Wednesday 30 May 2018
Wednesday 18 April 2018
Critical Investigation- final draft
To what extent does Barry Jenkins' feature film
'Moonlight' subvert toxic hyper-masculine representations of black men in film?
There have been numerous studies
addressing the issues of the representation of women in the media, leading to a
large body of evidence demonstrating the stereotypical and narrow roles which influence
audience’s perceptions of gender. However, the issues and research concerning the
different representations of men in the media are more limited and have not generated
as much widespread discussions. Laughey states that: “Ethnic minorities are
continually misrepresented by racial (and racist) stereotypes”[2];
evidently seen in black male characters in roles which are present them as: “emotionless,
violent and hoodlums”[3].
This affects the society as "stereotype[s] serve to naturalize the power
relationships in society; they have a hegemonic function"[4],
reinforcing the misrepresentations of black men because of racial typecasting
in film and TV is repeatedly consumed by audiences, which leads it to be a dominant
ideology of what is a black man. Gaining success for portraying “black gay life
in its joy, sadness and complexity”[5]
in a gay community deemed as “overwhelmingly white”[6],
director Barry Jenkins in his Oscar-winning feature film, ‘Moonlight’, sparked
discussions about issues facing the black gay community and also communicated the
images of hyper-masculine black men. Referencing hyper-masculine
images established of black males in 1970s Blaxploitation films and black male(s)
leading contemporary films and how such traits of hyper-masculine
representations have made been made toxic in stereotyping black men. This
essay will explore how different black masculinities are represented positively
in ‘Moonlight’ directed by Barry Jenkins and measure the subversion of “hyper
masculinity-exaggerated and marginalised masculine qualities”[7]
of the inherent racial stereotypes in Hollywood.
Essentially, “masculinity”
is a set of behaviours and practices that’s have been traditionally associated
with men and manhood in our culture and that includes both positive and
negative things, none of these traits are inherent or “biological fixed”[8] for men but have been
adopted in many cultures and fed through the consumption of media on different
platforms. However, "toxic masculinity"[9] is used to highlight the
fact that these kinds of behaviours carry with them some potentially serious
and even deadly consequences. Much of this masculinity is
"relational"[10], and as such, it's mostly
defined in opposition to anything culturally associated with women, which is
why ‘toxic masculinity’ is driven by this overwhelmingly fear of emasculation,
that is to say, the fear of being perceived by others as "feminine"[11] would link to the perception
of being "unmanly"[12]. In the documentary, 'Black Hollywood’’[13], Jim
Brown states that Blaxploitation films made under white control and production
took advantage of the black audience and black actors, creating cheaply
produced films which “often perpetuated stereotypical images of black men and women” [14]; which
is evident in the 1970’s Blaxploitation film 'Shaft'[15]. The film holds traits of stereotypes
of a black men as Shaft himself is violent and dominating in his gangster/violent
crime fighting; common traits characterised for black men in the genre,
reinforcing that Blaxploitation films maintain the “primitive”[16]
and “decivilized”[17]
representations of black men which serves as “hegemonic function” in perpetuating
black males. However, as the years changed so did the media which reflected it.
The 1990s brought upon films such as ‘Boyz N the Hood’, at the time of release,
the hip-hop and gangster rap music genre was very evident with artists
“express[ing] themselves in violent ways”[18]
which made the artist “more authentic”[19]
leading to a false image of “hyper-masculine”[20]
and overtly violent images of black men easily accessible to younger views and
lead them to mirror those represented images. Though ‘Boyz N he Hood’ uses the
rap artist IceCube to have a realistic sense of realism of the destructive
nature of hyper masculinity: “This is why fools get shot all the time- trying
to show how hard they is”[21],
highlighting the facade black men create for themselves to be perceived as
“rampantly heterosexual”[22]
amongst their peers and the community which may lead to toxicity due to the
stress of upholding the image. Similarly, the audience’s introduction to
‘Moonlight’s ‘Black’ (Trevante Rhodes) sees that he has become a “product of
his environment”[23]
as he mirrors “acts of masculinity”[24]
he’s seen in his life, matching gold grills, silk du-rag and white tank top,
all similar to his father-figure ‘Juan’s clothing style. This reinforces the
toxicity of masculinity as Chrion saw the masculinity presented by other black
men similar to him and mirrored them to differentiate him but leads to him representing
the toxicity of masculinity as he uses violent threats against his workers and
even upholding the facade though Kevin questioning him: “I don’t know you?”[25].
Therefore, the toxicity of masculinity is represented in black characters identifying
with other black men in their environment and conforming to that image.
