masculinities

Originally posted at Democratic Socialists of America

In the 1950s, a collection of sociologists and psychologists (which included, among others, Theodor Adorno) wrote The Authoritarian Personality. They were attempting to theorize the type of personality — a particular psychology — that gave rise to fascism in the 1930s. Among other things, they suggested that the “authoritarian personality” was characterized by a normative belief in absolute obedience to their authority in addition to the practical enactment of that belief through direct and indirect marginalization and suppression of “subordinates.” While Adorno and his colleagues did not consider the gender of this personality, today gender scholars recognize authoritarianism as a particular form of masculinity, and current U.S. president Donald Trump might appear to be a prime illustration of a rigid and inflexible “authoritarian personality.”

Yet Trump’s masculinity avoids a direct comparison to this label precisely because of the fluidity he projects. Indeed, the “authoritarian personality” is overly fixed, immutable, and one dimensional as a psychoanalytical personality type. Sociologists understand identities as more flexible than this. Certain practices of Trump exemplify the fluctuations of masculinity that illustrate this distinction, and the transformations in his masculinity are highly contingent upon context. While this is a common political strategy, Trump’s shifts are important as they enable him to construct a “dominating masculinity” that perpetuates diverse forms of social inequality. Dominating masculinities are those that involve commanding and controlling interactions to exercise power and control over people and events.  These masculinities are most problematic when they also are hegemonic and work to legitimize unequal relations between women and men. Here are a few examples:

First, in his speeches and public statements prior to being elected, Trump bullied and subordinated “other” men by referring to them as “weak,” “low energy,” or as “losers,” or implying they are “inept” or a “wimp.” (“Othering” is a social process whereby certain people are viewed and/or treated as somehow fundamentally different and unequal.) For example, during several Republican presidential debates, Trump consistently labeled Marco Rubio as “little Marco,” described Jeb Bush as “low energy Jeb,” implied that John McCain was a “wimp” because he was captured and tortured during the Vietnam War, and suggested that contemporary military veterans battling PTSD are “inept” because they “can’t handle” the “horror” they observed in combat. In contrast, Trump consistently referred to himself as, for example, strong, a fighter, and as the embodiment of success. In each case, Trump ascribes culturally-defined “inferior” subordinate gender qualities to his opponents while imbuing himself with culturally defined “superior” masculine qualities. This pairing signifies an unequal relationship between masculinities—one both dominating and hegemonic (Trump) and one subordinate (the “other” men).

A second example of Trump’s fluid masculinity applies to the way he has depicted himself as the heroic masculine protector of all Americans. This compassion may appear, at first blush, at odds with the hegemonic masculinity just discussed. For example, in his Republican Convention speech Trump argued that he alone can lead the country back to safety by protecting the American people through the deportation of “dangerous” and “illegal” Mexican and Muslim immigrants and by “sealing the border.” In so doing, Trump implied that Americans are unable to defend themselves — a fact he used to justify his need to “join the political arena.” Trump stated: “I will liberate our citizens from crime and terrorism and lawlessness” by “restoring law and order” throughout the country — “I will fight for you, I will win for you.” Here Trump adopts a position as white masculine protector of Americans against men of color, instructing all US citizens to entrust their lives to him; in return, he offers safety. Trump depicts himself as aggressive, invulnerable, and able to protect while all remaining US citizens are depicted as dependent and uniquely vulnerable. Trump situates himself as analogous to the patriarchal masculine protector toward his wife and other members of the patriarchal household. But simultaneously, Trump presents himself as a compassionate, caring, and kind-hearted benevolent protector, and thereby constructs a hybrid hegemonic masculinity consisting of both masculine and feminine qualities.

Third, in the 2005 interaction between Trump and Billy Bush on the now infamous Access Hollywood tour bus, Trump presumes he is entitled to the bodies of women and (not surprisingly) admits committing sexual assault against women because, according to him, he has the right. He depicts women as collections of body parts and disregards their desires, needs, expressed preferences, and their consent. After the video was aired more women have come forward and accused Trump of sexual harassment and assault. Missed in discussions of this interaction is how that dialogue actually contradicts, and thus reveals, the myth of Trump’s protector hegemonic masculinity. The interaction on the bus demonstrates that Trump is not a “protector” at all; he is a “predator.”

