Analysis of Representation of Masculinity in Die Hard 2 - Essay Example

Representation of Masculinity in Die Hard 2 The extant literature that we learn from this field of film incorporates gender studies that examine the representation of masculinity or the male action hero. At this stance, studies of film field pay specific attention to the herculean physical performances and spectacular body appearances of the starring characters such as John McLane in his Die Hard Series (Caroll 2003: 54). And yet, at some times when these action heroes start going back to the action roles that brought them into limelight, in some instances, several years down the line, scholars extent their ignorance and overlook the fundamental divinity of age as they discuss hard bodies of these hegemonic heroes (Bould 2005: 39). As such, this paper intends to analyze the representation of masculinity in one of the Die Hard films namely Die Hard 2 by drawing on Mulvey and Neale readings as well as discussion by Taster. Hegemonic masculinity associates with social dominance on one end. On the other, it involves physical prowess, sexual virility, and aggression (Rzepka and Horsley 2010: 61). These are potentially bewildering images of action heroes. With that in mind, it is interesting to note that this hegemonic ideal is not only hard to create, but also implausible to keep up with for the contemporary male. Therefore, this figure that depicts powerful masculinity may only exist or embody in legendary heroes, mythical figures, and probably a minute number of males within a society (West and Lay 2003: 27). Die Hard 2 is a story revolving around a cop who cites in New York and on fine day to Christmas, he visits his ‘distanced’ wife who lives in Los Angeles. Upon his arrival, he finds her and the rest of her work mates having a Christmas party at the same building where they work (Gates 2006: 35). Coincidentally, there happens to be some criminals posing as political terrorists who invade the building demanding for petty yet criminalist favors like release of war criminals jailed in one of the penitentiary facilities around America. John McLane works as a New York law enforcement officer. He stays far from his wife and have some unsolved issues which act as part of the reasons as to why they are no longer in goods terms (Rzepka and Horsley 2010: 89). He is a masculine male character with virile physical prowess and social dominance as well as high level of aggression. Post analysis of Hollywood presentation of male genres characterized Die Hard 2 as male driven action movie that the audience understands to be one of the most visually explosive films with a macho that portrays Hollywood genres (Milestone and Meyer 2012: 50). This is because of its spectacular sight and relevance of the hard male body set forth by the main character. Indeed, extant studies and research from with the some of the feminist film theories puts across clearly that the body masculinity of an action hero gives the preferential tone for an action narrative (Caroll 2003: 79). Analysis of Die Hard 2 highlights that movie directors construct action heroes like Bruce Willis exclusively via their physicality and the way they display their bodies form a vital ingredient of the visual effects or excess that they offer in the muscular action cinema (Gates 2006: 58). Several suggestions show that American action films strive hard and frequently at the expense of developing the narrative, to contrive situations or instances for displaying the body of an action hero. Ideally, extant literature that examines both the hegemonic male and the action hero routinely expound on issues such as sexuality, race, class, nationality, and above all the body (Bould 2005: 59). Despite his ageing body prowess, most reviewers, and critics alike, received the Die Hard Series with a lot of zeal and plausible applauds. This is due to his ability to withstand physical assaults with his male hard body irrespective of age at that particular time (Berg 2002: 80). You should note that masculinity change must take place within the franchise of Die Hard series given the fact that Bruce Willis premiered first of these series at the age of 35. With that respect, all Die Hard movies portray physical toughness of the main character’s body as opposed to his age (West and Lay 2003: 55). This means that, despite the point that John McLane continued to age during the augmented life span of the Die Hard franchise, his character always continued to be middle aged instead of youthful representation of masculinity image (Benshoff and Griffin 2011: 75). As stated earlier, Bruce Willis premiered the original film of Die Hard when he was 35 and thus past a youthful masculinity image (Caroll 2003: 112). In this case, the main idea is that John McLane was and still is or continues to be a tough character with a hard masculine body that has the ability to cope up with routine pain, habitual brutality, repeated punishments, and as such, the audience does not only accept this ageing hero, but applauded by critics too. As explained, in the beginning of the movie, there enters a group of gangs into the same building where John McLane comes to pick or probably talk to his wife. Movie reviewers put forward that, due to his masculinity, John is able to overshadow and overpower more than ten men all by himself (Benshoff and Horsley 2010: 91). What does this imply? With reference to hegemonic male bodies of action legends, masculinity is a sign of ability to withstand hardships, think faster, overpower obstacles that normal humans cannot tackle, and show machismo in a flamboyant manner (Bould 2005: 80). Discreet outlook into the movie displays masculinity as more than just physical ability but also possession of charisma by the lead protagonist in a movie. John fights till the end of the movie without losing much of his huddles as opposed to his opponents who lose their lives, machinery, and more so, money (Gates 2006: 66). The sheer brute power that John employs while fighting his enemies shows the recent shift from feminine action in the 1970s to male hard body that geared in the 1990s particularly to gain popularity in the youthful audience (Berg 2002: 105). Die Hard captures the art of masculinity as John displays hard core power that depicts nature of men in they battle out of their problems physically. Upon analyzing Neale readings, it is acknowledgeable that whatever happened to old-fashioned movies such as those of James Bond, things changed ever since actors like Woody Allen introduced the universe to a fresh breed of body masculinity. Since then, the cinema portrays men as an ever-persistent character of battle between and among the distinct layers of male persona. Traditionally, men are the authoritative dominators of movies. Die Hard 2 came to represent the male vulnerability that every man experiences in his everyday life (Rzepka and Horsley 2010: 154). Thus, forced to contend with discreet loss of