Masculinity in Films
Man, when portrayed on the silver screen, always has in his "possession" the perfect woman; Superman has his Lois Lane and Tarzan is in "possession" of his Jane. It has been demonstrated in the world of filmmaking that women are possessions and part of a man's belongings and wealth. In order to portray the male's sexual superiority or his masculinity, the woman must always be shown as conquered and is rarely shown to prove the weakness of man.
This rule, known as the Tarzan Syndrome, has not been questioned too often in cinema; it states that every man must have a woman. It is upheld and supported by nature itself: man and woman need each other so that mankind can survive. Yet the masculinity issue as an axiom has become very controversial: the extent to which the gender classifications are set and fixed and to what extent is they are influenced by popular culture. A good example is provided by Superman.
From the very beginning Superman's identity is questioned. He was an orphan who came from a faraway planet Krypton and was adopted by a sweet middle-aged couple who lived in middle America. He went on to become a superhero who possessed a secret identity. From early on, he tried to prove himself as a man. He started proving himself even as a little boy; he showed that he was able to lift trucks over his head with his bare hands. Shortly thereafter, he impressed a young Lois Lane that he can outrun a moving locomotive. Superman is always trying to explain his normal behavior along with his amazing powers, with the help of his adoptive father. It is his father who shelters him and boasts about young Clark's traditional American ethics.
When Clark begins to mature and his sexuality begins to emerge, we find that it is his mother who takes over and creates a gender identity division by making the Superman outfit for him. From now on, Superman is forced to have a double identity, one being his alter ego, the simple normal looking Clark with his spectacles who looks like an underweight weakling. However, he has the security of acknowledging his masculinity through his daily dress of the dark grey business suit. His other identity, his public figure, is one of a muscular, powerful, good looking and sexually desirable hero who is always seen dressed in blue lycra tights, red boots and red underwear.
It is due to cultural changes that have occurred since Superman came on the scene that he is not viewed in the same way and has become a victim of fashion. The outfit which was proper for an acrobat or strongman to be wearing in the 1930s is not acceptable in the 1980s. He is dressed more in line with the gay scene and would most likely be cursed and ridiculed for wearing underpants on the outside for all to see.
In reality Superman's very complex personality and character are perfectly in tune with the wants and longings of the majority of males who are his fans. These males are confronting conflict between the way their masculinity is emerging and the way it is representing itself and how to deal with it. Their divided hero presents many contradictions and dilemmas; on the one hand he is an underweight weakling and on the other hand he is a strong bodybuilder. Unlike the reality with other human beings, where there is the hope that a "strange" lad will grow up and perhaps become a hero, Superman remains split forever. He is frustrated as Clark Kent, although he can perform miracles as Superman. As Clark Kent the lonely stranger, he fails in the attempt to win the heart of the woman he loves, Lois Lane, because she is in love with the hero Superman. His masculinity on the one hand is ever so obvious and the other hand it is in question. He becomes the victim of his own rival.
Masculinity in films is here to stay and is in evidence every day. Even cartoon movies are not immune from the masculinity message.