Table of contentsDeconstructing the ideal: masculinity in “Fight Club” and “the wrestler”Celebrations and critiques of masculinity in cinema and televisionStereotyped masculinity and toxic in the media ConclusionReference listDo contemporary media representations offer celebrations or critiques of masculinity? Contemporary media representations of masculinity in cinema and television constitute the main theme of this essay to be analyzed. The traditional ideal of masculinity is criticized because there is "not only one version of masculinity, but many possible variations of male behavior: there are many masculinities." Thus, through contemporary media representations of many masculinities in film and television, masculinity is celebrated because there is not a strict set of characteristics that define masculinity. Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”? Get an original essay All media representations are constructed. Society and the world we live in are deeply influenced by the “media world”. The values ​​and desired traits of men and masculinity are closely linked to the values ​​of patriarchal society. “Western society encourages competitiveness and individuality. It also encourages aggression and violence as a means of solving problems. “There is a dominant ideal of masculinity,” this ideal was embodied in the 1980s, with A-list Hollywood stars such as Arnold Schwarzenegger and Clint Eastwood representing masculinity through their “strength, tenacity, attractiveness, heterosexuality and their whiteness. This idealistic portrayal of masculinity has become a challenge for many men, as it is extremely difficult to achieve and maintain. The 1970s sparked a masculinity revolution, with people in Western culture describing masculinity in crisis, inferring that traditional ideas of masculinity were not "universally accepted" and that "people began to question what it means to be a man. Contemporary media representations in film and television offer both celebrations and critiques of masculinity. The traditional ideal of masculinity is criticized because there is "not only one version of masculinity, but many possible variations of male behavior: there are many masculinities." Thus, through contemporary media representations of many masculinities in film and television, masculinity is both criticized and celebrated because there is not a strict set of characteristics that define masculinity. This concept of masculinity is supported by the media texts of David Fincher's "Fight Club" and Darren Aronofsky's "The Wrestler." Deconstructing the Ideal: Masculinity in “Fight Club” and “The Wrestler” Contemporary media representations in film and television offer both celebrations. and critiques of masculinity. All representations are just constructions based on reality, they are not true reflections, they are constructed, this idea is very important when considering representations of masculinity in film and television. Depictions of "mass violence" in Hollywood films became very popular in the 1980s. The filmic narratives were carefully constructed to give the actors an instant rise to fame, using the "stereotype of opposing individual men tooverwhelming hostile forces and deploying an extraordinary degree of violence and destruction to defeat them.” These “hyper-masculine movie celebrity warriors fearlessly burst into alien territory and demolished everything in sight with grenades and Gatling guns.” This was evident in films like “Rambo First Blood” and “First Blood: Part II” with Sylvester Stallone, “Commando” with Arnold Schwarzenegger, and “Missing in Action” I and II with Chuck Norris. In contrast, contemporary films emphasize that there is no single masculinity. There are many “masculinities” and many ways to be a man. Films now both celebrate and criticize traditional ideas of masculinity. This is evident in many popular Hollywood films, such as David Fincher's "Fight Club" and Darren Aronofsky's "The Wrestler." “Fight Club,” directed by David Fincher, and “The Wrestler,” directed by Darren Aronofsky both feature interesting depictions of men. and masculinity. The film both celebrates and critiques the ideal of the "macho American male" and the emerging culture after the 1980s. "Aggressive violence", both external and internal, as well as the concept of the "performative male body" are two central elements of the films. "The film presents itself as a critique of contemporary consumerism and the way corporate culture positions men in jobs and lifestyles that threaten their hegemonic masculine roles, forcing them to seek refuge in self-help groups ." The main character feels helpless, meaningless and isolated, he must "resort to the consumer product" and turn to a "modern, versatile domestic solution to fill the void". In a critical scene, the protagonist is captured "looking through an IKEA furniture catalog, looking at a full-page photo of a complete kitchen and dining room set." Fincher communicates the idea through a voiceover: "I would look back and ask myself, what kind of dining room set defines me as a person?" » » The protagonist despises his corporate job and wants to escape his IKEA magazine lifestyle. Although he doesn't have the courage to do it alone, he creates Tyler Durden, "a father figure mentor who will help him come to terms with sex and violence." He is a mythical mentor figure determined to reclaim now non-existent male performative roles. Tyler is the epitome of masculinity; conforming to masculine ideology, he is cool, confident and everything the narrator dreams of being. Tyler helps the protagonist narrator turn his life around and feel like a man again. “Fincher’s film exists to serve as a signpost; a warning sign of the times for men worried about the now redundant and archetypal masculine roles at the turn of the century. Through this idea, Fincher both celebrates multiple masculinities and critiques the ideal of traditional masculinity. Fight Club can be compared to The Wrestler, as there are many similarities in the male characters and depictions of masculinity. Both films celebrate and criticize the idea of ​​masculinity. “In both films, inflicting pain on the body becomes a way to demonstrate endurance by ignoring visual signifiers like blood, cuts and bruises. Hurting yourself is a way of experiencing the certainty of existence known only through pain. Fights and injuries are the only ways men can feel truly “alive”… This new narcissistic/masochistic male is perhaps a symbol of the “crisis of masculinity” widely experienced and reported at the turn of the century in America. The films aredominated by the performative bodies of white American masculinity, desperate