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Journal articles on the topic 'Masculinity in popular culture – Australia'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

McKinnon, Scott. "How to Be a Man: Masculinity in Australian Teen Culture and American Teen Movies." Media International Australia 131, no. 1 (May 2009): 127–35. http://dx.doi.org/10.1177/1329878x0913100114.

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This paper examines the reception of American teen films by Australian audiences in the 1950s, focusing specifically on issues of masculinity and sexuality. Using material gathered from sources such as oral history interviews, autobiographical writing and Australian media reports, an attempt is made to locate the films as one element in a developing local culture based more on age than nationality. The paper argues that, screened within the context of a society which defined masculine behaviour in the light of the ideals of war, a range of popular American films and their stars acted to complicate the idea of what it meant to be male. Audiences were offered new, or at least more ambiguous, notions of gender and sexuality. These changes caused concern among some Australian adults, as they watched the teenage boys of the nation learn how to be men.

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2

Drysdale, Kerryn. "Intimate attunements: Everyday affect in Sydney’s drag king scene." Sexualities 21, no. 4 (January 19, 2018): 640–56. http://dx.doi.org/10.1177/1363460717741792.

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For over a decade, attending events featuring drag king performances—a subcultural phenomenon where women consciously perform masculinity—proved a popular pastime in Sydney, Australia. Established within a broader tradition of live performance culture but also part of a wider urban night-time economy catering to lesbian patrons, Sydney’s drag king scene sustained a range of activities and interactions that took place in the vicinity of the performances on stage. In this article, I draw on data collated from a series of group discussions with scene participants, alongside my own immersive form of participation over a sustained five-year period, to review the role of affect within the drag king scene. Combining Lauren Berlant’s account of queer intimacies with Kathleen Stewart’s rendering of atmospheric attunement, I consider how the act of being together engenders an intimate attunement of the everyday potentialities of the scene.

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Karpova, K. S. "WORD OF 2018: LINGUISTIC ASPECT." Linguistic and Conceptual Views of the World, no. 66 (2) (2019): 62–70. http://dx.doi.org/10.17721/2520-6397.2019.2.08.

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The article is devoted to popular sociolinguistic event ‘A Word of the Year’, which takes place annually on web-sites of famous dictionaries (Oxford English Dictionary, Collins English Dictionary, Merriam-Webster’s English Dictionary, Cambridge Dictionary of the English Language) and well- known linguistic institutions (American Dialect Society, Global Language Monitor, Australian Na- tional Dictionary Centre, Society of the German Language). In English-speaking environment Oxford English Dictionary as one of the first dictionaries to launch ‘A Word of the Year’ list chooses a word or expression which have attracted a particular interest of its readers over the last twelve months. Every year hundreds of candidates are discussed online and a particular word is chosen to reflect the mood and preoccupations of a specific year as well as signify its potential as a word of cultural significance. The adjective toxic, chosen by Oxford English Dictionary as key word of 2018, is under linguistic analysis in present research. Firstly, we study lexical and semantic peculiarities of word of the year. Secondly, we investigate the most frequently-used patterns of its lexical combinability with nouns. According to online version of Oxford English Dictionary, among nouns, which regularly collocate with the target adjective toxic, the following should be paid attention to: chemical, substance, waste, algae, air, masculinity, environment, relationship, culture. Finally, we exemplify the contextual usage of adjective toxic in modern English. Moreover, we dwell on the mechanisms of influence of key spheres of life in English-speaking world (politics, economy, ecology, social and interpersonal relations) on users’ choice in 2018.

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4

Magennis, Caroline. "Masculinity and Irish popular culture: tiger's tales." Irish Studies Review 23, no. 1 (September 22, 2014): 121–23. http://dx.doi.org/10.1080/09670882.2014.961304.

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5

Lemon, Jennifer. "Popular culture and the 'crisis of masculinity'." Communicare: Journal for Communication Studies in Africa 11, no. 2 (November 7, 2022): 5–20. http://dx.doi.org/10.36615/jcsa.v11i2.1976.

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The eighties and nineties have wit nessed a renewed and unpre cedented Interest in men and mas culinity due to the emergence of the alleged contemporary 'crisis of masculinity'. This has been most preva lent in popular culture representations, which appear on the sur face to offer the modern man a whole range of 'new' roles and rela tionships, freeing him from patria chal entrapment and the dicates and demands of the traditional male sex role. The New Man Is Imaged as soft, sensitive, expressive and un afraid to show his emotions. New erotosized Images have made their appearance, and men are Imaged as sex objects in a way that only women were represented In the past. However, the question arises as to what these Images mean, and whether or not they represent any change In the patriarchal status quo In Western societies. In this article an attempt is made to deconstruct some of the new notions of masculinity in the light of the contempo rary 'crisis of masculinity', and the new popular culture representations of men In the mass media.

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6

Woronzoff, Elisabeth. "The British Pop Dandy: Masculinity, Popular Music and Culture." Popular Music and Society 34, no. 5 (December 2011): 693–95. http://dx.doi.org/10.1080/03007766.2011.607335.

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7

Schneider, Debra, and Mary Christianakis. "Book Review: Misreading Masculinity: Boys, Literacy, and Popular Culture." Men and Masculinities 9, no. 1 (July 2006): 120–23. http://dx.doi.org/10.1177/1097184x05284152.

