Icons of Racialized Masculinity final paper (Research Paper Sample)

Icons of Racialized Masculinity: Arnold Schwarzenegger When it comes to environmental and development policy, there hasn't been much study on how altering hegemonic masculinity is incorporated in constructs of gender disparity. The relationship between Arnold Schwarzenegger's eco-modern politics, which he advocated as a former California governor, actor, and Mr. Universe, is examined through the lens of gender and environmental studies ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1177/0891243207303166","ISSN":"08912432","abstract":"Arnold Schwarzenegger's celebrity status allowed him to project a symbolic masculine persona that was effective in gaining political power as California governor. The well-known violent tough-guy persona that Schwarzenegger developed in the mid-1980s contributed to a postVietnam era cultural remasculinization of the American man. But this narrow hyper-masculinity was often caricatured in popular culture and delegitimized. In the 1990s and 2000s, Schwarzenegger forged a credible masculine imagery by introducing characters who were humorously self-mocking and focused on care and protection of children. Schwarzenegger's resultant hybrid masculinity, the Kindergarten Commando, represents an ascendant hegemonic masculinity always foregrounding muscle, toughness, and the threat of violence and following with situationally appropriate symbolic displays of compassion. The equation of toughness plus compassion composing the Kindergarten Commando is asymmetrical, with toughness eclipsing compassion; this has implications for the kinds of policies that U.S. elected leaders advocate. Republicans utilize this masculine imagery in national politics to gain voters' trust in times of fear and insecurity and continue to employ a strategy that projects a devalued feminized stigma onto more liberal candidates.","author":[{"dropping-particle":"","family":"Messner","given":"Michael A.","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Gender and Society","id":"ITEM-1","issued":{"date-parts":[["2007"]]},"title":"The masculinity of the governator muscle and compassion in American politics","type":"article-journal"},"uris":["http://www.mendeley.com/documents/?uuid=6e01f1fb-e391-4a05-b952-a8509f80fb7b"]}],"mendeley":{"formattedCitation":"(Messner, 2007)","plainTextFormattedCitation":"(Messner, 2007)","previouslyFormattedCitation":"[8]"},"properties":{"noteIndex":0},"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}(Messner, 2007). To maintain hegemony, eco contemporary environmental politics and Kindergarten Commando masculinity are seen as efforts to accommodate and deflect criticism in order for behaviours to continue in place, 'business as usual.' An examination of Arnold Schwarzenegger's identity and the growth of eco modernism helps us better comprehend world politics in the sectors of energy and the environment, as this essay shows. The purpose of this essay is to analyse the racialized masculinity if cinematic personality Arnold Schwarzenegger. Male onscreen masculinity was quite different when Terminator was premiered in 1984: Schwarzenegger's "I'll be back" rang so true, even after 31 years, that we can still hear it in his voice as a hulking, gun-toting tough man. We were also exposed to characters like John McClane, Dutch, and Officer Alex J. over the remainder of the decade and into the nineties. Because of his fame, Arnold Schwarzenegger was able to create a patriarchal persona that helped him become governor of California ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1177/0196859909340054","ISSN":"01968599","abstract":"Film has clearly been Arnold Schwarzenegger's most powerful promotional tool. Given how he wielded his action hero personas during the 2003 recall election from which he emerged Governor of California, an examination of his construction in film is both warranted and necessary. In this paper, I trace the development of his celebrity through a selection of his films between 1970 and 2003 and show that his image went through three major transitions from: a) initially being depicted as a foreigner and alien \"other\" in the 1970s to b) an American and icon of muscular masculinity in Hollywood action films of the mid to later 1980s and c) to a \"New Age Guy\" and family man through his movement into comedy and family themed films in the 1990s and 200s. My analysis highlights the powerful role that discourses about masculinity, whiteness and American nationhood played in supporting Schwarzenegger's constructions as a \"body of governance\" and in particular, his construction as a leader. © The Author(s) 2010.","author":[{"dropping-particle":"","family":"Boyle","given":"Ellexis","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Journal of Communication Inquiry","id":"ITEM-1","issued":{"date-parts":[["2010"]]},"title":"The