Hegemonic masculinity, media, and advertising

In what follows, we offer a sampling of the advertisements discussed in the workshop we held on February 4, 2015 and some of the commentary that accompanied them. Unfortunately, what we cannot provide is a sampling of the lively and entertaining discussion that made the two hours we allotted for the session feel far, far too short. For a glimpse of that, you will have to join us the next time!

- Nathan Kalman-Lamb

Poster for The Men's Team's workshop on masculinity and advertising.

Advertising is simply everywhere; it has become part of our daily audio/visuals and our daily mindset. Nike’s slogan, “Just do it” represents the power and the global influence of advertising. It seems like we are exposed to 100 times the amount of advertising we were even fifteen years ago due to the extent to which media is now broadcasted and received through personal devices. One thing that hasn’t changed, though, is that men and women continue to be represented in radically different ways.

Representation for men and women is considerably different. Men are usually represented as serious, muscle-laden, and dominating. Women are typically portrayed as confused, uncertain, and, perhaps most ubiquitously (unless the portrayal is negative), thin.

What happens when we do not live up to the perceived standards and socially-accepted norms? We simply buy products and services, whether we really need them or not, that promise us satisfaction, happiness, status, even an improved sex life. If we do not buy these products, most of us fear is that we will feel a lack of worth, depression, lower self-esteem, and insecurity, regardless of if we are men or women.

So taken are we with living up to a certain standard or standards presented in media and advertising that we will go to extremes to challenge any obstacle to our personal gender identity and/or gender expression. Some feel so strongly about this that they come to see gender-based violence in one or more of its myriad forms as acceptable. Some feel that being considered beautiful, no matter what the cost, including cosmetic surgery, which has tripled world-wide over the past ten years, becomes justified. They are not.

- Tony Barone

The above ad depicts a hockey coach who is overtly emotional while trying to motivate his team. The interesting part of this commercial is the reaction he elicits from the players, who seem both confused and irritated. The ad condescendingly states "there's no place for sensitivity in hockey," underlining the absurdity of being openly emotional when in a typical masculine atmosphere. The correlation of sports and masculinity is a dominant cultural code in our society, with young boys being mentored in an atmosphere that encourages hostility, aggression,  and a lack of emotion. This ad represents the conditioned stereotype evident in organized sports; the worship of strength and the celebration that comes with the denial of emotion. 

- E. A.

At first glance the commercial comes across as funny and entertaining, but on closer inspection what we are really seeing is media playing with and mixing up our understanding/perception of gender and gender roles.  The commercial works because its ability to disorient and provoke is memorable. This ad challenges our default perceptions of male and female roles. A computer nerd is not supposed to embody masculinity; he is not supposed to be entitled to kiss the swimsuit model.  Not in our world with very clearly defined gender roles and gender identity. The absurdity of the image of them kissing -- according to the logic of hegemonic gender norms -- reinforces the image that we are supposed to (but don't) see: Bar Rafaeli kissing a muscular Hollywood actor or model. In this case, then, masculinity is that which is alluded to but never explicitly shown.

- Tony Barone

There are a number of things implied in these two commercials. Men (and only men) should care about how their beer tastes. Indeed, this is presented as a sort of prerequisite for manhood. However, it is not okay for a man to dress like a woman, for clothing functions as a performance of gender. Thus, manhood is something that must be displayed; it is by what he wears, what he buys - that is, by material things - that a man shows that he is a man. The disdain in both ads for performances of femininity reveals something else as well: 'femininity' is somehow inferior to 'masculinity.' The insults about his 'purse' are not just about the bag itself - they are about calling his manhood into question, indeed, about patronizing him as a lesser form of person: a woman. 

- Christopher Ford

Old Spice has a tradition of utilizing its traditional image of  'manliness' in its ad campaigns and in this commercial they've hired Terry Crews. Crews represents the alpha male, both an actor and past NFL linebacker, he embodies the physical characteristics of a strong and masculine man. What makes this commercial exceptional lies in its satire; both Crews and the directors understand the role of masculinity, and this commercial lampoons the idea with an over-the-top, exaggerated mascot who is so strong and powerful he transcends what is physically possible. The notion of his persona being so desired is also poked fun at with an absurd twist that puts him as the role of every character in the commercial. At the end, he even marries himself, causing him substantial frustration where he then destroys himself with the only thing stronger than him; the product advertised. When the spot concludes, Crews, playing his wife, simply states "men" in a sarcastic and jocular manner, emphasizing the complete absurdity of both the masculinity, and the entire commercial. 