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8

Schell, Heather. "The Big Bad Wolf: Masculinity and Genetics in Popular Culture." Literature and Medicine 26, no. 1 (2007): 109–25. http://dx.doi.org/10.1353/lm.2008.0003.

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9

Hermawan, Ferry Fauzi. "Masculinity in Indonesian Popular Culture in the Early Era of the New Order Regime." Lingua Cultura 11, no. 1 (May 31, 2017): 47. http://dx.doi.org/10.21512/lc.v11i1.1318.

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This study aimed to identify the forms of masculinity in the Indonesian popular culture in the beginning of New Order regime. This study was based on the two novels: Cross Mama and Kekasih-Kekasih Gelap, written by Motinggo Busye. The analysis used new historicism theory proposed by Stephen Greenblatt. The analysis also considered various cultural contexts emerged in 1970s. The results show three shared trends in the novels. The first trend shows that the masculinity tends to be represented by both men worshiping patriarchal values such as the myth of woman’s virginity and men perceiving woman as a sexual object. The second trend shows that masculinity is stereotyped based on masculinity, power, and male dominance. The third trend shows that masculinity relates to various products of mass culture at the time. This last trend shows that in that era,the ideal male figure is represented as the one who: (1) is sexually active with many women, (2) has a muscular body, (3) has a handsome look, and (4) has a financial capability. Besides the shared three trends, the result also shows that the texts in the novels do not only reflect the cultural situations in the 60’s and 70’s but also contribute in shaping the social values of the cultural situations.

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10

Evans, Raymond. "‘So tough'? Masculinity and rock'n'roll culture in post‐war Australia." Journal of Australian Studies 22, no. 56 (January 1998): 125–37. http://dx.doi.org/10.1080/14443059809387367.

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11

Iryanti, Muri. "The Construction of Fathers New Masculinity in South Korea Variety Show Superman is Back." Humaniora 8, no. 4 (October 31, 2017): 339. http://dx.doi.org/10.21512/humaniora.v8i4.3951.

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This research focused on the construction of new masculinity in South Korea parenting and fatherhood at the variety showen titled “Superman is Back”. This variety show itself was a part of the existence of Korean popular culture that was also called Hallyu. Hallyu became the phenomenon that swept other popular culture which previously developed in some countries. Hallyu could shift the previous pop culture with the good strategy. The selection of this television show was intended to see how a television program constructed the kind of new masculinity of men, in this case, celebrity fathers that join the show. The qualitative method was employed in this research to find the gender issue and new masculinity discourse which was portrayed by the fathers. The result shows that “Superman is Back” tries to display the different masculinity that is constructed by the show and this is different from the traditional one. This is the alliance of men with new masculinity that is less oppressed women as embedded in the context of patriarchal culture. The portrayals of new masculinity can be seen in the way fathers do nurture, cook, change the baby’s diaper, dance practice, and play with their children. “Superman is Back” is an attempt to show father as nurturer and has the role in domestic tasks too.

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Skårberg, Odd. "Stan Hawkins: The British Pop Dandy: Masculinity, Popular Music and Culture." Studia Musicologica Norvegica 36, no. 01 (November 2, 2010): 184–87. http://dx.doi.org/10.18261/issn1504-2960-2010-01-11.

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Musskopf, André. "Ungraceful God: Masculinity and Images of God in Brazilian Popular Culture." Theology & Sexuality 15, no. 2 (August 11, 2009): 145–57. http://dx.doi.org/10.1558/tse.v15i2.145.

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14

Barclay, Katie. "The Popular Culture of Romantic Love in Australia." Australian Historical Studies 49, no. 2 (April 3, 2018): 265–66. http://dx.doi.org/10.1080/1031461x.2018.1454267.

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15

Yadav, Rekha. "Popular Religious Traditions, British Military Recruitment and the Social Construction of Masculinity in Colonial Haryana." Past and Present: Representation, Heritage and Spirituality in Modern India 4, Special Issue (December 25, 2021): 31–39. http://dx.doi.org/10.12944/crjssh.4.special-issue.04.

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It is generally assumed that colonial institutions and ideologies shaped the contours of masculinity in British India. This paper explores endogenous factors and attempts to supplement as well as contest such approaches and interpretations which claim that masculinity in India was a colonial construction. The emphasis is on folk traditions, religious customs, qaumi (folk) tales and physical culture akh???s (gymnasia) among the Jats in colonial Haryana,1 which went into the making of dominant masculinity in this region. The paper draws upon vernacular language materials and newspapers to analyse the different ways in which the socially endogenous forces constructed this masculinity. It argues that a complex interaction of popular religious traditions, qaumi narratives, military recruitment, marital caste designation, ownership of land, superior caste behaviour and strong bodily physique came to ideologically link and construct dominant masculinity in colonial Haryana.

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Sarah F. Williams. "The British Pop Dandy: Masculinity, Popular Music and Culture (review)." Notes 67, no. 1 (2010): 103–5. http://dx.doi.org/10.1353/not.2010.0009.

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Hodel, Christina H. "Mark antony and popular culture: Masculinity and the construction of an icon." Historical Journal of Film, Radio and Television 35, no. 4 (October 2, 2015): 684–85. http://dx.doi.org/10.1080/01439685.2015.1102444.