However, both ‘Boyz N the Hood’ and ‘Moonlight’ highlight that such characterisation
of black men as a realistic image for black audiences to subvert from and see
the toxicity that characters had.
‘Moonlight’,
called a “sermon”[26] for
black masculinity, is an Arthouse Indie black 'Coming of Age' movie following
the life of Chiron in three specific chapters of his life conversing black masculinity, specifically
black male sexuality, as well as, black male intimacy and youth. The movie
itself is set in three parts of the growing character of Chiron and shows the
ever changing aspects of black male “masculinity and femininity which
attract the global audience"[27]. The play jumps around in
time, but Barry Jenkins decided he wanted the film to be three distinct
parts. Hsiao-HsienHou’s 'Three Times'[28] was a big inspiration
on what he was aiming for: “I wanted to show the progression of this character
and how the world can nurture him in a certain way that basically causes
drastic changes in this guy from one stage to the next”[29]. Though Jenkins does subvert
hyper masculine images of black men that have become toxic in media there are
still ideologies of the angry black man archetype. In the documentary, 'Black Hollywood', Jim Brown discusses that
Blaxploitation films that were under white control and production took
advantage of the black audience and black actors, in order to create cheaply
produced films which often perpetuated stereotypical images of black men and
women; which is evident in 'Shaft', are used to “exploit the black audience”[30]. The
ability not conform to stereotypes of black men isn't seen in many
Blaxploitation films as they were represented perceptions of their time, though
flashy and different, they do not refrain from commenting on black men as
overly masculine, scary and angry. ‘Moonlight’ is able to bring a
representation that uses stereotypes positively to achieve realism with the characters
and showcase “masculinity [on a] spectrum”[31] that
enables audiences to identify and engage with the movie itself. Audience’s
engagement was especially evident on social media with its ability to become a
powerful platform. Race has become an important topic of the growth of social
movements, which tackle with the political systems,[32] and
disconnect of minorities and the media. Gilroy’s hypothesis can be applied to
‘Oscars So White’, a political movement created by a black user on Twitter, at
evident lack of black and other people of colour being nominated in many of the
categories at the Oscar award ceremony.
The movement created national coverage as users started to express the
lack of diverse actors, screenwriters or cinematographers etc. gaining awards
leading to a boycott from notable black figures: director Spike Lee and actress
Jada Pinkett-Smith[33], the
rhetoric of the movements such as ‘OscarsSoWhite’ or ‘BlackLivesMatter’ are
able to represent the zeitgeist which was a black audience wanting to see
characters such as themselves on the screens. So, Barry Jenkins as a black gay
man being able to represent two communities and converse conversations of lack
of diversity (Oscarssowhite) and dehumanisation of black people in news and
media (Blacklivesmatter) allowing ‘Moonlight’ to propel forward as a top
grossing movie. The black audience who created these social movements for
change received it, in the of variants masculinities subverting the toxicity of
masculinity shown in older black films but how they co-exist together in a
“social eco-system”[34]: “Moonlight is a master class on tasteful storytelling while
delicately tackling the contentious issues of black masculinity and sexuality”[35]
We see
Jenkins highlight the realism of ‘Moonlgiht’ from the beginning of the movie where
Juan’s masculinity is highlighted an extreme negative to lead to his downfall.
The cinematography used at the beginning, is incredibly smooth and swift due to
the use of a 360 camera angle. The camera slowly pans and revolves
around the characters; the purpose for the style of shot is to establish
Juan's characterisation as smooth, chill, well-known in both the
neighbourhood and society, he audience’s own perception is created of the
characters they are to see; “people associate young black men with crime
in American culture”[36]. I
believe, it also is used that way so the audience can get a glimpse of the
sought of neighbourhood they are positioned in, when traditionally, a long shot
would be used to establish setting, 'Moonlight' rather makes for an “immersive
cinema”[37]
experience with the rotating camera movements. The organised way the
characters sell drugs are sold in the film is portrayed
extremely realistically, the realism is conveyed thought the film
earning its acclaimed award. Viewers are made to feel engaged in this
scene as well as seeing the scene in every characters point on view (POV
shot). This concept of a circular view connects to the theme of cycles , the
360 degree shot of this scene symbolises the cyclical narrative throughout
the film, such as, Chiron having to break the cycle of doing drugs in his
family or spending his childhood with Juan and eventually circling into
the same path as Juan currently has. ‘Moonlight’ captures the zeitgeist of
black men in society as many black males being in certain low income or broken
family situations become part of gangs, drug dealers or incarceration due to a
certain cycle and expectation for them to not do well. To add, images
perpetuated by mass media such as the music genre Rap/Hip-hop music artist like
Snoop Dogg, CheifKeef or Young Jeezy etc. reinforced the ideology that
masculinity is “synonymous with hyper-sexuality, anger, criminality, and violence”[38]. Questionable lyrics and
images portrayed in their videos and lyrics make a toxic socialisation showing
