Linked Production final

Critical Investigation- final draft

"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 of the representation of women in the media, leading to a large body of evidence demonstrating the stereotypical and narrow roles which influence audience’s perceptions of gender. However, the issues and research concerning the different representations of men in the media are more limited and have not generated as much widespread discussions. Laughey states that: “Ethnic minorities are continually misrepresented by racial (and racist) stereotypes”[2]; evidently seen in black male characters in roles which are present them as: “emotionless, violent and hoodlums”[3]. This affects the society as "stereotype[s] serve to naturalize the power relationships in society; they have a hegemonic function"[4], reinforcing the misrepresentations of black men because of racial typecasting in film and TV is repeatedly consumed by audiences, which leads it to be a dominant ideology of what is a black man. Gaining success for portraying “black gay life in its joy, sadness and complexity”[5] in a gay community deemed as “overwhelmingly white”[6], director Barry Jenkins in his Oscar-winning feature film, ‘Moonlight’, sparked discussions about issues facing the black gay community and also communicated the images of hyper-masculine black men. Referencing hyper-masculine images established of black males in 1970s Blaxploitation films and black male(s) leading contemporary films and how such traits of hyper-masculine representations have made been made toxic in stereotyping black men. This essay will explore how different black masculinities are represented positively in ‘Moonlight’ directed by Barry Jenkins and measure the subversion of “hyper masculinity-exaggerated and marginalised masculine qualities”[7] of the inherent racial stereotypes in Hollywood.

Essentially, “masculinity” is a set of behaviours and practices that’s have been traditionally associated with men and manhood in our culture and that includes both positive and negative things, none of these traits are inherent or “biological fixed”[8] for men but have been adopted in many cultures and fed through the consumption of media on different platforms. However, "toxic masculinity"[9] is used to highlight the fact that these kinds of behaviours carry with them some potentially serious and even deadly consequences. Much of this masculinity is "relational"[10], and as such, it's mostly defined in opposition to anything culturally associated with women, which is why ‘toxic masculinity’ is driven by this overwhelmingly fear of emasculation, that is to say, the fear of being perceived by others as "feminine"[11] would link to the perception of being "unmanly"[12]. In the documentary, 'Black Hollywood’’[13], Jim Brown states that Blaxploitation films made under white control and production took advantage of the black audience and black actors, creating cheaply produced films which “often perpetuated stereotypical images of black men and women” [14]; which is evident in the 1970’s Blaxploitation film 'Shaft'[15]. The film holds traits of stereotypes of a black men as Shaft himself is violent and dominating in his gangster/violent crime fighting; common traits characterised for black men in the genre, reinforcing that Blaxploitation films maintain the “primitive”[16] and “decivilized”[17] representations of black men which serves as “hegemonic function” in perpetuating black males. However, as the years changed so did the media which reflected it. The 1990s brought upon films such as ‘Boyz N the Hood’, at the time of release, the hip-hop and gangster rap music genre was very evident with artists “express[ing] themselves in violent ways”[18] which made the artist “more authentic”[19] leading to a false image of “hyper-masculine”[20] and overtly violent images of black men easily accessible to younger views and lead them to mirror those represented images. Though ‘Boyz N he Hood’ uses the rap artist IceCube to have a realistic sense of realism of the destructive nature of hyper masculinity: “This is why fools get shot all the time- trying to show how hard they is”[21], highlighting the facade black men create for themselves to be perceived as “rampantly heterosexual”[22] amongst their peers and the community which may lead to toxicity due to the stress of upholding the image. Similarly, the audience’s introduction to ‘Moonlight’s ‘Black’ (Trevante Rhodes) sees that he has become a “product of his environment”[23] as he mirrors “acts of masculinity”[24] he’s seen in his life, matching gold grills, silk du-rag and white tank top, all similar to his father-figure ‘Juan’s clothing style. This reinforces the toxicity of masculinity as Chrion saw the masculinity presented by other black men similar to him and mirrored them to differentiate him but leads to him representing the toxicity of masculinity as he uses violent threats against his workers and even upholding the facade though Kevin questioning him: “I don’t know you?”[25]. Therefore, the toxicity of masculinity is represented in black characters identifying with other black men in their environment and conforming to that image. However, both ‘Boyz N the Hood’ and ‘Moonlight’ highlight that such characterisation of black men as a realistic image for black audiences to subvert from and see the toxicity that characters had.

