You are here

A Qualitative Textual and Comparative Analysis of the Representation of Masculinity in the Action and Romantic Comedy Genres

Journal Name:

Publication Year:

Author NameUniversity of Author
Abstract (2. Language): 
This study is an exploration of the representation of masculinity in film, with particular focus on the way in which leading male characters in action genre and romantic comedy genre films represent masculinity. It is posited that masculinity is a construct, the meaning of which is dependent on the social context of the individual. Film as a social artefact and an agent of socialisation could have the potential of influencing individuals’ understanding of the construct. An exploration of the variations of masculinity across genres is a first step in understanding possible influences of the definition of masculinity. A triangulation of textual analysis methods was used to analyse fictional characters according to a set of codes and ‘real’ world norms. The results of the findings from this study indicate that the way in which male characters are developed in each genre are different, with male lead characters from the action genre having more characteristics that align with the ‘real’ world norms of masculinity (Levant et al., 1992), than their romantic comedy genre counterparts.
FULL TEXT (PDF): 
1
26

REFERENCES

References: 

Ayers, D. (2008). Bodies, bullets and bad guys: elements of the hardbody film. Film Criticism 32(3):41-67.
Babbie, E. (2005). The basics of social research. Belmont: Thomson Wadsworth.
Barker, C. (2000). Cultural studies: theory and practice. London: Sage Publications.
Basinger, J. (2003). World war II combat film: anatomy of a genre. Middletown, Connecticut: Wesleyan.
Benshoff, H.M. & Griffin, S. (2009). America on film. (2nd ed.). Chichester: Wiley-Blackwell.
Bordwell, D. & Thompson, K. (2001). Film art: an introduction. (6th ed.). New York: McGraw-Hill.
Cameron, J. (Director). (1986). Aliens. [Motion Picture]. Los Angeles: Twentieth Century Fox.
Chandler, D. (1997). An introduction to genre theory. Retrieved August 4, 2009, from http://www.aber.ac.uk/media/Documents/intgenre/intgenre.html
Cinemark: rolling top 50. (n.d.). Retrieved June 8, 2010, from http://www.cinemark.co.za/top10/top_50/
Clarke, E.A. (2006). Ideal heroes: nostalgic constructions of masculinity in Tigerland and We Were Soldiers. Film Quarterly, 34 (1), 19-26
Cohen, J. (2001). Defining identification: a theoretical look at identification of audiences with media characters. Mass Communication and Society, 4 (3), 245-264.
Connell, R.W. (1993). The big picture: masculinities in recent world history. Theory and Society, 22, 597-623.
Crotty, M. (1998). The foundations of social research: meaning and perspective in the research process. Crows Nest: Allen & Unwin.
Dugan, D. (Director). (2011). Just go with it. [Motion Picture]. Los Angeles: Sony Pictures
Du Plooy, GM. (2002). Communication research: techniques, methods and applications. Lansdowne: Juta.
Durrheim, K. (1999). Research design. In M. Terre Blanche & K. Durrheim (Eds.), Research in practice: applied methods for the social sciences (pp. 29-53). Cape Town: University of Cape Town Press.
Durrheim, K. & Wassenaar, D. (1999). Putting design into practice: writing and evaluating research proposals. In M. Terre Blanche & K. Durrheim (Eds.), Research in practice:
Online Journal of Communication and Media Technologies
Volume: 5 – Issue: 3 July - 2015
© Online Journal of Communication and Media Technologies 24
applied methods for the social sciences (pp. 54-71). Cape Town: University of Cape Town Press.
Elmore, M. (2007). Masculinities and men’s studies: the literature of a growing discipline. Academic Research Library, 44 (6), 931-938.
Gaghan, S. (Director). (2008). Syriana. [Motion Picture]. Los Angeles: Warner Bros. Pictures.
Gilmore, D.D. (1990). Manhood in the making: Cultural concepts of masculinity. New Haven: Yale University Press.
Hardt, H. (2004). Myths for the masses. Oxford: Blackwell Publishing.
Henckel von Donnersmarck, F. (Director). (2010). The Tourist. [Motion Picture]. Los Angeles: Columbia Pictures.
Hsieh, H. & Shannon, S.E. (2007). Three approaches to qualitative content analysis. In A. Bryman (Ed.), Qualitative Research 2: volume IV. London: Sage Publications Ltd.
Jancovich, M. (2000). A real shocker: authenticity, genre and the struggle for distinction. Journal of Media and Cultural Studies, 14 (1), 23-35.