It is also important to acknowledge the way in which race intersects with gender in this ad. The choice of an African-American actor is deliberate, for blackness is historically associated with hypermasculinity. This depiction of blackness carries with it, then, a variety of loaded connotations around physicality, violence, and sexuality. Each of these characteristics is a signifier of masculinity, and all are ostensibly epitomized most completely by black men. (There is nothing inherent or natural about the association of blackness with masculinity. It is the product of a history of racial violence and exploitation by white people.)

- E. A.

Why we need to stop playing “the game”

By E. A.

Why are some men the aggressor when it comes to relationships? 

If we focus on the traditional male/female paradigm (this analysis is not meant to normalize or privilege heterosexual relations at the expense of homosexual relations, but merely to examine some of the dynamics in the former) we will see a common conception: the man must actively seek the woman. When it comes to dating, the illusion typically exists that there is a “game” that must be played. This illusion is one that both sexes play a part in, and no matter how “progressive” or “alternative” the individuals may be, both parties will almost always play along – even in the most minute ways – with this socially-entrenched model of behaviour. 

This can be seen in the example of a standard night at a popular nightclub. On such a night, men will approach the event intending to meet women and earn their favor. The game is what must be “played” to distinguish the characteristics of one individual from another; it is the stage set for competing individuals to successfully “win” the object of their desire, a prize, so to speak. 

It is in this realm that we see the man as active; he must seduce the women, pursue her, attempt to win her over, and further, do so in a way that renders the attempts of other men inferior. Now, this is done by engaging her senses; a man must perform a multitude of personalities to stand out from the competition. He must possess (or, as is most often the case, display that he possesses without any genuine substance) desirable traits that the woman looks for. He must be confident and charming, humourous and witty, physically and aesthetically pleasing, etc. Thus, in this realm, the man must play according to a predefined role. Not to say that there isn’t any room for creativity and innovation, but there is certainly a structure that must be adhered to if he aims for objective success. 

Women too play into this construct. When a woman goes for a “night out” she typically prepares herself by dressing in a way that is appealing (whether this be defined by terms like “sexy” or “flirty” is case specific, however, it is almost always in a way that renders preference to her male counterpart). This is done to improve her chances of being seen, to look more attractive than other women. This construct has permeated deep into popular culture, with women going to painful lengths just to achieve a specific look. The woman then presents herself through both her clothing and body language. Often, women will dance suggestively, embrace their friends provocatively, and exhibit coquettish body language. Although these are all active and completely conscious actions, the role of the woman within the structure of the game is still inherently passive. This is all done in an attempt to get a man to engage with her. Although it is acceptable for her to start the conversation, she must possess some degree of desirability, in the hopes of catching the attention of the man and stopping him from pursuing other women.    

Now, as you read this you may think that this model is based on tired stereotypes and a simplistic outlook on the dating scene. This is partly true. Nightclubs and “the game” represent a microcosm of human activity, but there is no doubt that it is a very real and very popular activity among young people. It is one that has become deeply entrenched in popular culture. We can look no further than popular music, most of which variously references “the club,” the activity of pursing and interacting with the opposite sex, and sexual activities. Further, television and other popular media regularly play into the conception of “the game;” advertisements that present male hygienic products as “rugged, “manly” or “smooth” (look no further than an old spice ad for deodorant) make shameless allusions to masculine characteristics that the stereotypical woman is supposed to like. Sitcoms often lampoon the dating scene and the popularity of Friends and How I Met You’re Mother, are a testament to the insidious acceptance of these codes. Both contain stock characters who embody the attributes of the dating scene; the former has Phoebe, absent-minded girl who lives for a good time, and the latter, Barney, a serial womanizer with little respect for women who inspires hope for legions of men. The point being made is that there is a real and well-understood social construct that dictates the relationships between men and women. It is widely accepted, albeit subconsciously, by the masses due to its insidious nature and ability to homogenize itself with almost every facet of modern culture. This is true so much so that non-hegemonic groups still pander to its structure; the LGBT community has the “butch” and “femme” and the “top” and “bottom”.  Some progressive cultures, such as polyamory, see sexuality as open, yet make no attempt to deconstruct the gender roles (although they do seem more open to varying viewpoints). Even feminists themselves have open debates regarding the role of masculinity in their own sexuality, with some fully embracing it and seeing it’s exploitation as a form of empowerment, and others fully rejecting it (yet this often plays into a masculine role, the “butch”).   

