Sam Shakusky – The Challenger to HegemonyThe genre in Hollywood is based on the contrived actions of men saving their female counterparts by distress. The male households in the film assume the role of emotionless individuals who only strive to outdo their male competitors and sexually objectify women, while lacking any emotional intelligence (Bird 143). In films, this is portrayed overwhelmingly as it perpetuates concepts of male hegemony, acts of manliness, and how boys should behave to become men (Schrock and Schwalbe, 162). These depictions have created a standard in cinema and society that stimulates scrutiny if strict criteria are not met. However, in Wes Anderson's Moonrise Kingdom, these criteria are challenged: the protagonist's manly actions are portrayed in a different light than in other films, making this film important to American cinema. At the center of the film, his masculinity is not hegemonic and it is not perpetuated by daring manly acts; it is rather nobility. Sam Shakusky, at the center of the film, embodies masculine nobility and challenges hegemonic masculinity because he is emotional, respectful and refuses to succumb to the almost caricatured and contrasting attempts at acts of virility that other actors in the film make, this which makes his character important to the identity. of masculinity in modern cinematic culture. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Sam Shakusky's noble masculinity flows first from his emotions. As an ignored orphan who has no real home in the film, Sam has no source from which to draw ideas of masculinity. His negligence causes him to behave unlike the other men in the film, as he has little respect for many of them. In the article Men, Masculinity and Manhood Acts by Douglas Schrock and Michael Schwalbe, it is noted that differentiation in terms of masculinity begins in childhood. During Sam's childhood, which is depicted in the scene depicting letters from him and Suzy, it is evident that the peers and adult figures in his life ignored him. Ignoring him caused him to become more of an emotional boy, rather than playing and competing in large groups. He was isolated, which allowed him to concentrate on painting rather than learning the behaviors of the boys around him. Thanks to this, he becomes a more emotional boy and his masculinity takes shape. Although, according to the traditional definition, his lack of other male companions growing up would undermine his masculinity, but for Sam it reinforced his self-possession, an important aspect of masculinity. Self-possession refers to a person's physical and behavioral attributes that must be respected. Sam's consistent behaviors contribute to his emotions, thus making his emotions a major facet of his masculinity. His interactions with Suzy also prove that he is masculine and that his masculinity is noble. Sam's emotional investment in Suzy is very different from that of any other man in the film. As mentioned earlier, men must possess a certain amount of self-possession, which also extends to their own personal desires (Schrock and Schwalbe 155). When Sam sees Suzy, he immediately realizes his feelings for her, which are desire. He sees her on stage during a play and is immediately attracted to her. With that, he sneaks backstage to speak to her personally. His pursuit of Suzy is important becauseshe proves her desires for Suzy, but also shows her acceptance of masculine behavior within the social structure of gender. He takes initiatives, which is masculine, but he approaches them with sensitivity and kindness, which is different from traditional masculinity. Rather than act and try something heroic to attract her, he approaches her, showing his thoughtfulness and emotional intelligence, as well as his respect for women. It is important to film because his open emotional investments, which contrast with the dominant masculinity in cinema, still allow him to be a masculine figure as it reflects his personal desires. Sam's respect for women is another major aspect of his masculinity. Sam's respect for Suzy manifests itself in several ways, the first being his teamwork with her in an equal power relationship. In Gender as a Social Structure: Theory Wrestling with Activism by Barbara J. Risman, she argues that depending on the context of a relationship, gender roles change and that these changes are detrimental to progress toward gender equality. However, in Sam's case, whatever the title of his relationship with Suzy, he is willing to work with her to escape. Rather than completely taking control of their storyline while moving through the woods, he relies on Suzy to contribute as well. This is particularly evident during the scene where they are cornered by the traditionally male khaki scouts who attempt to capture Sam and Suzy to prove that they are "man enough". In this scene, Suzy saves Sam, and rather than getting upset because he wasn't in charge of the situation, Sam appreciates Suzy's actions. His equal power relationship with Suzy shows that he is comfortable and modest with his masculinity, and does not have to assert himself to prove that he is masculine, unlike the Khaki Scouts, his peers. The Khaki Scouts, throughout the film, constantly try to assert their masculine dominance over Sam and Suzy, contrasting with Sam's noble and humble masculinity. When they are appointed by the police to help find Sam and Suzy, the Khaki Scouts Scouts take on the role of all-powerful men, although they are only boys. This behavior supports Schrock and Schwalbe's argument that many young men play in large bands and attempt to emulate the male figures they admired during their development. The Khaki Scouts' contrasting attempts to be masculine prove that they are still developing their masculinity, while Sam has accepted his. Their lack of self-possession, demonstrated by their constant attempts to reinforce their masculinity, contrasted by Sam's personal comfort shows him to be a much more masculine figure. His comfort dominates the Khaki Scouts, although they try much harder to be a dominant force. The contrast between Sam's humble and noble masculinity, compared to the Khaki Scouts' overwhelming efforts to be hegemonic in their masculinity, shows the flaws of traditional masculinity in cinema. In traditional cinema masculinity, men constantly seek competition with other men, which is an unrealistic cultural assumption because the intrinsic goals often differ. The aforementioned traditional masculinity in cinema is a common thread that has not been radically altered throughout cinema history. movie. This is problematic because not only does it create unrealistic perceptions of men and masculinity, but it also creates serious gender equality issues. Moonrise Kingdom, however, is an important film because Sam Shakusky is the embodiment of what masculinity should be in cinema. His modesty and respect, even in the face of his..