identity, men displaced the conventional gender roles of feminism with male hard body machismo that most youths and other generations alike fall for (Berg 2002: 127). John McLane portrays the classic structure of male masculinity with the rigor of replacing aggression with imminent characteristics like emotions. Additionally, in Die Hard 2, the main protagonist exhibits other characteristics closely related to masculinity by replacing other classic structures such as intellectualism, virility, and strength with irrationality, insecurity, and imperfection respectively (West and Lay 2003: 71). Presence of these replacements creates room for expression of model of masculinity that redefines manhood in the film field. Movie reviewers and critics as well portray the character of John McLane in Die Hard as masculine especially when he tampers with airplane’s fuel tank when the enemies are about to take off. Upon responding to these replacements, the Die Hard series replenished the cinema field with literal action as it sough to give space and reassert control of some of the shambled gender ideologies portrayed in the 1980s (Gates 2006: 82). Epitomic movies of this past decade such as the Die Hard series perfectly present much of the typical blockbuster films of action of such eras that bombarded the audience with images considered as the best attributes and characteristics of a correct man (Benshoff and Griffin 2011: 115). As matter of course, hegemonic male actors established yet another type of masculinity of this era, which movie reviewers refer to it as the ultra masculinity (Milestone and Meyer 2012: 76). Fact-findings assert that this type of masculinity maintained the normal and same attributes of the so-called authoritative male action hero, but it farther went to construct itself as god like. Actor Bruce Willis in his Die Hard series possess super human character traits that enable him to outsmart all his enemies at primarily each single step of the game and survives every kind of crazy stunts that not even a single normal man would dare dream about (Bould 2005: 119). In spite of the fact that the late 1980s films incorporated emotions, John McLane lacks this indifferent trait, which is yet a pragmatic key, attribute of ultra masculinity (Berg 2002: 140). After a long decade filled with men of high emotions, entry of the new breed of action heroes sought to do away with this association. To ensure that happens scripts meant for these new era films relied heavily on the application of quick quips as well as catch phrases. This was in opposition to the most drawn out monologues of such typical films as the Allen films. Application of masculinity leads to use of phrased statements to imply lack of words by these hard body male actors. With the view of compensating for the main actor’s lack of words, this film relies primarily on physical action. As a result, the ideal macho man who is Bruce Willis comes to express his ability physically (West and Lay 2003: 90). Upon analyzing this movie thoroughly, I deduced that violence became yet another imperative attribute of masculinity in the 1980s (Caroll 2003: 130). This is because, films of this decade portrayed cinematic heroes, as brawl. Consequently, this brawl became the means through which male protagonists expressed themselves. Whilst the 1970s types of masculinity made lead characters define their distinct attributes, in Die Hard 2, the main character aligns both ultra masculinity and authoritative male masculinity (Tasker 2004: 76). The presentation of both types of masculinity represents equal presence of power and catch phrases as well as quick quips. This dichotomy representing ultra masculinity versus the other side of feminized masculinity traversed through and made it to the current decade cinematic trends. Presence of feminized masculinity portrayed by John McLane in some instances of Die Hard 2 depicts possession of delicate and soft features that made the whole movie become extremely popular since when it premiered. Particularly, its appeal reveals simultaneous resurgence of male machismo that John displays (Jeffords 2004: 66). Die Hard 2 gained great popularity mainly because of John’s wimpy physique and boyish good looks that killed the introduction of the film. In addition, the clarity of the message and his effeminate burl came as a consideration of a contemporary symbol of star and an ideal man as well (Gates 2006: 111). With regard to this generation, it is agreeable that the audience is search of movies starred by strong, burly, masculine, and macho men who have visual embodiments that are apparent and similar to distinct forms that portray masculinity (Jeffords 2004: 100). At some point, John’s ageing body represents a glimpse of a narcissistic affront to, as well as an attack on, and the adult ego, which in turn portrays him as an action hero who remains powerful and potent and says no to traits related to weakness and unreliability (Milestone and Meyer 2012: 109). This perhaps highlights a lesser realistic but helpful version of his ageing body. In conclusion, Die Hard 2 as well as the rest of the Die Hard series epitomizes ways in which Hollywood and other film industries around the world portray masculinity in the cinema field. It brings forth a cop, troubled with his daily life manages to redeem his personality but via hard labor. Masculinity is prevalent all over the movie and the traits that embody such decisive prowess traverses throughout the film (Bould 2005: 144). As such, it is agreeable that the current generation has eventual mark on the cinema industry for making it possible for the introduction and development of character narrative, which in turn led to significance of masculinity in films (West and Lay 2003: 138). By use of imperative sources and examples, this paper analyzed the representation of masculinity in Die Hard by drawing references from readings and discussions by Neale, Taster, and Mulley. Bibliography Benshoff, H. and S. Griffin (2011) America on Film: Representing Race, Class, Gender, and Sexuality at the Movies. New York: John Wiley & Sons. Berg, C. (2002) Latino Images in Film: Stereotypes, Subversion, & Resistance. Texas: University of Texas Press. Bould, M. (2005) Film Noir: From Berlin to Sin City. London: Wallflower Press. Caroll, B. (2003) American Masculinities: A Historical Encyclopedia. New York: SAGE. Gates, P. (2006) Detecting Men: Masculinity And the Hollywood Detective Film. New York: SUNY Press. Jeffords, S. (2004) Hard Bodies: Hollywood Masculinity in the Reagan Era. Piscataway: Rutgers University Press. Milestone, K. and A. Meyer (2012) Gender and Popular Culture. Cambridge: Polity. Rzepka, C. and L. Horsley (2010) A Companion to Crime Fiction. New York: John Wiley & Sons. Tasker, Y. (2004) Action and Adventure Cinema. London: Routledge. West, R. and F. Lay (2003) Subverting Masculinity: Hegemonic and Alternative Versions of Masculinity in Contemporary Culture. Amsterdam: Rodopi. Read More