So let us return to the original question: why are some men the aggressors when it comes to relationships? Those who actively enjoy and embrace the structure of “the game” are quite susceptible to overt enthusiasm. It’s not a big leap to jump from confidence to power, and this can become quite domineering. As a man, I’ve heard numerous references to women as “kills,” “wins”, “scores,” and even “prey,” reducing them to the very object that “the game” holds them as. This creates contempt for women that some men find “easy,” as they do not correctly fulfill to their given role, or do so poorly, or haphazardly. It is not uncommon for men to diminish the personality of a promiscuous woman. Perhaps this can in part explain the actions of violence towards sex workers (something far more common than in domestic relationships, although that violence is a real issue in its own respect) and explains why there is a very real and socially-accepted culture of domination when it comes to the seduction of women. The Pick Up Artist, or PUA, culture is an extremely concerning community that seems to feed off this dynamic and they have, rightly, come under the criticism of feminists and intellectuals. Although not all men see women as inferior, there is a very real consciousness that sees them as playing a passive role, a role that is easily exploited and dominated by those who seek power through violence. 

But the issue of gender-based violence is obviously not that simplistic. Psychoanalytic and social scientific research shows us that the psyche of humans is extremely complex. Among the multitude of reasons that may drive a man to physically assault a woman, there are men who do so because they themselves have been dominated. Whether the culprits were other men, authority, or institutions, these individuals feel victimized and hurt. They may then seek violent power as a form of unconscious retribution. Further; they may see the passive role of women as something that can be easily subjugated.  These men, dealing with a variety of issues, may find the construction of dating and socializing as something they can easily comprehend. From here they may exploit this knowledge in an attempt to realize their own aggression. The man earns the trust of a woman but only to lower her defenses, thus attacking a vulnerable and easy target. 

These examples illustrate both the complex causes of gender-based violence and allow us to elucidate the effects it has on female survivors. The latter example emphasizes what a woman means when she says she feels victimized. For simply playing into an assigned role, she is degraded and violated. 

An awareness of these gender roles helps to understand not only the causes but also some of the responses to gender-based violence. Women who “dress like sluts” are not “asking for it,” they may simply be doing it to attract the attention of a particular person. Not all men are perverted, domineering predators, some may just be shy or introverted, or simply have been told to act in a certain way. The barriers of miscommunication and social constructs are what lead to a majority of the issues, and there must be much more open dialogue when it comes to addressing the void between genders (and their assigned social roles) in an attempt to secure empathy for one another. With consent becoming something of a buzz word in the media, let’s not forget what it really means: to give permission, to have the other see you as an equal, respect your wishes, and to share something with you. 

Consent, in short, creates the conditions for play between sexual partners; “the game is simply an exercise in violence and power. It’s time to start reimagining the games we play.

Breaking Bad, Walter White, and "male power fantasy"

By Nathan Kalman-Lamb

In 2013, AMC's Breaking Bad concluded its fifth and final season to impressive ratings. The show chronicled the transformation of high school chemistry teacher Walter White into a minor drug kingpin after he was diagnosed with cancer (ostensibly so that he could ensure that his family was provided for after his passing). The question I want to ask is, what can we learn from the popularity of Breaking Bad? And, further, what does it tell us about contemporary North American culture? These questions are perhaps more difficult to answer than it might first appear, for they confront us with the challenge of extricating the intentions of the show's creator from the way in which it came to be perceived by audiences. In other words, it is not uncommon for a work of art to be understood by viewers in a very different way than its author intended. A famous example of this phenomenon was Dave Chappelle's decision to take a break from his show after a sketch intended to satirize racial stereotypes was perceived to be funny by audience members precisely because it reinforced the very essentialisms it was intending to disrupt.

In the context of Breaking Bad, the issue I want to explore is masculinity. In many ways, the show offers an extended meditation on the theme of what it means to be a man. Walter White charts an arc that takes him from putative loser (a high school teacher who struggles to achieve the respect of his current teenage students and former academic colleagues) to successful and feared producer and trafficker of meth. Along the way, Walt in effect loses the love and admiration of his family and gains the esteem of members of the criminal underworld. Is Walt's journey a triumphant ascent to manhood facilitated by impending mortality, or is it a harrowing examination of the costs of hegemonic masculinity? Laura Hudson writes:

Many have argued that Breaking Bad is an indictment of Walt, a critique of the male power fantasy rather than a celebration. How we respond to the ending and whether we’re still rooting for Walt in those final moments is indeed a measure of our own complicity – or Matt Zoller Seitz puts it at Vulture, “it’s an ending that leaves us alone with a mirror.”

