Showing posts with label politics. Show all posts
Showing posts with label politics. Show all posts

Monday, August 1, 2022

Police, 'The Punisher', and Performative Masculinity

 



In Sociology, it is uncontested that gender is a social construction. The value that we place in the various and complex categories of gender are socially, historically, and culturally specific. What is often a point of discussion is the relationship between the social construction of gender and how that gender is performed: what counts, what doesn’t, what behaviors are a reinforcement, and which are utter failures.  Using the theoretical model of Sarah Crowley’s “Gender Feedback Loop” and the notion of performativity, this paper shall extend that conversation by adding the influence of pop culture onto the learning of gender and its execution. Through an analysis of American masculinity, its reverence for violent vigilantes like The Punisher, and its often-tragic outcomes, this study challenges performative masculinity as nothing more than a pro-capitalist violent fantasy, installed as another bureaucratic mechanism of social control.


THEORETICAL FRAMEWORK

As I stated in a previous essay: Crawley, Foley and Shehan (2008)’s Gender Feedback Loop:

“is a mechanism of surveillance, social control, disciplining behaviors, and ideas of the self.  The general messages that girls and women receive is then internalized in themselves through the cultivation of a gender self-identity. Then, the expression of that identity is carried out on their bodies which then become messages for others.

 Messages to Selves to Bodies  

This general process is common regardless of the level of restriction a system imposes. However, in a restrictive gendered system like we have in the US, the messages, selves, and bodies require daily affirmations and confirmations at each stage. Each of the “messages” require conformation that they are being properly given, the “selves” require confirmation that they have been properly received, and the “bodies” are policed to maintain “correct” expression based upon the system its reinforcing.

 This is a panoptical surveillance that sees this body expression as passive; docile gender bodies (Foucault 1990). The Foucauldian “bio power” envelops this loop defining the ways that the body is considered “normal” by the way it expresses gender. The surveillance of womanhood begins at birth and includes every woman’s behavior (Crawley et al 2008: 93). Girls and women are called upon to cut, pluck, pull, wax, fast, and kill themselves into a “perfect” body. To accept the creation of masculine social bonds through their objectification and violation, girls and women promote masculine power for economic, social, and political stability. Women are required through this surveillance to actively practice femininity through what they do, how people respond to them, and how they respond back. They cannot just be “not men”, they are required by the system to “become their own jailers.” (Crawley et al 2008).  Girls get acquainted with this Prison and self-sanctioning at a very young age.”

 This feedback loop process is not just designed to police women’s bodies, but all bodies along the gender expression spectrum. Even though ciswomen are often policed in a more directly aggressive form, cismen too are policed, albeit in a more indirect way.

Throughout the process of social learning, and the lens of our white supremacist capitalist able-bodied heteronormative patriarchy, cismen and women get the messages that the value of men is intrinsic to our society. It is not what [they] do, it is that they do it.  “In short, the characteristics of the powerful, whatever they may be, are thought to be better than the characteristics of the powerless.” (Steinem 2019: 1). Since cismen hold power in our society, the value of cismen is rooted in the biological validation of their personhood, as is, without social, cultural, or historical context. Cismen are just men (which is part of the normalization through invisibility). Yet, because there is a tacit acceptance to the high value of men in our society, both the regulation and expression of masculinity is narrow and harsh.  Whereas cisgender women are allowed greater flexibility in doing behaviors and action that are considered masculine (as long as they still retain their broader sex appeal to cismen), cisgendered men have a narrower range of behaviors, actions, and language to reaffirm and strengthen their masculinity.  This narrow range of behavior is coalesced into a “tough guise” that boys and men have to create (usually through aggression, violence, sexual exploitation and alcohol consumption) in order to hide their human complexity and vulnerability (Katz, 2013).

As with cisgender women in “The Gender Feedback loop”, cismen are heavily policed for their actions, inactions, and behaviors within this veneer of masculinity. A part of this “guise”, is narrowing the ability of cisgender men to be able to express their own complex emotions. Because anger and aggression have been masculinized in our US culture, this becomes the primary emotion by which men express and interact with the world. Almost every masculine cultural and social norm, especially when expressing intimacy around other cismen, has to be filtered through their singular masculine emotion of anger. Therefore, a variety of intimate and joyful expressions men display, also have a violent or aggressive component to it. Cismen are taught to express all of their complex emotions through a singular avenue: Anger. They are taught to express love, through anger, joy, through anger, fear, through anger, jealousy, through anger etc. This reinforces the systemic misogyny of The Rape Culture by normalizing sexual coercion and verbal, emotional, psychological, and physical violence as the “natural state of men”, rather than a toxic and dangerous system that is deadly to everyone involved.

Additionally, it is this masculine emotional truncation which severely inhibits cismen from being their full and complete emotional selves, keeping them from understanding and embracing the full intricacies of human emotions. Because men are socialized away from human emotions not culturally identified as masculine, or only learning to express those emotions through a masculine prism, any behavior is only seen through that lens. This cismale emotional conditioning becomes an issue in the developing of relationships (platonic or romantic) with cisgendered women. A common complication that arises from this is a lot of cisgendered men’s inability to recognize general human compassion. Since men are socialized to see the world through this masculine “tough guise”, any amount of compassion shown to them, especially from cisgendered women, is misinterpreted as romantic, or more likely, sexual interest in them (Walker 2020). Cismen repeatedly and erroneously identify cis female emotional support: praise, attention, and validation as intimacy; while ciswomen simply understand this as kindness deserved of all humans (Walker 2020: 80-81).  It is this, and a series of other misinterpretations/ miscommunications that not only reinforces the rape culture but evidences the inhumanity of performative masculinity.






 Gender Performativity

One of the core Sociological understandings of gender is that Gender is not something that anyone has. Rather, it is something that is actively created, a routine accomplishment through an elaborate gender performance that includes clothing, hair style, language, mannerisms, and the following of cultural and social norms (Butler 1999). Regardless of one’s definition and understanding of gender (binary or spectrum models) we are all socialized to perform a gender identity. The difference is that based upon how narrow or broad the definition of gender being used, determines the amount, type, and intensity of the sanctions against individuals that deviate their performance away from the sex assigned categories they were given at birth.  An understanding of the gender spectrum allows for the existence of a variety of diverse gender performances a lot easier than a binary model, which is often more rigid in its acceptable performances, only legitimating those gender performances that reflect societal sex assigned categories.  