intertextual terminator: The role of film in branding \"Arnold Schwarzenegger\"","type":"article"},"uris":["http://www.mendeley.com/documents/?uuid=1f372253-cf66-41b7-bacc-32971bcf5e75"]}],"mendeley":{"formattedCitation":"(Boyle, 2010)","plainTextFormattedCitation":"(Boyle, 2010)","previouslyFormattedCitation":"[2]"},"properties":{"noteIndex":0},"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}(Boyle, 2010). The post-Vietnam period remasculinization of the American male was aided by Schwarzenegger's well-known violent tough-guy character. However, this restricted hyper-masculinity was often delegitimized in popular culture. Arnold Schwarzenegger helped to create an authentic male image in the late 1980s and early 1990s with the introduction of characters who were both self-deprecating and devoted to the well-being of youngsters ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.5860/choice.50-1365","ISSN":"0009-4978","abstract":"In the 1990s, American civil society got upended and reordered as many social, cultural, political, and economic institutions were changed forever. Pretty People examines a wide range of Hollywood icons who reflect how stardom in that decade was transformed as the nation itself, signaling significant changes to familiar ideas about gender, race, ethnicity, age, class, sexuality, and nationality. Introduction / Anna Everett -- Arnold Schwarzenegger: corporeal charisma / Linda Ruth Williams -- Jodie Foster: feminist hero? / Karen Hollinger -- Denzel Washington: a revisionist black masculinity / Melvin Donalson -- Julia Roberts: cultural phenomenon / R. Barton Palmer -- Leonardo DiCaprio: king of the \"world\" / Murray Pomerance -- Andy Garcia, Antonio Banderas, and Edward James Olmos: stardom, masculinity, and \"Latinidades\" / Laura Isabel Serna -- Tom Hanks and Tom Cruise: the box office and \"true masculinity\" / Mary Beth Haralovich -- Angela Bassett and Halle Berry: African American leading ladies / Mia Mask -- Michael Douglas: an ordinary man / Donna Peberdy -- Pierce Brosnan: licensed to sell / Tracey Hoover and Toby Miller -- Johnny Depp and Keanu Reeves: Hollywood and the iconoclasts / Anna Everett.","author":[{"dropping-particle":"","family":"John","given":"","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Choice Reviews Online","id":"ITEM-1","issued":{"date-parts":[["2012"]]},"title":"Pretty people: movie stars of the 1990s","type":"article-journal"},"uris":["http://www.mendeley.com/documents/?uuid=9ea522f4-a2f7-45c9-a6ba-073cb781e780"]}],"mendeley":{"formattedCitation":"(John, 2012)","plainTextFormattedCitation":"(John, 2012)","previouslyFormattedCitation":"[7]"},"properties":{"noteIndex":0},"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"}(John, 2012). The hegemonic nature of masculinity is not just due to the power displays of strong men, but also to the consent and collaboration of less powerful men with the institutions, social practises, and symbols that guarantee certain advantages for male. 'Buy-in' from subordinated and marginalised men and many women is needed for hegemonic masculinity to succeed as a dominance technique, to borrow a word currently prevalent in market-driven bureaucracies ADDIN CSL_CITATION {"citationItems":[{"id":"ITEM-1","itemData":{"DOI":"10.1177/1097184X12454854","ISSN":"1097184X","abstract":"In August 2010, the sixty-four-year-old Hollywood icon Sylvester Stallone premiered his latest project The Expendables, an action-adventure film starring a pantheon of \"tough guys\" from both past and present: Sylvester Stallone, Arnold Schwarzenegger, Dolph Lundgren, and Bruce Willis. To understand the resurrection of this vintage Hollywood cast, we take up the title theme of \"expendability\" within the climate of the economic recession of 2008 and map its representation of masculinity, physical labor, and ageing. We do this by looking at The Expendables as essentially a labor text. In doing so, we find a smorgasbord of working bodies and types of physical labor that reveal multiple intersections among discourses of masculinity, class, ageing, and race that simultaneously reflect the divisions of (physical) labor in the industries in which the stars work-Hollywood film and professional sports. © The Author(s) 2012.","author":[{"dropping-particle":"","family":"Boyle","given":"Ellexis","non-dropping-particle":"","parse-names":false,"suffix":""},{"dropping-particle":"","family":"Brayton","given":"Sean","non-dropping-particle":"","parse-names":false,"suffix":""}],"container-title":"Men and Masculinities","id":"ITEM-1","issued":{"date-parts":[["2012"]]},"title":"Ageing Masculinities and \"Muscle work\" in Hollywood Action Film: An Analysis of The Expendables","type":"article-journal"},"uris":["http://www.mendeley.com/documents/?uuid=edcbce18-cbef-45c2-9a5d-dbb0b21e077a"]}],"mendeley":{"formattedCitation":"(Boyle & Bray...