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John Wayne epitomizes masculinity, and did throughout his tenured Hollywood career. He is regarded as an iconic male actor on account of his voice, height, and mannerisms. Wayne’s female counterpart, Maureen O’Hara, was antithetically famous for her stunning beauty and typical portrayal of a heroine. Their character’s tumultuous relationship and the obstacles they face accentuate the internal struggle that a masculine family man must face: torn between serving his country and serving his family.
The film particularly imposes masculinity unto Spig through its portrayal of his undying loyalty to the navy and the brotherhood he forges within it. Though Spig is careless and jovial, he often pushes back against authority without fear of repercussions.
Spig and his comrades are therefore shown to be lighthearted, yet strictly driven to service. This is something that they and they alone is able to do. The initial car chase of the plane and O’Hara’s debut in her delicate violet outfit demonstrates that there will be tension between Spig’s marriage and his naval pursuits. His wife’s frustration by his consumption in warfare reinforces her femininity, as her identity as a woman makes her unable to understand Spig’s commitment to manhood and warfare. Thus the film create a strict dichotomy between women and men. A man’s role is exclusively reserved to participate in combat, service, and protection, while a woman is restricted to waiting for her man to return home from war while caring for their children. Even in O’Hara’s descent, when she becomes a messy and absent mother, we begin to pity her. Yet we are relieved once Spig returns from war, tidies up, and tucks the children into bed. A male’s role as the savior and ultimate pillar of the family is therefore surfaced. Overall, the beginning of the film reinforces what we already know: that a man is strong and a woman is strong if she stands beside or in the shadow of her husband.
Arguably the most popular — and certainly the busiest — movie leading man in Hollywood history, John Wayne entered the film business while working as a laborer on the Fox Studios lot during summer vacations from university, which he attended on a football scholarship. He met and was befriended by John Ford, a young director who was beginning to make a name for himself in action films, comedies, and dramas. Wayne was cast in small roles in Ford's late-'20s films, occasionally under the name Duke Morrison. It was Ford who recommended Wayne to director Raoul Walsh for the male lead in the 1930 epic Western The Big Trail, it was a failure at the box office, but the movie showed Wayne's potential as a leading actor. During the next nine years, be busied himself in a multitude of B-Westerns and serials — most notably Shadow of the Eagle in between occasional bit parts in larger features such as Warner Bros.' Baby Face. But it was in action roles that Wayne excelled, exuding a warm and imposing manliness onscreen to which both men and women could respond.
Sam Spade is in the definition the true meaning of a true masculine outlook in this work. From his 6’0’’ height, his pale brown hair color which in most cases is termed as almost blond, this is an epitome of what he would appear like and all this is gotten from his character description. The tone and imagery that is used in this particular work setting can be termed as a true matter of fact daily private investigator work. ‘And if I know you can't afford to kill me, how are you going to scare me into giving it to you?’(118) acceptance of the risks involved in the work. This makes this entire piece very relatable to the men out there who aim at achieving the set-out masculinity aspect in their lives (Huston et al., 83).
Led by Laura Mulvey, feminist film critics have discussed the difficulty presented to female spectators by the controlling male gaze and narrative generally found in mainstream film, creating for female spectators a position that forces them into limited choices: "bisexual" identification with active male characters; identification with the passive, often victimized, female characters; or on occasion, identification with a "masculinized" active female character, who is generally punished for her unhealthy behavior. Before discussing recent improvements, it is important to note that a group of Classic Hollywood films regularly offered female spectators positive, female characters who were active in controlling narrative, gazing and desiring: the screwball comedy.
The most important events of this film all revolve around the female characters. While there are some male charac...
In The Pathos of Failure, Thomas Elsaesser explains the emergence of a new ideology within American filmmaking, which reflects a “fading confidence in being able to tell a story” (280) and the dissolution of psychologically relatable, goal-oriented characters. He elaborates that these unmotivated characters impede the “the affirmative-consequential model of narrative [which] is gradually being replaced by another, whose precise shape is yet to crystallize” (281). Christian Keathley outlined this shape in more detail in Trapped in the Affection Image, where he argued that shifting cultural attitudes resulted in skepticism of the usefulness of action (Keathley). In Robert Altman’s McCabe & Mrs. Miller and Roman Polanski’s Chinatown, this crisis of action is a key element of the main characters’ failure, because it stifles the execution of classical narrative and stylistic genre conventions.
The movie The Quiet Man directed by John Ford is a far cry from the Westerns his most noted for directing however for John The Quiet Man “was the most personal film he ever made (it was also one of his favorites” (Berardinelli). In The Quiet Man John Ford brings together one of his most favorite Western actors, John Wayne, who is undeniably the central character, and the ever stunning Maureen O’Hara to brings to life a warmhearted, down-to-earth romantic comedy. He created a movie that is primarily focuses on characters and atmosphere, than on its plot, and is able to bring romance to life, not through the use of powerful dialogue, but through the use of glances and on screen tension. Having filmed most of this movie against the natural backdrop of Ireland in 1952, John was able to capture and bring to life the spectacular Ireland landscape by filming in Technicolor. Today The Quiet Man is truly considered a classic romantic because of the amazing chemistry between its actors, it’s cinematography that captures the truly magical landscape of Ireland, and by ending this movie with one of the longest nonviolent fight scenes in movie history.
These movies allowed female characters to embody all the contradictions that could make them a woman. They were portrayed as the “femme fatale” and also “mother,” the “seductress” and at the same time the “saint,” (Newsom, 2011). Female characters were multi-faceted during this time and had much more complexity and interesting qualities than in the movies we watch today. Today, only 16% of protagonists in movies are female, and the portrayal of these women is one of sexualization and dependence rather than complexity (Newsom, 2011).