black males to think that anger and rage are the narrowed down emotions to be
felt, this further reinforces the ability for media to forge a construction of
masculinity which makes absence of emotions a concept of a man this “serve[s]
to reinforce the dominate ideological views .."[39] But also “instil erotic sadism in the black male child”[40]. Additionally, the 360 degree movement is always moving
which provides a disorientating experience for the viewer;
this unsettling feeling illustrates the intensity of the situation
between the drug dealer and the middle man. Lastly, in this moment we see two
men one of young age and one of an older age staring into each other’s eyes as
if they were each other’s mirror's, in the scene, one may imagine the addict was
once a young man and the young is seen as a suture addict showing the concept
of cycles and juxtaposition. This further reinforces the cyclical
narrative as Jenkins’ represented Juan’s masculinity through his control over
other characters and rather than not show such representation, Jenkins makes it
evident it exits and may want to converse to audience to not follow such a root
as we later find the Juan to have been killed because of his business because
of the toxicity of the life he led. To add, the lighting is important in
this scene, it is daytime due to the lightness of the colour although the
connection between the men is drugs which is more of a negative and dark
feeling. The fact it is bright outside and there is no shadows, for them to be
discreet, symbolises the comfort Juan has in his job and shows he is not
trying to hide parts of his life.
Currently, more than ever,
there is an outcry for both more diversity of POC (People of colour) and
representations of those apart of the LGBT+ community. Representations of black
homosexual males in Hollywood is limited: Movies such as 'Leave it on the
Floor'[41], 'Paris is Burning'[42] and the character
Lafayette in series 'True Blood'[43] all of these
characteristics are an “over exaggeration...of Gay men”[44], which are overly
flamboyant, have accentuated high pitched voices, which may not be a true
representation of all black males as they are not the ideals- resulting to “how
gay men feel about themselves”[45]. This represents what it
means to be both black and gay that struggles and misconception that
people have. Jenkins highlight’s the struggle of identity of a young boy
struggling with their identity with Chiron as he has people constructing his
identity with their own perception, as a child called “Little; when he’s with
his first love, he’s “Black” and many times a “f*ggot” evidently conversing to
an audience that though Chiron states he is indifferent:”You don’t know me”,
other’s own image of him changes constantly and he upholds which is a contextual
reminder by the director of black men’s own struggle to keep up images made by
them by society personified by characters telling Chiron who he is. Black men
in History have the perception of strong, big and violent. These traits,
because of the representation of black men during times of the Slave trade
(sexualisation, bestial imagery, literal beasts, property)[46] and post-colonialism[47] (Overly-sexual, thieves,
violent 'other') reinforce the perception of black men being a form of two; an
overtly flamboyant black man and the angry/aggressive one. However, the use of the character Chiron
emulating this image of flamboyancy in the dance room where he dances with both
boys and girls in pink coloured room converses as him identifying with his
“feminine” side Jenkins subverting toxic hyper masculinity as a sophisticated
reading can read this as Chiron being protected because his ability to identity
with the other children dancing rather than find himself not being affected by
“masculine ideals”[48].
The Queer theory emerged
in the 1990s to examine non-straight works in film texts and how the
representation of Gay people in film. This theory would communicate to
‘Moonlight’ as it was applauded for its acclaimed ‘moonlight scene’ where two
of the boys are at the beach watching the moon. As Chiron meets Kevin at the beach, who having realised is Chiron's
crush at this point, it is hear we witness Chiron opening up to Kevin next to
the water. This leads to the initial beach scene with young Chiron and
Juan, considering how much more open Chiron remains in this beach setting
compared to the first especially when he looks up to the moonlight. This
contrasts Chiron's character and the effect of Juan being a father figure,
he was able to talk more and open up about himself with Juan as he was never
given that emotional vulnerability with Paula while talking to Kevin
at the beach left him more silent and speaking less words. This may be due to
the subject they talk about as they speak openly about crying, Chiron recalls
how he felt he cried "so much I just turn to drops"[49] and
Kevin replies with "You just roll out into the water right?”[50] The
ability for two black boys to openly their feelings especially about crying
subverts violent images of black boys created in movies (Bad Boys, Kidulthood)
and masculinity in black men and how they are presented neither does it
“emasculate”[51] them for doing so. Film
scholar, Teresa de Lauretis’ Queer theory analysis states “the processes
undertaken to normalise heterosexuality in classical cinema”[52] and
with ‘Moonlight’ Jenkins normalises the sexual wakening between the two subtly,
while Hollywood over exaggerates the black gay man and makes gays scenes
“rampantly heterosexual”[53],
‘Moonlight’ enables these two boys who already have stereotypes created for
them through media are sitting there in their own world talking about their
feelings and going against the perceived anger of the clack man further
highlights the movies ability to subvert these norms of black men and just be.
