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The social construction of masculinity
Masculinity and stereotypes in movies
The social construction of masculinity
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Complex Masculinities: The Superhero in Modern American Movies attempts to encapsulate the essential elements that make masculinities complex by means of mass media. The question of where and why superheroes have held such a salient position in the last decade is aroused when it is media who is the deciding factor in institutionalizing masculinity. When looking at the surface of a superhero movie, dominant hegemonic characteristics are the epitome of the superhero and reflect the roles and values society holds of a “real man”. But, further insight as to why superheroes are constructed as they are, reflect society’s insecurities of real issues the public deals with; the post 9/11 world is relieved when faced with an unrealistic masculine superhero that repeatedly does good. The underlying idea is that media constructs and deconstructs masculinity to fit the needs of society who imbeds these ideas into the norms and roles of what it means to be a man. This article proves to accurately argue this position yet, leaves out that fact that this only points to one side of masculinity and others have their own ideas and interpretations of superhero movies. A greater emphasis on a conflict theorist perspective could aid this article in providing how superhero movies reflect the ideologies of the dominant class and how their interests are being promoted within the superhero figure. The central question as to what makes masculinity a complex ideology is explained through a means of a superhero. To better understand masculinity, it must be broken down into its origins. The main point the author emphasizes is that masculinity is something that is constructed and created, rooted from society's cultural beliefs. It is never static, in other word... ... middle of paper ... ...uperhero movies are increasingly put out to explain underlying issues, yet sway us to prefer a specific type of gendered body. Standards of masculinity are constantly being redefining to an increasingly improved version of itself and often push society’s expectations and standards as each generation renews itself. What is “ideal” in superheroes is often unrealistic but, society will keep accepting that as normal and continually want better. Almost all superhero movies fail to challenge the heterosexual masculinity which is expressed in the heroic characters. The superhero is always the same white, confident, muscular male whom exudes power and sex-appeal to suit audiences and make money for the production. Though the superhero is complex in which he struggles with his identity, emotions and complicated love life, he still captures a one sided view of masculinity.
Movies are a new edition in today’s culture. They are a new form of art medium that has arrived in the late 1900s and were a new way to express ideas and viewpoints of the time. A good example of this is the movie The Manchurian Candidate. The movie had a simple plot a man is kidnapped after the Korean war and is hypnotized to work for the communists and take down the U.S. This movie showed the American public’s fear of communism at the time. If a movie like this can easily portray the fears of the American people at the time then it can easily portray stereotypes of gender. There have been thousands of movies where the male protagonist is a rough tough dude but there is one movie that has that stereotype is broken. That movie is none other than Napoleon Dynamite.
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
Modern day superheroes still reflect the misogynistic and chauvinist society in which they were first created and this will be argued with reference to two of the films studied.
The Trouble with Men: Masculinities in European and Hollywood Cinema - Phil Powrie, Ann Davies and Bruce Babington.
In the classical Western and Noir films, narrative is driven by the action of a male protagonist towards a clearly defined, relatable goal. Any lack of motivation or action on the part of the protagonist problematizes the classical association between masculinity and action. Due to inherent genre expectations, this crisis of action is equivalent to a crisis of masculinity. Because these genres are structured around male action, the crises of action and masculinity impose a crisis of genre. In the absence of traditional narrative elements and character tropes, these films can only identify as members of their genres through saturation with otherwise empty genre symbols. The equivalency between the crises of genre and masculinity frames this symbol saturation as a sort of compensatory masculine posturing.
We are currently living in the Golden Age of Superheroes. They dominate our cultural life, and have become seemingly permanent fixtures in modern media. Since X-Men burst onto the screen fifteen years ago, we have witnessed the release of over forty superhero movies. By 2020 we will have seen the release of more than twenty-five more. Today, the much anticipated film Superman vs. Batman has come to theaters. Though a plethora of superhero movies have been released, it is to the dissatisfaction of many, having long been exhausted by the stories of the Hulk, Batman, and Spider-man. Although I must agree that it is quite easy to get bored with the constant action, and flashing colors of these films, if one looks deep enough into the story they will discover universal themes and metaphors. Though they may be fighting off alien invasions, these heroes are also battling with their personal challenges, challenges which we can
Mainstream movies are about men’s lives, and the few movies about women’s lives, at their core, still also revolve around men (Newsom, 2011). These female leads often have male love interests, looking to get married or get pregnant. Strong independent female leads are still exist for the male view, as they are hypersexualized, or the “fighting fuck toy,” (Newsom, 2011). This depiction has created a culture where women are insecure and waiting for a knight on a horse to come rescue and provide for her as well as the acceptance of women
Smith, Jeff, and Chloe Beighley. "Normalizing Male Dominance: Gender Representation in 2012 Films." Grand Rapids Institute for Information Democracy. N.p., 12 Feb. 2013. Web. 1 Apr. 2014.
