Table of contentsSocietal norms and hypermasculinity in cinemaGender performance and the construction of masculine identityConclusionReferencesFilms are often presented in a way that challenges question masculinity and the way in which it is constructed. Masculinity is defined as the “qualities considered characteristic of men”. The essay revolves around how masculinity is presented in films like “Skyfall” and “The Dark Knight Rises.” Both films address key theories of masculinity and portray stereotypical norms and expectations of men. This essay will examine the different ways each director constructs their male protagonists in order to attract the attention and satisfaction of their audience. Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”? Get an original essay In society and in life, men are continually marginalized and associated with violence. In fact, for many men, the incident of violence plays, to a certain extent, a fundamental role in their lives: it is something that they must be prepared to exhibit, something that they must exhibit. In cinema, this same idea can be applied. Many male characters are portrayed as dominant figures, capable of showing violence at any time. This puts unnecessary pressure and expectations on men, “especially young people,” in society. An example of this can be seen in "Skyfall", the film directed by Sam Mendes, where Silva's description of Bond as a "physical wreck", verbalizes this pressure; and throughout the film, James Bond is forced to confront his history of violence. Its representation of hegemonic masculinity justifies this marginalized way of being a man. Similarly, in Christopher Nolan's "The Dark Knight" Rises, Bruce WayneBatman profoundly characterizes hegemonic masculinity as the driving force of their story. It is integrated into the characters' story in such a way as to make the maintenance of men's superior position seem normal and natural. The villain known as Bane embodies the underlying theme of domination and violence as an integral part of masculinity in his speech: “Take control! Control'. In the distinction made by Stanko between two forms of violence, we can understand that violence appears as an aspect of expected and regular masculinity. Through expressive violence, it is a blind and unforeseen rage; and through instrumental violence, it is planned, premeditated and considered violence. In the film, masculinity is constructed in such a way that every form of violence, as presented by Stanko, is represented through each of the main characters. Bond as instrumental violence and Silva as expressive violence. It is indisputable and irrefutable that masculinity is constructed to present men as inherently violent, but it also shows how they are affected by such pressures in their role as dominant members of society. Societal norms and hypermasculinity in cinema. This constructed masculinity, underpinned by violence, is also oriented towards past conflicts and a history of turmoil in the lives of the protagonists. It can be argued that this is a dominant theme in the way directors construct masculinity, whilst maintaining the idea that expectations of men are extremely high within society. In "The Dark Knight" Rises, the trauma of Bruce's parents being murdered, separated, destroying a comically happy family, changes his perspective on theworld, motivating it to fight against all evils. In the scene where Bruce dreams of becoming young again, the memory of his father's words "Why do we fall, Bruce?" So that we can learn to get back up,” manifests his difficult transition to adulthood. According to Solomon-Godeau, “almost all anthropologists and ethnographers agree on the fact that masculinity appears transculturally as something to be acquired, to be realized, to be initiated in a process often involving panicked, even mutilating, rituals.” Bruce's downfall and the death of his parents were recalled several times in the film can be seen as this accomplishment or initiation into masculinity. He is no longer cared for, protected, masked by his parents or other older guardians, but a business owner, aspiring to a heroic, masculine role in his story. Quite similarly, in “Skyfall,” Bond also returns to past trauma in order to maintain his role as a dominant man determined to seek greater value as a hero; and in this experience, it explains that his journey towards manhood is difficult, thus somewhat rewarding his character with masculine traits. M asks: “How old were you when they died?” ", trying to comfort Bond upon his return to his childhood home. His cold response and dismissal of such remarks all but confirms his fully masculine behavior inflicted on him by the death of his parents. Each director constructs masculinity in a way that describes his childhood: not a childhood of happiness and security, but a story of trauma and pain. This leads to an adult life with conventional aspects. In cinema and in life in general, men seem motivated by stereotypical visions. It can be argued that in these films, masculinity is constructed through sexually objectified men, thus reiterating heteronormative masculinity. This notion appeals to the consumerism of the public, it