Masc On, Mask Off: An Intersectional Analysis of Hegemonic Masculinity in Fight Club, Boys Don't Cry, and Moonlight
Author
Tybo, Jonas Winther
Term
4. term
Education
Publication year
2023
Submitted on
2023-01-05
Pages
56
Abstract
This master’s thesis analyzes three films—Fight Club (1999), Boys Don’t Cry (1999), and Moonlight (2016)—to examine how identity shapes masculinity. Using Raewyn Connell’s concept of hegemonic masculinity (the socially dominant model of manhood), it applies an intersectional approach that considers how social class, race, gender, sexuality, and ability interact to position each male protagonist within the films’ hierarchies of masculinities. The analysis identifies distinct emphases in each film. In Fight Club, social class and ability are central, with race present in a more opaque way; the film depicts an overthrow of the previously dominant form of masculinity. In Boys Don’t Cry, social class is combined with gender and, to a lesser extent, sexuality; here, hegemonic masculinity effectively subordinates and ultimately erases the resisting masculinity. In Moonlight, social class remains decisive, but sexuality and race are more prominent; the film presents a complete rejection of hegemonic masculinity. Across all three films, hegemonic masculinities devalue femininity and masculinities associated with it. Non-heteronormative sexualities and gender expressions face the harshest penalties. Another shared pattern is the devaluation of different facets of Black masculinity: Fight Club co-opts Black masculinity to center white masculinity, Boys Don’t Cry erases a Black male character, and Moonlight devalues Black effeminate masculinity.
Dette speciale analyserer tre film—Fight Club (1999), Boys Don’t Cry (1999) og Moonlight (2016)—for at undersøge, hvordan identitet former maskulinitet. Med udgangspunkt i Raewyn Connells begreb om hegemonisk maskulinitet (den socialt dominerende model for mandighed) anvendes en intersektionel tilgang, der ser på, hvordan sociale markører som social klasse, race, køn, seksualitet og evne spiller sammen og placerer hver mandlig hovedperson i filmens hierarki af maskuliniteter. Analysen finder forskellige tyngdepunkter i hver film. I Fight Club er social klasse og evne centrale, mens race er til stede på en mere utydelig måde; filmen skildrer et væltet tidligere dominerende maskulinitetsideal. I Boys Don’t Cry kombineres social klasse med køn og i mindre grad seksualitet; her underordner den hegemoniske maskulinitet den modstående maskulinitet og udsletter den til sidst. I Moonlight er social klasse stadig afgørende, men seksualitet og race er mere fremtrædende; filmen præsenterer et fuldstændigt opgør med hegemonisk maskulinitet. På tværs af alle tre film nedvurderer hegemoniske maskuliniteter femininitet og maskuliniteter, der forbindes med den. Ikke-heteronormative seksualiteter og kønsudtryk rammes hårdest. Et andet fællestræk er nedvurderingen af forskellige facetter af sort maskulinitet: Fight Club indoptager sort maskulinitet for at centrere hvid maskulinitet, Boys Don’t Cry udsletter en sort mandlig karakter, og Moonlight nedvurderer sort femininiseret maskulinitet.
[This apstract has been rewritten with the help of AI based on the project's original abstract]
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