This document provides a summary and analysis of how two films, American Pie and She's the Man, depict themes of hegemonic masculinity through the lens of male homosocial groups. Both films show how emotional detachment, competition between males for dominance, and sexual objectification of women are used to maintain masculine social standing and conformity to gender norms. However, the document also discusses how more recent films suggest a shift away from traditional hegemonic masculinity through depictions of open male friendships that do not rely on these practices. Overall, the document analyzes how films can exemplify the gender ideologies that preserve masculinity in social structures.
This document provides an analysis of gender role stereotypes in the plays A Streetcar Named Desire and Cat on a Hot Tin Roof by Tennessee Williams. It begins with defining gender role stereotyping and identifying traditional stereotypes such as the submissive wife, southern belle, and macho man. It then discusses Williams' biography and how his upbringing and sexuality influenced his works. Specifically, it examines how the plays portray stereotypical feminine roles through the characters of Blanche Dubois and Maggie and how they relate to ideals of beauty, marriage, and sexuality during post-war America in the 1950s.
This are the top 5 romantic movies. It was the latest romantic movies, for more movies just visit us:
http://blog.buttermouth.com/2007/06/top-25-places-to-watch-free-movies-and.html
All My Sons explores the consequences of war and dishonesty through the Keller family. Chris feels guilty for surviving the war when his brother Larry did not and for becoming engaged to Larry's former fiancee Ann. He confronts his father Joe about knowingly selling defective engine parts during the war that resulted in pilot deaths. Joe is in denial about his role while Chris struggles with the reality that his father's actions destroyed the family's illusion of prosperity. The play examines the post-war crisis as veterans return home physically but remain emotionally scarred by their experiences and guilt over surviving when others did not.
The document lists and provides brief descriptions of 10 iconic horror film villains:
1. Hannibal Lecter from Silence of the Lambs is a brilliant yet sadistic madman who uses his words rather than weapons to terrify his victims.
2. Freddy Krueger from A Nightmare on Elm Street preys on the dreams of his victims, making it impossible for them to escape.
3. Leatherface from Texas Chainsaw Massacre is a mentally challenged hillbilly who enjoys killing teens with his chainsaw and barbecuing human flesh.
4. Pinhead from Hellraiser is the guardian of the gateway to hell who tortures those who solve the mysterious Lemarch
This document is an honors thesis presented by Tabitha L. Clark that examines her experience as a Marine Corps wife and seeks to provide insight into that lifestyle and culture. It begins by discussing the historical fascination with stories of soldiers but notes the lack of narratives about their families. The introduction argues for the importance of telling these untold stories and providing a more well-rounded perspective. The thesis then outlines the ethnographic and autoethnographic significance of combining personal experience and research to understand this community from the inside.
The document provides a summary and analysis of the 2010 film "The Book of Eli". It argues that the film presents an ambiguous view of religion, rather than simply affirming its positive role as claimed by another reviewer. While the character of Eli represents religious faith and scripture being used constructively, the film does not fully resolve the tensions between positive and negative uses of religion. It also has a problematic understanding of religion's role in society, particularly around control of religious texts. The analysis examines how both main characters Eli and Carnegie relate to religion in complex ways that go beyond a simplistic binary of good versus evil.
This summary provides the key points from the document in 3 sentences:
Christian-themed movies have found unexpected box office success in recent years, with films like Son of God, Noah, God's Not Dead, and Heaven is for Real performing well. This has challenged the view in Hollywood that Christian movies are of low quality and not financially viable. While some Christian films remain low budget and aimed at niche audiences, major studios have also had successes with films featuring bigger budgets and name actors, signaling a shift in the relationship between Christianity and the Hollywood film industry.
The play All My Sons by Arthur Miller is set after World War 2 and focuses on two families, the Kellers and Deevers, who were business partners producing aircraft parts. Joe Keller was convicted of selling defective parts that led to the deaths of 21 pilots, though he blamed his partner Steve Deever. The play examines themes of the American Dream, guilt, ethics, and the consequences of wrong choices through the characters of Joe, his wife Kate, and sons Chris and the missing Larry. It also questions putting profits over human life.
This document provides an analysis of gender role stereotypes in the plays A Streetcar Named Desire and Cat on a Hot Tin Roof by Tennessee Williams. It begins with defining gender role stereotyping and identifying traditional stereotypes such as the submissive wife, southern belle, and macho man. It then discusses Williams' biography and how his upbringing and sexuality influenced his works. Specifically, it examines how the plays portray stereotypical feminine roles through the characters of Blanche Dubois and Maggie and how they relate to ideals of beauty, marriage, and sexuality during post-war America in the 1950s.
This are the top 5 romantic movies. It was the latest romantic movies, for more movies just visit us:
http://blog.buttermouth.com/2007/06/top-25-places-to-watch-free-movies-and.html
All My Sons explores the consequences of war and dishonesty through the Keller family. Chris feels guilty for surviving the war when his brother Larry did not and for becoming engaged to Larry's former fiancee Ann. He confronts his father Joe about knowingly selling defective engine parts during the war that resulted in pilot deaths. Joe is in denial about his role while Chris struggles with the reality that his father's actions destroyed the family's illusion of prosperity. The play examines the post-war crisis as veterans return home physically but remain emotionally scarred by their experiences and guilt over surviving when others did not.
