Relevant bibliographies by topics / Heterosexual men in motion pictures

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Academic literature on the topic 'Heterosexual men in motion pictures'

Author: Grafiati
Published: 4 June 2021
Last updated: 24 January 2023

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Journal articles on the topic "Heterosexual men in motion pictures"

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Lübke, Katrin T., Charlotte Sachse, Matthias Hoenen, and Bettina M. Pause. "Mu-Suppression as an Indicator of Empathic Processes in Lesbian, Gay, and Heterosexual Adults." Archives of Sexual Behavior 49, no. 2 (October 10, 2019): 635–44. http://dx.doi.org/10.1007/s10508-019-01491-2.

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Abstract Self-reported empathy differs with gender and sexual orientation. The current study investigated whether mu-suppression, reflecting brain activity especially related to state empathy, also is modulated by gender and sexual orientation. Pictures of painful and non-painful actions were presented to 20 lesbians, 20 gay men, 20 heterosexual men and 20 heterosexual women, while EEG was recorded. Individual peak frequencies of mu-activity (electrodes C3, C4) were detected within the 6–11 Hz band for each participant, and mu-suppression indices were calculated. Further, verbal indicators of state empathy (pain ratings) and compassion were assessed. Only heterosexual individuals showed the typical pattern of enhanced mu-suppression in response to painful relative to non-painful pictures. Lesbian women and gay men did not show a differential mu-response. Moreover, they felt less compassion compared to heterosexual individuals. In line with this finding, the more compassion the participants reported, the stronger the mu-suppression in response to painful relative to non-painful pictures was. Pain ratings did not vary with sexual orientation. The lesser compassion reported by lesbian women and gay men is discussed as a mediator of their non-differential mu-suppression response. It is hypothesized that this pattern might relate to gay men and lesbian women tending to perceive the anonymous depicted actors as outgroup members, hence showing less compassion and reduced mu-suppression. As empathy is often related to negative feelings (empathic stress), a clear distinction between individuals to empathize with versus individuals not to emphasize with may well be an adaptive feature in same-sex oriented individuals.
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Aboyoun, Darren C., and James M. Dabbs. "THE HESS PUPIL DILATION FINDINGS: SEX OR NOVELTY?" Social Behavior and Personality: an international journal 26, no. 4 (January 1, 1998): 415–19. http://dx.doi.org/10.2224/sbp.1998.26.4.415.

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Pupil dilation research initially focused upon emotional reactions and then shifted almost entirely to information processing. The present study returns to the initial research and addresses the question of whether pupil dilation in response to nudity reflects general arousal or more specific sexual arousal. Among heterosexual subjects, pictures of opposite sex nudes should produce sexual arousal, while pictures of nudes of either sex should produce a general novelty reaction. Pupil dilation was monitored among men and women viewing pictures of clothed men, clothed women, nude men, and nude women. Pupils dilated more to nude pictures than to the clothed pictures, regardless of the sex of the subject or the sex of the target person being viewed.
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Hirschman, Elizabeth C. "Consumer Preferences in Literature, Motion Pictures, and Television Programs." Empirical Studies of the Arts 5, no. 1 (January 1987): 31–46. http://dx.doi.org/10.2190/3c9d-4vf6-v7nt-hbpw.

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This study examined the relationship between five motives—sensory arousal, cognitive arousal, escapism, mastery-control, and emotional involvement—and preferences for different types of content in three cultural media—television programs, motion pictures, and books. The findings both confirmed and extended prior theorization and found some intriguing differences in content preferences between women and men.
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Albury, Kath, and Paul Byron. "Queering Sexting and Sexualisation." Media International Australia 153, no. 1 (November 2014): 138–47. http://dx.doi.org/10.1177/1329878x1415300116.

