Gifty Mest 4: January 2018

"I want to do a lot of things that don't make sense[1]"

To what extent does Barry Jenkins' feature film 'Moonlight' subvert toxic hyper-masculine representations of Black men in film?

There have been numerous studies addressing the issues on the representation of women in media, leading to findings of countless evidence showing stereotypical and narrow roles which play on effect the audiences perception of gender. However, the issues concerning representations of men in the media and research for it is limited and hasn't gained analysis to raise a generalised conclusion. This study will explore how different masculinity are presented, in the Oscar winning movie 'Moonlight'(2017) dir. by Barry Jenkins, and measure the extent of "hyper masculinity-exaggerated and marginalised masculine qualities"[2]. Laughey states that ‘‘Ethnic minorities are continually misrepresented by racial (and racist) stereotypes”[3]. which 'Moonlight'(2017) tries to do by subverting mages typically seen in film about Black men and the communities, but, Jenkins also reinforces these stereotypical scenes as stereotypes which can be "true and positive"(Perkins) are able to picture a realistic representation of people. This essay will go onto to explore the portrayal of Black men and sexuality in the movie, focusing on the coming of age of a gay Black man are dissimilar in the face of a mainstream white Hollywood film. Referencing to hyper masculine images formed of Black males in Blaxploitation films and Black male leading films showing how such traits have been made toxic in stereotype of Black men. This study will also look at 'Queer Theory' and how this can be applied to 'Moonlight' (2017) as the theory would state how "representations of sexuality in mainstream pop culture continues to [be] rampantly homosexual"[4] which can be applied to the movie, but questions, does having a Black gay man directing the movie change depictions of sexuality and race in the film. Thus, this essay will outline complexities of the Black male image in film and using 'queer theory' to show the extent of subversion of hyper masculinity in 'Moonlight'(2017).

Essentially, masculinity is a set of behaviours and practices that’s have been traditionally associated with men and manhood in our culture and that includes both positive and negative things, none of these traits are inherent or biological traits of men but have been adopted in many cultures and fed through the consumption of media on different platforms. However, 'Toxic hyper-masculinity' is a loose term that is used to refer to a subset of those behaviours which are deemed harmful and destructive. It is often used as shorthand to describe behaviours linked to domination, humiliation and control marked by emotional detachments and hyper competitiveness. Also, it is connected to the sexual objectification of women, as well as, other predatory sexual behaviours linking very closely with aggression, intimidation and violence. The modifier "toxic" is used to highlight the fact that these kinds of behaviours carry with them some potentially serious and even deadly consequences. Much of this masculinity is "relational", and as such, it's mostly defined in opposition to anything culturally associated with women, which is why "toxic masculinity" is driven by this overwhelmingly fear of emasculation, that is to say, the fear of being perceived by others as "feminine" would link to the idea of being "unmanly". Many of the popular male heroes in movies are depicted as engaging in at least a few of these behaviours, but because they are depicted as the "good guys" their actions are framed as admirable displays of strength, power and manhood. And even when those behaviours are not celebrated, it's often framed as acceptable or normal and then excused as "boys being boys" (a toxic ideology in itself). The mistaken impression of "toxic masculinity" is that everything about masculinity is somehow toxic and that is what men "are" rather than what they "become"- from conforming to destructive behaviours. The toxicity of masculinity has led to the production of film characters ranging from Biff in Back to the Future (1985) to all the Schwarzenegger in The Terminator (1984). In fact, the term "toxic masculinity" is used very deliberately to try and differentiate the more damaging or destructive male behaviours from positive male behaviours, it's used to reinforce that there are many different types of and formulations of masculinities or as R.W Connell states "different masculinities"[5] which is why the topic of hyper masculinity has become a “crisis”.

