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Recommended: Film and gender roles
In Stephen Daldry’s Billy Elliot, there are a number of different issues that shape the destinies of both Billy and the male characters that surround him throughout the film. The heavily embedded traditions of the working class mining community along with family expectations, gender stereotyping and the effect that age has on opinion and beliefs all contribute to the different destinies of the male characters in the film. A key issue that is omnipresent throughout the film, effecting all of the male characters is that of their social class and traditions. It is clear from the beginning of the film that the adult male characters, particularly Billy’s father and brother, Jackie and Tony, are part of the 1984 Miners’ Strike and therefore in trouble in terms of work and are frustrated by their inability to rectify the situation. It is also clear that because of the strike, money is tight and this in turn creates a struggling and unhappy picture of family life, which is particularly highlighted in the Christmas Day scene. It is assumed that Billy, like Tony, will inevitably follow his father down the mine and follow this path but he pushes against this after continuously witnessing the unhappiness and frustration that it causes his brother and father. He is also initially miserable with his relationship with his father and brother. This shapes Billy’s destiny to become a ballet dancer by pushing him to want something completely different to them in adult life. Furthermore, there appears to be no future in the life his father and brother are a part of as the failed miners’ strike because they are both so firmly rooted in the traditions of their working class mining community and therefore have nowhere to move on to. The only progressi... ... middle of paper ... ...s”, Constable & Robinson Ltd Cook, Pam (2007) “The British Film Institute: The Cinema Book” (Third Edition), Palgrave Macmillan, Kaufman, Michael (1987) “The Construction of Masculinity and the Triad of Men’s Violence.” ‘Beyond Patriarchy: Essays on Pleasure, Power, and Change’. Ed. Michael Kaufman. Toronto: Oxford UP, 1-29 Marris, Paul (2001) “Northern Realism: An Exhausted Tradition?” Cineaste, Vol.26, No.4 Milne, Seumas (2004), “The Enemy Within: The Secret War Against the Miners”, England, Verso Toron, Alison, ‘The Construction of Working - Class Masculinities in Tony Harrison's v’. Available from: http://www.lib.unb.ca/Texts/JSW/number27/toron.htm, 27 July 2005 Townsend, Mark, ‘Miners' strike: All I want is for someone to say: I'm sorry.' Available from: http://www.theguardian.com/politics/2012/dec/02/miners-strike-orgreave-special-report, 1 December 2012
This world and its beliefs provide Billy with a way to escape the mental prison of his mind where even the sound of sirens caused him great distress. From the chronology to the diminishing reaction to the important moments in his life, Billy’s life becomes completely chaotic and meaningless, but he would not prefer any other alternative because this was the only one which was mentally
2. Billy Elliot is set in north-eastern England during the 1984-1985 coal miners' strike, this is very important to acknowledge because it has a great impact on Billy & his circumstances. It is seen that Billy & his family live in the lower income sectors or England where there are no trees or grass & everything looks very dull & grey, also all the houses are very close together, in the neighborhood & time that Billy lives, the people do not seem very friendly or open minded as they are very angry with whole aspect of the mining strike. We know that these people are not open minded because they attack & ridicule the people who are going back to the mines & call them "scabs". This shows that the people are narrow minded & judgmental. This all adds to Billy's struggle as it would be very difficult for him to openly be a male ballet dancer when everyone expects him to fulfill the expectations of doing "boxing or wrestling or football" like his father openly says. It is very evident that because of these people's narrow mindedness, they are very stereotypical of male ballet dancers in thinking that they are homosexual, where as this is not at all the case with Billy & it is a struggle for him to prove that it is possible for a male to do ballet & not be homosexual in any way. Also there is a lot going on around him as his family is very involved with the mining strikes, as both his brother & his father are miners, this...
The Way the Male Characters are Presented in Tony Kytes, the arch-deceiver and Alison Ashworth by Nick Hornby
The figure of the ‘new lad’ has been a feature of popular culture in the United Kingdom, United States, and elsewhere since the early 1990s. In the book, The Trouble with Men: Masculinities in European and Hollywood Cinema, the author relates to Nick Hornby’s, a screenwriter and English novelist, thoughts on lads. He states that there are two versions of the modern male that have anxieties between the two main constructions of contemporary masculinity: New man and New Lad (Phil Powrie 2004, pp.84). By the start of the twentieth century, the word ‘masculinity’ was always associated with the word ‘crisis’; this is now portrayed in ‘lad flicks’. Masculinity is the central object of contemporary ‘lad flicks’; they combine different genre elements to focus specifically on difficulties that face contemporary masculinity. The male characters in these films...