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Recent Australian research on ‘sexting’ (the production and exchange of naked and semi-naked digital pictures) has observed that formal legal and educational discourses have failed to fully account for young people's understandings and experiences. While there is a proliferation of scholarly and popular texts focusing on the risks that sexting might pose to young (heterosexual) women, there is a relative absence of academic, educational or popular discourse acknowledging same sex-attracted young people's participation in cultures of creating and sharing pictures via dating and hook-up apps. This article draws on focus-group interviews with young people in Sydney (aged 18–26) to present alternative accounts of sexting, and reflect on same sex-attracted men and women's strategies for negotiating safety and risk within online and offline sexual cultures.
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Albury, Kath. "Just because it’s public doesn’t mean it’s any of your business: Adults’ and children’s sexual rights in digitally mediated spaces." New Media & Society 19, no. 5 (January 16, 2017): 713–25. http://dx.doi.org/10.1177/1461444816686322.

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This article engages with media responses to the 2015 Ashley Madison hack (which largely exposed the sexual details of adult heterosexual men) and the 2014 ‘Fappening’ hack (which exposed private sexual images of adult female celebrities). It draws on Petchesky’s concept of positive sexual rights and Warner’s framework of sexual ethics to reflect on the ways current educational and policy responses to ‘teen sexting’ (or sharing nude/semi-nude pictures) might change if young people’s sexual rights were recognized as being similar (if not the same) to those of the adult victims of the 2014 and 2015 hacks.
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Kosonogov, Vladimir, José M. Martínez-Selva, Ginesa Torrente, Eduvigis Carrillo-Verdejo, Aurelio Arenas, and Juan P. Sánchez-Navarro. "Head Motion Elicited by Viewing Affective Pictures as Measured by a New LED-Based Technique." Multisensory Research 32, no. 7 (2019): 575–88. http://dx.doi.org/10.1163/22134808-20191363.

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Abstract The complex sensory input and motor reflexes that keep body posture and head position aligned are influenced by emotional reactions evoked by visual or auditory stimulation. Several theoretical approaches have emphasized the relevance of motor reactions in emotional response. Emotions are considered as a tendency or predisposition to act that depends on two motivational systems in the brain — the appetitive system, related to approach behaviours, and the defensive system, related to withdrawal or fight-or-flight behaviours. Few studies on emotion have been conducted employing kinematic methods, however. Motion analysis of the head may be a promising method for studying the impact of viewing affective pictures on emotional response. For this purpose, we presented unpleasant, neutral and pleasant affective pictures. Participants were instructed to view the pictures and to remain still. Two light-emitting diodes (LEDs) were attached to the foreheads of participants, and a Wii Remote controller, positioned 25 cm away, detected the position of the LEDs in the medial–lateral and anterior–posterior axes. We found more sway in response to unpleasant pictures. In addition, unpleasant pictures also provoked faster movements than both neutral and pleasant pictures. This response to unpleasant pictures, in contrast to pleasant ones, might reflect the readiness or predisposition to act. Our data also revealed that men moved faster than women, which is in accordance with previous findings related to gender differences.
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Danel, Dariusz P., Kasper Kalinowski, Natalia Nowak-Szczepanska, Anna Ziomkiewicz-Wichary, Anna Apanasewicz, Krzysztof Borysławski, Sławomir Kozieł, Danuta Kornafel, and Pawel Fedurek. "Shifts in Female Facial Attractiveness during Pregnancy." International Journal of Environmental Research and Public Health 17, no. 14 (July 17, 2020): 5176. http://dx.doi.org/10.3390/ijerph17145176.

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It has been proposed that women’s physical attractiveness is a cue to temporal changes in fertility. If this is the case, we should observe shifts in attractiveness during pregnancy—a unique physiological state of temporal infertility. The aim of this study was to examine how women’s facial attractiveness changes during the subsequent trimesters of pregnancy and how it compares to that of nonpregnant women. Sixty-six pictures of pregnant women (22 pictures per trimester) and 22 of nonpregnant women (a control group) were used to generate four composite portraits, which were subsequently assessed for facial attractiveness by 117 heterosexual men. The results show considerable differences between facial attractiveness ratings depending on the status and progress of pregnancy. Nonpregnant women were perceived as the most attractive, and the attractiveness scores of pregnant women decreased throughout the course of pregnancy. Our findings show that facial attractiveness can be influenced by pregnancy and that gestation, even at its early stages, affects facial attractiveness. Considerable changes in women’s physiology that occur during pregnancy may be responsible for the observed effects.
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Kobayashi, Maiko, Koyo Nakamura, and Katsumi Watanabe. "Sex Differences in the Motivation for Viewing Sexually Arousing Images." Evolutionary Psychological Science 7, no. 3 (February 27, 2021): 273–83. http://dx.doi.org/10.1007/s40806-021-00276-y.

