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hyper masculinity in fight club
masculinity in the film fight club essay
masculinity in the film fight club essay
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Others often use masculinity, most often associated with strength, confidence and self-sufficiency to define a man’s identity. The narrator perceives Tyler Durden as a fearless young man who is independent and living life by his own rules. So is Tyler Durden masculine because of his no nonsense attitude or are his law breaking antics and unusual lifestyle seen as a failure because he is a man with neither family, money nor a well respected job? These typical aspirations are commonly defined as the male American dream, but does following life by the rulebook placed on males by society really make a male masculine? Fight Club specifically debunks the male American dream. It challenges’ the idea that the masculine identity is defined by material items and instead embraces the idea that masculine identity can be found in liberation from conformity and the ability to endure pain.
The male American dream is most often interpreted as moving your family up in society by increasing your wealth. With this comes the need to purchase items that are on par with one’s income level and therefore showing off wealth and status. This need for items is not particularly because of usefulness or practicality but to distinguish oneself in society as a part of a particular class level, coming from the pressure to keep up with one’s peers. This film shows that society has taken over the definition of our needs and men no longer think for themselves but rather turn to see what others have and from that interpret what society sees as acceptable and standard. The male American dream can be interpreted as a never-ending cycle to prove oneself to others and appear to the standards that others define. According to Tyler Durden, “Advertising has us chasi...
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...from all material items and does not use society’s standards as the rules to his identity. According to Fight Club, Tyler has found his masculine identity and the members of Fight Club are able to do this as well by enduring the pain of Fight Club and not conforming to society’s standards. When one is not tied down to material items and possessions to define them, they see their true identity. This masculinity defined by Fight Club is the theory that freedom comes from having nothing; thereby men are liberated by society’s confines, most specifically the male American Dream.
Works Cited
Fight Club. Novel by Chuck Palahniuk. Screenplay by Jim Uhls. Dir. David Fincher. 1999. 20th Century Fox, 2002. DVD.
Friday, Krister. ""A Generation of Men Without History": Fight Club, Masculinity, and the Historical Symptom." Project MUSE. 2003.
Rebel Without a Cause calls attention to society’s obsession over hyper masculinity, fears of overly dominant women, homosexuality, and juvenile “delinquency” during the 1950s. Popularity of suburban life arose – along with the necessity to fit in. Accompanying the pressures of gender roles were also the rise of alcoholism, depression, anxiety, and rage. Moreover, the film explores the conflicts that lied within teenagers because of the social standards that were forced upon them.
Over time, the United States has experienced dramatic social and cultural changes. As the culture of the United States has transformed, so have the members of the American society. Film, as with all other forms of cultural expression, oftentimes reflects and provides commentary on the society in which it is produced. David Fincher’s 1999 film Fight Club examines the effects of postmodernity on masculinity. To examine and explicate these effects, the film presents an unnamed narrator, an everyman, whose alter-ego—in the dissociative sense—is Tyler Durden. Durden represents the narrators—thus every man’s—deep-seated desire to break free from the mind-numbing, emasculating world that is postmodern, post-industrial America.
“You’re not your job. You’re not how much money you have in the bank. You’re not the car you drive. You’re not the contents of your wallet. You’re not your fucking khakis. You are the all-singing, all-dancing crap of the world.” This is the underlying message in Fincher’s Fight Club (1999), which satirically analyzes and critiques consumerism. The films characters vividly depict society’s immersion in materialism and presents viewers with the harsh reality regarding the irrelevance of material possessions.
All over the world Masculinity has many different cultural definitions. Depending where someone is from, and what they were brought up to believe, defines what the term “masculinity” entails. Different Social institutions all over the United States, such as the military, sports, clubs, and fraternities, have been constructing their interpretation of masculinity. One major social institution that is active in thousands of Universities across the United States is campus fraternities. Campus fraternities create their own sense of masculinity by generating certain requirements and characteristics a man must hold in order to represent them as a part of their fraternity.