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Breslow, Jacob, Jonathan A. Allan, Gregory Wolfman, and Clifton Evers. "Book Reviews." Journal of Bodies, Sexualities, and Masculinities 1, no. 2 (September 1, 2020): 84–97. http://dx.doi.org/10.3167/jbsm.2020.010208.

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Miriam J. Abelson. Men in Place: Trans Masculinity, Race, and Sexuality in America (Minneapolis: University of Minnesota Press, 2020), 264 pp. ISBN: 9781517903510. Paperback, $25. Andrew Reilly and Ben Barry, eds. Crossing Gender Boundaries: Fashion to Create, Disrupt and Transcend (Bristol: Intellect Books, 2020), 225 pp. ISBN: 9781789381146. Hardback, $106.50. Jonathan A. Allan. Men, Masculinities, and Popular Romance (London: Routledge, 2019), 176 pp. ISBN: 9780815374077. Paperback, $31.95. Andrea Waling. White Masculinity in Contemporary Australia: The Good Ol’ Aussie Bloke (Abingdon, UK: Routledge, 2020), 222 pp. ISBN: 9781138633285. Hardback, $124.

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19

Higgins, Michael. "Political masculinities and Brexit." Journal of Language and Politics 19, no. 1 (January 15, 2020): 89–106. http://dx.doi.org/10.1075/jlp.19090.hig.

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Abstract This article examines the discourses of masculinity to pervade debates on the United Kingdom’s exit from the European Union. The article outlines an association between excessive forms of masculinity and popular cultural discourses around conflict and war, constructing and reproducing a popular lexicon on the British experience of World War II in ways that are widely interpreted as symptomatic of a coarsening of political discussion. However, the article also emphasises the performative quality of these masculine discourses in line with the personalisation of politics, and stresses the scope for contestation and ridicule. The article thereby identifies the articulation of a performative masculinity with a nation-based politics of the right. While disputable and occasionally subject to derision, this produces a gendered component in any antagonistic turn in contemporary political culture.

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20

Rodriguez, Nathian Shae. "Hip-Hop’s Authentic Masculinity: A Quare Reading of Fox’s Empire." Television & New Media 19, no. 3 (April 24, 2017): 225–40. http://dx.doi.org/10.1177/1527476417704704.

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Black masculinity in the hip-hop culture often promotes instances of homophobia, effeminophobia, and misogyny. To reify an “authentic” black masculinity, individuals within the hip-hop genre police its boundaries through discourse and behavior. This policing is evident in popular media content like songs, music videos, interviews, television shows, and film. These media depictions can, over time, cultivate the attitudes and opinions of the viewing public about homosexuals and their place within black culture, specifically in hip-hop. Through a quare lens, the study investigates how Fox’s television show Empire helps construct and maintain stereotypical representations of black gay men against the milieu of hip-hop. Empire reifies queer stereotypes and highlights conventions of black masculinity and hip-hop authenticity.

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21

Woloschuk, Caitlin. "Masculinity in Folklore: The Enduring Symbolism of the Canadian Lumberjack." Pathways 3, no. 1 (November 7, 2022): 5–13. http://dx.doi.org/10.29173/pathways36.

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The nineteenth-century logging industry in North America produced working conditions that gave birth to many folk tales and folk heroes that have held firm, keeping the lumberjack a topic of popular culture that has endured for over a century. Through examining a historical painting and sketch inspired by the popular French-Canadian folktale La Chasse Galerie, present-day people can better understand the different historical influences, such as religion and ethnicity, that helped create folklore and ideas of masculinity within the timber trade in the Ottawa Valley. In addition, the masculinity that logging folk heroes and folk tales embody can help illustrate trends in modern resource extraction industries.

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22

Minai, Naveen. "All things keep getting better: Queer Eye and the makeover of American masculinity." Journal of Popular Television 9, no. 2 (June 1, 2021): 215–32. http://dx.doi.org/10.1386/jptv_00051_1.

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Netflix’s Queer Eye (2018‐present) is often criticized for reinforcing neo-liberal American fantasies of transformation of the self that distract from urgent transformations of economic, political and social worlds. Nonetheless, I use paratextual and textual analyses to argue that the verbal and physical intimacies between the Fab Five are rare in American popular culture, and offer us reworked embodiments of American manhood. It is through these intimacies that the Fab Five enable us to think through the following questions. What does it mean to be a man in contemporary American popular culture? What does it mean to be a man with other men? What does intimacy between men look like?

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23

Nash, Meredith. "Gender on the ropes: An autoethnographic account of boxing in Tasmania, Australia." International Review for the Sociology of Sport 52, no. 6 (November 27, 2015): 734–50. http://dx.doi.org/10.1177/1012690215615198.

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This paper documents how I fought for a place as a boxer in a regional Tasmanian boxing gym over a 30 month period. This work builds on existing ethnographic accounts that argue that, for women, becoming a boxer is more than just a matter of developing a fit body and physical skill – it is a continual project of negotiating gendered identity. Using an analytic autoethnographic methodology and drawing on contemporary theories of masculinity, I share my individual experiences as a boxer and, in turn, reveal the complexities of bodywork and gendered identity within Tasmanian amateur boxing culture. My closing discussion analyses the way in which performances of masculinity were precarious, fragmented and anxious.