‘Moonlight’ (2017) called a “sermon”[6] for Black masculinity, is an Arthouse Indie Black 'Coming of Age' movie following the life of Chiron in three specific chapters of his life conversing Black maleness/masculinity, but more specifically Black male sexuality, as well as, Black male intimacy and youth. The movie itself is set in three parts of the growing character of Chiron and shows the ever changing aspects of Black male “masculinity and femininity which attract the global audience"[7]. The play jumps around in time, but Barry Jenkins decided he wanted the film to be three distinct parts. Hsiao-Hsien Hou’s 'Three Times'(2005)[8] was a big inspiration on what he was aiming for. “I wanted to show the progression of this character and how the world can nurture him in a certain way that basically causes drastic changes in this guy from one stage to the next”[9]. Though Jenkins does subvert hyper masculine images of Black men that have become toxic in media there are still ideologies of the angry Black man archetype. In the documentary, 'Black Hollywood', Jim Brown discusses that Blaxploitation films that were under white control and production took advantage of the Black audience and Black actors, in order to create cheaply produced films which often perpetuated stereotypical images of Black men and women; which is evident in 'Shaft', are used to “exploit the black audience”[10]. The ability to just not conform to those stereotypes of Black men isn't seen in many Blaxploitation films because of their time, though flashy and different, they do not refrain from commenting on Black men as overly masculine, scary and angry. ‘Moonlight’ (2017) is able to bring a representation that uses stereotypes positively to bring realism to its characters and showcase masculinities on a spectrum that enables audiences to identify and engage with the movie itself.

The beginning of the film (00.00-08.27) introduces audience to the song choice of the song. When audience closes their eyes and hears only melody of the song, they would hear the soothing and calm rhyme if the words of song contains the derogatory term used for Black people which conveys the opposite. Once lyrics are sung, listeners will hear the derogatory word instead of the calming tones in the background, however, the lyrics state "Every n***a is a star" which is a juxtaposition of words with the negativity held in the derogatory word and the positive, powerful and heavenly ideas known for a star. This contrast in the lyrics represent how society has held beliefs and stereotypes of Black people as unaccomplished and not beautiful, thus, this song subverts such images by stating that even in the negative imagery of Black people there is still positive and hold their own power. The films dominant audience would be young Black people from 15-30+ and such a phrase would resonate with this audience due to the issue of society representing Black people as under-performers in schools, works etc. , and having a word that has become ambiguous in meaning and a colloquialism for Black people the phrase may resonate with such an audience. One minute into the film and Barry Jenkins has already represented one type of juxtaposition through his song choice and encapsulated his main demographic from the opening.

The screen fades from the title of 'PASTEL’, one of the production companies for the film, to black then opening up to a medium shot of a blue car pulling up to the sidewalk of a vacant town street. In the car the audience is introduced to the character Juan, who plays, high ranked drug dealer soon to be checking up on one of his sellers to see how business is going. For the second time, we are seeing the use of juxtaposition in the scene while not through sound but physically in the interior of Juan's car. The use of a mid-shot is useful as the audience is able to see Juan in addition to all his surroundings. On the font dashboard there is a crown and a cigarette at close proximity; which he threw when pulling up the street, the two objects individually hold positive connotations and one negative. The crown and cigarettes being placed in Juan's car symbolises the mixed role model Juan will be for Chiron. The crown symbolises the power and respect Juan ultimately has within his neighbourhood, seen when he is the drug overseer for others and distribute to Chiron's mother and throughout the film; the nicotine representing the dark side of his life. As we know, Juan is a major role model throughout Chiron's childhood, even though he is flawed and misguided because of varying factors. Additionally, the colour of the car should be noted, the car is a light shade of blue, almost as if it presents water or purity, the exterior of the car is the only part of the car someone from the outside may view and so externally the blue seems calm and serene, whereas, the interior shows his Juan's own internal conflict due to the crown and cigarettes. This shows the complexity of Juan's personality and own masculinity; as easily changeable to fit his environment and how he is one character wearing a mask from the start. Juan exists the car leaving his own interior and putting on the calming and smooth mask of the exterior (car), the camera now follows him from the behind positioning the audience to follow his direction and the commotion between two men in front of him which he walks to.