Barry
Jenkins represents a “positive association for Black men”[54]
which are “limited”[55]
in film media and texts of society; he uses stereotypes already created by
society to represent realistic characters in the movie ‘Moonlight’. Though
“nothing much has changed since the 1970s”[56],
the time of exploitations of black audiences, where “stereotypes have a complex
relationship with ‘reality’”[57],
the black man’s image- homosexual or otherwise, has been changing constantly in
film and the “crisis of masculinity”[58]
is a positive step forward for the subversion of negative stereotypes created
for black men. ‘Moonlight’ highlights
this positivity with the different representations; “black masculine ideal”[59]
Juan, “performative”[60]
of masculinity by Kevin and indifferent Chiron, reinforcing the different
masculinities as positive as these allow different identities for audiences to
identify with which does not pertain to exploitative stereotypical
characterisation. Though the toxicity of masculinity is highlighted, each
character holds a spectrum of masculinities which are “different”[61]
and both subvert and conform to communicate to a twenty-first century audience
the realism and complexities of black men. Where young boys cry, hug and seek
comfort within each other. Where, the perception of a “soft”[62]
black man goes against the perceived norm and beautification of the violent
black men seen “[shining] blue”[63].
‘Moonlight’ goes further in using the toxicity of hyper-masculinity as a tool
to create images of a realistic spectrum of the black man, subverting images
and ideologies of an audience all too hidden and “exploited”[64]
in media. Author Zadie Smith stated at Ted-X “Many are brutalised but not all
become brutal”[65],
not a direct reference to the film but does reflect the same ideology and why
‘Moonlight’ resonates strongly. The black body is constantly brutalised in art
as in life, which is why it is cathartic for a black audience to see it
beautifully rendered human and watching that pure humanity acknowledged.
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[1] Moonlight.
(2017).
[2]Laughey,
D. (2009). p. 78.
[3]Beachflute.
TeachForUs. (2007). p.2.
[4]Lacey, N. (1998).
p. 39.
[5] The
Guardian. (2016).
[7]Moonlight.
(USA, 2016).
[8] Butler,
J. (1990).
[10]ibid.
[11] ibid.
[12] ibid.
[14] ibid.
[16] Fanon,F.
(1963).
[17] ibid.
[18] White, M.
(2011).
[19] ibid.
[20] ibid.
[21] Boy N the
Hood. (1991).
[22] Dines, G. (2003). p.458.
[23] Little
White Lilies. (1965).
[24] ibid.
[25]
Moonlight. (2016).
[26]
Huffington Post. (2017).
[27]
Media Magazine. (2008). p.21.
[28]
Three Time (Taiwan, 2005).
[29]
Film School Rejects. (2017).
[30]
Lawrence, N. (2008).
[31]
Cornell, D. (2009).
[32]
Gilroy, (1991).
[33]
CNN Entertainment. (2016).
[34]
Huffington Post. (2017).
[35]
ibid.
[36]
Russel-Brown. (2009). p.84.
[37]
Independent. (2017).
[38] Goodwin,
A. (2016).
[39] Lacey,N.
(2008).
[40] Poter, M.
(2006).
[41] Leave it
on the floor. (2011).
[42] Paris is
Burning. (1990).
[43] True
Blood. (2008).
[44] Litwin,
R. (2014).
[45] Szymanski
& Carr. (2008).
[46] Davis, Gary
L, Herbert, J. (1979). p.269-279.
[47] Alvarado.
(1987).
[48] Clarkson.
(2006).
[49]
Moonlight. (2017).
[50] ibid.
[51]
Huffington Post. (2013).
[53] Dines, G.
(2003).
[54] The Opportunity
Agenda. (2011).
[55] ibid.
[56]
Donaldson, L. (2015). The Guardian.
[57] Calvert,
B. (2002). p.37.
[58] Raisen,
R. (2007). The Guardian .
[59] Wallace,
M. (1997).
[60] Butler,
J. (1990).
[61]
Connell,R. (1993). p.37.
[62] Piner, J.
(2017).
[63]
Marhershalla, A. (2017).
[64] Mostern,
K. (1999).
[65] Smith, Z.
(2017).
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