‘Moonlight’, called a “sermon”[26] for black masculinity, is an Arthouse Indie black 'Coming of Age' movie following the life of Chiron in three specific chapters of his life conversing black masculinity, specifically black male sexuality, as well as, black male intimacy and youth. The movie itself is set in three parts of the growing character of Chiron and shows the ever changing aspects of black male “masculinity and femininity which attract the global audience"[27]. The play jumps around in time, but Barry Jenkins decided he wanted the film to be three distinct parts. Hsiao-HsienHou’s 'Three Times'[28] was a big inspiration on what he was aiming for: “I wanted to show the progression of this character and how the world can nurture him in a certain way that basically causes drastic changes in this guy from one stage to the next”[29]. Though Jenkins does subvert hyper masculine images of black men that have become toxic in media there are still ideologies of the angry black man archetype. In the documentary, 'Black Hollywood', Jim Brown discusses that Blaxploitation films that were under white control and production took advantage of the black audience and black actors, in order to create cheaply produced films which often perpetuated stereotypical images of black men and women; which is evident in 'Shaft', are used to “exploit the black audience”[30]. The ability not conform to stereotypes of black men isn't seen in many Blaxploitation films as they were represented perceptions of their time, though flashy and different, they do not refrain from commenting on black men as overly masculine, scary and angry. ‘Moonlight’ is able to bring a representation that uses stereotypes positively to achieve realism with the characters and showcase “masculinity [on a] spectrum”[31] that enables audiences to identify and engage with the movie itself. Audience’s engagement was especially evident on social media with its ability to become a powerful platform. Race has become an important topic of the growth of social movements, which tackle with the political systems,[32] and disconnect of minorities and the media. Gilroy’s hypothesis can be applied to ‘Oscars So White’, a political movement created by a black user on Twitter, at evident lack of black and other people of colour being nominated in many of the categories at the Oscar award ceremony.  The movement created national coverage as users started to express the lack of diverse actors, screenwriters or cinematographers etc. gaining awards leading to a boycott from notable black figures: director Spike Lee and actress Jada Pinkett-Smith[33], the rhetoric of the movements such as ‘OscarsSoWhite’ or ‘BlackLivesMatter’ are able to represent the zeitgeist which was a black audience wanting to see characters such as themselves on the screens. So, Barry Jenkins as a black gay man being able to represent two communities and converse conversations of lack of diversity (Oscarssowhite) and dehumanisation of black people in news and media (Blacklivesmatter) allowing ‘Moonlight’ to propel forward as a top grossing movie. The black audience who created these social movements for change received it, in the of variants masculinities subverting the toxicity of masculinity shown in older black films but how they co-exist together in a “social eco-system”[34]: “Moonlight is a master class on tasteful storytelling while delicately tackling the contentious issues of black masculinity and sexuality”[35]