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Louie, Kam. "Popular Culture and Masculinity Ideals in East Asia, with Special Reference to China." Journal of Asian Studies 71, no. 4 (November 2012): 929–43. http://dx.doi.org/10.1017/s0021911812001234.

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This paper argues that the new forms of communication have had a major impact on gender and sexual ideologies and practices across East Asia. In particular, it focuses on the impact that the new media had on Chinese masculinities in the post-Mao years, a period that coincided with the “Asian economic miracle” and the rise of China. This was also the time when women's studies became well established in the West and men's studies was becoming increasingly prominent in the academic arena. But throughout this time, research into Asian men has been very limited, although Asian women have been voluminously described, analyzed, and publicized. Men's studies scholars such as R. W. Connell were well aware that a large proportion of the world's men did not receive any attention in gender studies and that this neglect was a serious problem in the field. In the first article in the inaugural issue of Men and Masculinities, he called for a more global understanding of the world gender order (Connell 1998).

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Newhall, Kristine. "“Look at Me! I Can Change Your Tire”." Journal of Bodies, Sexualities, and Masculinities 2, no. 2 (September 1, 2021): 39–56. http://dx.doi.org/10.3167/jbsm.2021.020204.

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Outside of bodybuilding, queer women in fitness and exercise cultures have received little attention in popular discourse and academic research. In this article, I examine how queer use of gym space can inform and reify a queer identity, specifically the enactment of queer female masculinity. I use Jack Halberstam’s work on female masculinity and literature in the fields of cultural studies and sport studies to discuss how queer identity, space, and power operate on the body in the context of fitness culture.

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Lindsay, Samuel, and Antonia C. Lyons. "“Pour It Up, Drink It Up, Live It Up, Give It Up”." Men and Masculinities 21, no. 5 (March 13, 2017): 624–44. http://dx.doi.org/10.1177/1097184x17696189.

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Music videos are popular, frequently aimed at young adult audiences, and easily accessible through online platforms. They often portray specific versions of masculinities and femininities and are increasingly linked to the alcohol industry. This research explored how masculinity, femininity, and alcohol consumption are constructed within four mainstream popular music videos. Critical multimodal discourse analysis was employed to systematically examine dominant meanings across various modes of the videos (lyrics, sound, video, and editing). Two major discourses were identified, namely, extreme consumption and freedom, and together these created “playboy” and “woman-as-object” subject positions. These positions are discussed with reference to hegemonic masculinity, postfeminist culture, and capitalist consumerism and considered in terms of the complex ways in which influential postfeminist and hegemonic discourses obscure the operations of power.

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27

Branch, Andrew. "All the young dudes: educational capital, masculinity and the uses of popular music." Popular Music 31, no. 1 (January 2012): 25–44. http://dx.doi.org/10.1017/s0261143011000444.

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AbstractSince its emergence in the early 1970s, glam rock has been theoretically categorised as a moment in British popular culture in which essentialist ideas about male gendered identity were rendered problematic for a popular music audience. Drawing on a Bourdieusian theoretical framework, the article argues that while this reading of glam is valid, insufficient attention has been given to an examination of the relevance of educational capitalvis-à-visthe construction of self-identity in relation to glam. It is therefore concerned with raising questions about social class in addition to interrogating questions of gender. The article draws on the ethno-biographies of a sample of glam's original working class male fans: original interviews with musicians and writers associated with glam, as well as published biographical accounts. In doing so it contends that glam's political significance is better understood as a moment in popular culture in which an educationally aspirant section of the male working-class sought to express its difference by identifying with the self-conscious performance of a more feminised masculinity it located in glam.

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Barry, Ben, and Nathaniel Weiner. "Suited for Success? Suits, Status, and Hybrid Masculinity." Men and Masculinities 22, no. 2 (March 6, 2017): 151–76. http://dx.doi.org/10.1177/1097184x17696193.

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This article analyzes the sartorial biographies of four Canadian men to explore how the suit is understood and embodied in everyday life. Each of these men varied in their subject positions—body shape, ethnicity, age, and gender identity—which allowed us to look at the influence of men’s intersectional identities on their relationship with their suits. The men in our research all understood the suit according to its most common representation in popular culture: a symbol of hegemonic masculinity. While they wore the suit to embody hegemonic masculine configurations of practice—power, status, and rationality—most of these men were simultaneously marginalized by the gender hierarchy. We explain this disjuncture by using the concept of hybrid masculinity and illustrate that changes in the style of hegemonic masculinity leave its substance intact. Our findings expand thinking about hybrid masculinity by revealing the ways subordinated masculinities appropriate and reinforce hegemonic masculinity.

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Igaeva, Ksenia. "Transformations of Hegemonic Masculinity and Functions of Female Images in Contemporary Western Films." Logos et Praxis, no. 4 (April 2020): 78–83. http://dx.doi.org/10.15688/lp.jvolsu.2020.4.7.

