Representation Case Study —
Gender
ZACHARY NGUYEN and LEAH WALLS — AICE MEDIA — p. 8
Looking at gender representations meant looking at the representation of women. This
focuses on representations of femininity and females have the position in society as lower.
Until the late 20th Century, in media, it was seen that women had a lower status in
society, most media representations would be constructed by men, the male audience’s
desires were prioritized, even if the target was female audience, and the representations of
women tended to focus on women’s relationships to men and placed them in the domestic
sphere
Early gender theory focused on women because of their historical "second sex" status.
The assumptions about women in society until the late 20th century were lower status,
representations constructed by men, male audience desires prioritized, and representations
focused on relationships with men and domestic roles.
Since the 1970s, women's roles have changed, broadening professional opportunities and
lessening focus on domesticity.
Gender theory now acknowledges the need to examine changing representations of men
and their impact on ideas about masculinity.
The definition of masculinity by Connell: Masculinity is culturally and historically specific,
with each culture having "hegemonic masculinities."
Masculine identity reflects social and economic aspects of specific cultures. A working-
class male is a culturally determined version of masculinity. The key masculine traits in the
early 20th century were head of household and breadwinner, responsible and reliable,
masculine status in the workplace (manual labor or professional), freedom to pursue interests
and socialize, and sexually dominant.
The changes that altered roles of women and men were equal pay laws (e.g., 1972 in UK),
divorce more common and socially acceptable, contraceptive pill giving women control over
childbearing, women having more active social lives outside the home, and decline in
manufacturing/heavy industry, rise of service industry requiring communication skills.
Defining masculinity is more difficult as women take on traditionally male roles. Women
can display "masculine" attitudes. Feminine traits have more value in the modern workplace.
Modern culture is sometimes called "feminized." Masculinity is in "crisis" due to blurring of
gender roles.
Action genre popular since the 1980s. Specific representation of masculinity: the action
hero. The two main types of action hero are Stallone, Schwarzenegger, Van Damme (hyper-
masculine), and Willis, Gibson (more realistic).
Arnie and Sly's Version of Masculinity is focus on the male body, "pumped up
masculinity" (Tasker), "hyper-masculine" (Tasker), reinforces male strength and power, ignores
social changes that marginalized the need for strength and power.
Bruce and Mel's Manliness also embodies traditional masculine traits, but more
attainable and were nostalgic for a time when men's roles were clearly defined.
Each film depicts a different threat to masculine identity:
Terminator 1: Reacts to independent females and loss of identity in the workplace.
Terminator 2: Responds to loss of masculine roles by redefining the importance of the
father.
Terminator 3: Unable to match feminine power except with brute force.
Die Hard (1988):
John McClane (Bruce Willis) tries to save his marriage.
Wife becomes damsel in distress.
John acts rationally, is resourceful and strong.
Die Hard 4.0 (2006):
Older John struggles with family issues.
Represents traditional father.
Defends a young man who is a computer geek.
Young man needs to learn lessons from older masculinity.
Action films have simple definitions of masculinity (strength, aggression, protection).
Masculinity is more complex in modern society. E.g.
Child-Like Masculinity:
Knocked Up (2007): man's inability to deal with fatherhood.
Traumatized Masculinity:
Fight Club (1999): protagonist's attempts to create a masculine identity are
destructive.
Immoral Masculinity:
Phone Booth (2002): character's punishment for womanizing leads him to face
responsibilities.
Masculinity is challenged and questioned. Batman and James Bond integrate masculine
and feminine traits. More flexible approach to masculine identity.
Batman Begins (2005):
Bruce Wayne searches for identity.
Public persona: hedonistic wealthy male.
Rejects father's "feminized" charitable behavior.
Also rejects Raj al Ghul's arrogant violence.
Creates selfless and caring masculinity with
Bond is shown as remorseful and emotionally connected. This Bond is saved by a woman
who sacrifices herself so that he can survive. Bond has a traditional hyper-masculine
physique but his body is gazed upon and sexualized throughout the film. This does not
weaken Bond's masculine identity.
Modern film texts often react to social and economic changes in masculinity. Some texts
attempt to reassert masculine dominance. Others acknowledge changes and portray more
complex ideas of masculinity.
ACTIVITY #1
Feminine Qualities Masculine Qualities
Emotional Unemotional
Sensitive Insensitive
Domestic Public/Professional
Sexually Passive Sexual Initiator
Quiet Assertive
Submissive Dominant
A communicator/co-operator Authoritarian/Leader
Physically weak Strong
Decorative (attractive) Functional
The damsel who needs protecting or saving The protector/savior
Fluid and adaptable Fixed and solid
ACTIVITY #2
Men's Status in the Home: As women gained independence and entered the workforce,
men's status as the sole breadwinner and head of household diminished. Shared
responsibilities and decision-making became more common, challenging the traditional
power dynamic.
Men's Status at Work: The shift towards service and tech industries lessened the
emphasis on physical strength and dominance, traditionally masculine traits.
Communication, cooperation, and emotional intelligence became more valued, often
associated with femininity. This led to a perceived 'feminization' of the workplace.
Men's Social Life: As women had more freedom and diverse interests, the expectation for
men to be the sole providers of social connection decreased. Men could face societal
expectations to be more nurturing.
ACTIVITY #3
Arnie and Sly's Version:
The focus is on the male body and this 'pumped up masculinity' has been argued to be an
attempt to reinstate an idea of male strength and power through the visual representations
of a muscular body. This type of image has also been called 'hyper-masculine' since it is
beyond any realistic ideal and shows an extreme version of the male physique. The
characters played by these actors are fantasy males. Importantly, they are able to ignore the
social changes which had marginalized the need for extreme strength and power in the male
Bruce and Mel's Manliness:
These males also embody traditional masculine traits. However, these representations can be
seen to be a more attainable aspirational ideal.
This males represents an idea of the 'working class' male and can be seen to be nostalgic of a
time when men's roles were clearly defined and their place in society was certain.
ACTIVITY #4
Beyond the action hero, several stereotypes of masculine identity are found in modern texts:
The "child-like" or immature male.
This type is often portrayed in comedic films, such as Knocked Up or The 40-Year-Old Virgin.
These characters are often unwilling or unable to take on adult responsibilities.
The "traumatized" or emasculated male.
Seen in films like Fight Club, these men are grappling with their feelings of inadequacy. They
may seek to regain their masculinity through destructive or violent means. The hyper-
masculine is often portrayed here as an unhealthy coping mechanism.
The "immoral" male.
Characters like the protagonist in Phone Booth may embody surface-level success and charm
but are ultimately flawed. These men are often punished or forced to confront their moral
shortcomings.