We see Jenkins highlight the realism of ‘Moonlgiht’ from the beginning of the movie where Juan’s masculinity is highlighted an extreme negative to lead to his downfall. The cinematography used at the beginning, is incredibly smooth and swift due to the use of a 360 camera angle. The camera slowly pans and revolves around the characters; the purpose for the style of shot is to establish Juan's characterisation as smooth, chill, well-known in both the neighbourhood and society, he audience’s own perception is created of the characters they are to see; “people associate young black men with crime in American culture”[36]. I believe, it also is used that way so the audience can get a glimpse of the sought of neighbourhood they are positioned in, when traditionally, a long shot would be used to establish setting, 'Moonlight' rather makes for an “immersive cinema”[37] experience with the rotating camera movements. The organised way the characters sell drugs are sold in the film is portrayed extremely realistically, the realism is conveyed thought the film earning its acclaimed award. Viewers are made to feel engaged in this scene as well as seeing the scene in every characters point on view (POV shot). This concept of a circular view connects to the theme of cycles , the 360 degree shot of this scene symbolises the cyclical narrative throughout the film, such as, Chiron having to break the cycle of doing drugs in his family or spending his childhood with Juan and eventually circling into the same path as Juan currently has. ‘Moonlight’ captures the zeitgeist of black men in society as many black males being in certain low income or broken family situations become part of gangs, drug dealers or incarceration due to a certain cycle and expectation for them to not do well. To add, images perpetuated by mass media such as the music genre Rap/Hip-hop music artist like Snoop Dogg, CheifKeef or Young Jeezy etc. reinforced the ideology that masculinity is “synonymous with hyper-sexuality, anger, criminality, and violence”[38]. Questionable lyrics and images portrayed in their videos and lyrics make a toxic socialisation showing black males to think that anger and rage are the narrowed down emotions to be felt, this further reinforces the ability for media to forge a construction of masculinity which makes absence of emotions a concept of a man this “serve[s] to reinforce the dominate ideological views .."[39] But also “instil erotic sadism in the black male child”[40]. Additionally, the 360 degree movement is always moving which provides a disorientating experience for the viewer; this unsettling feeling illustrates the intensity of the situation between the drug dealer and the middle man. Lastly, in this moment we see two men one of young age and one of an older age staring into each other’s eyes as if they were each other’s mirror's, in the scene, one may imagine the addict was once a young man and the young is seen as a suture addict showing the concept of cycles and juxtaposition.  This further reinforces the cyclical narrative as Jenkins’ represented Juan’s masculinity through his control over other characters and rather than not show such representation, Jenkins makes it evident it exits and may want to converse to audience to not follow such a root as we later find the Juan to have been killed because of his business because of the toxicity of the life he led. To add, the lighting is important in this scene, it is daytime due to the lightness of the colour although the connection between the men is drugs which is more of a negative and dark feeling. The fact it is bright outside and there is no shadows, for them to be discreet, symbolises the comfort Juan has in his job and shows he is not trying to hide parts of his life.  

Currently, more than ever, there is an outcry for both more diversity of POC (People of colour) and representations of those apart of the LGBT+ community. Representations of black homosexual males in Hollywood is limited: Movies such as 'Leave it on the Floor'[41], 'Paris is Burning'[42] and the character Lafayette in series 'True Blood'[43] all of these characteristics are an “over exaggeration...of Gay men”[44], which are overly flamboyant, have accentuated high pitched voices, which may not be a true representation of all black males as they are not the ideals- resulting to “how gay men feel about themselves”[45]. This represents what it means to be both black and gay that struggles and misconception that people have. Jenkins highlight’s the struggle of identity of a young boy struggling with their identity with Chiron as he has people constructing his identity with their own perception, as a child called “Little; when he’s with his first love, he’s “Black” and many times a “f*ggot” evidently conversing to an audience that though Chiron states he is indifferent:”You don’t know me”, other’s own image of him changes constantly and he upholds which is a contextual reminder by the director of black men’s own struggle to keep up images made by them by society personified by characters telling Chiron who he is. Black men in History have the perception of strong, big and violent. These traits, because of the representation of black men during times of the Slave trade (sexualisation, bestial imagery, literal beasts, property)[46] and post-colonialism[47] (Overly-sexual, thieves, violent 'other') reinforce the perception of black men being a form of two; an overtly flamboyant black man and the angry/aggressive one.  However, the use of the character Chiron emulating this image of flamboyancy in the dance room where he dances with both boys and girls in pink coloured room converses as him identifying with his “feminine” side Jenkins subverting toxic hyper masculinity as a sophisticated reading can read this as Chiron being protected because his ability to identity with the other children dancing rather than find himself not being affected by “masculine ideals”[48].

The Queer theory emerged in the 1990s to examine non-straight works in film texts and how the representation of Gay people in film. This theory would communicate to ‘Moonlight’ as it was applauded for its acclaimed ‘moonlight scene’ where two of the boys are at the beach watching the moon. As Chiron meets Kevin at the beach, who having realised is Chiron's crush at this point, it is hear we witness Chiron opening up to Kevin next to the water. This leads to the initial beach scene with young Chiron and Juan, considering how much more open Chiron remains in this beach setting compared to the first especially when he looks up to the moonlight. This contrasts Chiron's character and the effect of Juan being a father figure, he was able to talk more and open up about himself with Juan as he was never given that emotional vulnerability with Paula while talking to Kevin at the beach left him more silent and speaking less words. This may be due to the subject they talk about as they speak openly about crying, Chiron recalls how he felt he cried "so much I just turn to drops"[49] and Kevin replies with "You just roll out into the water right?”[50] The ability for two black boys to openly their feelings especially about crying subverts violent images of black boys created in movies (Bad Boys, Kidulthood) and masculinity in black men and how they are presented neither does it “emasculate”[51] them for doing so. Film scholar, Teresa de Lauretis’ Queer theory analysis states “the processes undertaken to normalise heterosexuality in classical cinema”[52] and with ‘Moonlight’ Jenkins normalises the sexual wakening between the two subtly, while Hollywood over exaggerates the black gay man and makes gays scenes “rampantly heterosexual”[53], ‘Moonlight’ enables these two boys who already have stereotypes created for them through media are sitting there in their own world talking about their feelings and going against the perceived anger of the clack man further highlights the movies ability to subvert these norms of black men and just be.

