Representations of MASCULINTY

Contemporary Masculinity and the Media

Aims • To provide a ‘case study’ based approach to teaching Male Representation for all specs • To give a selection of ‘starting points’ and clip based ideas for the design & delivery of a Male Representation Unit/Module/Lesson • This session will focus primarily on ‘contemporary’ representations from 1980’s onwards

List the male stereotypes here (and any others you can think of) …

‘Typical’ Man

Dominant Male Stereotypes • • • • • •

Cowboy Hunter Defender Achiever Warrior Breadwinner; Provider • Distinguished Gentleman

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The ‘Lad’ Adventurer Leaders; Strivers Jock Hero Villain Rogue/Rebel/Bad Boy • Explorer

Evolution of Man: Historical Contexts 1. The World War (1914 – 1918): Men placed in combat role; toughness, endurance & resilience were demanded of men; Women enter industrial workforce in absence of men 3. Feminism (1960’s): Exposure of mens’ power & superiority as a myth; women no longer controlled by men, gaining economic independence; Equality in work & education 5. The Gay Movement & the advent of Gay Culture (1980’s & beyond): Goal of social acceptance and equality for all sexual identities; Challenges the equation of heterosexuality = acceptable manliness

2. The Great Depression (1930’s): Men unemployed, deprived of wage earning ‘breadwinner’ capabilities 4. Industrial & Technological Changes (1980s & beyond): Technology changed the nature of work – less need for heavy graft/manual labour ; Thatcherism & the decline of industry; Growth of ICT Industries 6. The rise of Consumerism, Advertising & Celebrity Culture (1990’s & beyond): Products seen as indicators of personal success; Importance placed on self image/appearance; Counter-balanced by the ‘new lad’ & overstated heterosexuality

Case Study 1: Heroes

What is a Hero?

• Has a conventional masculine Identity based – selfless, caring as well as strong & forceful • A courageous man of action Plays rescuer to the ‘damsel in distress’ • Sees other men as rivals; • Displays physical strength, skill & courage – a warrior/adventurer • Epitomized in epic sagas of Ancient Greece/Rome i.e.

Gladiator/Troy

1980’s Action Man

The Action Hero (1980’s) • A He-Man: Focus on muscled ‘pumped up’ ‘hypermasculine’ body = emblem of male power • “Both actors (Stallone and Schwarzenegger) often resemble a phallus with muscles". (Creed 1990) • Fantasy male figures of aspiration: Unachievable images of power/strength for male viewer • An ice man – no emotions • Male violence seen as natural • These characters ignore social changes which reject the need for male strength & power • Working practices changed – masculine industry jobs declined as developments in technology increase: • Films such as The Terminator/Robocop – half man/half robot reflects this crisis

Example: 1980’s Action Man

Clip: Commando

Use of ECU’s of ‘tools’/chainsaw/ bicep

Arnie’s blank stare – displays no emotion

Establishes Arnie as the classic ‘hunter/gatherer’

Use of extreme ‘phallic’ symbols – tree trunk/chainsaw (Phallus associated with notions of potency, virility, power)

Contemporary Heroes: Bear Grylls – Action Man

Clip: Man V’s Wild

A summary of points: • Established an action man; explorer • High action opening sequence – shares traits with Bond Movie openers • ‘Bear’ – the name; Man ‘V’ Wild – a battle • Has to ‘shout’ to be heard – his voice ‘competing’ with the elements • Depicts modern mans longing to ‘prove himself’ as masculine/a survivor

Contemporary Heroes: Obama How does this front page establish Obama as ‘heroic’?

• Determined facial expression • A man in ‘action’; running with urgency • Hands clenched into fists • His suit is his ‘costume’ • On a mission (Save the World?)

