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
Even in Brokeback Mountain, the story of two homosexual men, there is “a reproduction of heteronormative ideas and stereotypes concerning the relationship between the two cowboys and the way the cowboys themselves behave” (de Jesus 2016, p. 40). Despite the fact that both characters are men, they are still portrayed into the roles of a heterosexual couple, where one is distinctly feminine and one is distinctly masculine. Because the pressures on them to conform from other heteronormative characters, they never directly discuss what is occurring between them and one of them even marries a woman to attempt to “[affirm] that he is not ‘queer’ and should not be classified as such” (de Jesus, 2016, p. 48). The accentuation of hypermasculinity often causes an insecurity in men who do not fit these cookie cutter ideas, leading to a need “to prove their dominance, power, and manliness” (Kluch, 2015, p. 365) especially in regards to women. This internal struggle causes a conflict within the hierarchy between what has always been accepted and what is becoming the new
Whatever we see in movies, television, video games, or any other source of entertainment, there will always be a male figure who symbolizes masculinity to the fullest extent. All that masculinity represents empowerment is what seems to appeal to men nowadays. In Michael Kimmel’s Guyland: The Perilous World Where Boys Become Men, the novel presents the irresistible desires that men seek in order to receive the approval of other men. An approval where men gain access to the concept of Guyland, where young men become masculine in order to fit in socially and to feel empowered. However, achieving absolute masculinity leans toward the use of violence that is presented in the media, presenting a message where violence is used for the purpose of getting what one desires.
In Kimmel’s essay “’Bros Before Hos’: The Guy Code” he argues that the influence of society on masculinity is equal to or greater than biological influences on masculinity. In the essay, Kimmel uses various surveys and interviews to validate his argument. He points to peers, coaches, and family members as the people most likely to influence the development of a man’s masculinity. When a man has his manliness questioned, he immediately makes the decision never to say or do whatever caused him to be called a wimp, or unmanly. Kimmel’s argument is somewhat effective because the readers get firsthand accounts from the interviewees but the author does not provide any statistics to support his argument.
In an effort to legitimize all subcategories of sexuality considered deviant of heterosexual normatively, queer theory acknowledges nontraditional sexual identities by rejecting the rigid notion of stabilized sexuality. It shares the ideals of gender theory, applying to sexuality the idea that gender is a performative adherence to capitalist structures that inform society of what it means to be male, female, gay, and straight. An individual’s conformity to sexual or gendered expectations indicates both perpetration and victimization of the systemic oppression laid down by patriarchal foundations in the interest of maintaining power within a small group of people. Seeking to deconstruct the absolute nature of binary opposition, queer theory highlights and celebrates literary examples of gray areas specifically regarding sexual orientation, and questions those which solidify heterosexuality as the “norm”, and anything outside of it as the “other”.
Media always encourages this type of male cluelessness by always giving the male lead the opportunity to do as he pleases so that his role as male can never feel threatened. In Michael Kimmel’s essay “Masculinity as Homophobia”, he takes a deeper look into the sensitivity and responsibility that comes with holding the title of masculinity and how society teaches boys that their highest form of achievement comes from what’s between their legs. Boys are told to not cry when they get hurt and are given the green light to pull a girl’s braids or push another person around. Manhood is seen as an eternal and essential that resides deep in the heart of every man (58).
... E Glenn, and Nancy B Sherrod. The psychology of men and masculinity:Research status and future directions. New York: John Wiley and sons, 2001.
Narratives of the hero action has sustained the interests of audiences across the ‘changing space and time’ of popular culture and has become a ‘stalwart genre’ (Shimpach, 2010:30). This study will explore the construction of hegemonic masculinity by comparing the representation of heroic masculinity between John McClane (Die Hard, 1988) and John Wayne (Rio Bravo, 1959). It will examine: the framing of the physical body, the development of intelligence, the role of emotion and the depiction of heroes in relation to those around them. Die Hard and Rio Bravo depict heroic law enforcers, an American image of masculinity. Examining Rio Bravo and Die Hard diachronically will conceptualise the historical negotiation of hegemonic masculinity in response to gender issues such as first and second wave feminism. The overpowering assertion of masculinity in cop action films suggests that there are lingering cultural anxieties about the establishment roles of gender. To sustain hegemony requires the ‘poling of men’ and the ‘discrediting of women’ (Connel and Messerschmidt, 2005:837), hegemonic masculinity is a social construction and is a performance by an individual (Galdas, 2009).Social expectations collapse gender into individual sex differences, contrasting identities, fixed social role and physical appearance. This construction is aided by the representation of heroic masculinity in popular culture.