The Surveillance and Accountability sanctions of “The Gender Feedback loop” are the societal pressures that maintain a certain limited (usually binary) understanding of gender which not only reproduces the exclusionary, basic, and incorrect understanding of gender with each subsequent generation, but it also makes us our own jailers. From the everyday confirmations or sanctioning of gender in interactions, to the institutional systemic control through regulation and surveillance, it is all about gender conformity; the conformation to the definition of gender that a society has accepted. Therefore, if we all accepted a gender spectrum model of understanding gender, your gender would be whatever you put on in the morning without sanction or appeal from anyone else. Unfortunately, most of our institutions have normalized and accepted the binary model, which puts many sanctions in place to reaffirm it.

The reaffirmation of gender happens through the societal acceptance of how we present our bodies out in the world (Crawley et al 2008). Since we, as people, exist within a society governed by cultural and social norms, we are representative of our culture by our simple existence in it. We are walking cultural advertisements, billboards for everything, including gender. Thus, our bodies become a reflection of acceptable cultural ideas, and if those bodies are regulated, cut, incarcerated, or eliminated, then the undesirable message for certain gender expressions becomes clear. This is more potent the further away the body display and expression is from what is considered acceptable. In this context, gender is not just something that we “do” through an elaborate performance, gender is something others do to us. Whether that is keeping us in a closet or forcing us to live in a skin we despise, this gender assault is all about Power.

Masculinity, Power Dynamics, and “Aggrieved Entitlement”     

Crawley et al (2008), Butler (1999) and countless other scholars have shown us that we live in a gendered society. While the necessity of the gendering has solidly been put into question, it is still something we wrestle with constantly. This is predominantly because of the way that we have gendered the idea of Power, and the systemic valorization of maleness and masculinity within all social institutions, especially those that dispense power (Government, Military Economy). We think of and define power in very masculine ways, using adjectives that have only been given a masculine context. This not only normalizes the idea of power as masculine but forces other non-masculine, nonbinary individuals to use the masculine language of power to describe something that has no gender.  

We double down on the gendering of power through the bureaucratic mechanism of social organization. According to Weber (2019), a bureaucratic social order is designed from a Bureaucratic rational authority that seemingly gives people access to power (through a contrived methodology of convoluted alienation) and treats everyone the same (regardless of access to resources and opportunities). Because we culturally value maleness and the performance of masculinity in our culture, the avenues to power and the egalitarian effervescence bureaucracy touts, is predicated on how close an individual can perform and express the desired masculinity. This is the formation of the patriarchy as a social order; one that harms men in uniquely specific ways.

Most people, regardless of gender, begin to learn these gender messages and the “legitimate pathways” to social gender acceptance through the social learning process of socialization. Gender socialization is specifically where individuals learn which gender model their society supports through the cultural and social norms that they receive. Yet, what is often lost when discussing gender socialization is the basic tenet of socialization itself; it is a mechanism of social control. Through this particular lens, we see the hypocrisy of a lot of the gender messages that cismen receive throughout the life-course. Sure, they are valued for their innate assigned “maleness”, but the limited expression of that identity intentionally makes masculinity fragile; able to be revoked or reissued at a moment’s notice for any behavior, in any context, at any time. Men are then forced to have to constantly aspire to validate their maleness through their behaviors, decisions, and language; effectively “chasing” after their masculinity (Walker 2020). The result is that men constantly check themselves, or are checked by others (cismen, and ciswomen) cultivating an internalized insecurity that is weaponized by the bureaucracy, in all its institutions, to maintain the social order.

One specific way this insecurity is weaponized is through the Provider/reward model. Within a bureaucratically organized gender binary system, the acceptable male/masculine gender performances are so acutely defined, that it cultivates the unique consequence of enculturating men to a false consciousness of success.  Men, cismen specifically, assume that if they follow all, or most of the masculine scripts, that they will be rewarded with prosperity and happiness.

According to Kimmel (2013):

Most American men live within a system in which they were promised a lot of rewards if they played by the rules. If they were good, decent, hardworking men, if they saddled up, or even more accurately, got into the harness themselves, they would feel the respect of their wives and children; if they fought in America’s wars, served their country fighting fires and stopping crime they would have the respect of their communities. And, most important, if they were loyal to their colleagues, and workmates, did an honest days work for an honest days pay then they’d also have the respect of other men   (26-27).

One of Kimmel’s (2013) interviewees sums it up like this:

“Look, I thought if I did it right, did everything they asked of me, I’d be ok, you know? Play ball and you’d get rich, you’d get laid[1]…And now you’re telling me, “Sorry, but you aren’t going to get all of those rewards”…I  wouldn’t have done it if I knew I wouldn’t get those goodies. How can [Society] take it away from us? We earned it! We paid our dues! We did everything [Society] told us, and now you’re saying that we aren’t getting the big payoff?...It all seems unfair (p 27)  

What this man is expressing is a sense of “aggrieved entitlement”, a sense of entitlement that can no longer be assumed and that is unlikely to be fulfilled” (Kimmel 2013: xiv). Recently, this has been weaponized in the government to manifest and push forward a far-right political agenda fueled by white cismale fragility.  Yet, this dangling promise of this “bid time return” where cismen are given what they believe they are owed, is a duplicitous scheme to keep cismen in a state of false consciousness, wrapped up in their fragilely masculine, emotionally stunted prison of aggrievedly entitled insecurities. These men are thereby convinced that masculinity can be achieved, (and they can be rewarded) by the performativity of empty rituals and toxic interpersonal behavior that has no societal benefit other than the maintenance of the gendered status quo and imbalance of social power.   


 


The Cult of Masculinity

 

            The sense of aggrieved entitlement that cismen often feel, centers around not just the feeling of not being given what they were promised, but that they were somehow duped; and because the world has told them that they are valued and important since the time they were born (general message of gender socialization), this feels like injustice.  This is not injustice. But it is against their oath in the cult of masculinity: The Guy Code, the collection of attitudes values and traits that together composes what it means to be a man (Kimmel 2008:45).