Jeffords, S. (1993). The big switch: Hollywood masculinity in the nineties. In J. Collins, H. Radner, & A. Preacher Collins (Eds.), Film theory goes to the movies (pp. 196-208). New York: Routledge.
Jones, C. (1999). Lesbian and gay cinema. In J Nelmes (Ed.), An introduction to film studies (2nd ed.) (pp. 307-344). London: Routledge.
Kimmel, M.S. (1987). The contemporary “crisis” of masculinity in historical perspective. In H. Brod (Ed.), The making of masculinities (pp. 121-154). Allen and Unwin: London.
Kubrick, S. (Director). (1987). Full Metal Jacket. [Motion Picture]. Los Angeles: Stanely Kubrick Productions.
Lacey, N. (2009). Image and representation: key concepts in media studies. (2nd ed.). Hampshire: Palgrave Macmillan.
Levant, R.F., Hirsch, L.S., Celentano, E., Cozza, T.M., Hill, S., MacEachern, M., Marty, N. & Schnedeker, J. (1992). The male role: an investigation of contemporary norms. Journal of Mental Health Counseling, 14 (3), 325-337.
Levant, R.F. (1996). The new psychology of men. Professional psychology: research and practice, 27 (3), 259-265.
Levant, R.F. & Richmond, K. (2007). A review of research on masculinity ideologies using the male role norms inventory. Journal of Men’s Studies, 15 (2), 130-146.
Online Journal of Communication and Media Technologies
Volume: 5 – Issue: 3 July - 2015
© Online Journal of Communication and Media Technologies 25
Luketic, R. (Director). (2010). Killers. [Motion Picture]. Los Angeles: Lionsgate.
Mangold, J. (Director). (2007). 3:10 to Yuma. [Motion Picture]. Los Angeles: Lionsgate.
Mangold, J. (Director). (2010). Knight and day. [Motion Picture]. Los Angeles: Twentieth Century Fox Film Corporation.
McKee, A. (2003). Textual analysis: a beginner’s guide. London: Sage Publications.
Mendes, S. (Director). (2005). Jarhead. [Motion Picture]. Los Angeles: Universal Pictures.
Neale, S. (1993). Masculinity as spectacle: reflections on men and mainstream cinema. In S. Cohen, & I.R. Hark (Eds.), Screening the male: exploring masculinities in Hollywood cinema (pp. 9-22). London: Routledge.
Nelmes, J. (1999). Women and film. In J. Nelmes (Ed.), An introduction to film studies (2nd ed.) (pp. 265-306). Londong: Routledge.
Neuman, W.L. (2007). The basics of social research: qualitative and quantitative approaches. (2nd ed.). Boston: Pearson Education, Inc.
O’Day, M. (2004). Beauty in motion: gender, spectacle and action babe cinema. In Y. Tasker (Ed.), Action and adventure cinema (pp. 201-218). London: Routledge.
O’Dowd, L. (2003). Constructionism. In R.L. Miller & J.D. Brewer (Eds.), The A-Z of social research (pp. 41-43). London: Sage Publications.
Patton, M.Q. (2002). Qualitative research and evaluation methods. (3rd ed.). London: Sage Publications.
Poul, A. (Director). (2010). The back-up plan. [Motion Picture]. Los Angeles: CBS Films.
Richmond, K. & Levant, R.F. (2003). Clinical application of the gender role strain paradigm: group treatment for adolescent boys. Journal of Clinical Psychology/ In Session, 59 (11), 1237-1245.
Ruddell, C. (2007). Virility and vulnerability, splitting and masculinity in Fight Club: a tale of contemporary male identity issues. Extrapolation, 48 (3), 493-503.
Schatz, T. (2004). Film genre and genre film. In L. Braudy & M. Cohen (Eds.), Film theory and criticism (6th ed.) (pp. 691-702). Oxford: Oxford University Press.
Schumacher, J. (Director). (2000). Tigerland. [Motion Picture]. Los Angeles: New Regency Pictures.
Scott, R. (Director). (2008). Body of Lies. [Motion Picture]. Los Angeles: Warner Bros. Pictures.
Scott, T (Director). (2010). Unstoppable. [Motion Picture]. Los Angeles: Twentieth Century Fox Corporation.
Online Journal of Communication and Media Technologies
Volume: 5 – Issue: 3 July - 2015
© Online Journal of Communication and Media Technologies 26
Sheridan, J. (2009). Brothers. [Motion Picture]. Los Angeles: Lionsgate.
Seftel, J (Director). (2008). War, Inc. [Motion Picture]. Los Angeles: New Crime Productions.
Stanley, T. (2006). Punch-drunk masculinity. The Journal of Men’s Studies, 14 (2), 235-242.
Taylor, P. (2008). Changing Pacific masculinities: the ‘problem’ of men. The Australian Journal of Anthropology, 19 (2), 125-135.
Zaitchik, M.C. & Mosher, D.L. (1993). Criminal justice implications of the macho personality constellation. Criminal Justice and Behaviour, 20 (3), 227-239.

Thank you for copying data from http://www.arastirmax.com