The document lists and provides brief descriptions of 10 iconic horror film villains:
1. Hannibal Lecter from Silence of the Lambs is a brilliant yet sadistic madman who uses his words rather than weapons to terrify his victims.
2. Freddy Krueger from A Nightmare on Elm Street preys on the dreams of his victims, making it impossible for them to escape.
3. Leatherface from Texas Chainsaw Massacre is a mentally challenged hillbilly who enjoys killing teens with his chainsaw and barbecuing human flesh.
4. Pinhead from Hellraiser is the guardian of the gateway to hell who tortures those who solve the mysterious Lemarch
This document is an honors thesis presented by Tabitha L. Clark that examines her experience as a Marine Corps wife and seeks to provide insight into that lifestyle and culture. It begins by discussing the historical fascination with stories of soldiers but notes the lack of narratives about their families. The introduction argues for the importance of telling these untold stories and providing a more well-rounded perspective. The thesis then outlines the ethnographic and autoethnographic significance of combining personal experience and research to understand this community from the inside.
The document provides a summary and analysis of the 2010 film "The Book of Eli". It argues that the film presents an ambiguous view of religion, rather than simply affirming its positive role as claimed by another reviewer. While the character of Eli represents religious faith and scripture being used constructively, the film does not fully resolve the tensions between positive and negative uses of religion. It also has a problematic understanding of religion's role in society, particularly around control of religious texts. The analysis examines how both main characters Eli and Carnegie relate to religion in complex ways that go beyond a simplistic binary of good versus evil.
This summary provides the key points from the document in 3 sentences:
Christian-themed movies have found unexpected box office success in recent years, with films like Son of God, Noah, God's Not Dead, and Heaven is for Real performing well. This has challenged the view in Hollywood that Christian movies are of low quality and not financially viable. While some Christian films remain low budget and aimed at niche audiences, major studios have also had successes with films featuring bigger budgets and name actors, signaling a shift in the relationship between Christianity and the Hollywood film industry.
The play All My Sons by Arthur Miller is set after World War 2 and focuses on two families, the Kellers and Deevers, who were business partners producing aircraft parts. Joe Keller was convicted of selling defective parts that led to the deaths of 21 pilots, though he blamed his partner Steve Deever. The play examines themes of the American Dream, guilt, ethics, and the consequences of wrong choices through the characters of Joe, his wife Kate, and sons Chris and the missing Larry. It also questions putting profits over human life.
Deadpool is a 2016 superhero film based on the Marvel Comics character of the same name. It stars Ryan Reynolds as Wade Wilson, a mercenary who undergoes an experiment to cure his cancer but is left disfigured and with accelerated healing abilities. He takes on the alter ego Deadpool to hunt down Ajax and get revenge. The film was a major box office success, grossing over $782 million against a $58 million budget. Deadpool is known for breaking the fourth wall and meta-humor, as well as taking a nihilistic and postmodern approach through its deconstruction of superhero genres and conventions.
Deadpool is a 2016 superhero film based on the Marvel Comics character of the same name. It stars Ryan Reynolds as Wade Wilson, a mercenary who undergoes an experiment to cure his cancer but is left disfigured and with accelerated healing abilities. He takes on the alter ego Deadpool to hunt down the man responsible, Ajax, while trying to reunite with his lover Vanessa. The film was a major box office success, grossing over $782 million against a $58 million budget. It is notable for breaking conventions through Deadpool's meta-awareness of his existence as a comic book character and tendency to commentate on the narrative.
Caitlyn Jenner, formerly known as Bruce Jenner, came out as a transgender woman. She was featured on the cover of Vanity Fair magazine and discussed her decades-long journey of taking hormones and secretly dressing as a woman as a child. Her identity and transition challenges notions of what defines a woman, but for Caitlyn it is her soul that defines her gender. She received over 1 million Twitter followers after her first post and hopes her public transition helps the transgender community despite inevitable controversy and questions about her decision.
1. A young British soldier is accidentally abandoned by his unit following a riot in deadly 1970s Belfast, Northern Ireland.
2. All over the world, ordinary people are committing violent acts without knowing why, and cyborgs must stop it.
3. The documentary focuses on the 1970s era of dangerous Grand Prix car racing and the drivers and those who made changes to improve safety in the sport.
In this presentation Austen Ivereigh explains the power of the recent movie There be dragons by Roland Joffé. It is an epic drama about hatred and forgiveness and deals with the friendship of two persons during the Spanish civil war: one is a historical saint Josemaria Escriva, the other persons are mostly fiction but representative of all of us.
This presentation includes the most banned and censored books in the United States between 2000 - 2020 as documented by the American Library Association's finding, and the reasons given by those who challenged these books.