·         A repudiation of the Feminine (or anything that seems “weak”)

·         Success is measured in wealth, power, and status

·         Strength is measured by stoic inertia. (being the proverbial rock)

·         Exude an aura of daring aggression

Much of this “guy code” validates itself by reaffirming narrow and tired gender stereotypes that are reinforcing a binary understanding of gender and the white supremacist heteronormative ableist capitalist patriarchy.  

            Additionally, men who follow the code, and actively work to shed themselves of typical human emotions by stripping away their emotional complexity, and shredding their senses of compassion and empathy, feel that they have sacrificed. Admittedly, they do not often attribute the feelings of disappointment, sacrifice, and entitlement to their elected loss of emotional complexity and a lack of caring. They decide instead, through a plethora of scapegoats, to blame cis women, Trans and Nonbinary people, Black people, Latinx folks, and anyone else whose success and happiness is thought to be at the expense of White cismen.  Yet, other marginalized groups achieving/exercising their rights, and gaining status and power for themselves does not hurt White cismen. Our masculinity is the problem.

            Regardless of if boys and men follow the code or not, they still must deal with it every single day. Through constant sanctions and surveillance, boys’ masculinity is heavily policed in social interactions, from friends and relatives to strangers of any gender. If they are not going to come into the fold, and under the thumb of “The Guy Code” then they must actively resist it. Unfortunately, this active resistance has created toxic masculinity variants of this code, rather than an acceptance of gender neutral and more fluid behaviors. One such alternate are Incels (Involuntarily celibate) or “Beta male” ideology that often places more value on intelligence and courtesy. Because they believe they are morally and intellectually superior to their “alpha” counterparts, they justify their masculine entitlement to women by convincing themselves they are better people, rather than just a different flavor of misogyny.

          As I wrote in an essay in 2018:

 

[Incel/Beta male] ideology sees women’s bodies as products that they pay for with dinners, vacations, clothing etc. So, from this perspective, if these men provide material goods for women, then they should have access to their bodies.  They believe that if they are nice to women and are “supreme gentlemen”, then they have claim to them. Often “Incel” men frequent predominantly online spaces like 4chan and reddit from which this isolated subculture has developed this new warped sense of toxic masculinity that is both fragile (able to be deconstructed with the slightest slip up) and preyed upon by our veracious capitalism.[5] The result of which is a group of emboldened misogynists whose lack of “sexual conquest” of women they believe is due to feminism.  In their mind, feminism is a movement that hates men; and that any feminist progress is one that hurts men’s sexual access to women.  Thus, when their masculinity is shattered by women being able to have free and equal choice, these men have lashed out violently due to the imagined slights by women that they have perceived.

 

Accept it, reject it, or mutate it, masculinity is a force in all people’s lives: individually, communally, and institutionally.  The voracity with which people fight for, or against it, becomes reminiscent of religious belief. 

            Sociologically, a cult is understood as an informal and transient type of religious organization or movement usually distinguished from other forms of religious organization by its (usual) deviation from the dominant orthodoxies within the communities in which it operates…combining elements of various religions, focusing their allegiance on specific inspirational and charismatic leaders/characters arising in mass during period of social unrest or change (Jary and Jary 1991: 98). 

Masculinity has been built as a cult. It’s codes, rituals, evangelizing of figures/leaders are the blatant power language of bureaucratic social institutions; allowing masculinity to take hold and root in every aspect of our social apparatus, so that all institutions, especially the powerful ones, can entice, recruit, and convince individuals into accepting masculinity as their religion, whether that be by actual membership (cismen) or by association (ciswomen through patriarchal bargaining). Each of these institutions promotes and supports the growth of masculinity in various ways: whether that be the lobbying for the support of irrational gun ownership legislation (because Guns are coded masculine), the elimination of reproductive rights for anyone with a uterus, (men need to secure their legacy through children) restrictions on funding for non-STEM education, to the support of capitalism during a health crisis. All these actions are in place to validate masculinity.

However, the validation of masculinity through these institutions is only maintained at the macro level. The cultish system of masculinity makes sure that individual’s grasp of, and valorizing for achieving masculinity is left tenuous. For the purposes of social control, Masculinity remains elusive and fragile for most men. Hard to catch, difficult to keep. Because the conditions of masculinity are vague and dynamic, men spend most of their time performing masculinity rather than being able to achieve it. Masculinity becomes a motivational tool for cismen to exist within the world, rather than something that is a part of them. Thus, Men drape themselves in the costume of masculinity in order to hide their insecurities, emotional trauma that following such a cult has caused; to the benefit of no one except the institutions that peddle it        


 


CASE STUDY: THE PUNISHER AND THE UVALDE POLICE DEPT.   

 

Basics

On May 24 2022, a gunmen entered Robb Elementary school unimpeded, with an AR style rifle. He shut himself in two adjoining classrooms and was not engaged with for over an hour. In that time, the shooter was able to kill 19 children and 2 teachers. Off duty border patrol agents bypassed the local police, entered the room, and killed the suspect.  In the intervening hour plus, when the gunman was not engaged, the Uvalde police department cordoned off the area, kept civilian parents back from entering the building to rescue their children, and then waited for more personnel, and military style weapons, before the breach was made.  

 

A Failure to act, and a successful performance?   

            The Uvalde police department has been rightfully criticized for their actions on nearly every level. They actively went against the training they’d been given on how to deal with an active shooter thereby costing more lives. One particularly damning piece of evidence is a hallway video where police waited for over 60 minutes, getting hand sanitizer, fist bumping each other, and checking their phones, while gunfire could be heard along with the screams of children.  The police failed, the training failed, the “good guy with a gun” ethos failed, and masculinity failed. Yet, all these things will survive, and the cult of Masculinity will rise, strengthen, and spread. Because, regardless of the outcome, (no matter whose life is lost in the process) the expression of masculinity in a patriarchal system is about control. It is a label assigned to individuals based upon superficial performances, platitudes, and language that they use. Masculinity is a costume; a security blanket used to seek acceptance; daily affirmations that convince men they are worthy and that they matter, only to keep them functioning in the larger bureaucratic machine.