"Brokeback Mountain" could be described as a gay cowboy movie. It tells the story of a time and place where two gay men are forced to hide and deny the only great passion either one will ever feel. “Brokeback Mountain” is a love story, and like many love stories, its end is tragic. Their tragic story could be summed up as two lovers engaged in a forbidden love.
The study of gay and lesbian receptions and interpretations of mainstream media texts is based on assertions such as John Fiske's that "meanings are determined socially: they are constructed out of the conjuncture of the text with the socially situated reader" (80). However, often gay film reviewers criticize these films for their refusals to grant characters a clear lesbian identity. The largest national gay magazine, The Advocate, charges Fried Green Tomatoes with the crime of delesbianization, and argues that "Hollywood has always been partial to deepsixing gay and lesbian material... Its not that the town dislikes lesbians altogether. In fact, if they're mini skirted, ice- pick-wielding psychopaths, the studios will spare no expense in bringing their stories to the screen, as shown most ...
Since the society is more accepting these days, “straight men are liberating themselves from homophobia, leaving themselves open to gay influence, and thus to a more expansive idea of what it means to be a man” (Nutter). Homosexual men taking masculinity concept to the next level where they actually do more things that extremely against the definition of masculinity. Instead of being just open up and express the feelings of themselves, they do things like women does. For example, the article written by Nutter had stated that “much more than a matter of heterosexual men simply working out, waxing, and wearing Prada.” The moment when homosexual was introduced, it was not welcome by the society, because men are expected to be highly strict, manly and masculine. The movement when the homophobia men tried to express and liberate themselves, according to Nutter “homosexuals were regularly thrown in jail, fired, kicked out of their homes, and given shock treatments as "cures,".” This changing concept of masculinity is effecting men a lot, because religious men are denied from churches. Young men were taught to look down at homosexuality and separate themselves from it to protect their sense of secure masculinity. Ayers later learned that homosexuality people still look for love and compassion just like everyone else (Ayers). Even though the concept of masculinity had changed enormous, from
The movie I watched was Brokeback Mountain. It was released in 2005 and produced in the United States. The movie is 134 minutes long. The screenwriter for Brokeback Mountain was Larry McMurty and the Director of the film was Ang Lee. The movie stars Heath Ledger as Ennis Del Mar opposite Jake Gyllenhaal as Jack Twist. Anne Hathaway and Michelle Williams play their wives Lureen and Alma respectively.
Leaping to the present day, it is obvious that many aspects of masculinity has shifted again. (Vernon, p202). I remember when the television show Queer Eye for the Straight Guy first came on. It seemed to be so profound and interesting. It became a hit but before that guys who pampered themselves were not considered straight. Since being a metrosexual is now accepted it was okay to show it. Most didnt understand it but embraced its reasoning soon enough. There are plenty of popular entertainers that are considered metrosexuals such as Sean Combs, Kanye West and Zac Efron. (Paul, p1). Our judgement of either of them wouldve been profoundly different had Queer Eye not been a social success. Social change brings about confirmation. We dont think
“The unprecedented growth of the gay community in recent history has transformed our culture and consciousness, creating radically new possibilities for people to ‘come out’ and live more openly as homosexuals”(Herdt 2). Before the 1969 Stonewall riot in New York, homosexuality was a taboo subject. Research concerning homosexuality emphasized the etiology, treatment, and psychological adjustment of homosexuals. Times have changed since 1969. Homosexuals have gained great attention in arts, entertainment, media, and politics. Yesterday’s research on homosexuality has expanded to include trying to understand the different experiences and situations of homosexuals (Ben-Ari 89-90).
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.”
Homosexuality has not always been accepted in the past and can still perceived as wrong. Heterosexuality remains to be the leading sexuality, but the LGBTQ community is starting to be accepted and embraced by all. In the story, Brokeback Mountain, written by Annie Proulx, Ennis’ and Jack’s love caused them to deny and repress their true feelings for each other demonstrating that homophobic beliefs and compulsory heterosexuality were enforced in their society during the 1960’s.
Women experienced a great deal of conflict to be seen as equals to men in the workplace. Homosexuals have stepped out of society’s gender expectations, producing their own controversies and disagreements. The traditional gender roles of “Shiloh” and “Boys and Girls” are from the past, and many steps have been made past them, but society still holds on tight to portions of those established ways. Still, conflict will always occur where ideas diverge.