New forms of masculinity in Western filmsThe end of the Marlboro Man?

  1. David Blanco-Herrero 1
  2. Laura Rodríguez-Contreras 1
  3. Begoña Gutiérrez-San-Miguel 1
  1. 1 Universidad de Salamanca
    info

    Universidad de Salamanca

    Salamanca, España

    ROR https://ror.org/02f40zc51

Revista:
Comunicación y sociedad = Communication & Society

ISSN: 2386-7876

Año de publicación: 2021

Título del ejemplar: Special Issue: Visual motifs and representations of power in the public sphere

Volumen: 34

Número: 2

Páginas: 1-14

Tipo: Artículo

DOI: 10.15581/003.34.2.1-14 DIALNET GOOGLE SCHOLAR lock_openAcceso abierto editor

Otras publicaciones en: Comunicación y sociedad = Communication & Society

Objetivos de desarrollo sostenible

Resumen

Westerns are one of the most masculine and stereotypical of film genres. In a social and film context where gender equality is increasingly important, it is worth looking at the evolution of the genre in recent years. Especially because, as André Bazin said, the Western is “cinema par excellence” (1966) and its analysis allows a reflection on cinema itself. Taking the figure of the Marlboro Man as a prototype, this study carries out an analysis of three selected case studies: Brokeback Mountain, Jane Got a Gun and Godless, two films and a miniseries with main characters that do not follow heteronormative masculinity. Ang Lee’s work broke new ground not only in Westerns but also in industrial cinema by making homosexuality visible, while Gavin O’Connor’s showed the possibility of a woman playing the leading role in a classic Western. The miniseries produced by Netflix combines both by giving leading roles to female characters, some of them gay, while reflecting on homosexuality. It was noted that the portrayal of masculinity in Western films remains valid in all three cases, but it allows women and homosexuals to access leading roles, often by acquiring typically masculine attributes.

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