The Soft Power impact of Pop Culture on Masculinity and Police

            Since the late 1970’s, there has been a wave of examples of films depicting Lone Wolf Police or military individuals that break from the system to fight “the bad guys”, whether they be battling space aliens, or terrorists, sans shoes. These films became the cornerstone of US masculinity. These men had no armor, nor back up…just their muscles, and a gun. This began to connect the ideas of vigilante justice with expressions of Masculinity that would later be weaponized by Police and the military through various forms of warrior style training (Stahl 2009).

 This collusion between pop culture and the military, is a part of the Military Entertainment Complex [2].  Playfully referred to as “Militainment”, this is a part of the larger Military Industrial complex in which Hollywood films, television, and video games, are supported by the military (giving them access to military style weapons, gear, and tactics; thereby lowering their production budgets) in exchange for a favorable image of police and the military in the final product, to boost recruitment. This becomes even more salient since the advent of pilotless drone warfare have allowed video games to simulate the verisimilitude of actual war.

  Additionally, since the majority of this ‘militainment’ content is gendered and marketed almost exclusively to boys and men, they also shape the gender socialization of boys to be soldiers, providers, and protectors.  ‘Militainment’ is also masculine entertainment, where all of the masculine gender norms are reinforced with a glossy sheen of popularized militarized violence on top, without any liability…because it is a fantasy.




The Punisher: Fantasy in a Flak jacket  

One of these icons of masculine ‘Militainment’ is Marvel comics’ Frank Castle: The Punisher. A military veteran (Vietnam or Afghanistan depending on the comics run) who witnesses the death of his family in Central Park due to mob violence. Unable to deal with his grief, Castle vows a one-man war on criminality, murdering his victims. In most of the depictions of the Punisher (outside of the Warren Ellis run), Frank Castle is just a man with a certain set of (masculinely violent) skills, and strong brand marketing (His costume is a t-shirt with a huge white skull on it). Castle has no superpowers, just himself, his resiliency, and a gun. The Punisher gets embraced by the police and the military because, much like the militainment films of the 80’s featuring Schwarzenegger and Stallone, Castle doles out vigilante justice; often without consequence, remorse,  or accountability. This is what a lot of men are socialized to desire, power: the ability to do what you want even when others resist. Even though the creator of the Punisher has stated that the character is misinterpreted; and should be seen as a failure of law and order; through Castle’s masculinization and marketing, many cismen embrace him as the opposite; as the True Justice of Masculinity.  







According to Abraham Riesman (2020) Frank Castle seems to be the patron saint of police, Military, and Private security:

    “Marine Corps veteran Christopher Neff…owns thousands of dollars in Punisher comics and merchandise, has a Punisher tattoo, and even designed one of his wedding cakes to look like the character’s distinctive skull logo. Neff goes out of his way to say he keeps his admiration for the character “safely in the realm of fantasy,” but as far as fantasies go, it’s a powerful one. “Frank Castle is the ultimate definition of Occam’s razor for the military,” he says. “Don’t worry about uniforms, inspections, or restrictive rules of engagement. Find the bad guys. Kill the bad guys. Protect the innocent. Any true warrior? That’s the dream.”

Jesse Murrieta… served an array of roles in law enforcement, including working at a Department of Homeland Security prison, transporting federal inmates with the U.S. Marshals, and doing freelance security work, and he’s a Punisher addict. He’s particularly enamored of the skull: He owns rings in its shape, wears a dog tag bearing its image, and spray-painted it onto the body armor he wears for work. Like Neff, Murrieta sees an element of wish fulfillment in the character. “Frank Castle does to bad guys and girls what we sometimes wish we could legally do,” he says. “Castle doesn’t see shades of grey, which, unfortunately, the American justice system is littered with and which tends to slow down and sometimes even hinder victims of crime from getting the justice they deserve.”          

Yet, the attitude and marketing strategy of this ‘Militainment’ only goes so far as its ability to bestow masculinity on others. It allows men to fill in their cracks of insecurity through the selling of this imagery and iconography, safely, and without consequences. It is a part of the performativity of Masculinity. Men learn through this marketing, to mask fear and self-doubt through unearned confidence and bravado, or that they need to drown it with alcohol or other forms of self-medication, or you’ll be able to ignore it with a big enough gun in your hands. The image of the Punisher is just the latest costume masculinity offers to men, then uses it as an irrational standard by which to judge them.

 


Masculinity as Criticism  

            As stated above, masculinity has a greater level of scrutiny. The limited and specific behaviors and norms that make up acceptable masculinity in the bureaucratic structure are consistently policed by individuals, groups, and institutions. Nevertheless, masculinity is still valued, integral to the social control of millions of men in the US, and a strong marketing tool. And rather than take measurable and significant steps to try and change the definition and understanding of masculinity, or at least decreasing its overall importance to the operation of our social systems, our culture decides to “double down” on masculinity and use it as criticism.

            Amongst the legitimate criticism of the Uvalde police department for their inaction, and the rational and sensible calls for stricter gun legislation to an outright ban of assault weapons, there has been a consistent narrative critical of the department’s actions through the lens of masculinity. While a broader criticism of masculinity is valid, this narrative instead criticized the department for their lack of masculinity.

Couched in masculine rhetoric, the Uvalde police have been called dishonorable, and branded as cowards.  In the typical internet pile on that happens on social media, every pro-gun weekend warrior, with any hint of tactical training in their background, poured over the footage pointing out the various errors that the officers involved made, making sure to their audience that the problem wasn’t with the training or the weapons. The problem, in their mind, was that the Police officers weren’t ‘man enough’.  When it was revealed that one of the police officers waiting in the Robb elementary hallway, had a Punisher logo lock screen on their phone, some of the criticism dipped into the rightful questioning of why police officers should emulate violent murderous vigilantes. Unfortunately, a lot of the conversations was also in the vein of “What would Frank Do?” as a way to preserve the sanctity of their precious pro capitalist phallic obsessed massacre prone masculinity.    