Perceptions of the superhero and supervillain are mainly based on subjective definitions of each concept. These observations often lead to a definitive dichotomy that precisely splits characters into two impermeable divisions. However, this stringent separation is unable to account for the characters that are not at the extreme ends of their respective side. Neither is this rift capable of classifying characters that flirt with both sides of the superhero-supervillain dichotomy. Therefore it is imperative to analyze the established criteria for both superhero and supervillain to derive a more adequate explanation. Most superheroes are not easily characterized, but rather fall somewhere between Superman, the bastion of moral purity, and Doctor Doom, the display of indubitable corruption. This solicits genesis of an entirely new notion about the differences between superheroes and supervillains. A more precise idea is that superheroes and supervillains are lined on a spectrum that spans from pure good to pure evil. Disparities between superheroes and supervillains are not black and white, but rather these characters are on a spectrum that radically changes based on individual cases.
Hughes, Jamie A. "Who Watches the Watchmen?: Ideology and 'Real World' Superheroes." Journal of Popular Culture39.4 (2006): 546-557. SPORTDiscus with Full Text. EBSCO. Web. 25 Feb. 2010
In the views of Micheal Kimmel “hegemonic masculinity” is a socially constructed process where men are pressured by social norms of masculine ideals to perform behaviors of a “true man” and its influence on young male’s growth. It is the ideology that being a man with power and expressing control over women is a dominant factor of being a biological male. The structure of masculinity was developed within the 18th to 19th century, as men who owned property and provided for his family with strength related work environments was the perfect example of being a generic “American man.” Kimmel introduces Marketplace Manhood and its relation to American men. He states, “Marketplace Masculinity describes the normative definition of American masculinity.
Masculinity is a subject that has been debated in our society for quite some time. Many wonder what it means to be masculine, as it is difficult to define this one –sided term. Pairing this already controversial term with “feminist studies” can bring about some thought - provoking conversation. Feminist studies of men have been around for many years with regards to the feminist movement. It seeks to create gradual improvements to society through its main principle of modifying the ways in which everyone views what it means to be a man. Feminist studies of men bring forth the discussion of hegemonic masculinity; how this contributes to the gender hierarchy, the radicalized glass escalator and ultimately the faults of this theory.
Surprisingly, there were a few instances where the researchers found traditional gender role stereotyping. On the other hand, when it comes to defining what a superhero consisted of, traditional masculine terms were being used. The article clearly shows that the media portrays males as superheroes as opposed to females. This is mostly our society’s traditional thoughts, but is that really true? A woman can be a superhero if she has the qualities of a superhero because by definition if anyone has superpowers and he or she uses it for the betterment of others and for the society are considered as a
The new creations of each of the characterisations reflects the changing views of what society claims a hero should be. Since the 1960s, masculinity has been seen as a form of protection for the vulnerable, however, the shift of masculinity in British cinema has seen it become damaged. 'The Full Monty' from 1997 followed the disempowerment of masculinity through the decline of industry, where femininity rose, masculinity fell.
Being a hero means that one can show courage when it comes to facing a problem. It is a person who helps others in many ways, such as a person in danger. In the modern era, the creation of superheroes have become popular when it comes to producing films. Viewers can choose their favorite heroes due to the idea that there a many of them. However, most fans argue which superheroes are better. Two of the most popular superheroes are DC’s Batman and Marvel’s Iron Man. Although Batman and Iron Man are loved by many viewers because of how they help people in danger, they still demonstrate imperfections which can cause viewers to dislike them. However, both superheroes share similarities and differences between themselves. Batman and Iron Man have