This thesis examines how Western ideals of masculinity are depicted by the characters in Kimberly Peirce's 1999 film 'Boys Don't Cry'. Particular focus is given to the trans-masculine protagonist Brandon Teena, a real life victim of transphobic lethal violence. A diverse set of texts and authors, including Halberstam and Judith Butler, make up the theoretical basis to analysing how different types of masculinity, such as "female masculinity", are created in the film's context. Furthermore, this thesis looks into how heteronormativity is affirmed and resisted in the film, and how violence functions as a tool to uphold hegemonic masculinity and heteronormativity.
Table of Contents
1. Introduction
2. Theory
2.1. Constructing (Female) Masculinity
2.1.1. Female Masculinity
2.1.2. Trans-Male Masculinity
2.2. The Role of Violence in Masculinity
2.3. Synopsis
3. Analysis
3.1. Characters’ versions of masculinity
3.1.1. Brandon
3.1.2. Tom and John
3.1.3. Lana
3.2. Masculinising and Heterosexualising Violence
3.2.1. The Bathroom-Scene
3.2.2. The Rape
3.2.3. The Murder
4. Conclusion
5. Works Quoted
Research Objectives and Themes
This thesis examines the representation of masculinity in the 1999 film "Boys Don't Cry," specifically analyzing how the protagonist Brandon Teena's identity is constructed and subsequently deconstructed within the intersection of trans-masculinity, cis-male hegemony, and heteronormativity.
- Analysis of "female masculinity" as a framework for understanding character identity.
- Exploration of how violence serves as a tool to reinforce hegemonic masculinity and heteronormative structures.
- Investigation into the "transgender gaze" versus the "female gaze" and their impact on the protagonist's perceived gender.
- Evaluation of character dynamics, particularly the relationship between Brandon, Lana, and the cis-male characters.
Excerpt from the Book
3.1.1. Brandon
Brandon is introduced to us as a rowdy, risk-loving character who grins as he tailgates and does not back away when a larger man attacks him over a woman he has just met. When Candace, Tom and John take him along to Falls City, Brandon readily participates in “bumper-skiing”, later saying he “just thought that’s what guys do around here”. With Tom and John spurring him on and Lana’s concern, it indeed feels akin to an initiation ceremony that will make Brandon “one of the guys”. Brandon falls three times, but says he is fine when John finally goes to bring him back to the group. When Brandon drives Candace’s car with John, Tom, Candace, Katy and Lana in it, they are provoked by a group of girls in another car. Brandon seems to enjoy being pushed by his new friends to chase the other car and then grins as he overtakes them.
Summary of Chapters
1. Introduction: The introduction outlines the thematic focus of the film, identifying the core research aim: analyzing how masculinity is constructed in "Boys Don't Cry" through the lens of trans-masculinity, heteronormativity, and the film's storytelling techniques.
2. Theory: This chapter establishes the theoretical groundwork for the analysis, utilizing concepts from Judith Butler and J. Halberstam to frame gender identity and female/trans-masculinity as performative categories.
2.1. Constructing (Female) Masculinity: A detailed breakdown of female and trans-male masculinity, identifying them as sub-categories of broader masculinity and exploring how these identities interact with societal expectations.
2.2. The Role of Violence in Masculinity: This section investigates how violence functions as a performative tool for establishing hegemonic dominance and punishing those who deviate from cis-normative ideals.
2.3. Synopsis: A concluding summary of the theoretical insights, synthesizing how various academic perspectives apply to the study of masculinities across assigned-female-at-birth (afab) bodies.
3. Analysis: The primary analytical section applying the established theory to the specific character depictions and narrative arcs within the film.
3.1. Characters’ versions of masculinity: A deep dive into the individual performative strategies of masculinity employed by the key characters: Brandon, John, Tom, and Lana.
3.2. Masculinising and Heterosexualising Violence: An analysis of three central scenes—the bathroom scene, the rape, and the murder—to determine their role in reaffirming heteronormativity.
4. Conclusion: A final reflection on how the film mirrors societal power dynamics, concluding that while the film provides an intricate study of masculine stereotypes, it ultimately relies on a bio-essentialist view that de-transitions the protagonist.
5. Works Quoted: A comprehensive bibliography of the sources utilized in this thesis.
Keywords
Masculinity, Trans-masculinity, Female Masculinity, Boys Don't Cry, Heteronormativity, Transgender Gaze, Gender Performance, Hegemony, Violence, Lana Tisdel, Brandon Teena, Cisgender, Identity, Bio-essentialism, Queer Studies
Frequently Asked Questions
What is the primary focus of this thesis?
The work analyzes how masculinity is portrayed by the main characters in the film "Boys Don't Cry," focusing on the protagonist Brandon Teena's experience as a trans-masculine individual.
What are the central thematic fields?
The core themes include trans-masculinity, the performativity of gender, the function of violence in maintaining heteronormativity, and the intersection between identity and social perception.
What is the primary research question?
The research explores how different modes of masculinity are constructed in the film and what significance the violence Brandon experiences holds for the film's narrative interpretation of his gender identity.
Which scientific methods are employed?
The author uses a qualitative film analysis approach, drawing upon existing gender theory texts—specifically by Judith Butler and Jack Halberstam—to provide a frame for the interpretation of the film's visual and social dynamics.
What is covered in the analysis section?
The analysis covers character-specific performances of masculinity and an investigation of specific violent turning points in the narrative to assess how these scenes reinforce or resist dominant gender norms.
How would you characterize the keywords?
Keywords reflect the study of queer masculinity, the critical interpretation of film narratives, and the intersection of sociology and gender studies.
How does the film's title relate to the thesis?
The author argues that the title "Boys Don't Cry" reflects the heteronormative stereotypes regarding male emotion, which ultimately contribute to the film's tendency to de-transition Brandon by the story's end.
What is the 'transgender gaze' as discussed in the text?
The text refers to the 'transgender gaze' as a way the film frames Brandon that temporarily challenges the viewers' and other characters' binary expectations of gender, a gaze the author argues is undermined by later developments in the movie.
How do John and Tom represent different masculinities compared to Brandon?
John and Tom represent stereotypical, aggressive cis-male masculinity, using violence and intimidation as tools to assert their social dominance, which serves as a contrast to Brandon's more flexible and compassionate form of masculinity.
What conclusion does the author reach regarding the film's portrayal of Brandon?
The author concludes that while the film attempts to present an intricate look at masculinity, the director ultimately adopts a bio-essentialist perspective that rewrites Brandon's identity as a butch lesbian rather than maintaining his trans-male identity.
- Quote paper
- Kats A. Ridderskamp (Author), 2023, Female Masculinity and Resistance to Heteronormativity in Kimberly Peirce's "Boys Don't Cry", Munich, GRIN Verlag, https://www.grin.com/document/1493047