 


CONCLUSION

 

Masculinity as criticism, is a part of the way “The Gender Feedback Loop” functions. This criticism regulates performativity and the multiple and various ways that boys and men can lose and regain their fragile “man card”. Pop Culture is a tool for that regulation, and through the commercialization of his iconic image, Frank Castle, the Punisher, has become the latest and most recent paragon of toxically violent masculinity, worshiped by cismen who fantasize about dystopian lawlessness as an excuse to be able to kill people without repercussions. This fantasy, while disturbing, and illustrative of deeply rooted racist, ableist and misogynistic beliefs, is also a distraction for cismen from the feelings of isolation, alienation, and emptiness masculine gender socialization causes in its strive to maintain social control.

 

REFERENCES

Brady, Anita and Tony Schirato 2011. Understanding Judith Butler Thousand Oaks: Sage Publishing

 

Butler, Judith 1999. Gender Trouble: Feminism and the Subversion of Identity 10th Anniversary eds. New York: Routledge.

 

 Crawley, Sara L. Lara J. Foley and Constance l. Shehan 2008. Gendering Bodies  New York Rowman and Littlefield    

 

Jary David and Julia Jary 1991. The Harper Collins Dictionary of Sociology New York: Harper Collins      

 

Katz, Jackson 2013. “Tough Guise 2: Violence Manhood and American Culture” Produced by Sut Jhally Video https://shop.mediaed.org/tough-guise-2-p45.aspx

 

Kimmel Michael 2008. Guyland: The Perilous World Where Boys Become Men, Understanding the Critical Years Between 16-26 New York: Harper Publishing

 

________2013 Angry White Men: American Masculinity at the End of An Era New York: Nation Books

 

Riesman, Abraham 2020. “Why Cops are so in Love with The Punisher” Vulture Retrieved on: 7/30/2022 Retrieved at: https://www.vulture.com/article/marvel-punisher-police-cops-military-fandom.html

 

Stahl, Roger 2009.  Militainment, Inc.: War, Media, and Popular Culture New York: Routledge

 

Steinem, Gloria 2019. “If Men Could Menstrate” in Women’s Reproductive Health 6(3) pp151-152.  Retrieved on 7/28/2022 Retrieved at   https://www.tandfonline.com/doi/pdf/10.1080/23293691.2019.1619050

 

Walker, Alicia 2020. Chasing Masculinity: Men Validation and Infidelity New York: Palgrave Macmillan

 

Weber, Max 2019. Economy and Society: A new Translation Massachusetts: Harvard University Press



[1] It needs to be pointed out that a lot of these expectations on the part of men do not take into account the agency of cisgendered women, that a lot of cismen believe that they would be presented with women as a reward for being “a good boy”. 

 

 


Sunday, October 28, 2018

Mandy Review









*Author’s Note: There is a lot to unpack with this film, its visuals, music and especially its rich and textured themes. With any film like this much of the themes, ideals and even plot points are up for interpretation. Thus, most of my breakdown of the themes will come in the Social Analysis section where I will use the Sociological Perspective to unpack the complexities that the film presents.


Mandy, the new psychedelic horror film starring Nicolas Cage and Andrea Riseborough is at times a soulful, almost mournful look at life, regret and an attempt to eke out at a semblance of stability and tranquility in a harsh world; and at other times a gonzo radical gore fest telling the tale of a drug induced bloody revenge fantasy. Whose fantasy that is just one of the questions the audience is left with when the film ends. The juxtaposition of these two wildly divergent themes could be disastrous in less capable hands; but Director Panos Cosmatos balances out each thesis clearly, while visualizing the causal thematic link surrounding the film’s inciting incident.  This is a brilliant film of both style and substance; and given the overwhelmingly positive reviews is ripe for sociological analysis and dissection of the film’s content and themes.



PLOT

In 1983, somewhere near the Shadow mountain’s lives Red (Cage) and Mandy (Riseborough). A logger and artist respectfully, they have a quiet and lovingly simple life; full of sweet but painfully cheesy inside jokes, and sanguinity in a world that seems to be bleak. However, just beneath the surface, there seems to be something that both Red and Mandy are trying to hide; and the happiness and contentment that they experience is a thin veneer; that can be stripped away by the slightest complication. That complication comes in the form of Jeremiah Sand (Linus Roache) and his cult followers calling themselves “The Children of the New Dawn.”. Seeing Mandy on the road, Jeremiah becomes obsessed with her and claims her as his own. With the help of drugged out demon bikers, the cult is successful in capturing Mandy and subduing Red.  Once Red is able to get free, he begins to cut a swath through bikers and cult members alike to get to Jeremiah for a final confrontation.


FILM ANALYSIS

The film’s mood, score and characterization invokes the styles of epic metal bands, Dungeons and Dragons, Grindhouse Horror and psychedelic films of the 1980’s. The film is difficult to classify and understand because of the way that it amalgamates all of these influences into a wonderful artful tapestry. We get a glimpse of this early in the film when we are introduced to Mandy. As we are introduced to her, we see her working on a particular art piece that will become emblematic of the film as a whole. Her work, (which we only see glimpses of as we see her touch up, edit, and blend together) becomes an allegory of the journey the characters will go on in the film.

Cinematography

It is through the outstanding work of the Director of Photography Benjamin Loeb, that the film comes alive through his use of color. The muted opaque blues and greys of the film’s first half, visualizes the sanctuary that Red and Mandy have created, far away from a harsh past that is both implied and referenced through anecdotes; but never directly addressed. The film’s somber mood is bathed in a gentle hue that reminds you of early misty mornings upon a mountain. Yet, as the danger increases for the couple, Loeb stylistically begins to seep the color red into their surrounding environment. The deep crimson is used as the color of danger that the cult and the bikers represent.
There is a wonderfully visual moment (though not particularly sensitive for people with epilepsy, or prone to seizures) in the film, when this color scheme reaches its zenith. Mandy and Red are sleeping and they are saturated in the muted tranquility of blue and grey. However, half way through the scene Loeb begins an intense strobing effect to signify the terror and disorientation being felt by Red and Mandy as they are accosted by the bikers. As Red is strung up, the colors of yellow and orange begin seeping into the blue washed background and it isn’t until Mandy meets Jeremiah that the entire scene is saturated in bloody crimson; so rich that it washes out facial definitions. This color also is used to represent Red’s transformation. With each step in his journey, he is slowly becoming soaked in crimson, signifying that he is becoming what he is hunting, deliberately and without remorse.
Loeb’s camera work is also important in cultivating Mandy’s unique visual style. Early in the film, the camera work is visibly steady; full of long takes and close ups to immerse the audience in the relationship of Red and Mandy. Like a glassy pond, the stillness of the camera exudes the intimacy felt by the characters. Several times throughout the film, Loeb allows the camera to linger on the faces, allowing them to sit with their emotions. Each of the main primary characters are the centerpiece of a shot like this; as they manifest laughter, anguishing rage, and disaffection. In one scene in particular, the camera effect of overlaying images is used, and without cutting away, the camera lingers in a moment that is both visually unsetting and full of pathos. 
          