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AbstractSexual motivation strongly influences mate choice and dating behavior and can be triggered by merely viewing sexually arousing visual images, such as erotic pictures and movies. Previous studies suggested that men, more than women, tend to search for sexual cues that signal promiscuity in short-term mates. However, it remains to be tested whether sex differences in the motivation to view sexual cues can be observed by using robust and well-controlled behavioral measures. To this end, we employed a pay-per-view key-pressing task. Japanese self-identified heterosexual male and female participants viewed images of men, women, or couples with two levels of sexual arousal (sexual vs. less sexual). Participants could alter the viewing time of a presented image according to their willingness to keep viewing it. Male participants were the most eager to view sexually arousing images of the opposite sex, whereas female participants were more strongly motivated to view less sexual images of couples. Such sex differences may reflect differentiated reproductive strategies between men and women in terms of men’s motivation toward promiscuity and women’s motivation toward long-term relationships.
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Nangimah, Musrifatun. "The cultural repertoire of recontextualized superhero in the Avengers sequels." EduLite: Journal of English Education, Literature and Culture 6, no. 2 (August 31, 2021): 353. http://dx.doi.org/10.30659/e.6.2.353-368.

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This research presents content analysis to the cultural repertoire of Marvel Cinematic Universe�s superhero motion pictures. It investigates the content, theme, and core ideas of Avengers sequels: The Avengers (2012), Avengers: Age of Ultron (2015), Avengers: Infinity War (2018), and Avengers: Endgame (2019). It explores how the Avengers sequels portrays recontextualization of superhero characters and whether as well as to what extent it provides US cultural monomyth. The finding shows that each character of the Avengers has flaws and vulnerabilities as common human beings that leave them from traditional superhero monomyth. Nevertheless, it still illustrates US cultural imperialism, pharmakon portrayal, hegemonic masculinity, and sovereignty. These motion pictures still serve US heroism and patriotism interest as well as binary interplay: order-chaos, law-violence and villain-superhero that occurs among superheroes, extra-terrestrial race, robots and Titans despite its recontextualized characters. Moreover, it depicts the traditional masculine ideal valorisation where men are more likely powerful, intelligent, and equipped by sophisticated technology whereas women are seen as supportive superheroes with implied beauty standards. The recommendation for future research is discussed.
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Marwah, Diniati, Ismunandar Ismunandar, and Regaria Tindarika. "BENTUK PENYAJIAN TARI LANGKAH DUA BELAS DI DESA SUNGAI BUNGKOK KALIMANTAN BARAT." Jurnal Pendidikan dan Pembelajaran Khatulistiwa (JPPK) 11, no. 6 (June 29, 2022): 421. http://dx.doi.org/10.26418/jppk.v11i6.55840.

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This research aims to describe the Langkah Dua Belas dance. This study used qualitative approach with method of interview, observation and document analysis. The documents that the author used in this study were written documents, pictures and videos. The authors concluded that Langkah Dua Belas dance has an opening movement structure, namely the motion of respect, the core movement which consists of 12 steps and the closing motion is the motion of the throne. The number of dancers must be even, namely 4, 6, 8, and so on. This dance can be danced by both men and women. The floor pattern is a straight line forming the letter V. Musical instruments used are selodang, segmented, and small tambourines. The clothes used by female dancers are brackets clothes, Malay lotus, and gill pattern cloth. Meanwhile, the male dancers use the Teluk Belanga shirt, pants, gill pattern cloth, and skullcap. The makeup used by dancers is natural makeup. The venue for the show is a proscenium stage or open field.
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Dissertations / Theses on the topic "Heterosexual men in motion pictures"

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Pillion, Owen L. "On Objects and Affections: Contemporary Representations of the Gay Man/Straight Woman Dyad in Popular Film and Television." Thesis, Connect to this title online, 2000. http://www.library.unt.edu/theses/open/20003/pillion%5Fowen%5Fl/index.htm.