to escape from the crisis and failure of the masculine performative strategies they attack.” The stories feature “obliteration and masochistic violence… The violence here is more than ritual kitsch. It becomes a sport – a crucial element that allows men to connect with each other by overcoming fear, pain and fatigue – while reveling in the illusion of a redundant male culture. The idea of ​​the hero is replaced by that of the “spectacle of men suffering heroically”. The fights act as a “physical punishment,” allowing for a sort of rebirth and “re-masculinization” of two men who once did not conform to the traditional idea of ​​masculinity. Through both films, traditional masculinity is criticized and modern masculinity is celebrated, as there are many masculinities and many different ways to be a man. Celebrations and critiques of masculinity in film and television These contemporary media representations offer the perspective that men do not have. conforming to a strict set of guidelines defining what it means to be a man. These contemporary media representations can be juxtaposed and contrasted with media highlighting the traditional ideal of a man. The famous commercial titled “The Insult That Made Mac a Man” is a great example of the traditional ideal of masculinity and how a man should act and look. The ad was published about 20 years ago by Charles Atlas, the famous bodybuilder, and was common in many comic books, read mainly by boys. The ad summarizes human sexual psychology in seven comic panels. The comic depicts a skinny and weak young man known as Mac. The one who is self-conscious and self-conscious about their appearance. Mac is threatened and belittled by others; stronger, more “masculine” men and attractive women. He then develops and implements a plan to get in shape. He returns to the beach when he is strong and muscular and punches the bully. Mac wins the fight and he wins the girl. The comic brutally highlights the traditional idea of ​​masculinity which encompasses “strength, toughness, attractiveness, heterosexuality” and violence. Men are forced to toughen up. They do this by pushing themselves and others. Men demand toughness, and women want it, despite their disapproval of the tough attitude that breeds and inflicts toughness. “Men impose a code of behavior on each other when they work together. Do your job. Pull your weight. Stay awake and pay attention. Don't complain or be touchy. Stand up for your friends. Don't do stupid things and don't report. Don't be a slave to stupid rules. Don’t be, in the immortal words of Arnold Schwarzenegger, a “man-girl.” Don't be addicted. At all. Never period. The harassment that is part of acceptance into a work team is a test: are you tough, fun, competent and reliable? Otherwise, leave. As simple as that. We don't need to feel sorry for you. We don't want to put up with your narcissism and we don't want to do your job. » This pressure of masculinity does not only come from men, but also from women. “Women don’t want boys. They want men. They want someone to contend with; someone to fight with. If they're tough, they want someone tougher. If they're smart, they want someone smarter. They want someone who brings something to the table that they don'tcannot already offer them. Stereotypical and Toxic Masculinity in the Media In the past, there was a dominant and accepted idea of ​​masculinity. The man was then the breadwinner, whose role was to protect and provide for his family. Although "there still exists a dominant ideal of masculinity... [which] in the 1980s... was embodied by stars such as Arnold Schwarzenegger and Clint Eastwood, both of whom represented strength, toughness, attractiveness, 'heterosexuality and whiteness'. It is now recognized and accepted that there is “not just one version of masculinity, but many possible variations of male behavior: there are many masculinities.” Contemporary media representations in film and television highlight and celebrate this concept of multiple "masculinities" by depicting many different characters and types of men. In his textbook "Media and Society", Michael O'Shaughnessy lists many well-known Hollywood male stars who demonstrate "different styles of masculinity". The list includes "Johnny Depp, Seth Rogan, Brad Pitt, Jay Chou, Floyd Mayweather Jr, Chris Hemsworth", with each star "offering something different" in terms of masculinity. This wide range of men offering different visions and representations of masculinity is very positive and constructive for the male population, as there is no longer a strict set of characteristics that define masculinity, there are "many masculinities" that all should be accepted and celebrated. Contemporary media representations in film and television criticize the idea of ​​masculinity through the representation of toxic masculinity through the use and depiction of destructive and overwhelming male characters. Toxic masculinity is a term often associated with the #MeToo movement, it details the harmful impacts of traditional masculinity not only on men, but also on society as a whole. The American Psychological Association (APA) defines traditional masculinity as "marked by stoicism, competitiveness, dominance, and aggression [which] are, on balance, harmful." Toxic masculinity is a “concept aimed at critiquing strict adherence to masculinized gender norms with the aim of subverting those same gender norms.” It can also describe the rejection of “hypermasculine” and “warrior” masculinity, perceived as detrimental to the spiritual life of the family. Toxic masculinity suggests that there are both “harmful and non-harmful forms of masculinity.” Christman states that "masculinity is an abstract rage to protect...the idea of ​​man as protector", this is also seen in the male urge to fight. In his newspaper article, “What does it feel like to be a man?” Christman says, "Every social encounter between men is potentially a fight." This is learned in primary school and never forgotten. O' Shaughnessy supports this explanation by explaining: “Western society encourages competitiveness and individuality. It also encourages aggression and violence as a means of solving problems. This is one of the obvious downsides of toxic masculinity and masculinity itself. This hypermasculinity has many costs and downsides, but it is suggested that the biggest problem with toxic masculinity lies with "gender constructs" rather than men themselves. Some argue that rather than the issue of toxic masculinity, the real problem is the idea of ​​masculinity, perhaps masculinity itself is toxic. Men have difficulty admitting pain and suffering. In traditional masculinity this was considered..