This document provides a list of book titles along with brief descriptions of their genres and themes. The books cover a wide range of topics including sports, relationships, family issues, mental health, supernatural events, war, crime, and personal growth. Many of the titles seem aimed at teenage male readers and deal with topics of interest to guys such as football, skateboarding, cars, magic, and organized crime.
The document discusses how different social groups are commonly presented in horror films. It notes that women are often subjected to gender-specific violence, their roles are reduced to tropes, and their sexuality is portrayed as something that needs punishment. It also mentions that teenagers are typically depicted as inexperienced and rebellious while elders are wise and conservative. Regarding witches in horror movies, they are generally presented as ugly and evil, trying to corrupt women or get revenge on men, though some films like Harry Potter show good witches.
The document provides summaries of several films that could potentially influence or relate to the development of the author's story and main character. Boyhood shows a child literally growing up on screen over 12 years. Secret Window involves a writer being accused of stealing a story by a mysterious stranger. Side Effects explores the side effects of an experimental medication leading to unintended consequences. American Beauty depicts a family falling apart through the eyes of the daughter and a new friend. Taxi Driver features a lonely Vietnam veteran who believes he must help a runaway girl. As Good as It Gets shows a cranky writer's life disrupted when his neighbor is hospitalized and dog is left in his care. The Aviator is a biopic of Howard Hughes'
Lauren has had a difficult past with the death of her mother and father's suicide, leaving her distraught and unstable. She has a secret, possessive obsession with her friend Steph. When the four friends go on a trip together in the woods, Lauren seeks revenge on them for not supporting her, and begins killing them one by one as Steph watches on in fear, vulnerable and scared of the situation she finds herself in. The film would be produced by Twisted Pictures, known for producing horror films like Saw, making them a suitable candidate to attract the right audience for this genre of film.
This document discusses gender roles in films from different time periods. It provides examples of how gender roles were portrayed traditionally in films like You've Got Mail from 1998, compared to more modern portrayals in films and TV shows like Sex and the City that showed more independent women. It also discusses how magazines like Cosmopolitan aimed to "liberate" women sexually and how little mainstream media content explicitly targets LGBT audiences due to being produced through a heterosexual male gaze.
This document provides a summary of films made by BBC Films between 2005-2019. It lists 14 films, including the year of release, genre, director, main actors, and a brief 1-2 sentence synopsis. The films cover a range of genres including comedy, social realism, drama, romance, thriller, mystery, and war. Some notable films mentioned are I Daniel Blake, Creation, Brighton Rock, and The Aftermath. The document gives high-level overviews of the plots and creative teams behind various BBC Films productions over a 15 year period.
Theodore Kaplin is a hardened 40-year-old detective and war veteran for the LAPD who has become cynical over the years. He believes in justice but sees much corruption. He is pushing himself to solve a string of brutal murders in LA while battling alcoholism. A vigilante called "Dahlia" also seeks justice, but through extreme violence. Little is known about him except he has military training and detective skills. He is mistakenly believed to be the real "Dahlia Killer." The real killer's motives may be linked to the drug Euphoria formerly produced by the shadowy Elysian Company, which is still circulating illegally and fueling crime. Elizabeth Short was the real victim of the
This is a retake on the original story of the movie Mad Max. This version is inspired from Indian mythology (The Characters Immortan Joe-& Furiosa Have Been Inspired From Shiva the destroyer & Goddess Kali Respectively). There is a twist in the tale and a mock character sketch, story line and movie poster for the same.
The document discusses three readings related to gender representation in media. The first reading talks about how portrayals of princesses in media can negatively impact girls' self-esteem and ambitions. The second reading examines gender inequality in film, noting that while women have made strides in film, gender bias remains an issue in Hollywood. The third reading discusses how Disney exaggerates physical differences between men and women in their movies, undermining the narrative that men and women are opposites.
This document provides character descriptions and a brief summary of the plotlines for the 1994 film Pulp Fiction. It describes the main characters, including Vincent Vega, Jules Winnfield, Mia Wallace, Pumpkin, Honey Bunny, Butch Coolidge, and Marsellus Wallace. The summary states that the narrative is told out of chronological order and follows three interrelated stories, with Vincent Vega as the protagonist of the first story, Butch Coolidge as the protagonist of the second story, and Jules Winnfield as the protagonist of the third story. The stories intersect in various ways throughout the film.
A "Waiting" (2005) inspired sitcom starring three roommates; Logan, Zik, and Dru, who live together and work together at the Shack; a beach themed restaurant in Hollywood, California. The series follows each character as they attempt to break out of the hospitality industry and into the limelight.
The document discusses gender stereotypes portrayed in the 2017 Pakistani film "Cake". It analyzes how two main female characters, Zareen and Zara, fit stereotypes of "Mammy" and "Matriarch" as described by Patricia Hill Collins. Zareen takes on domestic and family caretaking roles for her parents, fitting the stereotype. Zara pursues a career abroad and hides her relationship status, also fitting a controlling stereotype. The film challenges some stereotypes by showing male characters caring for family and a wife directing her husband. Overall, the document examines gender roles and stereotypes in the film through the lens of sociological literature.