McMahan’s article “Heartland: Symbolic Displays of Aggression and Male Masculinity in Rural America” stated “how masculinity is understood, defined displayed, identified, and positioned within a social system is created by and reflected within the interactions of social group members.” This indicates that masculinity started and created by the number of people interact in the environment. Masculinity can also lead to judgements when it is performed successfully or not. Despite of masculinity being judgmental, men must play the act of their “culturally specific, symbolic behaviors if they wish to construct a masculine identity in a given culture”. In this article, it gives a study to observe masculinity in a rural setting and how the community members view masculinity. The author who works as a bartender/bouncer found that there is violence that occurred, in which “it is impossible to avoid problematic interactions with bar customers, who might well be drink or under the influence of drugs, and it became to just sit there and observe” (Heartland, qtd: pg. 543), according to Winlow, Hobbs, Lister, and Handfield (2001). This indicates that violence can lead to dramatic problems when handling masculinity in
In the current age of technology and capitalism, many people get caught up in trying to define their individuality with mass produced goods. In David Fincher's movie Fight Club, the narrator, who is commonly referred to as Jack, invents an alter ego to serve as a source of substance in the hallow world of corporate America. This alter ego, named Tyler Durden, is portrayed as a completely psychologically and physically separate being throughout the movie. The inherent polarity in personality between these two personas proves to be a crucial point of interaction between the two characters, and is the basis for most of the action in the movie. Thus, Fight Club depicts the necessity for a balance between the passive and aggressive aspects of the human psyche, which parallels the main theme and insights that are illustrated in Judith Cofer's "The Other."
Back in the 1950’s the idea of masculinity was a loosely-defined term. It was a time in which the country was dealing with men returning from years at war and struggling to assimilate back into society. As a result, many were forced with the challenge of being the breadwinner of the family while maintaining what were considered conventional fatherly characteristics of that time. Rebel Without a Cause challenges this notion through the portrayal of Jim’s father Frank Stark. Frank is not the typical post-world war two breadwinner of a father, rather, Carol Stark provides for the family. Additionally, Frank lacks the ability to stand up to his wife, something Jim longs for. As a result, Frank lacks the ability to control his own son. Jim’s insecurities about his father further influence his impulsive nature. We first see this when the teenagers take a field trip to the planetarium. Jim is approached by Buzz and his friends who start clucking like a chicken. At first Jim doesn’t want any trouble, but after Buzz kicks Plato, a switch goes off in his head and a fight breaks out. Acting on impulse, Jim yells, “All right--you want it, you got it!” (Stern). Jim’s impulsive nature and need to prove himself gets him into even more trouble when he agrees to a chicken-run with Buzz. Jim doesn’t want to race, but does not back down as his pride is questioned. This feeling of peer pressure is one that is all too familiar with any teenager. When Jim asks his father for advice on the situation, he replies, You know I never stop you from anything. In ten years you'll look back on this and wish you were a kid again” (Stern). Unsatisfied with his father’s answer, Jim storms out of the house as his desperate father tries to reason with him. The chicken-race that follows is a great illustration of masculinity, for what is more masculine than loud, powerful American automobiles.
We’re all familiar with the stereotypes and myths about what it means to “be a man.” The victorious leader gets what he wants using aggression and does not accept failure; he is smooth with the ladies, and he is often good with a gun. He is usually rich and in control, especially in control of women, like a father who loves his daughter dearly but will be damned if she’s going to go out dressed like that. The list could go on and on with the stereotypes. But the Coen Brothers’ cult-classic film, The Big Lebowsk (1998), with its hero “The Dude,” contradicts these notions of masculinity. The Coen brothers offer several familiar stereotypes of masculinity (the Vietnam vet, the successful capitalist, an oversexed bowler, some aggressive German nihilists), yet it is these characters that throughout the film are shown to be absurd, insecure, and even impotent. It is these stereotype men that the Coen brothers criticize. “Sometimes there’s a man,” says the narrator over and over again, pointing out the Dude’s non-stereotypical masculinity as the true representation of what it means to be a man. The brothers then illustrate that the men who give no thought to their identity, who ignore the pressure to conform to cultural expectations, are to be regarded as “real men.”