is gaining popularity and profit. In many scenes in “Skyfall,” Mendes strives to appeal to a large audience by presenting Bond topless. In her nudity, wet or in dark lighting, a gender identity is exploited; it is a tool that men manipulate. Bond is also depicted as a womanizer to achieve consumerism. In another scene, he and Séverine, his partner at the time, engage in sexual activity in the shower. Bond is in control and dominant, while the female is in a vulnerable and obedient state; however, they both remain equally objectified in order to captivate the audience. Through the theory of scopophilia, there is sexual pleasure from watching the actor and actress behave in a sexual manner; and from the heterosexual man's perspective, it constructs masculinity as sexually dominant and controlling. Additionally, in their book, O'Brien and Szeman state that the male spectator within an audience seeks "a sense of self and power in the world." In "The Dark Knight" Rises, Nolan gives a sense of Bruce Wayne's position in the world. He is also depicted as a womanizer in that he manages to engage in sexual activity with the female character Miranda. After this, her plea to Wayne "We could leave tonight, get on my plane and go wherever we want" demonstrates that the female is emotional and dependent on the male's control and decision over her. His response, “One day maybe,” confirms his control over her and his lack of connection or attachment to her. It is clear that films construct masculinity by appealing to their consumers through societal norms. The idea of ​​hypermasculinity is omnipresent in each of them, promoting objectificationsexuality of men through stereotypical views. Gender performativity and the construction of masculine identity Another way of constructing masculinity is gender performativity. The hypermasculine ideal that Bond embodies is only constructed through a series of performative acts. Bond carries out a number of masculinity tests at MI6's temporary headquarters in order to "prove" that he is fit for service. Another clear example of this idea of ​​gender performativity is the scene where Bond and Silva take turns shooting at a glass of whiskey placed atop Séverine's head. Bond's proclamation that "it's a waste of good scotch" is an example of performativity because he is aware of his demand and expectation to play the role of the hypermasculine hero here. She reiterates the dehumanizing nature of a patriarchal discourse which reduces women to the status of objects. In order to preserve his character's masculine appearance, Mendes suppresses and eradicates the emotional connection or response to this ordeal. Madison Hosack argues that "Skyfall" has "solidified patriarchal gender roles." This emphasizes the position and construction of men as agents of masculinity in “Skyfall” and “The Dark Knight” Rises. Nolan portrays Bruce Wayne as theatrical and excessive in his lone vigilante crusades. His character is determined to surpass the ambitious displays of violence, destruction, and masculinity that Bane shows with his own equally consequential acts of so-called heroic justice. Through gender performativity, characters in “Skyfall” often display stoicism during scenes of an intense nature, such as fight scenes. This is seen most clearly in Bond's distinct lack of concern or reaction when Silva shot Severine, or in the scene where Bond adjusts his suit after jumping from a train. This shows the stereotype of the gentleman: he ensures that his appearance of being intelligent is maintained without further reaction to what he has just done. However, in "The Dark Knight" Rises, Batman protagonist Bruce Wayne shows signs of emotion and overwhelming feelings affecting his performance. This leads to the crisis of masculinity as both films abjectly demonstrate. In most action films, in most Bond films, the male protagonists are seen as indestructible and implacable; and these portrayals in media and society have created expectations about what it means to be a man. In “Skyfall,” Bond has many inadequacies revealed to him. At the beginning of the film, he fails to accomplish his mission and is shot. He also failed the physical fitness test that was required of him to return to active service. This most vulnerable and flawed representation of masculinity explores the idea that traditional masculinity is in crisis. The character of Eve Moneypenny can be seen as demonstrating this crisis of masculinity through her position as a field agent: she can be seen as Bond's equal. Also, the fact that she was the one who shot him at the beginning of the film reinforces this notion of subverted masculinity. Christopher Nolan, in “The Dark Knight” Rises, presents Bruce Wayne as fractured and weak after his encounter with Bane. Traditionally, as a hero of strength and power, Batman is defeated quite easily by the film's villain, while his separation from the events and destruction of Gotham presents him as the embodiment of damaged masculinity. Selina Kyle's independence and dual identity as Catwoman suggests a reflection of Batman, showing that women are capable of playing such roles in society. According to Kimmel, "men today, more.