The document discusses masculinity and how it has changed over time. It notes that traditionally, masculinity referred to character traits associated with men like courage, independence, and confidence. However, over time the lines between masculinity and femininity have blurred. The document discusses how early films in the 1930s-1960s portrayed new images of masculinity through actors like Humphrey Bogart and his "bad boy" persona as well as Clint Eastwood's roles in Westerns. It suggests these films helped define and change perceptions of masculinity during those eras.
The representation of gender within the horror filmnykelly
The document discusses the representation of gender in horror films, noting that initially females are often portrayed in traditional stereotypical roles but that these roles are sometimes subverted by the end of the films. It explores how the "male gaze" objectifies women through camera techniques but that in some cases, like The Shining, this is undermined. While most films initially follow stereotypical gender ratios and roles, by the end some allow females to behave in less typical ways once normality has broken down.
The document analyzes how the TV shows Sex and the City and Shameless represent feminist ideas through depictions of female sexual desire. Regarding Sex and the City, it notes that the female characters take on traditionally masculine roles and have empowered sexuality, yet ultimately return to normative relationships. Their sexuality is tied to consumerism and affluence. Shameless features working-class female characters who engage in sexually dominant behaviors and freely enjoy casual sex without seeking romance. Both shows challenge stereotypes, but Shameless presents a less exclusionary view of female sexuality not dependent on certain privileged attributes.
48-110 (Foundations of Social Life) - Lesson Objectives:
1. Distinguish between sex and gender;
2. Differentiate gender diversity from the binary conception of gender;
3. Describe and relate examples of gender identity, gender expression, and gender role;
4. Discuss gender socialization in North American society;
5. Identify gender stereotypes and ways to challenge such stereotypes;
6. Define, discuss and critique various models of feminism;
7. Recognize and provide examples of feminism and feminist criminology in popular culture;
8. Relate and give examples of sexism in everyday life;
9. Discuss the role of gender in crime, criminality, and criminal justice.
Deadpool is a 2016 superhero film based on the Marvel Comics character of the same name. It stars Ryan Reynolds as Wade Wilson, a mercenary who undergoes an experiment to cure his cancer but is left disfigured and with accelerated healing abilities. He takes on the alter ego Deadpool to hunt down Ajax and get revenge. The film was a major box office success, grossing over $782 million against a $58 million budget. Deadpool is known for breaking the fourth wall and meta-humor, as well as taking a nihilistic and postmodern approach through its deconstruction of superhero genres and conventions.
Deadpool is a 2016 superhero film based on the Marvel Comics character of the same name. It stars Ryan Reynolds as Wade Wilson, a mercenary who undergoes an experiment to cure his cancer but is left disfigured and with accelerated healing abilities. He takes on the alter ego Deadpool to hunt down the man responsible, Ajax, while trying to reunite with his lover Vanessa. The film was a major box office success, grossing over $782 million against a $58 million budget. It is notable for breaking conventions through Deadpool's meta-awareness of his existence as a comic book character and tendency to commentate on the narrative.
Caitlyn Jenner, formerly known as Bruce Jenner, came out as a transgender woman. She was featured on the cover of Vanity Fair magazine and discussed her decades-long journey of taking hormones and secretly dressing as a woman as a child. Her identity and transition challenges notions of what defines a woman, but for Caitlyn it is her soul that defines her gender. She received over 1 million Twitter followers after her first post and hopes her public transition helps the transgender community despite inevitable controversy and questions about her decision.
1. A young British soldier is accidentally abandoned by his unit following a riot in deadly 1970s Belfast, Northern Ireland.
2. All over the world, ordinary people are committing violent acts without knowing why, and cyborgs must stop it.
3. The documentary focuses on the 1970s era of dangerous Grand Prix car racing and the drivers and those who made changes to improve safety in the sport.
In this presentation Austen Ivereigh explains the power of the recent movie There be dragons by Roland Joffé. It is an epic drama about hatred and forgiveness and deals with the friendship of two persons during the Spanish civil war: one is a historical saint Josemaria Escriva, the other persons are mostly fiction but representative of all of us.
This presentation includes the most banned and censored books in the United States between 2000 - 2020 as documented by the American Library Association's finding, and the reasons given by those who challenged these books.
This document provides a list of book titles along with brief descriptions of their genres and themes. The books cover a wide range of topics including sports, relationships, family issues, mental health, supernatural events, war, crime, and personal growth. Many of the titles seem aimed at teenage male readers and deal with topics of interest to guys such as football, skateboarding, cars, magic, and organized crime.
The document discusses how different social groups are commonly presented in horror films. It notes that women are often subjected to gender-specific violence, their roles are reduced to tropes, and their sexuality is portrayed as something that needs punishment. It also mentions that teenagers are typically depicted as inexperienced and rebellious while elders are wise and conservative. Regarding witches in horror movies, they are generally presented as ugly and evil, trying to corrupt women or get revenge on men, though some films like Harry Potter show good witches.
