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Masculinity and stereotypes in movies
Masculinity and stereotypes in movies
Masculinity and stereotypes in movies
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With its phallic musical dream sequences, belligerent characters, and Gulf War backdrop, The Big Lebowski is saturated with masculinity overtones. In stark contrast to this theme of masculinity, the Dude is one of the least manly characters in the film. His aversion to violence, partiality for feminine cocktails, and lack of job and ambitions all go against what most of us would consider characteristic of a man. Despite all of his failures at traditional manhood, the Stranger, the iconic man of western film, asserts that the Dude is “the man for his time and place.” In “Logjammin’ and Gutterballs: Masculinities in The Big Lebowski,” Dennis Allen interprets the Stranger’s assertion and the entire theme of masculinity in the film as a critique of “a variety of more or less culturally acceptable definitions of the masculine” (388). Although Allen’s analysis of the masculine theme in The Big Lebowski is correct, he misinterprets the role of the Dude within this theme. Allen believes the Dude, like the other characters of the film, represents a slacker masculinity that has become popular in today’s culture. While there is evidence to support Allen’s claim, this interpretation of the Dude does not address the flawed masculinity presented through the other characters of the film. I contend that the Dude is “the man for his time n’ place” …show more content…
When the Dude first meets Lebowski and asks for compensation for his rug, he is met with a slurry of insults and a lecture on the slacker, socialist nature of “bums.” Ultimately the Dude gives up on reasoning with Lebowski and says, “Fuck it.” Lebowski, unable to process the meaning of the Dude’s statement, interprets it as further confirmation of the Dude’s slacker nature and disdain for achievement. In truth, the statement shows that the Dude realizes the futility of reasoning with an individual so consumed by masculinity and so obviously
Since the revival of Australian cinema in early 1970s, Australian films have focused on certain themes of social perceptions and representations of masculinity. We see dominant, recognisable male images in our cinema – the bushman, the larrikin, the ‘mate’, and the ‘battler’. Masculinity stereotypes are projected in both Two Hands (1999) and Strictly Ballroom (1992) to varying degrees. Australia has a reputation for aggressive masculinity. This has its roots when the first settlers, mostly male convicts landed in Botany Bay who raised ‘hell’ when drunk.
Both Shotgun Lovesongs by Nickolas Butler and Population: 485 by Michael Perry explore ideas of masculinity and manhood, but I think Butler shares a more diverse representation of masculinity through his different characters. What it means to be a man The concept of masculinity is considered as the qualities and characteristics of a man, typical of what is appropriate to a man. In this article, A Community Psychology of Men and Masculinity: Historical and Conceptual Review, the authors Eric S. Mankowski and Kenneth I. Maton, analyze four main themes: "Men as gendered beings, the privilege and damage of being a masculine man, men as a privileged group, and men’s power and subjective powerlessness. " The second and fourth themes are described as paradoxes that have created difficulty in efforts to analyze and understand men’s gender and masculinity." However, the point of view of masculinity that Perry raises in population 485 has a different aspect.
In Richard Wright’s “The Man Who Was Almost A Man” the ideas of a young African American man’s coming of age is explored in the early twentieth century. In this short story our protagonist Dave struggles with the true definition of manhood and the rite of passage in rural southern America. He acts in ways that “ suggested a challenge to ideas of manhood”(Fine) by others in the community that he misguidedly finds fitting.
In the novel the Maltese Falcon, the main theme in the play is the masculinity attributes of the piece. In this particular work, there are key characters that from their basis, one comprehends how this author views what masculinity should look like. Masculinity comes to symbolize both strong heroic operate mannerism while expounding on the costs incurred through achievement of this theme in the Maltese Falcon (Huston et al., 45).
Masculinity in Deliverance by James Dickey The novel Deliverance by James Dickey portrays the essence of middle-aged men experiencing the mid-life crisis through which they must prove to themselves and more importantly everyone else that they still possess the strength, bravery, intelligence, and charm believed to be society's ideal of "masculinity." Dickey's four main characters undertake a risky adventure to satisfy their egotistical complexes and prove to the world that they are still the strong young men their wives married. Each character represents a different stereotype of the middle-aged man, and therefore experiences a different type of psychological and physical journey than their peers. The character Drew Ballinger in Deliverance is a sales supervisor at a soft-drink company who is very devoted to his son and his job.