•Intertextual reference to First Moon Landing – more history in the making • Use of patriotic imagery – flying flag

Case Study 2: The New Man

The ‘New’ Man

The ‘New Man’/Metrosexual • • • •

Appearance Obsessed In touch with ‘feminine side’ Emotional/ Sensitive Closely linked to the advent of Consumerism; Advertising and the Gay Movement

The ‘New Man’ in Advertising: Ronaldo for Armani

Analysing Men’s Health Magazine •

• • • • •

Sawyer (Josh Holloway) offers male reader a figure of identification/aspiration; rugged bad boy; rebel; ladies man; Mid-shot used to emphasise upper body & torso emphasises his idealised muscular physique; Black & White – image becomes less sexual and more medical/muscular Use masculine language – FIGHT fat- alludes to male physical strength The 'new man'; interested in appearance, body image, grooming, pleasing women Adheres to traditional/stereotypical notions of maleness: power, strength, physical function

Task: Analysing Print Advertisements

Key Analysis Points

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AUDIENCE: Male in ad looks at male reader/ signals him as one of the boys Offers male reader an aspirational figure – handsome, popular, setting of the sophisticated bar (Male in background also looks at key male) REPRESENTATION: Sexual Objectification of female in revealing clothing/Male Gaze Female Gaze – woman looks at male provocatively CONTEXT: Male grooming product - links to the context of the new man/metrosexual MEDIA LANGUAGE: Tagline: Style. Play. Attract.

– short bullet points; links to the ‘stereotypical’ male attention span and need for instant gratification ‘High score your play’; ‘Precision is everything’; ‘Maximise’– competitive, sporty , masculine language Use of implied innuendo (Pocket/Cue/’Perfect Hit’) IDEOLOGY: Equates product/narcissism/ consumption with personal happiness/sex

Key Analysis Points

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REPRESENTATION: Self objectification of the male body; de-saturated in colour to look ‘medical’ as opposed to ‘sexual’ Body is ‘feminised’ – not rugged/hairless – links to New Man context MEDIA LANGUAGE: Bold italic fonts; ‘X’ treme – abbreviations used to appeal to male; ‘Fights’ – use of masculine language Made to look like Car/DIY Product so male reader can feel ‘masculine’ buying cosmetic product Hexagon imagery resembles a ‘scientific’ diagram Mid Shot to emphasis idealised male torso Metallic colour scheme, ‘machinery’ vibe Uses ‘Phallic’ Symbols/objects

Media Criticisms of the New Man: Fight Club & American Psycho • Criticises the ‘new man’ as a construct of consumerist society – • Argues that the ‘new man’ has lost touch with his masculine ‘core’ • Films depicts mens’ frustration at the media’s ‘feminisation’ of men • Mans obsession with consumerism has replaced traditional male symbols: strength, honour

Clip: American Psycho

Minimal, Clinical, Cold, Regimented, Sleek, Professional apartment; Blank, no individuality, one of the same; Piano music signifies pseudo sophistication – All surface; no depth Narcissistic Narration; resembles a beauty advertisement/tutorial video

Reflection & the ‘Les Mis’ poster – A feminine interest in the arts/musicals; Les Mis image used is THE iconic image again reflecting a ‘pseudo’ personality of no real depth

Tearing away the process (New Man) to reveal the primal (Real Man); a transparent mask – hiding something? Nothing underneath?

The classic ‘New Man’ body –homo erotic, hairless, idealised, muscular spectacle from consumer culture (Eye mask – the villains disguise?)

Film: Fight Club

Fight Club: Men in Crisis Theme • • • • • • •

Depicts the Feminization of Man and Repressed ‘Raw’ Masculinity – linked to Feminism and an increase in ‘consumption’ The Fight Club: Reasserts supposedly ‘obsolete’ Violent, Mindless Masculinity Narrator: Male status is an illusion – accumulation of possessions but no happiness Traditional male role is lost – no male friends, no sexual partner, no libido, no ‘action’ job Bob:A muscleman with breasts (Traditional Masculinity V’s the New Man) - In trying to attain ideal male physique gets breasts!