The document provides summaries of several films that could potentially influence or relate to the development of the author's story and main character. Boyhood shows a child literally growing up on screen over 12 years. Secret Window involves a writer being accused of stealing a story by a mysterious stranger. Side Effects explores the side effects of an experimental medication leading to unintended consequences. American Beauty depicts a family falling apart through the eyes of the daughter and a new friend. Taxi Driver features a lonely Vietnam veteran who believes he must help a runaway girl. As Good as It Gets shows a cranky writer's life disrupted when his neighbor is hospitalized and dog is left in his care. The Aviator is a biopic of Howard Hughes'
Lauren has had a difficult past with the death of her mother and father's suicide, leaving her distraught and unstable. She has a secret, possessive obsession with her friend Steph. When the four friends go on a trip together in the woods, Lauren seeks revenge on them for not supporting her, and begins killing them one by one as Steph watches on in fear, vulnerable and scared of the situation she finds herself in. The film would be produced by Twisted Pictures, known for producing horror films like Saw, making them a suitable candidate to attract the right audience for this genre of film.
This document discusses gender roles in films from different time periods. It provides examples of how gender roles were portrayed traditionally in films like You've Got Mail from 1998, compared to more modern portrayals in films and TV shows like Sex and the City that showed more independent women. It also discusses how magazines like Cosmopolitan aimed to "liberate" women sexually and how little mainstream media content explicitly targets LGBT audiences due to being produced through a heterosexual male gaze.
This document provides a summary of films made by BBC Films between 2005-2019. It lists 14 films, including the year of release, genre, director, main actors, and a brief 1-2 sentence synopsis. The films cover a range of genres including comedy, social realism, drama, romance, thriller, mystery, and war. Some notable films mentioned are I Daniel Blake, Creation, Brighton Rock, and The Aftermath. The document gives high-level overviews of the plots and creative teams behind various BBC Films productions over a 15 year period.
Theodore Kaplin is a hardened 40-year-old detective and war veteran for the LAPD who has become cynical over the years. He believes in justice but sees much corruption. He is pushing himself to solve a string of brutal murders in LA while battling alcoholism. A vigilante called "Dahlia" also seeks justice, but through extreme violence. Little is known about him except he has military training and detective skills. He is mistakenly believed to be the real "Dahlia Killer." The real killer's motives may be linked to the drug Euphoria formerly produced by the shadowy Elysian Company, which is still circulating illegally and fueling crime. Elizabeth Short was the real victim of the
This is a retake on the original story of the movie Mad Max. This version is inspired from Indian mythology (The Characters Immortan Joe-& Furiosa Have Been Inspired From Shiva the destroyer & Goddess Kali Respectively). There is a twist in the tale and a mock character sketch, story line and movie poster for the same.
The document discusses three readings related to gender representation in media. The first reading talks about how portrayals of princesses in media can negatively impact girls' self-esteem and ambitions. The second reading examines gender inequality in film, noting that while women have made strides in film, gender bias remains an issue in Hollywood. The third reading discusses how Disney exaggerates physical differences between men and women in their movies, undermining the narrative that men and women are opposites.
This document provides character descriptions and a brief summary of the plotlines for the 1994 film Pulp Fiction. It describes the main characters, including Vincent Vega, Jules Winnfield, Mia Wallace, Pumpkin, Honey Bunny, Butch Coolidge, and Marsellus Wallace. The summary states that the narrative is told out of chronological order and follows three interrelated stories, with Vincent Vega as the protagonist of the first story, Butch Coolidge as the protagonist of the second story, and Jules Winnfield as the protagonist of the third story. The stories intersect in various ways throughout the film.
A "Waiting" (2005) inspired sitcom starring three roommates; Logan, Zik, and Dru, who live together and work together at the Shack; a beach themed restaurant in Hollywood, California. The series follows each character as they attempt to break out of the hospitality industry and into the limelight.
The document discusses gender stereotypes portrayed in the 2017 Pakistani film "Cake". It analyzes how two main female characters, Zareen and Zara, fit stereotypes of "Mammy" and "Matriarch" as described by Patricia Hill Collins. Zareen takes on domestic and family caretaking roles for her parents, fitting the stereotype. Zara pursues a career abroad and hides her relationship status, also fitting a controlling stereotype. The film challenges some stereotypes by showing male characters caring for family and a wife directing her husband. Overall, the document examines gender roles and stereotypes in the film through the lens of sociological literature.
The document discusses masculinity and how it has changed over time. It notes that traditionally, masculinity referred to character traits associated with men like courage, independence, and confidence. However, over time the lines between masculinity and femininity have blurred. The document discusses how early films in the 1930s-1960s portrayed new images of masculinity through actors like Humphrey Bogart and his "bad boy" persona as well as Clint Eastwood's roles in Westerns. It suggests these films helped define and change perceptions of masculinity during those eras.
The representation of gender within the horror filmnykelly
The document discusses the representation of gender in horror films, noting that initially females are often portrayed in traditional stereotypical roles but that these roles are sometimes subverted by the end of the films. It explores how the "male gaze" objectifies women through camera techniques but that in some cases, like The Shining, this is undermined. While most films initially follow stereotypical gender ratios and roles, by the end some allow females to behave in less typical ways once normality has broken down.