Barry Jenkins represents a “positive association for Black men”[54] which are “limited”[55] in film media and texts of society; he uses stereotypes already created by society to represent realistic characters in the movie ‘Moonlight’. Though “nothing much has changed since the 1970s”[56], the time of exploitations of black audiences, where “stereotypes have a complex relationship with ‘reality’”[57], the black man’s image- homosexual or otherwise, has been changing constantly in film and the “crisis of masculinity”[58] is a positive step forward for the subversion of negative stereotypes created for black men.  ‘Moonlight’ highlights this positivity with the different representations; “black masculine ideal”[59] Juan, “performative”[60] of masculinity by Kevin and indifferent Chiron, reinforcing the different masculinities as positive as these allow different identities for audiences to identify with which does not pertain to exploitative stereotypical characterisation. Though the toxicity of masculinity is highlighted, each character holds a spectrum of masculinities which are “different”[61] and both subvert and conform to communicate to a twenty-first century audience the realism and complexities of black men. Where young boys cry, hug and seek comfort within each other. Where, the perception of a “soft”[62] black man goes against the perceived norm and beautification of the violent black men seen “[shining] blue”[63]. ‘Moonlight’ goes further in using the toxicity of hyper-masculinity as a tool to create images of a realistic spectrum of the black man, subverting images and ideologies of an audience all too hidden and “exploited”[64] in media. Author Zadie Smith stated at Ted-X “Many are brutalised but not all become brutal”[65], not a direct reference to the film but does reflect the same ideology and why ‘Moonlight’ resonates strongly. The black body is constantly brutalised in art as in life, which is why it is cathartic for a black audience to see it beautifully rendered human and watching that pure humanity acknowledged.

BIBLIOGRAPHY

Works cited:

BOOKS:

Alvarado,M . Thompson, J, O. (1900). The Media Reader. UK: BFI Publishing.

Arthur A. (2006). Handbook of Sports and Media. New Jersey: Lawrence Erlbaum Associates.

Berger, J. (1990). Ways of Seeing. London: Penguin.

Branston, G. (2003). The Media Student's Book Third Edition. London: Routledge.

Butler, J. (1990). Gender Trouble: Feminism and Subversion of Identity. UK: Routledge.

Clarkson J. ‘Everyday Joe’ versus ‘pissy, bitchy, queens’: Gay masculinity on StraightActing.com. The Journal of Men’s Studies. 2006;14:191–207.

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

Cornell, D. (2009). Clint Eastwood and Issues of American Masculinity. US: Fordham University Press

Davis, Gary L.; Cross, Herbert J. (1979)."Sexual stereotyping of Black males in interracial sex".Archives of Sexual Behavior. 8 (3): 269–279.

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

Fanon, F. (1963). The Wretched of the Erath. New York: Grove Weidenfeild.

Gauntlett, D (2002). Media, gender and identity. New York: Routledge.

Gilroy, P. (1991). There Ain't no Black in the Union Jack. Chicago : University of Chicago Press.

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

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

Mostern, K. (1999). Autobiography and Black Identity Politics: Recialization in Twentieth Century America. London: Cambridge University Press.

Lacey, N. (1998). Image and Representation: Key Concepts in Media Studies. UK: Macmillan Education.

Lehman, P. (n.d.). Masculinity: Bodies, Movies, Culture. New York and London: Routledge.

Lee, S., & Aftab, K.  (2005). That’s my story and I’m sticking to it. London: Faber and Faber.