          Soundtrack
Mandy is the final work of Johann Johansson, an Icelandic composer who died on Feb 9th 2018 at age 48. I believe that it will be his Magnum Opus. To keep pace with the plot and overall structure of the film, each part of the film has a different melody. The first half of the film is melodically still, full of the films more quieter moments. These early scenes are infused with Johansson’s more melodic sensibilities as it plays off the earnestness of the character’s emotions. One of the best tracks on the album titled “Mandy’s Love Theme” This track is both the embodiment of the titular character, and the characterization that Red holds onto as he seeks justice. This track is used throughout the film in haunting fashion gently guiding Red on his quest of retribution. The music overlays flashbacks with Red and Mandy, when and where they met, and acts as an echo in the rest of the film to remind Red (and frankly the audience) where we have been and how far we have come.


According to Cosmatos, he wanted Mandy to have a rock opera feel[1] but he wasn’t sure if the usually lyrical Johansson would go for it. Cosmatos added that he was fortunate to find out that Johansson grew up a metal head. While there are more than one nod to epic metal, the film uses this to punctuate the story of Red and Mandy as their world morphs into something that they, or anyone has seen before. The film opens with a poem about the value of metal, and it is through this metal focus that the film can harness its more fantastical, magical elements  These ideas really start coming through during the films second half. The track that embodies this shift is titled “Forging the Beast”. When this rock opera 80’s fantasy magic montage begins, coupled with Loeb and Cosmato’s style, it signifies that the audience better get on board for the Gonzo Gore Grungefest that is about to ensue, because the ride isn’t stopping for the faint of heart.



Andrea Riseborough and Nicolas Cage

As I have eluded to above, this film is bifurcated. It starts with a slower pace that is tranquilly ethereal then shifts into a death metal rage of adrenaline. This bipolar atmosphere is embodied in the films two leads. The first half of the film belongs to Riseborough’s Mandy a soft spoken artist that has a penchant for metal band t-shirts and reading dark fantasy novels. Riseborough plays her with such an ethereal quality it is difficult to tell sometimes if she is real or not. She glides on a whisper through the woods, like a nymph or a fairy, soft spoken and slightly morose. Her affectation permeates through the entire film, but is really haunting in the opening scenes where we follow Mandy in her art, at her job and on her walks in the woods. In the subtleness of Riseborough’s performance, we see small character choices that convince you that she could be forgettable and the object of obsession at the same time. It is clear that Mandy can make someone feel like they are the center of the universe or insignificant. This balance is key to the films plot and Riseborough is sheer perfection. The scene in which we truly get a glimpse into Mandy’s character is when she recounts the killing of the starlings. Her evocative melancholy delivery is full of so much raw pain and wonder that it adds a troubled and possibly violent backstory. Yet,  Riseborough has a delicious delivery to her lines. They are like molasses; slow thick and heavy with a hint of sweet innocence. The film emulates the pace of her dialogue in the early scenes; allowing us to live with these characters. This is important because Mandy is the driving force of the entire film.  Yes, she is unfortunately someone that things happen to in the film, but despite that, she expresses her true power through an unforgettable act of defiance.[2] It is from that act and the subsequent consequences that the film shifts in focus from Mandy to Red.
Red (Nicholas Cage) at the start of the film, is a soft spoken, gruff, yet principled person that seems to gain strength and vitality by being in Mandy’s shining light. He loves this life because he loves her. Yet, he has a commanding presence on screen that hints at a darker, more violent past. As the film shifts to Red, he becomes the tip of the spear that eviscerates the slow pace of the film and magnifies it to a face melting cocaine rush of adrenaline; as if Mandy was the damn that kept the consuming waters of intensity and rage at bay.
I have never seen a Nicolas Cage film where the film lived up to Cage’s well known levels of intensity. This has always made Nicolas Cage seem out of place in almost every film.[3] Mandy breaks that streak. As the film transitions to Red’s perspective, it is almost like both Panos and Cage are trying to outdo each other. One elevating the stakes, and the other elevating his performance.  This is the first film in which Nicolas Cage seems tame; as he is set against a transitory and psychedelic backdrop and a haunting score. Yet, Cage is allowed to show all his range, and in one single scene, shot using a single take, he shows his brilliance by going from zero to a thousand and back again in under two minutes. After that, the film unleashes itself (and Cage) to embrace the violence gore and devastation that is the film’s final two acts. It is magnificent to behold.


SOCIAL ANALYSIS (spoilers ahead!)

“Men are afraid that women will laugh at them, women are afraid that men will kill them.”- Margaret Atwood


There may be many overarching themes and points of analysis in Cosmatos’ Mandy that many sociologists can spend copious amounts of time and energy dissecting. However, the clear singular statement that is presented in the film’s plot, character motivation, and behavior is the dismantling of the Patriarchy and the cost one pays in order to do that. The film goes to great lengths to position each character and/or group as a representation of some aspect of the patriarchy. From Toxic Masculinity and “Incels” to feminism and male ally-ship, the character’s journeys are a fantastical referendum on subtle and overt male domination, gender socialization and correlation between masculinity and violence; the end of which is tragically bitter-sweet.



