A tendency in the realm of gender studies has been to mainly concern oneself with gender, whereas the same can be claimed in terms of class analysis showing a tendency towards primarily and exclusively dealing with class. This study tries to combine both fields in an attempt to not only expose how present forms of masculinity are established but also how these forms interact with ‘class’.
In addition to Crenshaw’s ‘intersectionality’ theory, Pyke’s concept of ‘interpersonal power’ and Connell’s theory of ’hegemonic masculinity’ will be dealt with. The synergy between masculinity and ‘class’ will be scrutinized by means of two movie adaptations of "The Great Gatsby" (1974/2013). It will be shown that factors such as social and geographical mobility, career, and the need or ability to display class-marked objects, as well as the male body can be identified as producing and helping to maintain multiple forms of class-based masculinity, as well as shaping and changing these masculinities.
Table of Contents
1. Introduction
2. Gender
2.1 General
2.2 Masculinity
2.3 Hegemonic Masculinity
3. Class
4. Intersectionality
5. Character Interaction and Interpersonal Power
6. Analysis
6.1 Character Introduction and Historical Variability
6.2 Construction of Class-Based Masculinities and the Interaction of the Characters
6.2.1 Property and Occupation
6.2.2 Public and Private
6.2.3 Production and Reproduction
7. Conclusion
8. Works Cited
Objectives and Research Focus
This thesis explores the intersection of masculinity and class by examining the male characters in two film adaptations of F. Scott Fitzgerald's "The Great Gatsby" (1974 and 2013). The study seeks to understand how different forms of masculinity are established, maintained, and influenced by social class, while applying the concept of "hegemonic masculinity" to these cinematic representations.
- Analysis of masculinity and class as interdependent categories.
- Application of the "hegemonic masculinity" concept to literary and filmic character construction.
- Comparison of the 1974 and 2013 movie adaptations regarding the representation of gender.
- Examination of character interaction through theoretical frameworks of interpersonal power.
- Investigation of class-based mechanisms such as property, occupation, and the public/private divide.
Excerpt from the Book
6.2.1 Property and Occupation
When it comes to property in The Great Gatsby, two aspects are of particular interest. The dimension of the property in terms of condition, size, and value, and the area the property is situated in. Tom lives in East Egg in a huge, expensive mansion with a garden that resembles a park. Together with his wife Daisy he recently moved there from Chicago. On the opposing side – in West Egg – Gatsby also lives in a costly and expansive, castle-like home. He, too, is fairly new to Long Island. Nick was the last one of the male protagonists who moved to Long Island. He lives in a comparably small house situated next to Gatsby's home. So even though he definitely lives in one of the better parts of New York, there is still a huge gap between Nick's property and Tom's and Gatsby's. When Nick visits Tom in the beginning, Tom asks “Where is your place?”, and Nick replies “Across the bay. But it's just a little cottage I got for 80 a month.”. Tom further remarks “Our beer bills at New Haven were more than that.” (Clayton, The Great Gatsby 5:24). Tom immediately insinuates the gap in terms of property, and thus makes clear the relation between himself and Nick, as well as evaluating the social condition they find themselves in. Nick, on the other hand, seems to instantly acknowledge Tom's superiority, or rather submit to it, when he says “You forget, I'm now just a struggling bond salesman on Wall Street” (ibid. 5:34). Lastly, Wilson lives in a rather small and dirty house with a car repair shop attached to it. It is situated in the Valley of Ashes, a low income area between Manhattan and West Egg.
Summary of Chapters
1. Introduction: This chapter introduces the core research objective regarding the interaction of gender and class, providing context on the 1974 and 2013 film adaptations.
2. Gender: This chapter establishes the theoretical foundation by defining gender as a social construction and introducing the concepts of masculinity and hegemonic masculinity.
3. Class: This chapter provides a historical overview of class definitions from Marx to Weber and connects these economic concepts to social and power relations.
4. Intersectionality: This chapter explains the importance of analyzing gender and class as non-additive, transformative categories of difference.
5. Character Interaction and Interpersonal Power: This chapter introduces Pyke's concept of interpersonal power to analyze how daily interactions construct dominant and subordinate masculinities.
6. Analysis: This chapter serves as the primary practical application, comparing the characters and examining how class-based hierarchies influence masculine performance.
7. Conclusion: This chapter summarizes the thesis findings and suggests future research directions, such as extending the analysis to femininity.
8. Works Cited: This section lists all academic sources used in the research.
Keywords
Masculinity, Class, The Great Gatsby, Hegemonic Masculinity, Gender Studies, Intersectionality, Interpersonal Power, Socioeconomic Status, Film Adaptation, Social Construction, Power Relations, Performance, Gender Identity, Social Stratification, Provider Role
Frequently Asked Questions
What is the central research focus of this thesis?
The work examines how masculinity and class interact within the lives of male characters in the 1974 and 2013 film adaptations of "The Great Gatsby."
Which theoretical concept is used to classify masculine power?
The thesis utilizes Raewyn Connell's concept of "hegemonic masculinity" to analyze the dominant and subordinated forms of male identity.
What is the primary objective of the analysis?
The goal is to move beyond seeing gender and class in isolation and instead understand them as transformative, interconnected categories of difference.
What methodology is applied to the film analysis?
The author performs a character analysis, utilizing frameworks like "property and occupation," "public and private," and "production and reproduction" to study character interaction.
How is the "public and private" sphere utilized in the research?
It is used to examine how men, particularly those from different social classes like Tom Buchanan and George Wilson, perform masculinity differently at home versus in public settings.
Which categories define the masculinity of the characters?
The characters are evaluated based on their wealth, career, housing situation, civil status, and general demeanor in relation to social norms.
How does the 2013 adaptation differ from the 1974 version regarding gender representation?
The 2013 version is described as more exaggerated, featuring increased displays of hyper-masculinity, violence, and sexual insinuation compared to the 1974 version.
Why is George Wilson considered an example of "failed masculinity"?
Wilson is portrayed as a downwardly mobile individual whose lack of financial success and career stability erodes his ability to act as a provider, thus undermining his masculinity.
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- Matthias Köbrich (Autor:in), 2014, Representations of Gender and Class in "The Great Gatsby". An Analysis of the Movie Adaptations of 1974 and 2013, München, GRIN Verlag, https://www.grin.com/document/346632