Litwin, R. (2014). Library Juice Concentrate.  US: Library Juice Press.

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

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

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

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

Prono, L. (2007). Encyclopaedia of gay and lesbian popular culture. US: Greenwood Press.

                                 

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

R, Horrocks. (1995). Male Myths and Icons: Masculinity in Popular Culture. London: Macmillan Press.

Levant, R, F. (1996). Masculinity reconstructed: Changing the Rules of Manhood- at Work, in Relationships and in Family Life. US: Penguin.

Sears, D. O. (1999).Radicalized Politics: The Debate about Racism in America. London: The University of Chicago Press.

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

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

White, M. (2011). From Jim Crow to Jay-Z. US:  Board of Trustes.

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

Internet:

Donaldson, M. (2015). When the media misrepresents black men, the effects are felt in the real world from https://www.theguardian.com/commentisfree/2015/aug/12/media-misrepresents-black-men-effects-felt-real-world

Cambell, K. (2017). Exploring black masculinity in Boyz n the Hood and Moonlight from http://lwlies.com/articles/black-masculinity-boyz-n-the-hood-moonlight/

Smith, Z. (2013) On Bad Girls, Good Guys and the Complicated Midlife from https://www.youtube.com/watch?v=SIh3swyGYX4

Fanon, F. (1965). The Wretched of The Earth from http://abahlali.org/wp-content/uploads/2011/04/Frantz-Fanon-The-Wretched-of-the-Earth-1965.pdf

Huffington Post. (2017). The emasculation of Black men, Homophobia and Misogyny: A Dangerous Vicious Cycle from https://www.huffingtonpost.com/glennisha-morgan/the-emasculation-of-black_b_3141651.html

Huffington Post. (2017). Moonlight, A refreshing sermon on Black masculinity from https://www.huffingtonpost.co.za/zanta-nkumane/moonlight-a-refreshing-sermon-on-black-masculinity_a_21715404/

CNN Entertainment. (2016). Jada Pinkett-Smith, Spike Lee boycott Oscars ceremony from https://edition.cnn.com/2016/01/18/entertainment/oscars-boycott-spike-lee-jada-pinkett-smith-feat/index.html

The Guardian.  (2016). Moonlight portrays black gay life in its joy, sadness and complexity from https://www.theguardian.com/film/2016/oct/29/moonlight-movie-barry-jenkins-black-gay

 

The Guardian. (2007). The crisis in modern masculinity from https://www.theguardian.com/books/2018/mar/17/the-crisis-in-modern-masculinity

 

The Guardian. (2015). When the media misrepresents black men, the effects are felt in the real world from https://www.theguardian.com/commentisfree/2015/aug/12/media-misrepresents-black-men-effects-felt-real-world

 Moving Image Texts:

Black Hollywood: Blaxploitation and Advancing an Independent Black Cinema. (USA, 2008, dir.: Howard Johnson).

Boyz n the Hood (USA, 1991, dir.: John Singleton).

Kidulthood (UK, 2006, dir,:Menhaj Huda).

Moonlight.(USA, 2017, dir.: Barry Jenkins).

Shaft. (USA, 1971, dir.: Gordon Parks).

The Terminator (USA, 1984, dir.: James Cameron).

Works consulted:

Books:

Benson, C., & Metz, A. (2000). The Madonna companion: two decades of commentary. New York: Schirmer Books.

Butler, J (1993). Bodies that Matter: On the Discursive Limits of 'Sex'.

Butler, J (1990). Gender Trouble.

Butler, J. (2004). Undoing Gender.

Dines, G., &Humez, J. M. (2011). Gender, race, and class in media: a critical reader(3rd ed.). Thousand Oaks, Calif.: SAGE Publications.

De Lauretis,T. (1991). p. 18.  "Queer Theory: Lesbian and Gay Sexualities". differences: A Journal of Feminist Cultural Studies, special issue. Duke University Press. 

Foucault, M. (1976). The History of Sexuality, volume I: La Volonté de savoir.

Fryer, D. (2010). Thinking Queerly.

Huffer, L. (2013). Are the lips a grave? A queer feminist on the ethics of sex. New York: Columbia University Press. 