Through the view of 16 year old protagonist Billy, the reader is shown his struggles of being a homeless teen. Billy was in a state of homelessness because he ran away from "Nowheresville", and from his abusive father. This is proven on page 10, where in Billy's point of view it states, "The wind and rain hits you in the face with the force of a father's punch..." which implies that Billy knows what the force of a father's punch feels like. His abusive father is one of the main causes for Billy being homeless, and why Billy had hitched a train to Bendarat to start a new life.
Over time, the image of men has changed. This is due mostly to the relaxation of rigid stereotypical roles of the two genders. In different pieces of literature, however, men have been presented as the traditional dominate figure, the provider and rule maker or non-traditional figure that is almost useless and unimportant unless needed for sexual intercourse. This dramatic difference can either perpetuate the already existing stereotype or challenge it. Regardless of the differences, both seem to put men into a negative connotation.
Manhood had not always existed; it was created through culture. Depending on the era, masculinity claimed a different meaning. But in all of its wandering definitions, it consistently contains opposition to a set of “others,” meaning racial and sexual minorities. (pp.45) One of the first definitions was the Marketplace Man, where capitalism revolved around his success in power, wealth, and status. A man devoted himself to his work and family came second. Although this is one of the first standing definitions, it still finds its spot in today’s definition, where masculinity consists of having a high paying job, an attractive young wife, and
Billy is a Caucasian, determined and outgoing young boy, he observes his environment and charges forward to include himself into that situation. Billy at three has to deal with the addition of a baby sister, Brazelton then goes into some ways to help a child cope with a new sibling. There is a lifelong rivalry between Billy and his sister Abby which is a very common reaction.
In the Macho Paradox Katz explores the issue of violence against women, but emphasizes the importance of men taking this issue personally and understanding its relevance for themselves and the women in their lives. Katz creates a personal connection to violence against women for the male audience of his book by emphasizing the statistical likelihood of them each knowing a survivor of violence. Katz uses the idea of knowing a survivor to make the issue of violence both personally relatable and relevant for men, with the intention of using this relatability as a catalyst for action and as a means of creating pathways for men to understand their importance as allies in the fight against gendered violence.
“‘Instrumental’ violence, however, murder for a purpose, - political power, rape, sadistic pleasure, robbery, or some other base gratification – remains the domain of the male. After all, every male is a potential killer in the form of a warrior – and he only becomes a murderer when he misuses his innate physical and socialized capacity to kill for ignoble, immoral, and impolitic reason. While the male is built and programmed to destroy, the female nests, creates, and nurtures. Or so the story goes”.
Mosse, L George. The Image of Man: The Creation of Modern Masculinity. New York: Macmillan publishers, 1996.
The ideology of male dominance has existed since the beginning of mankind. In the play A Streetcar Named Desire, by Tennessee Williams, it is especially apparent that Stanley, who is a working class man, feels the need to assert and reassert this principle of power constantly. Williams makes clear, through the character of Stanley, that the yearning for others’ recognition of their power and capability is the motive behind men’s masculine inclinations.
In summation, Shakespeare defines and upholds traditional male gender stereotypes. Through the actions of Macbeth and his fellow characters, Shakespeare paints a clear picture on the canvas of verse of what a man should look and act like. From facial expressions views of death, a Shakespearean portrait of masculinity is a fully realized one. Although this work of literature is hundreds of years old, its assumptions about there being a universal idea of what it means to be a “man” are still relevant to today’s world. Everyday, men in the 21st century still live like Macbeth does, always striving to be a “true” man.
The Bro Code breaks down the establishment and encouragement of sexism into four “steps” that society uses to form sexist men (Keith). These steps are: “1. Train Men to Womanize, 2. Immerse Men in Porn, 3. Make Rape Jokes 4. Obey the Masculinity Cops”(Keith). Thomas Keith begins by addressing the fact that he grew up in this “bro culture” and that men today are continually taught to have the same mentality that Keith had when he was younger. However, he claims that “bro culture” has changed and has become a more “dangerous sexist” (Keith). Our culture continually promotes this behavior through music, television and media, all which tell men that in order to be successful and true men they must be rich, strong and surrounded by women.
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.