The document analyzes how the TV shows Sex and the City and Shameless represent feminist ideas through depictions of female sexual desire. Regarding Sex and the City, it notes that the female characters take on traditionally masculine roles and have empowered sexuality, yet ultimately return to normative relationships. Their sexuality is tied to consumerism and affluence. Shameless features working-class female characters who engage in sexually dominant behaviors and freely enjoy casual sex without seeking romance. Both shows challenge stereotypes, but Shameless presents a less exclusionary view of female sexuality not dependent on certain privileged attributes.
48-110 (Foundations of Social Life) - Lesson Objectives:
1. Distinguish between sex and gender;
2. Differentiate gender diversity from the binary conception of gender;
3. Describe and relate examples of gender identity, gender expression, and gender role;
4. Discuss gender socialization in North American society;
5. Identify gender stereotypes and ways to challenge such stereotypes;
6. Define, discuss and critique various models of feminism;
7. Recognize and provide examples of feminism and feminist criminology in popular culture;
8. Relate and give examples of sexism in everyday life;
9. Discuss the role of gender in crime, criminality, and criminal justice.
The document discusses the representation of gender in the 2002 film City of God. It notes that gender plays an important role, with men typically portrayed as powerful through controlling the drug trade and asserting dominance over women through violence and rape. However, some scenes challenge typical gender roles, such as a woman manipulating a man through sex, or a woman convincing a man to leave the city with her after becoming pregnant. Overall, the film presents a stereotypical portrayal of gender but also raises questions about women gaining or challenging power over men in some situations.
1) The document discusses various themes from the film Rear Window such as relationships, loneliness, love, and spousal abuse which were represented by different characters.
2) It also discusses how societal expectations of the time are reflected in the characters and how some themes are subverted, like the relationship between Jeff and Lisa which challenges expectations of wealth and power.
3) Gender roles are also subverted, as Stella takes on a traditionally masculine detective role with her logical thinking and advice to Jeffries.
1. Elizer 1
Ariel Elizer
Denise Spivey
HUM3321-20
November 20, 2012
Power of the Gender: A Social Aspect
Debate on the subject of gender is classified as unavoidable; a topic that has been—and
will continue to be—argued over. Adding to its controversial value is the aspect of gender
associated with ideology,a reflection of society‘s dividing expectations. The public attitude can
be very well understood by means of film: a parallel to the real world in its exemplification of
reality by means of symbolism. Through film, a deeper outlook on human relations is born, a
means of analyzing essentials that may otherwise be undermined.Two specifically chosenfilms
correspond with the themes of acceptable masculinity, directly supporting particular critical
assessments of the concept of gender. Emotional detachment is a noticeable obligation among
heterosexual males that desire to fit in with others of the same social standing.Competition
among the individual males, as well as sexual objectification of women, is present in the
description of conventional masculine manners (Bird, 159). Hegemonic masculinity is preserved
through the practice of gender ideologies in male homosocial friendships, by ways of
maintaining their dominance over women.
The 1999 production ofAmerican Pie surpassed any and all social boundaries, ignoring
limitations,to tell an entertaining story about a group of teenage boys dealing with the obstacles
and classic fundamentals of high school years. The plot is centered on the senior year of several
main characters. Jim is the sexually awkward adolescent, Kevin is a boy with confidence and a
2. Elizer 2
girlfriend, Oz is the jock on the lacrosse team and Finch is the complex, cultured male.The group
is close friends with Stifler, a selfish and unruly jock that does as he pleases. The movie takes
direction when the four boys decide to make a pact to lose their virginity before high school
graduation.
The film exhibits emotional detachment as an imperative to masculinity and its continued
existence. Stifler makes fun of Oz for abandoning his tough-jock identity and joining the vocal
jazz group at school. After listening in on a choir practice, Stifler yells at Oz in disgust to man-
up, implying that his behavior is unacceptably feminine.This instance reinforces the
generalization that singing is only for women, as it reflects on personal feelings and intimacy,
two notions that conflict with the ideal male persona (Bird, 163). Oz reassures Stifler that his
only intention is to scope out the hot females of the group, in the hopes of finding a sex partner
to fulfill his goal. In doing this, Oz proves that no emotional attachments exist in his endeavors,
and he avoids being displaced from his group of friends.Even if Oz is looking for a relationship
beyond physical activity, he understands that it is useless to go against the norm. The basic
principle of social structure presumes that violations of these customs ―do not result in an
alteration of the norm but instead result in the exclusion of the violator‖ (Bird, 163). That being
said, the few variations in a group do not stand a chance against the majority ruling.
Contestingbetween members of the group, through acts of competition for dominance,
categorizes heterosexual masculinity of hegemony. It is important for each member of the group
to prove that he is better than the rest in any way possible, even if his words or actions are
untrue. The pact among the boys was made after learning that Sherman, a geeky, unpopular kid,
supposedly lost his virginity to a hot girl at one of Stifler‘s parties. The shocking news brings
3. Elizer 3
embarrassment onto the boys, each ashamed that someone with lower social ranking now holds
more experience in comparison. A game is set in place, a race between the boys as each one
strives to prove they are better than the others. By the end of the film, the groupdiscovers that
Sherman‘s story was actually a scandal, as he was lying about his sexual advances. The unveiled
truthsignifies the importance ofcompetition of masculinity, and how far some are willing to go to
achieve highest recognition.