Huffer, L. (2016). p. 93-105.  "Lipwork". differences: A Journal of Feminist Cultural Studies. Duke University Press. 27

Macdonald, M. (1995).Representing women: myths of femininity in the popular media. London: E. Arnold ;.

Marx, K., Easton, L. D., &Guddat, K. H. (1997).Writings of the young Marx on philosophy and society. Indianapolis, Ind.: Hackett Pub. Co.

McNair, Brian. Striptease culture sex, media and the democratization of desire. London: Routledge, 2002. Print.

Mill, J. S. (2006). On liberty. New York: Cosimo Classics.

Muñoz, J, E. (1999). Disidentifications: Queers of Color and the Performance of Politics.

Pullen, C., & Cooper, M. (2010).LGBT identity and online new media. New York: Routledge.

Romanowski, W. D. (1996). Pop culture wars: religion & the role of entertainment in American life. Downers Grove, Ill.: InterVarsity Press.

Walters, Suzanna Danuta. All the rage: the story of gay visibility in America. Chicago: University of Chicago Press, 2002. Print.

Moving Image Texts:

Attack the Block (UK, 2011, dir.: Joe Cornish).

Babylon (UK, 1980, dir.: Franco Rosso).

Blade (USA, 1998, dir.: Stephen Norrington).

Dazed and Confused (USA, 1993, dir.: Richard Linklater).

Dolemite (USA, 1075, dir.: D’Urville Martin).

Happy Together (Hong Kong, 1997, dir.: Wong Kar-wai).

My Beautiful Laundrette (USA, 1985, dir.: Stephen Frears).

My Private Idaho (USA, 1991, dir.: Gus Van Sant).

Superfly (USA, 1972, dir.: Gordon Parks Jr.).

Taboo (Japan, 1999, dir.: NagisaOshima).

Young Soul Rebels (UK, 1991, dir.: IssacJulien).

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

Internet:

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

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

'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

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

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/

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

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

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

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

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

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

Local Government  Act 1988. (n.d.).Legislation.gov.uk. Retrieved February 1, 2012, from http://www.legislation.gov.uk/ukpga/1988/9/section/28/enacted

---

[1] Moonlight. (2017).

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

[3]Beachflute. TeachForUs. (2007). p.2.

[4]Lacey, N. (1998). p. 39.

[5] The Guardian. (2016).

[6]ibid.

[7]Moonlight. (USA, 2016).

[8] Butler, J. (1990).

[9] Levant, R,F. (1995). p.259–265

[10]ibid.

[11] ibid.

[12] ibid.

[13] Black Hollywood (USA: 2008).

[14] ibid.

[15] Shaft. (USA, 1971).

[16] Fanon,F. (1963).

[17] ibid.

[18] White, M. (2011).

[19] ibid.

[20] ibid.

[21] Boy N the Hood. (1991).

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

[23] Little White Lilies. (1965).

[24] ibid.

[25] Moonlight. (2016).

[26] Huffington Post. (2017).

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

[28] Three Time (Taiwan, 2005).

[29] Film School Rejects. (2017).

[30] Lawrence, N. (2008).

[31] Cornell, D. (2009).

[32] Gilroy, (1991).

[33] CNN Entertainment. (2016).

[34] Huffington Post. (2017).

[35] ibid.

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

[37] Independent. (2017).

[38] Goodwin, A. (2016).

[39] Lacey,N. (2008).

[40] Poter, M. (2006).

[41] Leave it on the floor. (2011).

[42] Paris is Burning. (1990).

[43] True Blood. (2008).

[44] Litwin, R. (2014).

[45] Szymanski & Carr. (2008).

[46] Davis, Gary L, Herbert, J. (1979). p.269-279.

[47] Alvarado. (1987).

[48] Clarkson. (2006).

[49] Moonlight. (2017).

[50] ibid.

[51] Huffington Post. (2013).

[52] De Lauretis,T. (1991). p. 18.  

[53] Dines, G. (2003).

[54] The Opportunity Agenda. (2011).

[55] ibid.

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

[57] Calvert, B. (2002). p.37.

[58] Raisen, R. (2007). The Guardian .

[59] Wallace, M. (1997).

[60] Butler, J. (1990).

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

[62] Piner, J. (2017).

[63] Marhershalla, A. (2017).

[64] Mostern, K. (1999).

[65] Smith, Z. (2017).