In a more recent politically and culturally diverse world, many contemporary authors take it upon themselves to create novels exploring our diversity. In Paul Beatty’s The White Boy Shuffle, Beatty decides to critique our society’s strict and confining gender stereotypes and standards. Using irony and symbolism, Beatty crafts interesting characters, scenes, and dialogue to suggest that no one person is one-dimensional, and when society attempts to confine our multi-dimensional selves, many times we suffer from negative consequences. Through characters like Gunnar and Scoby, Beatty challenges the stereotypical masculinity expected of black males and what responses may occur as society attempts to box them in.
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 Gail Bederman’s Manliness and Civilization, she aims to describe the concepts of manliness and masculinity at the turn of the century. Bederman explains that the concept of what it means to be a man is ever changing as a result of the ideology of the time as well as the material actions of the men. During the Progressive Era, many forces were at work that put pressure on the supremacy of white, middle class men. Some of these forces included the growing move toward empowered women, the unionization of the working class, and the move from self-employment to big, corporate business. She delves into the way that both racism and sexism were used to build up the concept of masculinity and the turn of the century discourse on civilization.
Mosse, L George. The Image of Man: The Creation of Modern Masculinity. New York: Macmillan publishers, 1996.
“The Other Wes Moore” By Wes Moore, reveals how two men can develop differently in the same social environment, and yet and have different intrapersonal views. The two men grew up in the same impoverished city, yet both have different experiences and views of what it means to be a man. The other Wes Moore, living his whole life in a poverty-stricken society, believes that being a man means to be powerful and unforgiving. The author, Wes Moore, living in two different worlds, views himself as a man when he becomes an exceptional leader and responsible for others lives. These concepts both tie into the constructs of masculinity in the United States where men are supposed to be protectors of society. The two Wes’ notions of manhood derive from
Eugene August wrote how ‘Death of a Salesman’ is a profoundly male tragedy, one in which its protagonist is destroyed by a debilitating concept of masculinity . Willy Loman embodies deluded values, hopes and aspirations that originate from the American dream and infiltrates them into every aspect of his life. His highly inflated dreams of success and prosperity contrast with his emotional instability, which tragically lead to mortality and mutability. ‘A Streetcar Named Desire’ on the other hand shows how imperilled masculinity is defended. This essay will cover the masculine attitudes towards women, the values held by men and how this is reflected in their primitive behaviour.
Others often use masculinity, most often associated with strength, confidence and self-sufficiency to define a man’s identity. The narrator perceives Tyler Durden as a fearless young man who is independent and living life by his own rules. So is Tyler Durden masculine because of his no nonsense attitude or are his law breaking antics and unusual lifestyle seen as a failure because he is a man with neither family, money nor a well respected job? These typical aspirations are commonly defined as the male American dream, but does following life by the rulebook placed on males by society really make a male masculine? Fight Club specifically debunks the male American dream. It challenges’ the idea that the masculine identity is defined by material items and instead embraces the idea that masculine identity can be found in liberation from conformity and the ability to endure pain.
Throughout The Big Lebowski, the Dude’s laid-back, pleasure-loving lifestyle is entertaining and endearing to both male and female viewers, and his personality and progressive values are at odds with the patriarchal, sexist society in which he abides. One the film’s great appeals is due, in considerable part, to his easy-going personality and progressive principles. Female roles in this work and the Dude’s pro-feminist ideals work together to push a storyline of progressive feminism. It is important to understand this concept within the film because it influences character’s actions and drives the plot. By examining the Dude’s personal beliefs and Maude’s role in the film, viewers can better understand how and why the narrative unfolds and reaches a resolution.
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
Ferrell’s films and his comic fame certainly raise stimulating thoughts within a grander discussion of contemporary masculinity, sexuality, and social politics. The majority of his films, present idiotically archaic varieties of “normative” masculine conduct and in nearly every case, Ferrell’s humor develops completely on devaluing and growing these gender norms. He instills both earlier and existing representations of manliness with both a juvenile approach and comedic tendency to go over the top, thus discrediting these stereotypes and opening them up for ridicule.