"Sons of Anarchy" has been the most successful TV programme of the cable network channel FX since its premiere in September 2008. Having attracted a lot of viewers, the drama series about an imaginary motorcycle club can certainly be regarded as another example of what Nussbaum calls "television's most esteemed category: the sophisticated cable drama about a patriarchal subculture". Due to its success, it can be assumed that the series also has a certain amount of cultural impact. One of the most remarkable and characterising features in "Sons of Anarchy" is certainly its representation of gender roles, especially of hypermasculinity, which undoubtedly has become
rather unusual in contemporary TV series. Since masculinity and its depictions can never be looked at in isolation, but only by comparing or contrasting it to depictions of femininity, there will be an analysis of both gender roles in this paper. However, since the series is about a motorcycle club whose members are male, the main focus will be on the representation of masculinity in SOA.
This paper argues that SOA portrays hypermasculinity in a way which, although on the one hand being very old-fashioned, if not outdated, on the other hand still is very likeable and even attractive for its audience. The main question that will addressed is thus the following: How are gender roles represented in SOA and by which means is that achieved?
Table of Contents
1. Introduction
2. Gender roles in Sons of Anarchy
2.1 The depiction(s) of (hyper)masculinity
2.1.1 The Credits
2.1.2 The Club
2.1.3 Audiovisual representations of (hyper)masculinity
2.1.4 Representations of hypermasculine behaviour
2.2 The depiction of femininity
3. The cultural work of SOA - between post- and post-post 9/11 masculinity?
4. Conclusion
Objectives and Topics
This academic paper examines the representation of gender roles, specifically (hyper)masculinity, within the television series Sons of Anarchy. The research investigates how narratological and formal elements contribute to a patriarchal portrayal of gender and whether these depictions reflect broader cultural shifts in masculinity, particularly in the post-9/11 era.
- Analysis of hypermasculine traits in the series' credits and the "Club" microcosm.
- Examination of audiovisual techniques used to idealize hypermasculine behavior.
- Evaluation of the marginalization, stereotypization, and victimization of female characters.
- Discussion of Connell’s concept of hegemonic masculinity in the context of the series.
- Contextualization of the series within post-9/11 and post-post-9/11 masculinity discourses.
Excerpt from the Book
2.1.2 The Club
When it comes to the general constellation of male and female characters in SOA, the Club itself plays of course a central role. Its members have to be male, it can therefore be seen as an enclosed microcosm of masculinity. The latter can be lived here without any challenges or restrictions from the "other" side (that is, the female side). In the first episode, several of the "table scenes" are depicted: The members usually sit around the table and discuss their business strategies and similar things. Everyone is smoking and drinking beer; crude and sexist jokes are made; two members even start to do some kind of 'verbal muscle flexing' by making jokes of each other, comparable to teenage boys who fight about being the coolest group member – in this case, instead of 'who is cooler?', the question would rather be 'who is more manly?'.7
The importance and status of the Club to each of its members can be seen on different levels. To begin with, there are obvious religious elements in the terminology of certain Club locations: The Club house itself is called church, the meeting room in which the important Club decisions are being made is called chapel. Moreover, connections to the military can be made out of two reasons: All SOA members wear the same kind of leather vest and are thus uniformed, and there is a strict hierarchical structure within the Club.
Summary of Chapters
1. Introduction: This chapter outlines the success of the series and introduces the research question regarding the representation of gender roles and (hyper)masculinity.
2. Gender roles in Sons of Anarchy: This section provides a detailed analysis of how masculinity and femininity are portrayed through audiovisual elements, the structure of the Club, and behavioral patterns.
3. The cultural work of SOA - between post- and post-post 9/11 masculinity?: This chapter contextualizes the series within modern political and sociological discourses, comparing the characters' behaviors to historical masculinity paradigms.
4. Conclusion: The final chapter summarizes the findings, noting that while the series intelligently addresses masculinity, its depiction of femininity remains largely stereotypical.
Keywords
Sons of Anarchy, Hypermasculinity, Hegemonic Masculinity, Gender Roles, Post-9/11 Masculinity, SAMCRO, Television Series, Patriarchy, Femininity, Cultural Studies, Narratology, Media Analysis, Masculinity Discourse, Representation.
Frequently Asked Questions
What is the core focus of this academic paper?
The paper focuses on the depiction of gender roles and hypermasculinity in the TV series Sons of Anarchy and how these portrayals reflect cultural and political themes.
What are the central themes discussed in the analysis?
Key themes include the construction of male identity, the marginalization of women, the role of violence in asserting dominance, and the connection between the series' narrative and real-world geopolitical masculinity.
What is the primary research question?
The research asks how gender roles are represented in the series and through what formal or narratological means this representation is achieved.
Which scientific methodology is applied?
The author employs a qualitative analysis of narrative and formal elements, utilizing Raewyn Connell’s concepts of hegemonic masculinity to interpret the gender dynamics within the series.
What topics are covered in the main body?
The main body examines the visual and behavioral traits of the "Sons" (The Club), the objectification of women, the role of violence as "just business," and the evolution of the main character's masculinity.
Which keywords characterize the work?
The work is characterized by terms such as hypermasculinity, patriarchal subculture, post-9/11 masculinity, and media-driven gender stereotypes.
How does the author define the "Club" as a microcosm?
The author identifies the Club as a male-only space that functions as a "microcosm of masculinity," allowing members to live free from external female influence and adhere to a strict, military-like hierarchy.
How is the concept of "sympathy for the devil" applied to Jackson Teller?
The author uses this term to explain how the narrative techniques successfully make the audience feel connected to and fascinated by a character whose actual actions and morality would otherwise be considered unlikable.
What conclusion does the author draw regarding the depiction of women?
The author concludes that while the series is complex in its exploration of male tropes, its depiction of female characters remains largely superficial, relying on traditional stereotypes of marginalization and victimhood.
How is the series related to post-9/11 politics?
The paper argues that the show's emphasis on violence, retribution, and a "me-first" attitude mirrors the aggressive foreign policy and "punitivity" that dominated the US public sphere following the 2001 attacks.
- Quote paper
- Felix Kästner (Author), 2013, Cowboys on Wheels. "Sons of Anarchy" and the Depiction of (Hyper)Masculinity, Munich, GRIN Verlag, https://www.grin.com/document/298406