Trump’s many masculinities represent a collection of contradictions. Trump’s heroic protector hegemonic masculinity should have been effectively unmasked, revealing a toxic predatory heteromasculinity. Discussions of this controversy, however, failed to articulate any sign of injury to his campaign because Trump was able to connect with a dominant discourse of masculinity often relied upon to explain all manner of men’s (mis)behavior — it was “locker room talk,” we were told. And the sad fact is, the news cycle moved on.

We argue that Trump has managed such contradictions by mobilizing, in certain contexts, what has elsewhere (and above) been identified as a “dominating masculinity” (see here, here and here) — involving commanding and controlling specific interactions and exercising power and control over people and events. This dominating masculinity has thus far centered on six critical features:

1. Trump operates in ways that cultivate domination over others he works with, in particular rewarding people based on their loyalty to him.
2. Trump’s dominating masculinity serves the interests of corporations by cutting regulations, lowering corporate taxes, increasing military spending, and engaging in other neoliberal practices, such as attempting to strip away healthcare from 24 million people, defunding public schools, and making massive cuts to social programs that serve poor and working-class people, people of color, and the elderly.
3. Trump has relied on his dominating masculinity to serve his particular needs as president, such as refusing to release his tax returns and ruling through a functioning kleptocracy (using the office to serve his family’s economic interests).
4. This masculinity is exemplified through the formulation of a dominating militaristic foreign policy (for example, U.S. airstrikes of civilians in Yemen, Iraq and Syria have increased dramatically under Trump; the MOAB bombing of Afghanistan; threats to North Korea) rather than engaging in serious forms of diplomacy. Trump has formed a global ultraconservative “axis of evil”— whose defining characteristics are kleptocracy and dominating masculinity — with the likes of Putin (Russia), el-Sisi (Egypt), Erdogan (Turkey), Salman (Saudi Arabia), Duterte (Philippines) among others.
5. So too has this dominating masculinity had additional effects “at home” as Trump prioritizes domestically the repressive arm of the state through white supremacist policies such as rounding-up and deporting immigrants and refugees as well as his anti-Muslim rhetoric and attempted Muslim ban.
6. Trump’s dominating masculinity attempts to control public discourse through his constant tweets that are aimed at discrediting and subordinating those who disagree with his policies.

Trump’s masculinity is fluid, contradictory, situational, and it demonstrates the diverse and crisscrossing pillars of support that uphold inequalities worldwide. From different types of hegemonic masculinities, to a toxic predatory heteromasculinity, to his dominating masculinity, Trump’s chameleonic display is part of the contemporary landscape of gender, class, race, age and sexuality relations and inequalities. Trump does not construct a consistent form of masculinity. Rather, he oscillates — at least from the evidence we have available to us. And in each case, his oscillations attempt to overcome the specter of femininity — the fear of being the unmasculine man — through the construction of particularized masculinities.

It is through these varying practices that Trump’s masculinity is effective in bolstering specific forms and systems of inequality that have been targeted and publicly challenged in recent history. Durable forms of social inequality achieve resilience by becoming flexible. By virtue of their fluidity of expression and structure, they work to establish new pillars of ideological support, upholding social inequalities as “others” are challenged. As C. J. Pascoe has argued, a dominating masculinity is not unique to Trump or only his supporters; Trump’s opponents rely on it as well (see also sociologist Kristen Barber’s analysis of anti-Trump masculinity tactics).  And it is for these reasons that recognizing Trump’s fluidity of masculinity is more than mere academic observation; it is among the chief mechanisms through which contemporary forms of inequality — from the local to the global — are justified and persist today.