Finch also challenges the competition, as he pays a girl named Jessica to spread a rumor
that he is essentially a highly skilled sex demon. When a girl turns down Stifler‘s invitation to
prom because she is waiting for Finch to ask her, the competition between the two boys is
escalated. Revengeful, Stifler slips laxatives into Finch‘s drink and the rivalry unfolds into a
humiliating episode for Finch. Upon witnessing his gross behavior, the girls are now repulsed by
Finch, and Stifler gains superiority. Finch is given the demeaning nickname of ―shit-break‖ from
Stifler, until the very end of the movie when Finch‘s actions trumps the entire competition
between the two. On the morning after his own party, Stifler finds his mother and Finch lying
down together in his basement, and he comes to the horrifying realizationthat the two had sex the
night before.Stifler will forever be haunted by this undeniable truth, as Finch proudly claims
power over his competitor.
Objectifying women, typically in a sexual manor, plays an active role in homosocial
groups, by furthersummarizing the qualities of heterosexual hegemonic masculinity. It correlates
with the competitiveaspect of male dominance. As evident in many circumstances, males use a
fixed form of degradation of the opposite sex to achieve a higher standing (Grossman, 140). The
4. Elizer 4
female gender in its entirety is ‗othered‘ throughout the film, primarily for playful and humorous
purposes. There are, however, specific instances in the movie that portray the high degrees to
which a heterosexual male will sexually objectify a woman in order to verify his authority.
Kevin‘s girlfriend, Vicky, accuses him of only being with her because he wants sex, after
shefeels uncomfortable by Kevin‘s persistence of going further in bed. Kevin struggles to
repairthe relationship, telling her everything she wants to hear, knowing that his social ranking
may be jeopardized if he breaks his part of the group‘s pact. He is indeed successful, and
eventually has sex with her on prom night. Although Kevin has true feelings for his girlfriend, he
still sexually objectifies her as merely a tool in his expedition to fulfill a promise to his boys.
A heterosexual male of the group may influence another to commit to the degradationof
women based on a scale of male dominance.Stifler—the boy who arguably partakes in the
mostsexual objectification of women—convinces Jim to set up a webcam to film the beautiful
exchange student that he is pursuing, so that all the boys can watch her. In exposing this girl, she
is represented as nothing more than an object of sexual pleasure for male benefit (Bird, 166). At
first, Jim seems reluctant to comply, but after considering his poor sexual reputation, he agrees.
He goes along with the plan, assuming he will ultimately be ostracized from his group if he does
not, whether resulting from going against the masculine norm or lack of competing for a higher
ranking.
She’s The Man(2006) is another substantially meaningful film that depicts hegemonic
masculinity through assumed gender conformities. Viola is an independent, determined soccer
player who desires to prove the equal ability of females to males. She changes her physical
5. Elizer 5
appearance, pretending to be her twin brother, Sebastian, and enrolls into another high school in
hopes of playing soccer to show off her true talents.
Emotional expression between heterosexual males is explored in their respectful
homosocial environments, and is considered frowned upon in a hegemonic masculine society.
Viola, in pretending to be Sebastian, attempts to secure her masculine identity by asking her
roommate, Duke, to choose one girl out of two that he wouldmost rather see naked. Duke
becomes frustrated and immediately asks ―Sebastian‖ why he talks about girls in such graphic
terms. Viola is surprised by his response, and realizes that Duke is more sensitive than she
presumed. He confesses that he wants a relationship to be more than just physical, and wants to
be able to hold a meaningful conversation with a girl. After realizing he just displayed feminine-
like behavior, he threatens to hurt ―Sebastian‖ if he tells anyone this secret. Duke would rather
hide his true emotions and accept the ideal masculine traits, than become a violator of his
group‘s bylaws. This exhibits the concept that it is not necessary for every male in a homosocial
group to be sincere in his actions in order for hegemonic masculinity to be continued (Bird, 167).
In more general terms, guaranteeing maintenance of a practice does not always requiretruth.
Competition among the male characters throughout the movierepresents the value of
powerheld by each member, and the extent of hisworth relative to the remainder of the
hegemonic group. At a local carnival,Duke and Justin—Viola‘s ex-boyfriend—get into a fight
when Justin rages with jealousy after witnessing Duke kissViola at the kissing booth. Duke
teases Justin about being a sore loser and throwing a pathetic tantrum at the previous soccer
match where their teamsplayed against one other. Duke‘s exposure of Justin‘s showcase of
6. Elizer 6
weakness allows for questioning the wholeness of his sexuality (Davidson, 149). Intending to
reestablish control of the situation, Justin throws the first punch and Duke tackles him to the
ground, causing a big scene at the carnival. There is no definite winner because the fight is soon
broken up, but clear indication of each male determined to be the best, signifies competition in
the homosocial group.
