Scholars argue that masculinity and war are united because masculinity is best observed through male-dominated arenas, such as the military. Moreover, film can serve as a medium to not only establish what is socially acceptable, but play an active role in the creation of one’s identity. Filmmakers past and present have employed the motif of masculinity in their war films, which put it at the center of the social structure and creates an overall acceptable cultural ideology. These filmmakers have established the overall rules, themes, and methods used as part of the war film genre. These rules, themes, and methods served well for pre-1970 American war cinema, when women were not allowed in the military as soldiers. However, as of 2003, female soldiers have grown to comprise twenty percent of the active soldiers and officers in the military. Studies on masculinity construction are well documented in World War II, Vietnam, and Gulf War-era combat films; however, little has been studied on post-9/11 American war films involving the Iraq and Afghanistan wars. Using literature on masculinity constructs, both inside and outside of film, as well as social construction theory, identity theory, genre theory, and auteur theory, this dissertation textually examines masculinity construction in six post-9/11 American war films. This dissertation finds that the contemporary war genre continues to construct masculinity similar to past eras of war film. Comradery, the warrior image, not showing emotion, having a violent demeanor, and the demonization of women and cowardice were all prevalent in one or more of the films analyzed in this study. However, there were many nontraditional masculine ideals that were implemented, such as women being present and taking an active role as soldiers, as well as women being portrayed in the warrior image. The films analyzed demonstrate that the war film genre is still depicting and therefore socially constructing masculinity in a way that was prevalent in pre-1970 war films. However, the genre is evolving and nontraditional masculinity constructs are starting to present themselves.

This thesis aims to examine Afghan literature and feminism through the works called On Half from the East by Nadia Hashimi and Roya by Shaina and Nadia Pakrawan. For a couple of years, the Taliban has controlled Afghanistan's literature on women and feminism to silence and squash Westernized notions of freedom and rights for women. However, feminist authors continue to publish and produce many works like On Half from the East and Roya in retaliation. This thesis argues that to them, the pen is mightier than the sword, and their literature will be able to tackle the situation much better than physical retaliation, which only aggravates the situation. Through writing, women in Afghanistan can create their own identities and no longer struggle while doing so. As more and more people become aware of their situation, they hope the world will be able to provide the proper assistance they need to save them while respecting their cultures and religions carefully.