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The controversy about modern transformations of consumer society typically is not related to gender studies. At the same time, the spread of mass culture in the consumer society has had a significant impact on the redistribution of gender roles. Gender studies have long been dominated by the study of women's history through criticism of hegemonic masculinity as a system for the distribution of social roles, and economic inequality was only their derivative. Moreover, starting from the first decade of the XXI century, many researchers appear (M. Kimmel, S. Bordeaux, S. Robinson) striving to move away from the established tradition. Thus, according to modern researchers, the concept of "hegemonic masculinity" is controversial. However, it is generally well established in gender studies to describe the power of middle-class white men, their everyday behavior, and normative representations in culture. The purpose of this article is to identify the feedback – the growing influence of the consumption laws, as well as the consumer culture formed on their basis, on the distribution of gender roles in popular Western cinema, which is both a representation and a reinforcement of normative models of social behavior. In modern cinema, the image of a man belonging to the hegemonic type of masculinity undergoes several stylistic changes that allow preserving the former normative ideal. Male images are mimicking in the new social space that has developed in the post-industrial economy, imitating changes in the dominant type of masculinity, which, however, does not lose its power positions. At the same time, the female heroine in popular cinema fails to fundamentally change the established model of normativity: she tries on traditional male roles and becomes a consumer of established stereotypes, refusing to try to change the very system of hegemony.

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Walsh, Fintan. "Masculinity and Irish Popular Culture: Tiger’s Tales edited by Conn Holohan and Tony Tracy." Contemporary Theatre Review 25, no. 3 (July 3, 2015): 440–41. http://dx.doi.org/10.1080/10486801.2015.1046747.

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Reddock, Rhoda. "“Looking for ah Indian Man”: Popular Culture and the Dilemmas of Indo-Trinidadian Masculinity." Caribbean Quarterly 60, no. 4 (December 2014): 46–63. http://dx.doi.org/10.1080/00086495.2014.11672535.

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Jones, Sara Gwenllian. "Book Review: Tough Girls: Women Warriors and Wonder Women in Popular Culture, Female Masculinity." International Journal of Cultural Studies 2, no. 2 (August 1999): 286–88. http://dx.doi.org/10.1177/136787799900200208.

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33

Jones, Nancy C., and Mathieu Deflem. "Sexism and Traditional Masculinity in Country Music: Practicing Inclusivity and Innovation in Research and Education." EDUCATION SCIENCES AND SOCIETY, no. 2 (December 2022): 72–90. http://dx.doi.org/10.3280/ess2-2022oa14508.

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This paper discusses an effort in inclusivity and innovation in (higher) education by reporting on the results of a research study on popular culture that was conducted jointly by a student and a professor. The study focuses on sexism and traditional masculinity in contemporary country music lyrics to examine the portrayal of conventional heterosexual relationships and its potential impact for gender relations. The methodology involves an analysis of the lyrics of the most popular country music songs in 2019 and 2020 to investigate the presence of benevolent sexism, hostile sexism, traditional masculinity, and heterosexual relationships. Additionally conducted was an analysis of the relative proportion of sexist songs and its distribution by gender of the performing artist. Results show that a majority of contemporary country songs display sexism and, even more so, traditional masculinity. While songs by female country artists were found to oftentimes rebuke sexism, songs by male country artists promote them. Through its successful execution, this collaborative study shows the value of practicing inclusivity and innovation in research and education, which institutes of learning should promote.

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Bark Persson, Anna. "Home and Hell." lambda nordica 25, no. 2 (October 26, 2020): 68–90. http://dx.doi.org/10.34041/ln.v25.675.

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The aim of this article is to examine the representation of female masculinity in genre literature. Reading female masculinity as queer embodiment, I put two science fictional texts driven by a typical action narrative in dialogue with earlier research on representations of female masculinity in literature and popular culture to demonstrate the importance of bringing the genre of the text into the analysis when examining female masculinity. In the article, I use the connection between female masculinity and tragedy as my starting point to exemplify how the genre of a text shapes the depiction and reading of female masculinity. In the action-driven science fiction texts I study, this link is very much present, but tragedy is given another role to play. Instead of being an element in the constitution of gender non-conforming as an unlivable experience, the representation of these masculine female heroes as oriented away from heteronormative constructions of a good life (Ahmed 2006) makes possible the depiction of these women as masculine, as well as the glorification of their gender non-conformity within the framework of the action-based SF narrative.

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35

Reese, Henry. "Shopgirls as Consumers: Selling Popular Music in 1920s Australia." Labour History: Volume 121, Issue 1 121, no. 1 (November 1, 2021): 155–74. http://dx.doi.org/10.3828/jlh.2021.22.

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The mid-1920s were boom years for the Australian gramophone trade. The most prominent multinational record companies had established local branches, and a handful of new factories produced millions of records for sale on the local market. Department stores joined an established network of music traders in retailing these cultural products. This article explores the labour of women involved in the retail sale of gramophone records in Melbourne. Selling recorded sound animated a charged rhetoric of musical meliorism, class and taste, according to which the value of the product was determined by the supposed musical quality thereof. Australian saleswomen or “shopgirls” were required to perform evidence of their modernity in the commercial encounter. I propose that conceiving of record saleswomen as simultaneously sellers and consumers provides valuable insight into the entangled nature of capitalism and culture in the realm of Australian music. This exploration of the process of commercialisation of recorded music illuminates the connection between labour and culture, leisure and society in colonial modernity.