The cinematography used here is incredibly smooth and swift due to the use of a 360 camera angle. The camera slowly pans and revolves around the characters; the purpose for the style of shot is to establish Juan's characterisation as smooth, chill, well-known in both the neighbourhood and society, he audience’s own perception is created of the characters they are to see; “people associate young black men with crime in American culture”[11]. I believe, it also is used that way so the audience can get a glimpse of the sought neighbourhood they are in, when traditionally, a long shot would be used to establish setting, 'Moonlight'(2017) rather makes the film more immersive with the rotating camera movements. The organised way the characters sell drugs are sold in the film is portrayed extremely realistically, the realism is conveyed thought the film earning its acclaimed award. Viewers are made to feel engaged in this scene as well as seeing the scene in every characters point on view (POV shot). This concept of a circular view connects to the theme of cycles , the 360 degree shot of this scene symbolises that cycles appear throughout the film, such as, Chiron having to break the cycle of doing drugs in his family or spending his childhood with Juan and eventually circling into the same path as Juan currently has. ‘Moonlight’ (2017) captures the zeitgeist of Black men in society as many Black males being in certain low income or broken family situations become part of gangs, drug dealers or incarceration due to a certain cycle and expectation for them to not do well. To add, images perpetuated by mass media such as Rap/Hip-hop music artist like Snoop Dogg, Cheif Keef or Young Jeezy etc. reinforced the ideology that masculinity is “synonymous with hyper-sexuality, anger, criminality, and violence”[12]. Questionable lyrics and images portrayed in their videos and lyrics make a toxic socialisation showing Black males to think that anger and rage are the narrowed down emotions to be felt, this further reinforces the ability for media to forge a construct of masculinity which makes absence of emotions a concept of a man this “serve[s] to reinforce the dominate ideological views .."[13] But also “instil erotic sadism in the black male child”[14]. Additionally, the 360 degree view is always moving which provides a disorientating experience for the viewer; this unsettling feeling illustrates the intensity of the situation between the drug dealer and the middle man. Lastly, in this moment we see two men one of young age and one of an older age staring into each other’s eyes as if they were each other’s mirror's, in the scene, one may imagine the addict was once a young man and the young is seen as a suture addict showing the concept of cycles and juxtaposition.

The composition of the scene shows a tableau of three men lined up in the order of social power in the community. The positioning of the three men shows Juan on the right, drug addict on the left and the distributor in the middle, in the journal 'How to read a movie' the author writes "usually the person slightly right to the centre"[15] is shown as the most "dominant figure"[16]. These positioning choices made by Barry Jenkins symbolises the social status of these three men, in the middle we see the distributor of the drugs or the 'middle man' in this scene literally and figuratively the 'middle man' because he stands in the middle of the two characters showing him as the connector in their relationship. To add, the lighting is important in this scene, it is daytime due to the lightness of the colour although the connection between the men is drugs which is more of a negative and dark feeling. The fact it is bright outside and there is no shadows, for them to be discreet, symbolises the comfort Juan has in his job and shows he is not trying to hide parts of his life.

We see a major shift in power dynamic as the camera circles back to Juan after the distributor takes the money from the addict and goes on to tell another man in the background to chase after the distributor. The change in power dynamic is seen through the positioning of characters, the man in the black shirt (distributor) was standing on the right hand side of the screen, when talking to the addict, being the man in power, now within a few seconds we witness Juan standing to the right hand side of the scene controlling. In the previous scene the distributor has significantly more power than he does now because the addict was dependant on him, now that the addict is no longer in view, the 'middle man' no longer appears to have any power. This illustrates the theme of dependency in the film, whether it be addict's dependency on the drug distributor, Chiron being dependant on Juan or Paula (Chiron's mother) being dependant on the drugs Juan supplies. The dialogue itself shifts from "empty the register on the weekend" to "How's your mom doin'", this sudden shift changes the whole mood of the scene, this fashion symbolises that characters do have more complex lives which aren't of those an audience may perceive a drug dealer would have. Jenkins further goes to break the stereotypes of Black men and just as he does with Chiron in the film. Black men in film which hold narratives of drugs, rap, sex etc. would be shown as tough uncaring such as Dough Boy in 'Boyz N The Hood'(1991) to anyone and would only be there to sell drugs and kill, having Juan mention his distributors mother and state that "She's in my prayers" subverts the negative stereotypes of Black men as overtly violent and hyper masculine in films. Note, in this scene, the camera has stopped moving in the scene, the stillness of the camera symbolises the stability of the conversation. When the camera was moving drugs were the conversation at hand, now that the conversation shifted to family the camera has become still and stable in movement, positioning the audience to catch their breath and provides a strong transition for the next scene where they speak of their families.

