In cotemporary America, cultural text such as films form many conceptions of race, gender and social for the people who watch them. This paper argues four Key and Peele skits “Substitute Teacher”, “I Said B*tch”, “Phone Call” and “Proud Thug” to challenge and complicate gender norms by highlighting the ways in which gender, race and class are performed in public and private settings. When you critically examine these texts there are stereotypes that underlay the film that are obvious, but are portrayed as comical. The intersectionality between gender, race and class are often addressed in many of these short skits. Often the films or skits engage in patriarchy and the main characters are men. In order to further examine the topic first we must address intersecionality, patriarchy, poverty, and class to grasp a better understanding. The Key and Peele skits challenge gender and cultural norms by connecting gender and race and making it the main foundation in their films. This is a strategy that is often used in many other comedy skits. In the skit called “Substitute Teacher” Key performs as a substitute teacher and the first thing he said was “I’m your substitute teacher Mr. Darvey, I taught 20 years in the inner-city so don’t even think about messing with me” (K&P Substitute Teacher) Firstly the setting of the classroom is clearly not a classroom that looks like it is in the inner city. In fact it looks similar to what a school in an suburban neighborhood would and appears to have mostly middle class looking students. The stereotype that is being portrayed is that since Mr. Darvey taught in the inner city he must be a tough teacher that is loud and must instill fear into his students so he can gain respects. The intersecti... ... middle of paper ... ...they can no longer be considered masculine even if they have all the other masculinity traits. Masculinity is a very touchy subject that requires a lot of attention. Many things that happen in the American society can be blamed by masculinity. It may take years to earn your masculinity, but only seconds to lose it. In film and all American cultural texts gender, race and class all intersect. They cant really be and different stereotypes without these three thing working together. Masculinity and femininity have a large impact on race and class. We identify what masculinity and femininity by the race and class of people and there are different stereotype for everyone. It doesn’t matter lower or upper class society has a stereotype for you. There are many challenges and complications of gender norms, especially when you highlight gender, race and class.
The topics that Joe Ehrmann uses as framework for his Building Men for Others program are quite intriguing and make you really question masculinity. The first topic, rejecting false masculinity, can be interpreted a few different ways. In the book, it states: “As young boys, we’re told to be men, or to act like men” soon followed with “we’ve got all these parents say ‘be a man’ to boys that have no concept of what that means. I completely agree with the statement of Joe Ehrmann and often question the definition of ‘being a man’. Many boys and men will reject the idea of a man being anything other than being big and strong or having power.
Dines, Gail, and Jean McMahon Humez. Gender, Race, and Class in Media: A Text-reader. Thousand Oaks, CA: Sage, 1995. Print.
Logan Gutierrez-Mock’s “F2MESTIZO” takes on the subject matter of intersectionality between race, gender, and class similarly to bell hooks’ theory on drag balls within the film, Paris is Burning. Because the ideas of passing between two races and defining gender identity are interdependent, we see characters enter and exit worlds of powerlessness and privilege, imitate white status to gain privilege, establish a two-fold world of us against them; this reveals much about the internalized racism that arises from the power complexities between races and genders.
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.
Over the course of history, racism has become far more institutionalized and still affects people to this day. In the book, Uprooting Racism, by Paul Kivel the institutionalized racism and its effects are thoroughly discussed, as well as possible causes and ways to work toward ending racism. In the film, Walkout, by Edward James Olmos, the way institutionalized racism affects not only the adults but as well as the children is explored. In the film, Teenagers in the east side of Los Angeles fight for equal rights as well as equal opportunities in school. The book and film work together to show the situations that integrated racism places these young adults in. These situations can vary widely from simply having lower school budget, to being embarrassed in front of other students as punishment, not being allowed to speak spanish in school, and even being purposefully shied away from going to college.
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.
This fieldwork aims to sociologically analyze gender roles and expectations within the movie White Chicks. In this film brothers, Marcus and Kevin Copeland, play the role of two black FBI agents looking to get back into good graces with their superior after they accidentally ruined a drug bust. They are assigned to escort two rich white females, Brittney and Tiffany Wilson, to the Hamptons for Labor Day festivities. While traveling they experience a minor car accident, leaving the girls with a single scratch each on their face. Because of their socialite status, the sisters no longer wish to continue their trip in fear of humiliation. The agents fear losing their chance of redemption, so they decide to disguise
As a fan of cinema, I was excited to do this project on what I had remembered as a touching portrait of racism in our modern society. Writer/Director Paul Haggis deliberately depicts his characters in Crash within the context of many typical ethnic stereotypes that exist in our world today -- a "gangbanger" Latino with a shaved head and tattoos, an upper-class white woman who is discomforted by the sight of two young Black kids, and so on -- and causes them to rethink their own prejudices during their "crash moment" when they realize the racism that exists within themselves. This movie does provoke a dialogue on race that, according to author and journalist Jeff Chang, "has been anathema to Hollywood after 9/11. " During the first viewing of this movie, the emotionally charged themes of prejudice and racism are easy to get caught up in. (125) Privilege is inclined to white males through every facet of our everyday lives that inconspicuously creates racism through classism.