For centuries, the ideal masculinity has been seen as the provider, the macho man, the cowboy and the emotional rock, but new representations of manliness in the media have been challenging this idea (Watson 2015, p. 270). Within these new depictions, there lies a hierarchy where one form of masculinity is more accepted than the rest (Kluch 2015). Macho masculinity has been seen as being dominant in the hierarchy for generations, however, in recent years, there have been an influx of new representations of masculinity that disrupt traditional hierarchal ideas. The masculinity of the twenty first century includes emotions, sensitivity, discipline, and intelligence. These new aspects of the hierarchy have been introduced by movies such as Brokeback Mountain, 22 Jump Street, The
The problem, as I see it, is that we have not re-defined masculinity for the modern age. In the old days, masculinity was measured by (1) physical abilities, particularly strength, but also skill, (2) power/success/wealth, and (3) sexual prowess. The first can be developed through education and hard work, the second could be acquired through the application of the first, and the third, well, either you got it or you don't, but locker-room bragging can always make up for any lacks, especially if you got the first two. Boys growing up in such a society work to develop their physical abilities and learn how to apply them most efficaciously, thus becoming a "man". This makes sense when a man might be faced with the challenge of building shelter on the prairie or raising crops, but us modern urban men are unlikely to face such challenges. Of course, we are not unprepared for the challenges of a modern urban lifestyle. Our education generally provides such life-sustaining skills as linear algebra, the performing arts, and information systems management. The educational system is successful enough to allow most of us to get jobs that pay us enough to afford all the requirements of a modern urban lifestyle: housing, food, clothing, entertainment, transportation, etc. The trouble is that while education has more or less kept pace with the advance of civilization, our notions of masculinity have not.
“In philosophy, or religion, or ethics, or politics, two and two might make five, but when one was designing a gun or an aeroplane they had to make four” (Orwell 250). Winston lives in a time where a set of rules preventing him to be free are imposed on him – the Party defines what freedom is and is not. “Freedom is the freedom to say that two plus two make four. If that is granted, all else follows (Orwell 103)”. Winston expresses his views on The Party within his diary even though he knows it is not accepted by The Party or the Thought Police. The narrator in Fight Club uses fighting as a form of escapism from his anti-consumerist ideologies revealed by his alter-ego, Tyler Durden. “Fuck off with your sofa units and strine green stripe patterns. I say never be complete, I say stop being perfect, I say let’s evolve—let the chips fall where they may. (Fight Club)” Tyler urges the narrator to stop conforming to consumerist-imposed views of perfection and break barriers to evolve. Tyler and the narrator create a medium for people in similar positions to escape from societal bound norms; it is aptly named “Fight Club”. In comparison, both Tyler Durden and the narrator from Fight Club and Winston Smith from 1984 share
"How Fight Club Relates to Men's Struggles with Masculinity and Violence in Contemporary Culture." HubPages. Web. 22 Feb. 2011. .
The concept of masculinity is considered as the qualities and characteristics of a man, typical what is appropriate to a man. In this article, A Community Psychology of Men and Masculinity: Historical and Conceptual Review, The author Eric S. Mankowski and Kenneth I. Maton, analyze four main themes: "Men as gendered beings, the privilege and damage of being a masculine man, men as a privileged group, and men’s power and subjective powerlessness. The second and fourth themes are described as
Myers mentioned in his article that this generation of young discouraged, angry men feels abandoned with the today’s norms. Male movie stars and athletes have further influenced the masculine norms. In males perspective, liking a feminine color, doing feminine actions, listening to specified girl music is considered to be less manly. These have greatly affected the likes and dislikes of many men. The entertainment industry has created a big gap between what is masculine or feminine. This has caused a big separation and it's getting worse. Male are taught to be man of the house, strong, and powerful, but sometimes they’re belittled by society that they can’t do certain things and all the power is
Ruddell, Caroline. "Virility and vulnerability, splitting and masculinity in Fight Club: a tale of contemporary male identity issues." Extrapolation 48.3 (2007): 493+. Literature Resource Center. Web. 9 Dec. 2013.