The use of body language from the actor also reinforces the loss of power, as the man bends his back standing low and rubbing his hands on pants while also making minimal eye contact with Juan as he moves his head rigorously around. The tone of the actor has become softer from the loud and demanding voice used against the addict who was not able to give the right amount of cash for his drugs. These physical movements shown from the distributor, shows both his lack of power and Juan's ability to make others feel small and inferior to him. The addition to the build of the actor Marhershalla Ali adds to the strong and mindful characterisation of Juan, the post colonial theory[17] would reinforce the idea of large Black men as menacing, strong and scary from times of the slave trade which have trickled into ideologies shown in both film and media. This would be both a positive stereotype (Perkins) as those who do fit this image would be represented and are part of this image and shouldn't be considered less, however, subverting from such 'negative' images would be used in media to show another image of Back men one of which isn't that of the 'scary Black man' seen in from Blaxploitaion films and in modern films. Over the course of this scene, Barry Jenkins is not only setting up the plot but also introducing the audience or viewer to crucial themes which will play major roles throughout the film.

Currently, more than ever, there is an outcry for both more diversity of POC (People of colour) and representations of those apart of the LGBT+ community. Representations of Black homosexual males in Hollywood is limited: Movies such as 'Leave it on the Floor'(2011), 'Paris is Burning'(1990)[18] and the character Lafayette in series 'True Blood'(2008)- all of these characteristics are an over exaggeration of Gay men, they are overly flamboyant, have accentuated high pitched voices and etc. which may not be a true representation of all Black males. They do, however, represent a part of what it means to be Black and Gay and show he struggles and misconception of them that others hold. Black men in History have the perception of strong, big and violent. These traits, because of the representation of Black men during times of the Slave trade (sexualisation, bestial imagery, literal beasts, property) and Post-Segregation (Overly-sexual, thieves, violent 'other') reinforce the idea of Black men being a form of two; an overtly flamboyant Black man and the angry/aggressive one. The Queer theory which emerged in the 1990s to examine non-straight works in media texts and how the representation of Gay people in film.

This theory would communicate to ‘Moonlight’ (2017) as it was applauded for its acclaimed ‘moonlight scene’ where two of the boys are at the beach watching the moon. As Chiron meets Kevin at the beach, who having realised is Chiron's crush at this point, it is hear we witness Chiron opening up to Kevin next to the water which is a follow up scene to the initial beach scene with young Chiron and Juan, considering how much more open Chiron remains in this beach setting compared to the first especially when he looks up to the moonlight. This contrasts Chiron's character and the effect of Juan being a father figure, he was able to talk more and open up about himself with Juan as he was never given that emotional vulnerability with Paula while talking to Kevin at the beach left him more silent and speaking less words. This may be due to the subject they talk about as they speak openly about crying, Chiron recalls how he felt he cried "so much I just turn to drops" and Kevin replies with "You just roll out into the water right?” The ability for two Black boys to openly their feelings especially about crying subverts violent images of Black boys created in movies (Bad Boys, Kidulthood) and masculinity in Black men and how they are presented neither does it “emasculate” them for doing so. Film scholars such as Teresa de Lauretis take on the Queer theory analysis as “the processes undertaken to normalise heterosexuality in classical cinema”[19] and with ‘Moonlight’ (2017) Jenkins normalises the sexual wakening between the two subtly, while Hollywood over exaggerates the Black gay man and makes gays scenes “rampantly heterosexual”[20], ‘Moonlight’ (2017) enables these two boys who already have stereotypes created for them through media are sitting there in their own world talking about their feelings and going against the perceived anger of the Black man further highlights the movies ability to subvert these norms of Black men and just be.