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Hoyne, Alina. "Review: Friday on Our Minds: Popular Culture in Australia since 1945." Media International Australia 134, no. 1 (February 2010): 152–53. http://dx.doi.org/10.1177/1329878x1013400116.

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37

Cann, Victoria, and Erica Horton. "Transition, Crisis and Nostalgia." Boyhood Studies 8, no. 2 (September 1, 2015): 5–24. http://dx.doi.org/10.3167/bhs.2015.080202.

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This article explores the representation of youth masculinity in contemporary Hollywood comedy. By focusing on the intersection of gender and generation, it emphasizes the importance of relationality in a consideration of representations of boyhood. Using Superbad as a case study, this article reveals the nuanced ways in which the crisis of masculinity is represented in popular culture in a postfeminist context. Foregrounding issues of homosociality in coming-of-age narratives, it emphasizes the tensions between generational expectations and performances of gender. Themes of loss and nostalgia are explored through analysis of the juxtaposition of adult and adolescent male characters in Superbad, providing insight into and understanding of the complexities of boyhood. Superbad is contextualized in relation to teen comedy more broadly, highlighting the important cultural space that contemporary Hollywood comedies play in (re)constructing discourses of masculinity.

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Chenini, Fatma. "Representations of Black Masculinity in Oscar Micheaux’s Silent Film Within Our Gates." Romanian Journal of English Studies 17, no. 1 (December 1, 2020): 31–37. http://dx.doi.org/10.1515/rjes-2020-0005.

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Abstract My paper focuses on studying the representations of black masculinity in the Harlem Renaissance’s discourse, and investigates how these representations challenged the limited, reductive and one-dimensional stereotypes which were adopted and further disseminated by the popular culture of the time. To do so, I will analyze a number of black male characters depicted in the silent film, Within Our Gates (1920), of the African American filmmaker Oscar Micheaux.

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Posadas, B. M. "Creating Masculinity in Los Angeles's Little Manila: Working-Class Filipinos and Popular Culture, 1920s-1950s." Journal of American History 93, no. 4 (March 1, 2007): 1322. http://dx.doi.org/10.2307/25094748.

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Samponaro, Philip. "Creating Masculinity in Los Angeles's Little Manila: Working-Class Filipinos and Popular Culture, 1920s?1950s." Journal of Popular Culture 40, no. 3 (June 2007): 575–77. http://dx.doi.org/10.1111/j.1540-5931.2007.00420.x.

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Dumlao-Doherty, Kay. "Creating Masculinity in Los Angeles’s Little Manila: Working Class Filipinos and Popular Culture, 1920s-1950s." Journal of American Ethnic History 26, no. 2 (January 1, 2007): 133–34. http://dx.doi.org/10.2307/27501828.

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Kępiński, Marcin. "Bigger, Stronger, Faster, czyli amerykański sen nie jest dla każdego, a sport to jedno wielkie oszustwo." Kultura i Społeczeństwo 61, no. 2 (April 24, 2017): 103–24. http://dx.doi.org/10.35757/kis.2017.61.2.6.

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The author analyses the 2009 documentary film Bigger, Stronger, Faster, which investigates the nature of American pop culture and sports. Writing from the perspective of cultural anthropology and sociology, he considers how ideas about the body and physicality are programmed by popular media culture and famous sports figures and celebrities, who are treated as models of masculinity and mass media heroes. He also raises the issue of the influence of illegal pharmaceutical doping on contemporary American sports. All these subjects serve to describe the form and functioning of America’s contemporary collective identity and the connection between the authorities, television, sports entertainment, and politics. The United States described in the documentary is a real and existing utopia, which Americans and other people have dreamt and still dream about, and which everyone believes in—not only the recipients of popular media culture and sports entertainment.

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Whittaker, James, and Ashley Morgan. "‘They never felt these fabrics before’: How SoundCloud rappers became the dandies of hip hop through hybrid dress." Critical Studies in Men???s Fashion 9, no. 1 (April 1, 2022): 99–118. http://dx.doi.org/10.1386/csmf_00053_1.

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This article examines the appearances and dress of SoundCloud rappers, a highly popular subgenre of American hip hop music, which shifted from homemade music to the mainstream in 2016. SoundCloud rappers wear clothes usually associated with hybrid masculinity, such as fluffy pink hoodies, silk scarves and frilly shirts. In contrast, although not lacking in style, rappers usually embody an idealized heteronormative masculinity, played out through manly affect, which is often expressed through baggy sports clothing and oversized gold jewellery. Despite Black masculinity being historically defined through stylish, interesting and ostentatious clothes, these looks have been rejected by traditional rappers for fear of association with more hybrid masculinity. The transformation in cultural production through participatory culture, allowing for different male identities to be expressed notwithstanding, masculinity in hip hop has been very slow to change. Using the concept of the dandy, this article examines the ways in which certain SoundCloud rappers have embraced ostentation in clothing, despite a significant backlash from their peers. Moreover, we suggest that SoundCloud rappers have pushed the boundaries of clothing for a new generation of queer Black rappers, arguably, paving the way for looks which are ‘beyond belief’.