I just read and reviewed Shannon Wooden and Ken Gillam’s Pixar’s Boy Stories: Masculinity in a Postmodern Age. And I thought I’d build on some of a piece of their critique of a pattern in the Pixar canon to do with portrayals of masculine embodiment. In Black Feminist Thought, Patricia Hill Collins coined the term “controlling images” to analyze how cultural stereotypes surrounding specific groups ossify in the form of cultural images and symbols that work to (re)situate those groups within social hierarchies. Controlling images work in ways that produce a “truth” about that group (regardless of its actual veracity). Collins was particularly interested in the controlling images of Black women and argues that those images play a fundamental role in Black women’s continued oppression. While the concept of “controlling images” is largely applied to popular portrayals of disadvantaged groups, in this post, I’m considering how the concept applies to a consideration of the controlling images of a historically privileged group. How do controlling images of dominant groups work in ways that shore up existing relations of power and inequality when we consider portrayals of dominant groups?

Pixar films have been popularly hailed as pushing back against some of the heteronormative gender conformity that is widely understood as characterizing the Disney collection. While a woman didn’t occupy the lead protagonist role until Brave(2012), the girls and women in Pixar movies seem more complex, self-possessed, and even tough.  [Side note: Disney’s Frozen is obviously an important exception among Disney movies. See Afshan Jafar’s nuanced feminist analysis of the film here.]  In fact, Pixar’s movies are often hailed as pushing back against some of the narratological tyranny of some of the key plot and characterological devices that research has shown to characterize the majority of children’s animated movies. But, what can we learn from their depictions of boys and men?

Philip Cohen has posted before on the imagery of gender dimorphism in children’s animated films. Despite some ostensibly (if superficially) feminist features in films like Tangled (2010), Gnomeo and Juliet (2011), and Frozen (2013), Cohen points to the work done by the images of men’s and women’s bodies—paying particular attention to their relative size (see Cohen’s posts here, here, and here). Cohen’s point about exaggerated gendered imagery of bodies might initially strike some as trivial (e.g., “Disney favors compositions in which women’s hands are tiny compared to men’s, especially when they are in romantic relationships” [here]), but it is one small way that relations of power and dominance are symbolically upheld, even in films that might seem to challenge this relationship.  How are masculine bodies depicted in Pixar films? And what kind of work do these depictions do? Is this work at odds with their popular portrayal as feminist (or at least feminist-friendly) films?

Large, heavily muscled bodies are both relied on and used as comic relief in Pixar’s collection. It’s also true that some of the primary characters are men with traditionally stigmatized embodiments of masculinity: overly thin (Woody in Toy Story, Flic in A Bug’s Life), physically awkward (Linguini in Ratatouille), deformed (Nemo in Finding Nemo), fat (Russell in Up), etc. Yet, these characters often end up accomplishing some mission or saving the day not because of their bodies, but rather, in spite of them. When their bodies are put on display at all, it’s typically as they are held up against a cast of characters whose bodies are presented as more naturally exuding “masculine” qualities we’ve learned to recognize as characteristic of “real” heroes. As Wooden and Gillam write:

Amidst ostensibly ironic inversions of power in the Monsters films and The Incredibles, male bodies are still ranked according to a tragically familiar social paradigm, whereby bigger, stronger, and more athletic men and boys are invariably understood as superior to smaller, more delicate, or intellectual ones. (here: 34)

Wooden and Gillam use Buzz Lightyear from Toy Story as, perhaps, the most glaring example . When we first meet Buzz in the Andy’s room, Buzz does not recognize himself as a toy. He is foolish, laughably arrogant, imprudent, and, quite frankly, a bit reckless. Yet, the audience is supposed to interpret Buzz as the other toys in Andy’s room do—we’re in awe of him. Buzz embodies a recognizable high status masculinity. Sulley in Monsters Inc. occupies a similar body and, like Buzz, he is instantly situated as occupying a recognizably masculine heroic role (a role that is bolstered by the comically embodied Mike Wazowksi, whose body works to shore up Sulley’s masculinity). While Buzz and Sulley—and similarly embodied men in other Pixar movies—are sometimes teased for conforming to some of the “dumb jock” stereotypes that characterize male action heroes of the 1980s, their bodies retain their status and still work as controlling images that reiterate social hierarchies.