Barry Jenkins shows “positive association for Black men”[21] which are “limited”[22] in film media and texts of society he uses stereotypes already created by society to represent a realistic and cathartic characters in the movie ‘Moonlight’ (2017). Though “nothing has changed since the 1970s”[23], the time of the exploitations of Black audiences, “stereotypes have a complex relationship with ‘reality”[24], the Black man’s image homosexual or otherwise has been changing constantly in film and the crisis of masculinity[25] is a positive step forward for the subversion of the negative stenotypes created of Black men. Though the toxic masculinity is highlighted, each characters holds a spectrum of identity of masculinities which are “different”[26] and both subvert and conform only just to communicate to a twenty-first century audience the realism and complexity of the Black. Where young boys cry, hug and seek comfort within each other; where the idea of a “soft”[27] Black goes against the perceived norm and the beautification of the violent Black men seen “[shining] blue”[28] - ‘Moonlight’ (2017) does goes further in using the toxicity of hyper-masculinity as a tool to create images of a realistic spectrum of the Black man, subverting images and ideologies of an audience all to hidden and mistreated in the media. Zadie Smith stated at a TedX talk “some are brutalised but not all become brutal”[29] a mirror of ‘Moonlight’ (2017) ability to do just that.

[1] Sanders, A. Moonlight. (2017).

[2]

[3] Laughey, D. (2009). p. 78.

[4] Dines, G. (2003). p.458.

[5] Connell, R. (1993). p.37.

[6] Huffington Post. (2017).

[7] Media Magazine. (2008). p.21.

[8] Hou, H-H. (2005)

[9] Film School Rejects. (2017).

[10] Lawrence, N. (2008).

[11] Russel-Brown. (2009). p.84

[12] Goodwin, A. (2016).

[13] Lacey, N. (1998). p.143

[14] Poter, M. (2006). p. 5

[15] Ebert, R. (2008)

[16] ibid

[17] Fanon, F. (1952)

[18] Livingston, J. (2007)

[19] Samer, R. (2017)

[20] Dines, G. (2003)

[21] The Opportunity Agenda (2011)

[22] ibid

[23] Donaldson, L. (2015). The Guardian

[24] Calvert B. (2002). p.168

[25] Raisen, Ross. (2017). The Guradian

[26] Connell, R. (1993). p.37

[27] Piner, Jaden. (2017). Moonlight

[28] Marhershalla, A. (2017). Moonlight.

[29] Smith, Z

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BIBLIOGRAPHY

Work cited:

BOOKS

Arthur Arthur, A. (2006). Raney and Jennings Bryant discuss this in Handbook of Sports and Media .

Berger, Berger, JJ. (1990). Ways of Seeing.

Branston, G. (1996). the Media Student's Book Third Edition .

Dines, G. McMahon Humez, J. (2003) Gender, Race, and Class in Media: A Critical Reader

Fanon, F. (1952). Black Skin, White Masks. France. Editions du Seuil.

Gauntlett, D (2002). Media, gender and Identity

Hall, S., Evans, J., & Nixon, S. (2013). Representation. London: Sage.

Humez, D. G. (2003). Gender, race and class in Media: A critical reader.

LCEY, N. (1998). Image and Represenattion Key Concepts in Media Studies .

Lehman, P. (n.d.). Masculinity .

MacKinnon. (2003). Representing Men: Maleness and Masculinity in the Media. London: Arnold.

Prono, L. (2007). Encyclopedia of gay and lesbian popular culture .

Potter, M. (2006). Rap and the eroticizing of black youth. IL: African American Images.

R, H. (1995). Male Myths and Icons: Masculinity in Popular Culture .

Connell, R. (1993). Masculinities. London. Blackwell Publishers ltd.

Sears, D. O. (1999). Radicalized Politics: The Debate about Racism in America

Vokey, M., Tefft, B., & Tysiaczny, C. (2013). An Analysis of Hyper-Masculinity in Magazine Advertisements. Sex Roles. Retrieved November 16, 2017.

Wolf, N. (2013). Fire with Fire: New Female Power and How It Will Change the Twenty-First Century. New York City: Random House.

Lee, S., & Aftab, K. (2005). Thats my story and Im sticking to it. London: Faber and Faber.

Donalson, M. (

Mennel, B. (2012). Queer Cinema: Schoolgirls, Vampires, and Gay Cowboys. New York, NY: Wallflower Press.

Morland, I. (2007). Queer theory. Basingstoke: Palgrave Macmillan.

Reid, M. A. (2005). Black lenses, black voices: african american film now. Lanham, MD: Rowman & Littlefield .

Shary, T., & Muse, P. (2013). Millennial Masculinity: Men in Contemporary American Cinema. Wayne State University Press.

