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- Creators: Beethoven, Ludwig van, 1770-1827
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.
Beginning in 2011, California’s most recent drought has brought four years of some of the warmest and driest seasons on record. Mendota, California in the San Joaquin Valley is a microcosm of the struggles many agriculture communities face when water resources are scarce. Known as the “cantaloupe capital of the world,” agriculture represents over half of Mendota’s economy, making unemployment one of the many challenges they face. However, community members are working to move forward and preserve the place they call home.
Medota has a population of about eleven thousand people with over 96 percent of them being Hispanic. The stories of elected officials, field workers, farmers, police, school leaders and local business owners give testament to a mounting fear for future water allocation. But their voices also give way to a shared belief—the community’s resilience will persevere through California’s drought. Mendota is presented through a multi-media piece that uses photos, videos and descriptive articles to showcase both their hardship and hope.