Understanding Gramsci's Concept of Hegemony in Cultural Studies

Gramsci's most prominent inheritance to the discipline of cultural studies is the concept of hegemony - to refer to a condition in the process in which a dominant class (in alliance with other classes or class fractions) does not merely rule a society but leads it through the exercise of ‘intellectual and moral leadership' (Storey, 2009:79). Its prevalence roots itself in mass consensus, suggesting a stable society operating within a concord, albeit the overhead oppression and exploitation. With the entirety of the following argument resting upon which ‘hegemony' is defined, it is worth noting that Gramsci's contextualization of the term has two facets in itself. He paints on one side of the coin, its disparity against "domination", pinned

However, Anderson's argument lacks an important element, the presence of the female gaze, where these occurs the subjection of the new performances of masculinity. Along with this shift across the construction of masculinity, it is inherent that it affects the realisation of male objectification and the female gaze. Verily, the argument could extend to suggest that unless the prevalent heterosexual masculinity associates itself beyond the stereotypical gender roles, the female appropriation of the gaze is impossible. Employing Baird's close study on Hollywood A-List actor Michael Fassbender (Braid, n.d.), she reveals his realisation of masculinity being exemplary to this ‘shift'. Baird goes on to document Fassbender's claims of his acceptance of femininity, and even as far as to credit it as crucial to the masculine construction. Fassbender's movie roles were also examined, disclosing that his choices of roles allow him the position of erotic objectification by the female. Through his portrayal as Connor, the sexual fascination of a teenage girl in "Fish Tank" (2009), he is conscious of the director's deliberate decision for his sexual character when needing him to be partially naked, or have his jeans hanging low when appearing in a scene at breakfast in a house full of