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Crilly, Shane. ""Gods in our own world" representations of troubled and troubling masculinities in some Australian films, 1991-2001 /." Connect to this title online, 2004. http://hdl.handle.net/2440/37939.

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The dominance of male characters in Australian films makes our national cinema a rich resource for the examination of the construction of masculinities. This thesis argues that the codes of the hegemonic masculinities in capitalist patriarchal societies like Australia insist on an absolute masculine position. However, according to Oedipal logic, this position always belongs to another man. Masculine yet 'feminised,'identity is fraught with anxiety but sustained by the 'dominant fiction' that equates the penis with the phallus and locates the feminine as its polar opposite. This binary relationship is inaugurated in childhood when a boy must distinguish his identity from his mother, who, significantly, is a different gender. Being masculine means not being feminine. However, as much as men strive towards inhabiting the masculine position completely, this masquerade will always be exposed by the elements associated with femininity that are an inevitable part of the human experience. Yet, the more men are drawn to the feminine, the more they risk losing their masculine integrity altogether under the patriarchal gaze. Men, in this dualistic regime, are condemned to negotiate their identity haunted by the promises of the phallus and the fear of its loss. I begin with a model of masculine integrity represented in the image of an ideal father, Darryl Kerrigan, from The Castle and then proceed to problematise it through an examination of its excesses observed in the father of David Helfgott in Shine. In the second chapter I investigate two films that represent mothers as the principal threat to masculine integrity: Death in Brunswick and Proof. Both films reveal a misogynistic impetus, which is expressed as violence against women in The Boys, the sole focus of my middle chapter. With misogyny and violence still resonating, I follow the contours of my argument through an examination of Chopper and The Adventures of Priscilla, Queen of the Desert in the fourth chapter, where I emphasise the performative nature of identity, before arriving at a discussion of men and their relationships in the final chapter (Mullet, Praise, and Thank God He Met Lizzie).
Thesis (Ph.D.)--School of Humanities, 2004.
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Yeung, Yuk-ngan. "Gender representation in films." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?

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Lam, Suk-yin, and 林淑燕. "The construct of masculinity and femininity in John Woo and Stanley Kwan's films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31951144.

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Reburn, Jennifer. "Watching men : masculinity and surveillance in the American serial killer film 1978-2008." Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3390/.

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This thesis explores the depiction of masculinity in the American serial killer film with a particular focus on the articulation of surveillance. I trace shifts and trends in films made between 1978 and 2008. Drawing on existing analyses of the serial killer panic, I argue that cinema swiftly assimilated FBI rhetoric which influenced the development of the serial killer as a cultural figure. In particular, I highlight the profiler as a crucial element of serial killer discourse. This thesis tracks the development of this figure within American cinema, investigates the influence of this character on portrayals of the serial killer, and argues that the killer and profiler are constructed as opposing agents of surveillance. Using a chronological approach, I investigate the films shaped by this historical moment, splitting them into time-specific cycles in order to understand the cultural shifts affecting their development. I argue that a fascination with surveillance is a factor in the continuing power of the serial killer, exploring the different ways in which surveillance is thematised in the films. Highlighting the gendered nature of surveillance, I contend that the films support gender norms, with the killer often functioning as a violent example of the suppression of non-normative expressions of gendered identity. Including discussions of both mainstream and niche films, I show that the serial killer is distanced from normative masculinity in ways which allude to the Gothic and to gender, class and race prejudice, constructing the status of the serial killer as a special, inscrutable individual removed from power structures. The thesis argues that cinematic representations have embraced certain elements of FBI rhetoric, emphasising the exceptional surveillance skills of the profiler. As a result, the serial killer is frequently depicted as an extraordinary figure requiring elite expertise. I consider the ramifications of these portrayals and discuss the moments at which patriarchal power structures underlying this form of violence are both concealed and exposed.
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Yeung, Yuk-ngan, and 楊玉顔. "Gender representation in films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31953773.