In a world where slavery existed, enslaved men and women were becoming more aware of the injustice inflicted upon them because of their skin color. In that world, black people were being forced to migrate, sold, kidnapped and traded in the name of slavery. Slavery was the ultimate business that condemned black men and women’s humanity and freedom. The slaves became the reliable pathway for people of white skin to obtain power and prosperity. Obtaining freedom was not an option but more of a necessity not only for the slaves but also for all their descendants. The enslaved men were put in a situation where their pride of masculinity was taken away from them. Eventually, there came a time when rebellious slaves strived to conquer what white men had stolen from them, what made them true men, their virility. With no rights, the enslaved men were completely being stripped of their masculinity, which was to men the main factor of being a true man. The white men impertinently build a sense of self-esteem by keeping their masculinity and thriving from the slaves’ pain. The movie “12 years a slave” portrays the idea that manhood was a concept important
In the 1930's Native Americans and women were viewed as inferior races. The films produced during the early part of the 20th century, particularly those starring John Wayne reflected these societal attitudes. The portrayal of minorities in Stagecoach and Fort Apache clearly reflect the views of society at that time. The depiction of the West is similar to that which is found in old history textbooks, em...
The Mask You Live In, was a very good and informative film. It brought back all the negative memories that I had in middle and high school, when going through puberty and playing sports. The film shows the audience how bad masculinity is turning and how it can damage many people’s lives. It shows the world that masculinity is completely messed up and we are not teaching are sensitive sons the right way to grow up. The movie starts off with a bang! Former NFL tough guy, Joe Ehrmann, says “ Be a man” is the most destructive words a young boy can hear. This movie emphasizes on how boys are continually told on how to be a man. “Grow some balls. Men don’t cry! Keep that shit inside and keep fighting.” This is where Joe Ehrmann gets frustrated, none of these are ways to make you a man. Boys are told Men are emotionalist and hide all their feelings. Well, what all young boys want, is love and confidence shined upon them while growing up. Which is funny, because boys keep all their emotions and feelings hidden under a mask that no one else can see. This damages young men, by making them emotionally disable. These boys keep all their problems built up inside them and don’t want to talk to anyone about them because they were told men handle them on their own.
According to Kimmel, the earliest embodiments of American manhood were landowners, independent artisans, shopkeepers, and farmers. During the first decade of the nineteenth century, the industrial revolution started to influence the way, American men thought of themselves. Manhood was now defined as through the man’s economic success. This was the origin of the “Self-Made Man” ideology and the new concept of manhood that was more exciting, and potentially more rewarding for men themselves. The image of the Self-Made Man has far reaching effects on the notion of masculinity in America. Thus, the emergence of the Self-Made Man put men under pressure. As Kimmel states,
American depictions of masculinity underwent great changes during and after World War Two. Preston Sturges’s film, The Miracle of Morgan’s Creek, tells the story of Trudy Kockenlocker, played by Betty Hutton, who unwittingly gets married and pregnant during a farewell party for the soldiers. She then seeks the advice of Eddie Bracken, as Norval Jones, who has secretly been pining for Trudy ever since they were kids. Through a series of oddball scenes in the 1944 film, Preston Sturges is able to create a film that is so funny and timely, that it succeeds despite its unorthodox depiction of a woman who has not one, but six, children out of wedlock. Contrary to other World War Two depictions of masculinity, as seen in films like The Best
Jackass is a group of people that specializes in very violent, dangerous, and crazy stunts that have been recorded and made into movies and a television series for people’s enjoyment. Their latest piece is a movie called Bad Grandpa which is another spin off of ridiculous stunts that demonstrate violence. The main character Johnny Knoxville, who plays 86-year-old Irving Zisman, is an old man whose grandson follows him around the country performing dangerous stunts just to make jokes and to live on the edge. Although it may seem very comical and for peoples enjoyment, the series of Jackass and especially the newest piece of Bad Grandpa has addressed the serious topic of sexism. Sexism is a system of advantages that serves to privilege men, subordinate women, denigrate woman-identified values and practices, enforce male dominance and control, and reinforce norms of masculinity that are dehumanizing and damaging to men (Botkin 320). It is important to acknowledge the fact that the movie Bad Grandpa is promoting sexism through the ways women are being portrayed in certain scenes of the movie. This is supported by the theoretical framework of Hackman’s four characteristics of gender roles.
In many American films we put emphasis on a type of “hero”. This hero can come in many forms in Robert B. Ray’s article “The Thematic Paradigm”, Ray categorizes the heroes of the movie as being either the “official hero” or the “outlawed hero”. According to Ray these heroes’ can be differentiated in categories such as age, society, women, politics, and the law. One character who is a hero, but differentiates from Rays categories of official and outlaw hero is Leonardo DiCaprio’s role of Billy Costigan in the movie The Departed who is a mix of the official hero and the outlaw hero.
Women have made progress in the film industry in terms of the type of role they play in action films, although they are still portrayed as sex objects. The beginning of “a new type of female character” (Hirschman, 1993, pg. 1). 41-47) in the world of action films began in 1976 with Sigourney Weaver, who played the leading role in the blockbuster film ‘Aliens’ as Lt. Ellen Ripley. She was the captain of her own spaceship, plus she was the one who gave out all the orders. Until then, men had always been the ones giving the orders; to see a woman in that type of role was outlandish.