While we may want to cheer for the character we’ve been identifying with for so long, what are we really cheering? What standards of success are we tacitly endorsing when we feel just a little bit pleased that Walt got to live — and die — “like a man”? The masculinity described in Breaking Bad is something deeply pernicious, a cultural dogma that damages, warps and limits men, isolating them from their emotions and from others. It promotes violence, retribution, and a hierarchy built upon the backs victims both male and female. Sometimes, it kills them. As Silpa Kovvari at The Atlantic observed, the masculinity of Breaking Bad represents “standards to die by, not to live by.”

As Hudson indicates, ultimately, the issue is not whether creator Vince Gilligan understands Walter White to be a hero or anti-hero. Rather, what matters (as Dave Chappelle understood) is how devoted fans watch the show. Why is it so popular and what are people getting out of it?

The frightening reality seems to be that for many passionate followers of Breaking Bad, Walter White does indeed represent a "male power fantasy." This fact is laid disturbingly bare by actor Anna Gunn who played Walt's wife Skyler on the show. Gunn writes,

 Because Walter is the show’s protagonist, there is a natural tendency to empathize with and root for him, despite his moral failings. (That viewers can identify with this antihero is also a testament to how deftly his character is written and acted.) As the one character who consistently opposes Walter and calls him on his lies, Skyler is, in a sense, his antagonist. So from the beginning, I was aware that she might not be the show’s most popular character. 

But I was unprepared for the vitriolic response she inspired. Thousands of people have “liked” the Facebook page “I Hate Skyler White.” Tens of thousands have “liked” a similar Facebook page with a name that cannot be printed here. When people started telling me about the “hate boards” for Skyler on the Web site for AMC, the network that broadcasts the show, I knew it was probably best not to look, but I wanted to understand what was happening. 

A typical online post complained that Skyler was a “shrieking, hypocritical harpy” and didn’t “deserve the great life she has.” 

“I have never hated a TV-show character as much as I hate her,” one poster wrote. The consensus among the haters was clear: Skyler was a ball-and-chain, a drag, a shrew, an “annoying bitch wife.”... 

At some point on the message boards, the character of Skyler seemed to drop out of the conversation, and people transferred their negative feelings directly to me. The already harsh online comments became outright personal attacks. One such post read: “Could somebody tell me where I can find Anna Gunn so I can kill her?” Besides being frightened (and taking steps to ensure my safety), I was also astonished: how had disliking a character spiraled into homicidal rage at the actress playing her? 

But I finally realized that most people’s hatred of Skyler had little to do with me and a lot to do with their own perception of women and wives. Because Skyler didn’t conform to a comfortable ideal of the archetypical female, she had become a kind of Rorschach test for society, a measure of our attitudes toward gender.        

Gunn really hits the nail on the head here. Skyler White drew the ire of the show's fans because she posed a challenge to Walt's patriarchal ascent. The responses to Walt and Skyler are two sides of the same coin. All too many male viewers identify with Walt and are thus deeply resentful of the ways in which Skyler is perceived to thwart the realization of his (terrifyingly sociopathic) ambitions. Whether or not Vince Gilligan endorses the character he created as a model of manhood, there is little question that that is how he has come to be taken up by legions of the shows fans. They admire his stoicism, his ruthlessness, his vengefulness, and, perhaps most of all, his success. Varda Burstyn has coined the term "coercive entitlement" to describe a dominant thread in contemporary masculinity. What she means is that men are taught that they deserve those things they are able to take through violence. This is a common theme in contemporary sport and it is the lesson of Breaking Bad for many if not most of its fans. Whether Gilligan himself believes in the justice of coercive entitlement, he has created a character who embodies it. Unfortunately, unlike Dave Chappelle, Gilligan does not appear to have acquired the requisite social conscience required to stand up to the monster he created. Instead, as Hudson tells, he has this to say of his show's ending:

“As bad a guy as he has been, and as dark a series of misdeeds as he has committed, it felt right and satisfying and proper for us that he went out on his own terms. He went out like a man.”

If one of the most appealing definitions of manhood to be found in popular culture today is death via a hail of gunfire in a war over drug turf, then we have a problem.