―Sebastian,‖ as impersonated by Viola, uses objectification of women to successfully
promote her social standing and be accepted into the homosocial group of heterosexual
males.Her friends from back home set up a plan of action to better her reputation. Duke and his
friends are seated at the campus restaurant when ―Sebastian‖ walks in as part of the scheme, and
two hot girls—one after the other—come up to him, beggingto get back together with him. These
two girls are really Viola‘s friends from back home, pretending to be obsessed exes, hopelessly
in love. ―Sebastian‖ shows no sympathy towards the girls, nonchalantly turning them down and
encouraging them to move on. He even slaps one‘s rear end as a goodbye gesture, concluding his
demonstration of sexual objectification of the two females. The girls were shown to be nothing
but sex objects, emphasizing how easily women can be replaced. After watching the event in
awe, Duke and his friends excitedly invite ―Sebastian‖ to come sit with them, urging him to
share his strategies in successfully manipulating the opposite sex. ―Sebastian‖ is only allowed
into the group after he establishes the low value he places on women in respect to men. The
generalized sexual desires that men associate with women establish an unfair advantage of a
group against a single, female individual (Grossman, 138). The masculinity of a homosocial
group requires all members to follow the traditional mindset of women as male playthings.
7. Elizer 7
Advancing the display of objectification of women, Justin plays the tough guy in front of
his homosocial group of boys, assuring male preeminence.In one of the first scenes of the movie,
he admits to Viola that she is a better soccer player than most of the players on his team. When
confronted about it in front of his teammates, Justin denies ever saying it. Aggravated, Viola
begins to protest, but he instantly enforces his dominance over her by demanding an end to the
discussion. Regardless of whether Justin was sincere when discussing Viola‘s talent in
confidence, he chooses to obey the hegemonic norms of his group to avoid being ‗pecked‘ in the
pecking order between the males (Bird, 167). Partaking in the norms will ensure that the male
maintains his status in the homosocial group.
The stability of any argument is defined not only by its supporting ideals, but also by its
opposing viewpoint. In counterargument to the themes of the articles and the two films, it can be
concluded that society is slowly, but surely, growing away from the traditional, hegemonic male
identity. This idea is shown through film today, as strong relationships between heterosexual
males are pronounced as ‗bromances,‘ the term having a positive connotation. The fact that the
word ―romance‖ is incorporated, self –explains the difference in this friendship from the norms
of homosocially-encouraged masculinity. An example of a bromance is clearly exposed in the
movie I Love You, Man(2009) by the relationship between the groom-to-be Peter and newfound
best man Sydney. Peter overhears his fiancé concerned about his lack of male friends. Without
any friends to be potential best mansfor the wedding, Peter seeks advice from his homosexual
brother. By asking for help from someone outside of a heterosexual male homosocial group,
Peter‘s actions reveal the existence of a different kind of hegemonic masculinity, one that does
not guarantee objectification of women, through competition or any other means. This event
8. Elizer 8
gives the homosexual male a higher ranking, placed above the heterosexual male. After Peter
meets Sydney, the two grow very fond of each other, and end up becoming great friends. Their
relationship includes expression of emotion and personal issues, and allows for behavior that
contradicts the assumed, perfectly masculine performances. This type of friendship proves to be
something that is desired among others, as it prohibits dishonestly and inspires gender identity to
be reevaluated among relationships, an alteration that could better society as a whole.
Overall, illustrated within film and critical assessment is the idea of hegemonic
masculinity, its perseverance stemming from male homosocial friendships, in which there is a
practice of gender conformities in correlation with their dominance over women. The
interactions among males of these groups convey the recurring themes of what it means to be
masculine. Emotional detachment is necessary to confirm a non-feminist façade, a self-
proclamation of manhood that is shared with the rest of the group. Tensions between males
validate the level of competition for higher classification in their social structure. It is common
for competition to involve sexual objectification of women, which stands as another requirement
of heterosexual males intending on joining the homosocial group. The fear of exclusion if these
norms are violated is what regulates the conservation of hegemonic masculinity as a product of
ideology. As this may demand that true identities be hidden, more recent relationships among
males suggest a more peaceful hegemonic structure. Close and expressive friendships among
males are newfound, positive feedback conceptions, an honorable opposition to the traditional
hegemonic masculinity. The accumulating interest in such promising relationship formations
indicates potential for a reassessment of gender standards.
9. Elizer 9
Works Cited
Bird, S. R. "WELCOME TO THE MEN'S CLUB: Homosociality and the Maintenance of
Hegemonic Masculinity." Gender & Society 10.2 (1996): 120-32. Print.
Davidson, M. "PHANTOM LIMBS: Film Noir and the Disabled Body." GLQ: A Journal
of Lesbian and Gay Studies 9.1-2 (2003): 57-77. Print.
Grossman, Julie. "Film Noir's "Femme Fatales" Hard-Boiled Women: Moving Beyond Gender
Fantasies." Quarterly Review of Film and Video 24.1 (2007): 19-30. Print.