Tyler: Introduced wearing sunglasses, leather jacket, chiseled jaw, spiked hair, a colourful juxtaposition against the ‘grey’ suited Narrator Narrators hot alter ego - Everything the narrator isn’t: Charismatic, Sexually Dominant, Muscular

Male Representation & Consumerism : Opening Sequence • Narrator’s POV shot (RIGHT) ‘Corn Flour Blue Tie – person is dismembered; defined by the product (Dehumanization) • Narrators apartment literally turns into an IKEA Catalogue

The Narrator’s ‘Power Animal’ • What does the Narrator’s ‘Power Animal’ say about the state of contemporary masculinity?

• Power Animals: Lion? Tiger?

Shark? Penguin • Connotations of the Penguin: • Small; Incapable of Flight; Childish; Harmless; Tuxedo/wears a suit • Penguin is juxtaposed against Narrator’s dream of masculine empowerment

Debates: The Consumable Brad Pitt

• “There’s something more than ludicrous about sitting in a theatre while Brad Pitt preaches at you about the emptiness of materialism” GIROUX

‘Is this what a real man looks like?’ Narrator

Case Study 3: ‘Guy Candy’

The ‘Female Gaze’ • In opposition to Mulvey’s ‘male gaze’ theory • These texts see women actively desiring/looking at men • Audiences see from a desiring female perspective thus men view themselves being watched

Objects of the Female Gaze

Robert Pattison (Twilight) Hugh Jackman (Worlds Sexiest Male)

ZacEfron (Homoerotic Icon)

The Female Gaze in ‘Twilight’ • Depicts male objects of desire: Edward & Jacob – both Love Rivals/Binary Opposites • Constructed from the perspective of a female watcher • Narrative tells of female fantasy – Bella caught in centre of love triangle • Depicts men with feminine beauty ‘pretty’, long lashed, full lips as opposed to rugged, square jawed ‘hunks’ • Edward Cullen (Robert Pattinson): Slim, pale, defined, wears make up, ‘coiffed’ hair, androgynous, pretty • Debates wether of not male machismo, ‘macho-ness’ is constructed for other men, not women

Films: Twilight/New Moon

Edward as object; Bella’s desiring gaze

Bella (and female viewer) waiting in anticipation for glimpse of Edward

Bella’s desiring gaze

Edward filmed in slow motion spectacle

Jacob: Eroticised for Bella (and female viewer) – their ‘hunky’ alternative to Edward

Torso filmed from Bella’s Low Angle POV shot to enhance the spectacle

Twilight & Female Fandom:

Ideas for further study: Robsessed.com Team Edward/Team Jacob Fansites

Case Study 4: The Loser

MASCULINITY in The ‘Guy Com’ • • • • • • • • • •

Differs greatly from the conventional/ideal cinematic romantic male (Clooney, RIGHT) An ‘Average Joe’ – not attractive, physically fit, wealthy or successful Depictions of the slacker/juvenile, irresponsible loser male/men in emotional trauma: objects of ridicule Disinterested in work/education orientated goals Narrative shows a white male fantasy – Loser as victorious, overcoming obstacles and ‘getting the girl’ Comedy constructed from male inadequacies/failures/lack of responsibility/lack of ‘traditionally’ heroic qualities Intercourse = Protagonist primary objective; Women seen to limit men's sexual freedom Often depict an all male ‘escape’ – a safe and supportive world away from the judgemental female Depict ‘Guy Love’ – close male friendships which generate comedy Show women in the Post Feminist era – ambitious,

DIFFERENCES IN NARRATIVE: Characteristics of the ‘Dude Flick’ or ‘Guy Com’ • Follows a distinct narrative pattern:

EQUILIBRIUM: Men established as failures, incapable, unstable, vulnerable, loser-esque DISRUPTION: Judgemental & Disappointed Female Antagonist provides obstacle for the male, provoking feelings of insecurity. Loser embarks on a journey of self discovery.