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Durán, Manuel Alejandro. "Heroísmo, Violencia y Libertad en los Discursos sobre la Masculinidad Tradicional en Chile. / Heroism, violence and freedom in speecjes on traditional masculinity in Chile." Revista Liminales. Escritos sobre Psicología y Sociedad 2, no. 03 (April 1, 2013): 13–41. http://dx.doi.org/10.54255/lim.vol2.num03.227.

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Este trabajo pretende establecer un vínculo entre la historia social y los estudios de género y cultura, determinando en los relatos históricos y literarios las diversas formas de masculinidad y hombría en el Chile tradicional, aquellas que se han trasmitido en las costumbres y valores nacionales hasta nuestros días: la violencia, el heroísmo y la libertad. Estos elementos han encontrado su justificación al proyectarse en los relatos épicos y patrióticos, constituyendo la identidad nacional.Analizaremos algunas fuentes históricas no tradicionales como los poemas de la Lira Popular, escritos en la década de 1880 y que relatan acontecimientos heroicos y fantásticos de la masculinidad popular como modelo e imaginario tanto de la masculinidad como de la nación. En estos textos podemos determinar cómo se ha construido la masculinidad en Chile asociada, tradicionalmente, al heroísmo, la fuerza, la conquista y la violencia. La “hombría popular”, representó uno de los modelos de género y de clase adoptados por los sujetos del bajo pueblo, diferenciándolos de otros estratos socio-económicos, de manera que constituyó una identidad propia basada en los códigos que manejaban hombres y mujeres desde la marginalidad hasta el empoderamiento social. This paper aims to establish a link between social history, gender studies and culture, by determining the diverse forms of masculinity and manhood in the historical and literary accounts of traditional Chile that have been transmitted into the customs and national values until this day: violence, heroism and freedom. These elements have found their justification by being projected onto epic patriotic accounts, constituting national identity.We shall discuss some non-traditional historic sources such as the Popular Lyre poems written during the 1880s, recounting heroic and fantastic accounts of popular masculinity as a model and imaginary of both masculinity and the nation. In these texts we can determinate how masculinity has been constructed in Chile traditionally relating to heroism, strength, conquest and violence. The “popular manhood”, represented one of the gender and class models adopted by the lower social-stratum, differentiating them from other socio-economic strata, this way it became an identity in itself based on the codes managed by men and women from marginality to social empowerment.

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Durán, Manuel Alejandro. "Heroísmo, Violencia y Libertad en los Discursos sobre la Masculinidad Tradicional en Chile. / Heroism, violence and freedom in speecjes on traditional masculinity in Chile." Revista Liminales. Escritos sobre Psicología y Sociedad 2, no. 03 (April 1, 2013): 13–41. http://dx.doi.org/10.54255/lim.vol2.num03.227.

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Este trabajo pretende establecer un vínculo entre la historia social y los estudios de género y cultura, determinando en los relatos históricos y literarios las diversas formas de masculinidad y hombría en el Chile tradicional, aquellas que se han trasmitido en las costumbres y valores nacionales hasta nuestros días: la violencia, el heroísmo y la libertad. Estos elementos han encontrado su justificación al proyectarse en los relatos épicos y patrióticos, constituyendo la identidad nacional.Analizaremos algunas fuentes históricas no tradicionales como los poemas de la Lira Popular, escritos en la década de 1880 y que relatan acontecimientos heroicos y fantásticos de la masculinidad popular como modelo e imaginario tanto de la masculinidad como de la nación. En estos textos podemos determinar cómo se ha construido la masculinidad en Chile asociada, tradicionalmente, al heroísmo, la fuerza, la conquista y la violencia. La “hombría popular”, representó uno de los modelos de género y de clase adoptados por los sujetos del bajo pueblo, diferenciándolos de otros estratos socio-económicos, de manera que constituyó una identidad propia basada en los códigos que manejaban hombres y mujeres desde la marginalidad hasta el empoderamiento social. This paper aims to establish a link between social history, gender studies and culture, by determining the diverse forms of masculinity and manhood in the historical and literary accounts of traditional Chile that have been transmitted into the customs and national values until this day: violence, heroism and freedom. These elements have found their justification by being projected onto epic patriotic accounts, constituting national identity.We shall discuss some non-traditional historic sources such as the Popular Lyre poems written during the 1880s, recounting heroic and fantastic accounts of popular masculinity as a model and imaginary of both masculinity and the nation. In these texts we can determinate how masculinity has been constructed in Chile traditionally relating to heroism, strength, conquest and violence. The “popular manhood”, represented one of the gender and class models adopted by the lower social-stratum, differentiating them from other socio-economic strata, this way it became an identity in itself based on the codes managed by men and women from marginality to social empowerment.

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Clark, Marshall. "Men, Masculinities and Symbolic Violence in Recent Indonesian Cinema." Journal of Southeast Asian Studies 35, no. 1 (February 2004): 113–31. http://dx.doi.org/10.1017/s0022463404000062.

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This article investigates images of men and masculinities in post-New Order Indonesian popular culture, focusing on a recent and path-breaking Indonesian film, Kuldesak. The theoretical sociology of Pierre Bourdieu is utilised to suggest that if Indonesian women are to be assisted in their efforts to resist the gender inequality of Indonesia's patriarchal gender regime, then the social gendering of men and masculinity must also be understood.