In C.J. Pascoe’s research on masculinity in American high schools, she coined the term “jock insurance” to address a very specific phenomenon. Boys occupying high status masculinities were afforded a form of symbolic “insurance” that enabled them to transgress masculinity without affecting their status. In fact, their transgressions often worked in ways that actually shored up their masculinities. This kind of “jock insurance” is relied upon as a patterned narratological device in Pixar movies. Barrel-chested, brawny, male characters are allowed to be buffoons; they’re allowed to participate in potentially feminizing or emasculating behaviors without having those behaviors challenge the masculinities their bodies situate them as occupying or their status (in anything other than a superficial sort of way).  For instance, Sulley, Mr. Incredible, Lightning McQueen, and Buzz Lightyear perform domestic masculinities in ways that don’t actually challenge their symbolic position of dominance. Indeed, the awkwardness with which they participate in these roles implicitly suggests that these men naturally belong elsewhere.

In The Incredibles, Bob Parr’s incredible strength and monstrous body look silly accomplishing domestic tasks or even occupying a traditionally domestic masculinity. His small car helps is body appear laughable in this role as he drives to work. At work, Bob’s desk plays a similar role. His body is depicted as not belonging there—domesticity is symbolically holding him back. This sort of “crisis of masculinity” narrative plays out in the stories of many of these characters. So, when they occupy the role they are initially depicted as denying, the narrative creates a frame for the audience to collectively experience relief as they take on the heroic roles for which their bodies symbolically situate them as more naturally suited. The scene in The Incredibles in which Bob Parr (Mr. Incredible) quits his job by punching his boss (whose physically inferior body is regularly situated alongside Bob’s for comic relief) through a wall is perhaps the most exaggerated example of this. The pleasures these films invite us to share at these moments when gendered hierarchies of embodiment are symbolically put on display play a role in reproducing inequality.

Similar to Nicola Rehling’s analysis of white, heterosexual masculinity in popular movies in Extra-Ordinary Men, portrayals of masculinity in Pixar films work in ways that simultaneously decenter and recenter dominant embodiments of masculinity – and in the process, obscure relations of power and inequality. Indeed, side-kicks and villains are most often depicted as occupying masculine bodies less worthy of status. These masculine counter-types (like Randall in Monsters Inc., Sid Phillips in Toy Story, or Buddy Pine/Syndrome in The Incredibles) embody masculinities portrayed as “deserving” the “justice” they are served.

The films in Pixar’s collection show a patterned reliance on controlling images associated with the embodiment of masculinity that shores up the very systems of gender inequality the films are often lauded as challenging. To be clear, I like these films – and clearly, many of them are a significant step in a new direction. Yet, we continue to implicitly exalt controlling images of masculine embodiment that reiterate gender relations between men and exaggerate gender dimorphism between men and women.

Sometimes, when you point out how patterns reproduce inequality, people expect you to provide a solution. But, what would challenging these images actually look like? That is, I think, a more difficult question than it might at first appear. A former Dreamworks animator, Jason Porath, might help us think about this in a new way. Porath’s blog—Rejected Princesses—was recently featured on NPR’s All Things Considered. On the site, Porath plays with “princessizing” unsung heroines unlikely to hit the big screen.  His tagline reads: “Women too awesome, awful, or offbeat for kids’ movies.” Yet, even here, Porath relies on recognizable embodiments of “the princess” to depict these women—like his portrayal of Mariya Oktyabrskaya, the first woman tanker to be awarded the “Hero of the Soviet Union” award. Similarly, cartoonist David Trumble produced a series of images that “over-feminize” real-life heroines like Anne Frank, Susan B. Anthony, Marie Curie, Sojourner Truth and Ruth Bader Ginsberg. While both of these projects make powerful statements, we need more cartoon imagery that challenge these gendered embodiments alongside narratives and characters that support this project. What that might actually look like is currently unclear. What is clear, I think, is that we can do better.