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Work consulted:

JOURNALS:

B. (n.d.). Retrieved November 23, 2017, from http://beachflute.teachforus.org/2007/10/28/the-list-of-stereotypes/

Film Theory and Language. (n.d.). Retrieved November 23, 2017, from http://media.edusites.co.uk/article/film-theory-and-language/

Gender Theory. (n.d.). Retrieved November 23, 2017, from http://media.edusites.co.uk/article/gender-theory/

Gordon, T. (2014, April 18). Young Black Men Counter Negative Media Representation With Creative 'Suit & Tie' Video. Retrieved November 23, 2017, from http://atlantablackstar.com/2014/04/15/young-black-men-slam-medias-representation-suit-tie-music-video/

Men in the Movies; A case study of masculinity in popular films. (n.d.). Retrieved November 23, 2017, from http://consciouslymasculine.com/blog/2013/4/8/men-in-the-movies-a-case-study-of-masculinity-in-popular-films

Rose, S. (2017, November 20). From Ex Machina to Moonlight: how A24 disrupted Hollywood. Retrieved November 23, 2017, from https://www.theguardian.com/film/2017/nov/20/ex-machina-moonlight-how-a24-disrupted-hollywood

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INTRVIEWS:

N. (2016, September 28). 'Moonlight' actor talks black identity. Retrieved February 21, 2018, from https://www.youtube.com/watch?v=Y_BS-oLK7jI

T. (2016, September 10). 'Moonlight' Director Barry Jenkins & Cast on This Unique Coming of Age Story | TIFF 2016. Retrieved February 21, 2018, from https://www.youtube.com/watch?v=TdQVwKa4t5o

'Moonlight' Star, Andre Holland on Masculinity & Homosexuality in the Black Community. (2016, October 21). Retrieved February 21, 2018, from https://www.youtube.com/watch?v=R7OvwbY4kdg

V. (2016, October 21). Director Barry Jenkins on Creating Empathy Through His Film 'Moonlight'. Retrieved February 21, 2018, from https://www.youtube.com/watch?v=NIgkDjqZQCo

Q. (2016, October 28). Moonlight director Barry Jenkins on changing the perception of manhood. Retrieved February 21, 2018, from https://www.youtube.com/watch?v=R7_GimSKeiw

P. (2016, November 04). In 1980s Miami, the triple crisis of growing up black, gay and poor. Retrieved February 21, 2018, from https://www.youtube.com/watch?v=OtYOCiUtvFA

C. (2016, November 29). Under the Influence: Barry Jenkins on Wong Kar-wai. Retrieved February 21, 2018, from https://www.youtube.com/watch?v=LwmEWNXIsNk

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REVIEWS:

Kermode, M. (2017, February 19). Moonlight review – a five-star symphony of love. Retrieved November 29, 2017, from https://www.theguardian.com/film/2017/feb/19/moonlight-review-five-star

Thrasher, S. W. (2016, October 29). Moonlight portrays black gay life in its joy, sadness and complexity. Retrieved November 29, 2017, from https://www.theguardian.com/film/2016/oct/29/moonlight-movie-barry-jenkins-black-gay

Nkumane, Z. (2017, March 01). Moonlight, A Refreshing Sermon On Black Masculinity. Retrieved November 29, 2017, from http://www.huffingtonpost.co.za/zanta-nkumane/moonlight-a-refreshing-sermon-on-black-masculinity_a_21715404/

Pulver, A. (2017, February 07). Moonlight becomes him: Barry Jenkins's journey from a Miami housing project to the Oscars. Retrieved November 29, 2017, from https://www.theguardian.com/film/2017/feb/07/moonlight-barry-jenkins-director-interview

Gifty Mest 4

Wednesday 31 January 2018

RECREATION

Monday 22 January 2018

Preliminary exercise: Recreation task

Sunday 21 January 2018

MEST4: Linked Production planning

MEST4: Linked Production planning

The production would reach our audience through social networking sites such as youtube so it can be shared but ultimately be through traditional advertisements on T.V. Twitter, where a production can easily go viral.

Monday 8 January 2018

Critical Investigation - First Draft (Task #8)

Sunday 7 January 2018

Task 7

Linked Production final

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