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McCleerey, Mark Jefferey. "Monitor Men: An Intertextual Analysis of Motion Pictures Directed by George Clooney." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/dissertations/1025.

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In this dissertation, I analyze five feature films directed by, and one teleplay produced by, movie and television star George Clooney. I argue that traditional critical frameworks for analyzing the work of film directors are not sufficient in approaching the movie-star director. The director who is also a popular screen actor has a signifying function as a star, a function we must add to an auteurist analysis. To analyze the films of a movie-star director, we must take into account that director's star image, primarily because of the opportunities his or her star image offers for intertextual analysis. In this dissertation, such analysis includes other motion pictures and television shows in which George Clooney has starred, plus additional movies that I identify as not only related to Clooney-directed films, but that also illuminate those films via thematic and formal similarities. My overarching objective is to demonstrate that my approach here will be ideal for future analysis of directorial work by other film and television stars.
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Sutton, Travis Benshoff Harry M. ""According to their wills and pleasures" the sexual stereotyping of Mormon men in American film and television /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/permalink/meta-dc-9825.

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Lam, Suk-yin. "The construct of masculinity and femininity in John Woo and Stanley Kwan's films." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B17390801.

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Suen, Pak-kin. "Filming gay representations : male homosexuality in Hong Kong and Taiwanese cinema /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23242036.

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Books on the topic "Heterosexual men in motion pictures"

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Extra-ordinary men: White heterosexual masculinity in contemporary popular cinema. Lanham, MD: Lexington Books, 2009.

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Hall, Matthew. Teaching men and film. London: BFI, 2005.

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Millennial masculinity: Men in contemporary American cinema. Detroit: Wayne State University Press, 2013.

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101 must-see movies for gay men. Los Angeles, Calif: Alyson Books, 2005.

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Typical men: The representation of masculinity in popular British cinema. London: I.B. Tauris, 2003.

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Hard hats, rednecks, and macho men: Class in 1970s American cinema. New York: Oxford University Press, 2009.

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Typical men: The representation of masculinity in popular British cinema. London: I.B. Tauris Publishers, 2001.

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Men in African film & fiction. Woodbridge, Suffolk, UK: James Currey, 2011.

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Soured on the system: Disaffected men in 20th century American film. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2012.

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Masculinities in Polish, Czech and Slovak cinema: Black Peters and men of marble. New York: Berghahn Books, 2010.

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Book chapters on the topic "Heterosexual men in motion pictures"

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Lake, Jessica. "Hollywood Heroes and Shameful Hookers." In The Face That Launched a Thousand Lawsuits. Yale University Press, 2016. http://dx.doi.org/10.12987/yale/9780300214222.003.0007.

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This chapter examines the cases in which individuals used a right to privacy to claim ownership over their life stories, when appropriated by film studios for fiction films. It tracks the move of industrial image making from the East Coast to the West coast of the United States in the 1910s and compares the different contexts of New York’s privacy laws with California’s, informed as they were by a utopian “pursuit of happiness” guaranteed by the Californian Constitution. This chapter also examines the right of privacy in relation to the censorship demands of the Hays Code and considers the onscreen celebration of men’s heroic “public” lives compared to the shaming of women’s “private” lives. It discusses the motion pictures CDQ or Saved by Wireless (1911), The Red Kimono (1925), Yankee Doodle Dandy (1944) and The Sands of Iwo Jima (1949). Whereas female plaintiffs took issue with being condemned or marginalized by films because of their sexuality (their status as hookers or divorcees), men protested the implications of being publicly celebrated for their professional deeds or achievements.
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