This article considers the representation of gendered disability in The Men (Fred Zinnemann, 1950), Marlon Brando’s first film. A groundbreaking yet deeply ambiguous text, the film explores notions of normative and non-normative physicality through the lens of masculinity, sexuality, and their implications for human status. In the light of key works by disability scholars and of Judith Butler’s discussion of the cultural construction of the body, this article examines the multiple and subversive meanings made available by the film, and the extent to which The Men allows for a different bodily identity based on dissent.
Disability, Gender, and Discourse in The Men
Jennifer Anne Boittin, Christina Firpo and Emily Musil Church
This article looks at French Indochina, metropolitan France, and French West Africa from 1914 through 1946 to illustrate specific ways in which French colonial authority operated across the French empire. We look at how colonized people challenged the complex formal and informal hierarchies of race, class, and gender that French administrators and colonizers sought to impose upon them. We argue that both the French imperial prerogatives and colonized peoples' responses to them are revealed through directly comparing and contrasting various locales across the empire. Our case studies explore interracial families and single white women seeking compensation from the French in Indochina, black men de ning their masculinity, and Africans debating women's suffrage rights.
The present article discusses the importance of age in the construction of masculinities during the Hellenistic period. Focusing on the comedies of Menander, it aims to show how not only chronological or physical age, but also mental age, that is, maturity, modifies different concepts of masculinity, especially “ideal masculinity.” Other important factors in the construction of gender such as social and economic standing, class and education are also discussed. The relationship between fathers and sons is of particular interest and importance as it exemplifies how the masculinities represented in Menander were dynamic, not only developing but also changing between groups of different age and social importance.
Postwar American Melodrama and the Crisis of Queer Juvenility
This essay analyzes the cinematic genre convention of the “sensation scene” as a vehicle for the representation of queer crises in American juvenility during the postwar era. Through popular cinema, post-WWII America organized and communicated concerns about the production of “fit” masculine and heterosexual juveniles who would be capable of carrying out the postwar expansion of American democratic and capitalist ideologies. The sensation scene was deployed by popular films to mark queer and racialized masculinities in an aesthetic system that mirrored institutional efforts to prevent “unfit” juveniles from accessing the benefits of full social and political participation. Today, the genre device continues to structure popular film representations of and common thinking about the relative value of young, male American lives.
Aspiration, Belonging, and Responsible Masculinities in the Lives of White, Working-Class Boys in a Youth Inclusion Program at the YMCA
Working with a cohort of boys aged 14–18 and classed as not in employment, education, or training (NEET) at the Young Men’s Christian Association (YMCA) in the UK city of Brighton and Hove, this article follows their progress as they engage with instructors and other pupils at the YMCA, using qualitative modes of inquiry to explore their reactions, feelings, and attitudes. As I demonstrate, their aspirations and sense of emergent manhood is often predicated on new relationships generated in the YMCA spaces rooted in a culture of caring and responsible masculinity founded on implicit Christian values. Through interviews with young men and the people around them, I probe some of the tensions in this process, showing how persistent attachments to places and spaces beyond the YMCA can create feelings of ambivalence and, in some cases, a sense of alienation and marginality even as they begin to feel that they belong.
Paternalism and Masculinity on the Republican Right in Interwar France, 1919-1939
"Des Hommes et des citoyens: Paternalism and Masculinity on the Republican Right in Interwar France, 1919-1939," explores the masculine ideals of France's three main right-of-centre republican parties during the interwar period: the Fédération républicaine, the Parti démocrate populaire, and the Alliance démocratique. These parties desired men to be determined, principled, inflexible, respectable, hard-working, selfless, paternalist, republican and nationalist, and to father as many legitimate children as possible. Moreover, a discourse of paternalism pervaded the republican right's rhetoric and ideology, thereby providing the basis for many of its policies, as well as an obstacle to those, including feminists, who wished to challenge the status quo. This paternalism was consonant with the parties' class position and commingled with a masculine conception of citizenship that underlay the parties' principles and obstructed proponents of women's suffrage.
James Franco's Psychosexual Artistic Explorations of Boyhood
In 2010, James Franco debuted his exhibition “The Dangerous Book Four Boys” at the Clocktower Gallery. He appropriated his title from the Igguldens’ guidebook The Dangerous Book for Boys (2006). This paper explores Franco’s representation of boyhood, focusing on his anxiety over traditional gender roles. Dangerous depicts boyhood as a homosocial and homoerotic realm in which women are both envied and elided. Franco’s vision of boyhood is premised upon a longing for both domestic structures and practices. The exhibit is organized around several small rough-hewn wooden structures resembling small houses. Inside the constructions, the films Destroy House and Castle depict young men destroying identical domiciles with axes, shotguns and blowtorches. Ironically, these violent depictions are safely contained within intact replicas of the very structures being destroyed in the films. These constructions are emblematic of Franco’s fraught relationship to masculinity, stereotypical gender roles and domesticity.
history; it offered a road map for the nation’s future. In the final decades of the nineteenth century, white male elites imagined that future through the reconfiguration of American masculinity. Gail Bederman describes the final decades of the century as
Machismo, Chivalry, and the Aggressive Pastimes of the Medieval Male Youth
demarcate gender boundaries so acutely. While “hunting is traditionally considered in academic discourse in terms of the formation and reinforcement of various masculinities,” Richard Almond and Amanda Richardson have both stressed the neglected role of
Gust A. Yep, Sage E. Russo and Ryan M. Lescure
Offering a captivating exploration of seven-year-old Ludovic Fabre’s struggle against cultural expectations of normative boyhood masculinity, Alain Berliner’s blockbuster Ma Vie en Rose exposes the ways in which current sex and gender systems operate in cinematic representations of nonconforming gender identities. Using transing as our theoretical framework to investigate how gender is assembled and reassembled in and across other social categories such as age, we engage in a close reading of the film with a focus on Ludovic’s gender performance. Our analysis reveals three distinct but interrelated discourses—construction, correction, and narration—as the protagonist and Ludovic’s family and larger social circle attempt to work with, through, and against transgression of normative boyhood masculinity. We conclude by exploring the implications of transing boyhood gender performances.