For decades now, popular culture has been tainted by the perpetual use of racial stereotypes that come to us through music, television, and film. These reactionary stereotypes are often unaddressed and often permeate the minds of those too young to understand what a stereotype is. Therefore the effects of these conventionalized ideas continue to prevail throughout our society as they are repeatedly swept under the rug. However, although seemingly less common, there are also forms of media with goals of bringing attention to toxic stereotypes while still entertaining their audiences. African-Americans, Arabs, and Latin@’s are three of the most prevalent minority groups represented in the media and by analyzing the films Aladdin, Django Unchained, and the television show Devious Maids, one can become much more aware of the racial stereotypes that they are calling attention to.
Early feminist studies of gender often depicted the expression of masculinity as solely meant to subordinate women. Upon further research and understanding of gender and its role in society, gender theorists have realized that masculinity is not only a patriarchal regulation against women, but that it also has negative effects against men. Masculinity has different characteristics in different cultures, but masculinity in general presents a hierarchy of traits, with femininity as the lowest, least desirable trait. In American culture, masculinity is defined within multiple structures, such as race, class, and sexuality, where a man’s masculinity can be lessened by his traits as well as these identities. Often, normative expressions of masculinity
Robert Bly explains that the ideal image of masculinity depicted by our western views is said to be the 50’s males. “These men had a clear image of what a man was, and what his responsibilities of a man were, but the isolation and one-sidedness, of his vision were dangerous.” By the sixties, males became aware of the feminism movement that the 50’s males tried so hard to ignore. With the changing times, the combined influence of feminism and the gay movement has exploded the conception and uniform of masculinity and even sexuality is no longer held to be innate. Men during these movements felt threatened by the newfound power of these individuals and sense of self. The 70’s brought upon an era of the ‘soft’ male, who were not interested in starting wars or harming the earth. Yet they remained unhappy, and lacked energy because they are providers and not procreators. Even through the chain of events in American society, the view of masculinity is still ever
Men are feeling the malaise and unhappiness frequently, which means that a change will come in which men can feel as they belong to something that defines them as masculine, and are accepted for it. Evidence from our own history in America with both men and women changing the perceptions on the roles of their own gender have proven that in time progression will be made. The real question that is yet to be answered is; what new types of masculinities will arise, and when will they come?
A man can choose not to take unnecessary risks. He can openly express his emotions. He can ask for help when he thinks he needs it. He can do all of these things, and they will not make him any less masculine. His occupation, tastes, and sexual orientation are irrelevant. So long as he adheres to the principles he sets for himself, he is a man.
Masculinity only exists in coherence with femininity. If a culture does not treat men and women as carrier of polarized character types, at least in principal, is not able to have a conception of masculinity, like it is found in contemporary European/American culture. Attention has to be brought to “historical specificity and historical change,” because it “illustrates the social construction of masculinity, the multiplicity of ways in which masculinities can be enacted or lived and the existence and potential of change” (42). A good basis to start discussing what masculinity and femininity constitute out of, is by investigating what men and women do (or how they behave). If gender is cultural, then men and women are able to step into and inhabit masculinity as well as femininity “as a ‘cultural space’, one with its own sets of behaviors” (43). These behaviors include a number of culturally defined characteristics. Male competiveness, aggression, and emotional inarticulateness are said to have their own place in the economic system and stand for masculinity. Still widely accepted is the view that men and women differ fundamentally and that men as well as women have a distinct set of fixed traits that characterizes one as male or
The differences between women and men are not solely biological. Our society’s culture has established a set of unwritten cultural laws of how each gender should act, or in other words society has ascribed a stereotype. Men’s gender identity has been one of masculinity, and masculinity is defined as referring to a man or things described as manly. What does manly mean though? Is a male manly if he is “Mr. Fix-it”, or the jock, or if he sits on the couch on Sunday watching football? This latter statement is a stereotype of men, that has been around for decades, and is current as well, but starting with the 1960’s a man’s role started to change, despite the stereotype not changing to accommodate it. For the past 40 years one can see how men have taken on roles stereotypically ascribed to women, such roles including being the “stay-at-home mom”, which we can find an excellent example of in the 1980’s film “Mr.