Demon Bikers of Toxic Masculinity
Toxic Masculinity[4] can be defined as to stereotypically masculine gender roles that restrict the kinds of emotions allowable for boys and men to express, including social expectations that men seek to be dominant (the "alpha male") and limit their emotional range primarily to expressions of anger. These toxic practices are a part of what RW Connell (2005) calls hegemonic masculinity as a practice that legitimizes men's dominant position in society and justifies the subordination of women, and other marginalized ways of being a man. It is the world perspective that results in the creation and maintenance of the patriarchal structure and male dominant social system.
In the film, the tenets of toxic masculinity are represented by the demon bikers that are called by the cult “The Children of a New Dawn.” These demon bikers are hyper violent, constantly high on a variety of drugs, obsessed with aggressive violent sex and pornography, and are physically imposing and intimidate even the cult members. They, like the culture that they embody: destroy, rape and pillage everything around them.
The demon bikers are the cinematic manifestation of a form of masculinity that all men have to confront. This toxic masculinity is a constant cultural state that, like the bikers in the film, everyone knows are out there, how to tap into [them], and how to avoid [them]. Many men attempt to embrace this form of masculinity. Even though these boys and men will fail, they still become indoctrinated to its ideology and strive to achieve some aspects of its philosophy. Individual boys and men find some way to measure up to this form of masculinity. For some, it might be the amount of alcohol consumption, or how many sexual partners you’ve had. For others, it will be their propensity for violence or their willingness to withstand enormous amounts of pain and psychological stress without breaking down. Many men are a part of and participate in the reinforcement of this type of masculinity even if they are only partially successful. However, recently there has emerged a rejection of the “alpha male” toxicity among some men creating a new form of “beta male” sexism that is the new form of the infestation of masculine domination.



Jeramiah Sand and “Incel” Culture

            “Beta” males are defined as men who don’t identify/ fit the toxic forms of alpha male behaviors. Some men embrace this position as a way to show how they are morally and intellectually superior (the qualities they are using to define their masculinity) to the “alpha” male. This superiority impacts their views on women. Because they believe themselves to be superior to the “alpha” male, they should be garnering the attention of women and not them. Thus, their perceived superiority over other men, results in a sense of entitlement they believe they should have over women. This has culminated in the birth of the violent “Incel” movement.
 “Incel”s (short for involuntary celibate) are a relatively new form of misogyny. They are a subsect of “beta” male sexism that is adopted by men who do not fit the masculine beauty or body standards. Their ideology sees women’s bodies as a products that they pay for with dinners, vacations, clothing etc. So, from this perspective, if these men provide material goods for women, then they should have access to their bodies.  They believe that if they are nice to women and are “supreme gentlemen”, then they have claim to women. Often “Incel” men frequent predominantly online spaces like 4chan and reddit from which this isolated subculture has developed this new warped sense of toxic masculinity that is both fragile (able to be deconstructed with the slightest slip up) and preyed upon  by our veracious capitalism.[5] The result of which is a group of emboldened misogynists who’s lack of “sexual conquest” of women they believe is due to feminism.  In their mind, feminism is a movement that hates men; and that any feminist progress is one that hurts men’s sexual access to women.  Thus, when their masculinity is shattered by women being able to have free and equal choice, these men have lashed out violently due to the imagined slights by women that they have perceived.


In Cosmatos’ Mandy, Jeramiah Sand is the quintessential “Incel” “beta” male misogynist.  He did not have the physique or the looks to be an alpha male in his mind. He was a musician that crafted this 1970’s free love folk god, and when he was eventually rejected by the music industry he took that persona into the real world. He believed in that godlike image and began to experiment with drugs and started the cult “The Children of the New Dawn” He believes himself to be so superior and “special” that he gains a sense of power in bartering with the demon bikers and being worshipped. However, like all masculine fragility when put under stress this false identity shatters at the slightest hint of rejection from Mandy. The result, like his real life counterparts in Elliot Rodger and Alek Minassian, is violence; when Jeremiah Burns Mandy alive for the rejection he felt.


Mandy and the women of the “New Dawn”

            The three women in the film: Mandy Bloom, (Riseborough), Mother Marlene (Olwen Fouere)and Sister Lucy (Line Pillet) represent three different reactions to the system of patriarchy that exists in the world. In the plot of the film these women’s actions represent the symbolic acquiescence, survival and resistance to the system of patriarchy itself.
 Mother Marlene being portrayed as an older female in the film represents the acquiescence to the patriarchy that has taken root in our culture by a lot of older (typically) white women. Marlene’s constant rejection by Jeramiah, represents the way that many older women are often devalued and cast aside within the patriarchy when they gain the inability to bare children and/or cease to be considered sexually attractive[6]. Jeramiah even has the line of dialogue: “You can do nothing for me.” This pierces at the core of  Mother Marlene, but rather that direct her outrage in the proper direction (toward Jeramiah and the gendered ageism that she is experiencing),she instead lashes out at Mandy for capturing the attention of Jeramiah himself, berating Mandy for her hold over him, telling her his attention won’t last.
 This reaction is common among older women who have lived within the restrictions of a poisonous gendered system for so long, that they have adopted and help recreate many problematic and dangerous practices that help to perpetuate the patriarchy by being its support system. This is much in the same way that women in the 1950’s maintained to adopt traditional gender norms (even if they didn’t believe in it) for the purposes of survival. This survival mentality is supported by the classic statistic that when white women began to enter into the workforce in greater numbers the divorce rate also increased.  
Second Wave Feminist authors Betty Friedan ( in her book The Feminine Mystique) and Simone de Beauvoir (The Second Sex) discuss independently that Females are not born women, they must become them (de Beauvoir 2011) and that when they do, they have a crisis of gender identity (what Friedan calls “the problem that has no name) because the way that they are taught to become women is in the service of other people (namely their husbands and children), so they define who they are by their relationship to someone else. In the context of the film, Mother Marlene does not know her role outside of this patriarchal domination which is why she works so hard to support both it and her position. She seeks to punish Mandy for her actions against Jeremiah, yet, when Jeremiah’s masculine strength wanes and is usurped by Red and his crusade, she attempts in vein to manufacture a position for herself in Red’s new world order.  
Sister Lucy is the representation of the sex object stereotype that is given to women as one of the few acceptable identities within the patriarchal system. She is young, attractive, sexually available, silent and devoted. So devoted in fact that she shows her “love” for Jeramiah by being willing to commit suicide upon his command. In the film, Sister Lucy is there to show that what is happening to Mandy has been done before. She is evidence that this “seduction” concocted by Jeremiah is viable.
Yet, more broadly, she embodies young women in our patriarchal rape culture getting warped by these toxic gender messages. Again, de Beauvoir (2011) said it best when she said “[within a Patriarchy], a real women is one that accepts herself as other” (273). Women thoughtlessly buys into this feminine stereotype that is determined by a male dominated society, conditioned in such a way to flee from her own freedom. For de Beauvoir (2011) this creates a level of feminine inauthenticity that the male majority creates in order to validate themselves by what they are not (meaning women). Therefore, the subjugation of Sister Lucy is one that gives Jeremiah power, reinforcing his masculinity, and his importance to his other followers and most of all himself. This feeling is so intense that he believes that this subjugation will work on everyone, including Mandy.
The character of Mandy embodies the resistance that is always pressuring the patriarchal system to be dismantled. She is an independent self-possessed artist that has agency and her choices are based upon her own desires. Throughout the first hour of the film Mandy is presented to us as someone who challenges the gender norms of the world around her. She soes not participate in the established beauty standards and complicates the simple notions of femininity that the patriarchy attempts to reinforce. Yet, Mandy’s ultimate act of resistance is when she is brought before Jeramiah, drugged and surrounded by his followers, she rejects him outright.  From Jeramiah’s introduction up until the point of this rejection, he is seen as charismatic, powerful and one commanding respect. As he presents himself to Mandy his body and his ego are on full display. Her reaction is uncontrollable manic laughter.  That laughter as resistance is powerful enough to strip him of the façade of power that he has cultivated and re-contextualized his image in the minds of his followers. Though it costs her life, Mandy is the first one in the film to damage the patriarchy; a charge that is taken up by the character of Red Miller


