"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).
[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
[27] Piner, Jaden. (2017). Moonlight
[29] Smith, Z
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JOURNALS:
B. (n.d.). Retrieved November 23, 2017, from http://beachflute.teachforus.org/2007/10/28/the-list-of-stereotypes/
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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
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Thrasher, S.
W. (2016, October 29). Moonlight portrays black gay life in its joy, sadness
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Nkumane, Z.
(2017, March 01). Moonlight, A Refreshing Sermon On Black Masculinity.
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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
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