Recap Report

This report shows main quotes of my research to help investigate and answer my question in terms of if the nature of masculinity in film has changed, focusing on the films that Martin Scorsese has directed. These films include Raging Bull, The Departed and Shutter Island.

My first quote comes from a book published by Ellis Cashmore, in 2009. It's called 'Martin Scorsese's America'. I looked at this book in particular as it's an interesting title and gives light to the films Scorsese directs, it's his own personal mark on the film, it's his 'America' to create and structure. This ties in to the overall culture and character types that feature also. "Gentle psychopaths, tortured lovers, and avaricious gangsters share space with vengeful malefactors and woebegone wannabes, in what David Bromwich calls the 'Scorsese Book of the Disturbed'. They are united only by the compulsive resolution that fires their pursuits and by the unbreakable spirit that eventually condemns them". This quote shows that character types come across as unconventional and alternative to what audiences expect, maybe types that they don't want to see. Scorsese is an expert of showing a version of reality in his films, the same can be said for the characters. I think this quote partly defines why I have focused on Scorsese's films to investigate the changing nature of masculinity over time in film. These characters can be seen as more honest and authentic than other characters in similar films.

My second quote is from an article called 'Visual Pleasures and Narrative Cinema', by Laura Mulvey."The man controls the film phantasy and also emerges as the representative of power in a further sense: as the bearer of the look of the spectator, transferring it behind the screen to neutralise the extra- diegetic tendencies represented by woman as spectacle. This is made possible through the processes set in motion by structuring the film around a main controlling figure with whom the spectator can identify." Mulvey, who also created the 'Male Gaze' theory, this article and theory are going to be useful as masculinity and gender ties in together. Another quote can be used to support this. "It takes as starting point the way film reflects, reveals and even plays on the straight, socially established interpretation of sexual difference which controls images, erotic ways of looking and spectacle." Take the relationship between man and woman in 'Raging Bull'. We take De Niro's point of view when he first lays eyes on Cathy Moriarty's  character, Vickie. To the male character and the audience, Vickie is a spectacle. There is a scene in 'Raging Bull' were leading character 'Jake' can be considered too masculine, even overpowering. The scene shows that some characters can use their masculinity to rule others, intimidate and bully.

The third quote comes from a book specialising in masculinity in cinema. It's called 'Screening the Male: Exploring Masculinities in the Hollywood Cinema', by Steven Cohan."The phenomenon of stardom provides a useful starting point for thinking about the performative aspects of masculinity in the cinema, perhaps because spectacle, performance and acting all function as both constitutive components of stardom and significant terms in those writings concerned with the sexual politics of representation. Within the action cinema the figure of the star as hero, larger than life in his physical abilities and pin-up good looks, operates as a key aspect of the more general visual excess that this particular form of Hollywood production offers to its audience." This quote refers to male stars and the performance of masculinity they deliver on screen. The words to describe the actor are all connotations of what we as an audience take as someone being masculine. To be masculine regards to showing no marks of inferiority, form the stars described in the quote above, inferiority isn't a word you'll come across. Also, the word 'general' appears to signify that audiences are used to this aspect to masculinity, maybe that there's no other aspect. I think this is an outdated thought, as this book is referring to stars of the 1980's. Now, the words to describe a masculine actor are more complex, because film's characters have changed, and so has the audience who watches these films.

My next point comes from some analysis I carried out on a scene from 'The Departed'. This is the scene were Billy finds out that Costello has a spy in the investigation unit, as well as meeting Madolyn for the first time.

DiCaprio’s character, Costigan, talks about his feelings to a psychiatrist. His character can be considered as both a cop and a criminal. The question is raised that he is even having therapy, almost confessing his sins to this woman. This wouldn’t be heard of if another character, such as Jack Nicholson carried out this act. Also, the changing nature of masculinity appears here as a male character is talking about his feelings, showing vulnerability, and at some stages in this scene it seems like the female character shows control and even guides the narrative. All the while this therapy session is taking place, we see Costigan as a criminal, witnessing acts of brutal violence, were he doesn’t speak but the voice over makes up for it. And then the audience witnesses a talk between himself as an undercover cop, with other investigators who are attempting to bring Nicholson’s character down. In these parts, he shows fear and desperation, and takes up most of the speaking role. The contrast is huge between these two segments as the character almost has a split personality. Whatever happened to the strong silent type? DiCaprio’s character is complex and is vulnerable, which probably leads to his downfall and death. Not the character type audiences are used to in crime/action films, feelings shown, and consequences to actions. This all ties in to the evidence of changing masculine character types. Perhaps, the strong silent type has been replaced with the vulnerable, desperate type.

The last quote comes from a film review of 'The Departed', by Empire. "Yet, for all the youthful talent (and we also get Mark Wahlberg to bolster the film’s young-leaning credentials), The Departed belongs to Nicholson and Frank Costello, a man of unpredictable nature who doesn’t simply like violence, he is so steeped in it that it’s as natural as breathing. It’s hard to say which of his words came from Monahan’s script and which were added by the actor, who, in familiar fashion, gives the character as much leery charm as genuine danger, using fear (be it physical, verbal or sexual) as a tool to get precisely what he wants." For me, Nicholson represents the 'old school' action/crime actor, dangerous on so many levels, no complexities show on this character that can refer to a modern aspect of masculinity (not like DiCaprio's character in this film). Scorsese's film here shows actors young and old, masculinity that has existed for so many years and a new aspect of it that is appeared in front of audiences for only the past few years.