Red Miller      

In the film, Red is a cypher for all men in the patriarchy. Like all men, he can be either influenced by the patriarchal gender norms saturating is every waking moment, or he can be influenced to see women as people and support them in their own struggles and cultivate partnerships based upon trust, consent and equality; to truly be an ally.
The beginning of the film, through the first half, there are subtle hints as to Red’s and Mandy’s backstory. Though not directly indicated on screen, it can be implied through various actions (like not drinking a beer with his fellow worker) and his initial quiet and gentle demeanor, that Red is trying to be a changed man from who he used to be. Much of that change one can assume is because of Mandy’s influence.[7] Thus, it is through Mandy that Red is detoxed from the pestilential forms of masculinity that plague all men within this system. It is this ally-ship that is key to the utter obliteration of this noxious amalgamated trifecta of terror between Masculinity, violence and sexual objectification. However this is not achieved without paying a high price.


Masculine Ally ship

            “The Master’s tools won’t dismantle the Master’s House”- Audre Lorde   

The one unfortunate trope that this film needlessly falls into is the “Fridging” of a female character. Objectively, if you look at the basic plot points of the film, it is pretty obvious that Mandy’s death is used to motivate Red into taking revenge on the Bikers, Jeremiah and the rest of the cult.  This is the textbook definition of “Fridging”. Yet, as indicated above male feminist allyship rarely is created on its own. Women have always been the motivators of men, not in small part to the historical alienation from positions of power women have experienced. Thus, any type of feminist movement toward equality have relied on male ally ship in power. No type of feminist legislation was ever created without the help of likeminded men in power. Thus, even though Mandy’s death is a sexist troupe, it is using the same call to action women have been using to gain male support; to frame all women through their relationship with men ala “She was someone’s daughter, wife, sister.”, which is echoed in a lot of male ally-ship “ I have a wife, mother, sister daughter etc.” While this is not the best nor clean strategy for smashing the patriarchy (in part because it still frames women’s importance based in male relationships rather than just seeing women as important outright), it does give the feminist movement a weapon against institutionalized toxic and subtle patriarchy…men; and since Mandy represents female resistance to the patriarchy, then Red Miller in the second half of the film, is her weapon against it. Thus, reinforcing the important history of men’s involvement in the liberation from this toxicity for both men and women.
As Red crusades for the bloody and violent annihilation of the patriarchy that takes up the latter half of the film, slowly he begins to take on the mannerism and language of that which he is trying to destroy.  The more violence he commits the easier that violence becomes to commit (his last kill is easier than his first). Thus by using the tools of the powerful, you cannot remove that power, just supplant it. The tragedy of this story is that as Red becomes this embodiment of this injuriousness, he believes he is justified at the end because it was in the name of ally-ship. Thus he is willing to become the last sacrifice to reconstitute Mandy and her ideology at the end of the film; much in the way that men throughout history have risked their lives and careers for women in order to do their part in advancing a feminist agenda. 


CONCLUSION
            This is one of the best movies of the year. As an added bonus, it is a film ripe for sociological analysis even beyond what has been mentioned in this review. This film represents the current socio-political climate we find ourselves in. From “incels” and white national toxic masculine violence to the #metoo movement and the push for the role back of women’s rights; we are living in a scary time, and many of us wish we could be Red Miller and violently extricate this cultural cancer from our society and eradicate from the earth. However, as much as we would like to pretend, Red’s revenge is in fact a fantasy, regardless of how cathartic it would feel to emulate. The real solutions to these very real problems of which Mandy is an allegory for, are complex, and must deal with diplomacy and compromise…lest we end up like Red himself lost in violence, madness through a drug induced hallucination.   

References

Connell, R. W. (2005). Masculinities (2nd ed.). Berkeley, California: University of California Press.
de Beauvoir, Simone (2011) The Second Sex Vintage Publishing New York       



[2] The more I think about it the more I like the fan theory that Mandy is the only real person in the film; and that after the opening sequence what we see is the story Mandy is telling through her art. The tale of a Paladin avenging the death of his love goddess. If you look closely at the film, when we are introduced to Mandy, if you look at her drawings you can see hints of events that will eventually transpire
[3] The one big exception is of course Vampire’s Kiss
[6] Because through gender specific norms we define sexual attraction through youthfulness
[7] Socially speaking, thee is a lot of evidence both academic and anecdotal that suggest that men’s relationship with women is a gateway into feminist allyship