{"title":"The Caravan Of Hate: The Cautionary Tale of Ben Wheatley’s Sightseers and Alternative Spaces for Masculinity On-Screen","authors":"Daniel Finnemore","doi":"10.33093/ijcm.2023.4.1.4","DOIUrl":null,"url":null,"abstract":"Ben Wheatley's Sightseers is a brutally violent and darkly comic addition to British cult cinema, satirising British values, habits, and relationships with the humble caravan at the centre of its world. However, Wheatley's third feature warns against the harmful effects of not conforming to masculinity. Performance, recognition, and hegemonic masculinity enter this conversation. This paper critically analyses how Sightseers uses frame, sound, character, and narrative to condemn white, working-class toxic masculinity in a regional context. The true cautionary tale is in the numerous and savage manifestations of violence and hyper-masculinity. Sightseers is a cult film that shows the harmful effects of masculinity and societal demands, but it neglects alternative masculinities, which may help us comprehend gender construction and portrayal. This research relies on scholars like Jack Halberstam who discuss alternative and subordinate masculinities. How do these affect viewers? This dissertation concludes by considering how current cult cinema may offer alternatives to \"heroic\" masculinity or \"real thing\" as Halberstam calls it. Whether it's Everything Everywhere All at Once's \"gentle masculinity\" or other constructions, different spaces will hopefully continue to reshape our understanding of masculinity and the positive role these on-screen representations can play in this ideology evolution.","PeriodicalId":313823,"journal":{"name":"International Journal of Creative Multimedia","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2023-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"International Journal of Creative Multimedia","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.33093/ijcm.2023.4.1.4","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
Ben Wheatley's Sightseers is a brutally violent and darkly comic addition to British cult cinema, satirising British values, habits, and relationships with the humble caravan at the centre of its world. However, Wheatley's third feature warns against the harmful effects of not conforming to masculinity. Performance, recognition, and hegemonic masculinity enter this conversation. This paper critically analyses how Sightseers uses frame, sound, character, and narrative to condemn white, working-class toxic masculinity in a regional context. The true cautionary tale is in the numerous and savage manifestations of violence and hyper-masculinity. Sightseers is a cult film that shows the harmful effects of masculinity and societal demands, but it neglects alternative masculinities, which may help us comprehend gender construction and portrayal. This research relies on scholars like Jack Halberstam who discuss alternative and subordinate masculinities. How do these affect viewers? This dissertation concludes by considering how current cult cinema may offer alternatives to "heroic" masculinity or "real thing" as Halberstam calls it. Whether it's Everything Everywhere All at Once's "gentle masculinity" or other constructions, different spaces will hopefully continue to reshape our understanding of masculinity and the positive role these on-screen representations can play in this ideology evolution.
本·惠特利(Ben Wheatley)的《观光客》(Sightseers)是一部残酷暴力的黑色喜剧,是英国邪教电影的补充,讽刺了英国人的价值观、习惯以及与世界中心卑微的大篷车的关系。然而,惠特利的第三个特征警告了不符合男子气概的有害影响。表现、认可和男性霸权进入了这个对话。本文批判性地分析了观光者如何使用框架、声音、人物和叙事来谴责白人、工人阶级在地区背景下的有毒男子气概。真正的警世故事是在暴力和超级男子气概的大量野蛮表现中。《观光客》是一部展示男性气质和社会需求的有害影响的邪典电影,但它忽略了另一种男性气质,这可能有助于我们理解性别的建构和描绘。这项研究依赖于杰克·哈伯斯坦(Jack Halberstam)等学者,他们讨论了另类和从属的男性气质。这些对观众有什么影响?本文的结论是考虑当前的邪典电影如何提供“英雄”男子气概或哈伯斯坦所说的“真实的东西”的替代方案。无论是Everything Everywhere All at Once的“温柔的男性气质”,还是其他的建构,不同的空间都有望继续重塑我们对男性气质的理解,以及这些在屏幕上的表现在这种意识形态演变中所能发挥的积极作用。