RE-EQUILIBRIUM: Loser proves that he is okay. Loser emerges victorious, loved and appreciated

Film: Forgetting Sarah Marshall

The Loser Male Peter Bretter (Jason Segel) • Occupation in ‘The Arts’ – Composer or ‘Musician’ ; requires no Physical Strength/Power • Displays ‘Stereotypical’ Female traits: Highly emotional: Cries after intercourse/during Project Runway • No sexual ‘prowess’ – poor sexual performance (Unlike Aldous)

The Sexual Predator Aldous Snow (Russell Brand) • Peter’s ‘binary opposite’ • Spiritual/experienced • The classic ‘Bad Boy’; has a history; tattooed; rock star • Lion’s wild ‘mane’ of black hair/Wears black leather/studded/figure hugging clothing • Self references Brand’s own persona • Uses sexual innuendo – i.e. his Charity single ‘We gotta DO

Opening Sequence • Peter displayed as naked: vulnerable • Average male body • No traditional ‘phallic power’ • Female Gaze is repulsed (female viewer & Sarah Marshall) • The emotional male: Comedy derived from Peters’ emotional turmoil

Film: Knocked Up

Grown men engaged in juvenile activity

Connotations of the boxing gloves are subverted

Character Analysis • ALISON •Wears ‘business attire’

• BEN

•Modern man for the ‘slacker generation’

•Young professional Career Woman

•Loser/Slacker/Stoner

•Hard Working – gets promoted; successful

•Unemployed

•Sensible/Rational •A modern day ‘heroine’ •Not ‘passive’ – equal in wit to men •Ambitious •Sexually assertive

•Immature/Infantile •Financially irresponsible •Takes drugs •Views porn – sex crazed •Shared rented house •Living a ‘student’ lifestyle as a grown man •Chubby, slobbish, lazy, illgroomed

Links to: Masculine Malaise or ‘Populist Resentment’ •

These texts show males taking stupidity to extremes as a social comment – also know as ‘Slacker Entertainment’ (i.e JACKASS)

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Populist Resentment – To express disgust/dissatisfaction with contemporary popular culture (i.e. ‘BRING ON THE WALL) & collapse of society

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Addresses the mediocrity of modern life/the role of men in contemporary society

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LINKED PRACTICAL SAMPLE: BOYOLOGY

Comparative Analysis: Pretty Woman

MASCULINITY in the ‘Traditional’ RomCom •Men have a higher status (business exec, tycoon, celebrity, athlete) and are less likely to be shown in the home – the fast paced world of business is common.

•Masculinity is associated with efficiency, competition, ruthlessness, not in touch with feelings •The male hero is strong, aggressive, assertive, takes the initiative, is independent, competitive and ambitious.

Clip: Pretty Woman

Edward’s (Richard Gere) introduced as a ‘man of mystery’; High Angle shots pan behind him

Ben’s pale, out of shape physique; sexually inadequate

Edward’s (Richard Gere) hunky, muscular, idealised torso – the dominant sexual male/protective embrace

Emerging Types & Recommended Texts • • • • • •

Gastrosexual – Gordon Ramsay Mentertainers – Come Dine With Me Mad Men Whatwoulddondraperdo.tumblr.com Tiger Woods/Philanderers/Tabloids Earl & Tiger: http://www.youtube.com/watch?v=5NTRvlrP2NU • Any other ideas? R.Ellis@wakefield.ac.uk

• The ‘trapped’, confused male • Trapped in traditional ‘masculine’ roles: guard, policeman • On strings: a patriarchal puppet?

• Wearing fishnet tights &stillettos; androgyny

Clip: Alejandro

Music Video: Alejandro (Lady Gaga)

• Enslaved men, a workforce/soldiers/ sexualised/homo-erotic • No identity, uniform - all the same • Signifies their entrapment at stereotypes of masculinity: physical power/strength/heroism

Clip: Alejandro

• Men dominated by Gaga • She possesses the phallus • Reverses sexual positioning

Clip: Alejandro