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Villegas, Mark R. "“Gangsta Chi”." Journal of Popular Music Studies 34, no. 4 (December 1, 2022): 109–31. http://dx.doi.org/10.1525/jpms.2022.34.4.109.

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This article sheds light on the pervasive yet largely uncommented upon presence of geek culture and Orientalism in hip hop, revealing the constructed, performed, and mediated nature of racialized masculinity in popular culture. By observing a range of media artifacts but concentrating on RZA’s memoir The Tao of the Wu (2009), this article contends that geeky hip hop Orientalism performs a strategy of style codeswitching, wherein the combination of intellectualism and the fantasized East expand the repertoire of Black masculinity and fantastical worldmaking. Heavy in Orientalist themes that mirror the hyper intellectualism associated with geekiness, The Tao of the Wu evinces the strong bond between geek culture and early hip hop music. Specifically, this article focuses on RZA’s mental cultivation over physicality and his enchantment by children’s media culture (comics, anime, and kung fu cinema). Merging hip hop and geek culture, which conventionally appear to exist on opposite poles, results in new interracial paradigms of geek and hip hop representations. Hip hop geekiness largely detours from an otherwise presumed whiteness in routing itself along a storied legacy of African American Orientalism. In this way, geeky hip hop Orientalism contributes to more queered and quotidian versions of Afro Asian aesthetics, politics, and interracial fantasy worlds. A deep consideration of the bonds among hip hop, geekiness, and Orientalism helps to reimagine the embodiments and performances of racialized masculinity, which, though complex and limited, can gesture towards the freedoms promised in a more expansive spectrum of gender and sexual affinities and identities.

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Otto, Elizabeth. "Real Men Wear Uniforms: Photomontage, Postcards, and Military Visual Culture in Early Twentieth-Century Germany." Contemporaneity: Historical Presence in Visual Culture 2 (July 11, 2012): 18–44. http://dx.doi.org/10.5195/contemp.2012.44.

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This essay examines early twentieth-century German representations of men and women in uniform to consider how mass culture allowed individuals to participate in aspects of gender construction. It also reveals how masculinity was increasingly linked to military ideals. The pictures under scrutiny here were made in two significant but as yet under-researched types of pictures: pre-avant-garde photomontaged soldier portraits and popular postcards. Both of these visual forms originated in the 1870s, the decade that Germany was itself founded, and they both were in wide circulation by the early twentieth century. Individualized soldier portraits and postcards offered a glorious vision of a man’s military service, and they performed what Theodor Lessing has called Vergemütlichung, the rendering harmless of history. These idealized images of soldierly life were available to a broad swath of the public, but their democratization only extended so far. Representations of women in uniform served to reinforce—through stereotyping and humor—the unquestionably male nature of military institutions and, by extension, of public space. At the same time, by making apparent their own constructed nature, these portraits and postcards offered viewers a glimpse behind the masquerade of masculinity. This essay thus also identifies these images’ links to the subsequent work of avant-garde artists and to the National Socialists’ return to the ideal of uniformed masculinity.

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Drabina, Aleksandra. "Seks i męskość w wizerunkach gejów w wybranych tekstach popkultury." Forum Socjologiczne 8 (April 24, 2018): 191–205. http://dx.doi.org/10.19195/2083-7763.8.12.

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Sex and masculinity in gay images in selected pop culture productionsThe article presents fragments of the results of the analysis of gay images in selected American dramas. The analysis was designed to read the symbols and signs of pop culture that define the relationship between the sexuality and the identity of homosexual men. The text is an attempt to understand and interpret the process of creation the meanings of the sex and gender categories in the popular culture space. It presents visuality as one of the most important dimensions of creating sexual imaginations, exposing intimacy and eroticism in the face of nonheteronormative sexual practices. This article aims to reconstruct fragments of the myth of gay identity in pop culture.

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Rustiarini, Ni Wayan, Anik Yuesti, and Ni Putu Shinta Dewi. "Professional Commitment And Whistleblowing Intention: The Role Of National Culture." Jurnal Reviu Akuntansi dan Keuangan 11, no. 1 (April 28, 2021): 87–102. http://dx.doi.org/10.22219/jrak.v11i1.14558.

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This study aims to identify the effect of professional commitment on whistleblowing intentions. This study also analyzes the role of Hofstede's five dimensions of national culture as moderating variable, including power distance, collectivism, masculinity, uncertainty avoidance, and long-term orientation. This study used a survey method. The primary data collection was through a questionnaire distributed to 92 auditors in accounting firms in Bali Province. The result shows that professional commitment positively affects whistleblowing intention. The moderating variable's roles are power distance and collectivism's culture weaken professional commitment and whistleblowing intention relationship. Two other cultures, namely masculinity and a long-term orientation, are proven to strengthen the relationship between professional commitment and whistleblowing intention. Contrary, uncertainty avoidance culture has no significant effect. Theoretically, this study confirms the role of the national culture in the auditing context. This result practically adds insight to regulators and accounting firm leaders in formulating regulations regarding the appropriate whistleblowing system for organizations. There are two limitations. First, this study uses a survey method. This method allows for social desirability bias for sensitive variables, such as whistleblowing. This study also uses the national culture popularized by Hofstede about forty years ago. Thus, further research might use other popular models.

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