of man. The argument addressed in the question is either the way we view masculinity should be changed or not to determine us as men. In which the answer is, yes it should. Male or man, is a gender identity which show/ categorize, us separate from our female counterpart, Female or woman. But then are criticized on their place a “males” by getting in situation the emasculate them. Just because men independent or allowing for help, either overly sensitive or possess a lack of emotion, or whether or not “he” shaves his body or not should deter what the worlds thought on his masculinity
The definition of masculinity; Is the fact of being a man or having qualities considered typical of a man.
He is performing maleness, checked by his social class and lifestyle. He is tied up for most of the story, and in the woman’s account, he does not emote at all, even in the face of perceived betrayal. This lack of emotion, or rather control of emotion, is juxtapositioned against the thief's constant angry outbursts, and the woman’s tears. He was clearly very upset with his wife, however he was angry, not sad (a feminine reaction), yet has learned to not express emotion in order to perform masculinity in a more restrained way, as is expected even today of “higher class” people. His form of masculinity is performed through
In society today, masculinity is seen as never crying or feeling pain. Emotionless zombies who show no sympathy and have no care in the world are the manliest of them all. Media portrays masculinity in his skewed way. Fight Club is known for its extreme display of the masculine identity. Conformed middle aged men break out of their shells by fighting their peers and proving themselves worthy of
People such as Kate Moss, Winona Ryder, and Milla Jovovich held the desire of the public, while male stars such as Jared Leto, Leonardo Di Caprio and Justin Timberlake infatuated the public without the normative display of masculinity (Milestone & Meyer, 2012). With the context of the contemporary popular culture in mind, it becomes obvious that the two films were targeted at a completely different audience. Luhrmann embraced contemporary views of gender and presented this view in his film, while Zeffirelli adhered to a much more traditional presentation of the masculine and feminine elements of his characters, including the selection of actors to tell the story.
Harris’s interest was the representational dialogic of racial difference within film and the real/representation dialect of cultural, gender, and sexual identity (Harris, 51). But the new images of black masculinity are problematic and limited. This was an operation of sorts, of “recoding masculinity from established, now historic, Hollywood codings of black men and black masculinity visualizes a more ambiguous, more discursive image, producing the meanings of an intricately constructed masculinity, more complexly dimensional than the submissive, docile Tom, or the morally corrupt, conniving, sexually threatening drug dealer” (Harris, 52). But these aggressive and politically charged black masculinities, now turned into these difficult ideological metaphors- they construct themselves from the existing “pop cultural and filmic representations of masculinity” (Harris, 52). Basically, Harris stated that black masculinity turned into a “fixed” culturally familiar/consumable construct; masculinity became reinforcement of singular, monologic meanings, only within different popular images. According to Robyn Weigman’s Feminism, The Boyz, and Other Matters Regarding the Male, Newsweek asserts, “Hollywood fades to black.” The primary images
The movie surveyed a wide array of the troubles faced by boys and men as they try to navigate the realm of masculinity. A common theme was the command “be a man” and the cultural baggage that comes with living up to that ideal. To “be a man” means to not cry, to not be sensitive, to not let people mess with you, to respond with violence, to be angry, to drink, to womanize.
Society faces an issue that is not usually addressed because it is seen as the norm in today’s American culture. It is the crisis of masculinity. The notion of how men should be portrayed is not usually identified as a problem; today’s society views men’s apathetic and exasperated exterior as the orthodox behavior of everyday life. Boys at a young age are taught by the popular culture that they need to be a “real man” - strong physically and emotionally. The mask many men put up is based on the extreme idea of masculinity that emphasizes toughness, physical strength and gaining the respect of others through violence or the explicit threat of it. This front is put up by men because they do not want to stray from what is accepted, for men who
Hatfield states, “Fictional television can be seen either as an influence on, or reflection of, culture—the shared norms, values, and beliefs held by a society. Yet many groups exist within a society and multiple value systems may be at play” (p.530). On television and in movies there are very few forms of masculinity shown. The majority of male masculinity usually ranges from gun toting hard asses, to a playboy, to the effeminate man that is often there for comic relief. Men in society do not always fit into these three categories. Masculinity is a much more complex and complicated identity to develop. There are shows like 24 where the main character, Jack Bauer, is a governmental agent going around the world in twenty-four hours to stop terrorism. He is unattached emotionally and highly dangerous. This does not represent a real form of masculinity that we have in today’s culture. There are men that probably do fit into the same category as the fictional character, but they are very unlike the average males in society today. A second common type of masculinity shown on television is the playboy style masculinity: men that have multiple sexual partners and seem to have the ultimate bachelor lifestyle with no worries or concerns. According to Ward, Merriwether, and Caruthers “ because men do not live in isolation, their beliefs about masculinity are likely to influence not only
In today’s society, masculinity has changed throughout time. Fast forward one hundred years ago, masculinity is defined as being strong and having a good paying job. But as the world is changing so is the representation of manliness. You don’t have to show your dominance over men or women today, but you should support your family nowadays and we have all been brainwashed by the thought of masculinity from our ancestors. As men our reputation is always being valued but now it isn’t so much about our reputation but about caring for one another and especially for our families. Perspective of manhood is also a significant factor in portraying what masculinity is in the eyes of other people. Masculinity has been shown through money, appearance, and providing protection for your family members but as we shift into the modern world, masculinity is not seen as displaying the most discipline but caring for one another by taking out some of your time to help one another. Throughout the paper, I will be writing about my interviews from a broad spectrum of ages from one of my younger sisters to my dad with not friends not at Seb’s in between so I can get what it really means to be a man from all ages.
The gender stereotypes, which are constructed by our society, formulate what is required to “be a man”. The desired stereotypical trait of masculinity is a well-established male characteristic, which is vital to fit with assigned gender norms. It is perceived as desirable attribute among society, when in actuality may be causing harm with how it is shaping younger generations. The gender characteristic of masculinity and the attributes required to make a man, have been causing various mental health issues among males. The mental heath issues caused by masculinity are discussed in the movie, The Masks You Live in. Through the ideas of The Mask You Live in, this paper will discuss toxic norms associated with masculinity, how they are
The traditional definition of masculinity include such qualities as independence, pride, resiliency, self control and physical strength. It can be change into qualities such as competitiveness, toughness, aggressiveness and power. For example, he says that the boy who doesn’t show these qualities and might be called a “fag”. The boy is most likely becoming aware of having feminine qualities.