Abstract
In The Media and Models of Masculinity, Mark Moss provides an insightful analysis of how societal conceptions of masculinity are continuously transforming. Providing rich historical and media examples, Moss argues that masculinity no longer exists as one dominant form. Relying on the diversity of “masculine” role models available in the media, Moss highlights the diversity of masculinities to which contemporary boys and men may aspire. While no longer directly involved in academia, this book extends Moss’ previous research that focused on military masculinity and the role of consumption in shaping behavior.
Moss provides historical, commercial, and media examples to demonstrate the myriad forms of masculinity now available to men—acknowledging that the men he is referring to primarily reside in the United States and Canada. For example, Moss highlights how certain seminal periods in history impart a variety of messages about style, behavior, and identity. This is most clearly noted in the evolving ability for men to express “metrosexual” behavior through their attention to physical appearance. Moss describes how the gradual acceptance of men taking time to groom stems in part from media emphasis on beautiful men who embody “masculine” sexuality—most notably David Beckham and George Clooney. Beyond media expression of the “sexiest man alive,” Moss further explores how media representation takes on a variety of “male as hero” forms. Using examples from Men’s Health to Playboy, James Bond to Fight Club, Sopranos to Big Bang Theory, Moss demonstrates the diverse forms of masculine identity now available through books, magazines, television shows, movies, and technology.
Relying on the “compensatory consumption” thesis, Moss expands on how media examples of masculinity are made available through the proliferation of “things” aimed at male consumers. Brands that traditionally advertised to women now target men, encouraging men's indulgence in opulent home decor (i.e., items for their desk) and personal accessorization. This shift transformed the selling of products to men (i.e. cufflinks) to one emphasizing style over practicality. Moss powerfully argues that masculine consumption extends beyond personal or home adornment by exploring the spending patterns of men who, like women, regularly treat themselves to facials, manicures, and professional haircuts with obsessive fervor.
While Moss’ book emphasizes the shifting models of masculinity, he also recognizes the continued limitations of what counts as “masculine” behavior. He notes that even though depictions of masculinity fluctuate, many dominant forms of masculinity remain stagnant. For example, he is smart to note that, even though homosexual relationships are increasingly recognized as legitimate in the United States and Canada, men’s sexuality is often questioned if they are not exhibiting “manly enough” behavior. In order to fit the heteronormative standard men participate in homosocial escapes both figuratively, through media representations, but also through the act of playing video games or watching/listing to sporting events as strictly “men only” activities. These examples point to a central conundrum that Moss argues plagues contemporary masculinities: today, men simultaneously seek to celebrate traditional forms of masculinity, while navigating and respecting what society now deems inappropriate, misogynistic, behavior. Moss illustrates the ways in which this challenge in fraught with contradictions.
I agree with Moss’s argument that media offer a wider array of masculine archetypes than previously available. Yet, given the emphasis of media on constructing the “hero” and the link that continues between masculine identity, sports, and violence, I wonder the extent to which men are really able to mimic the alternative forms of masculinity (the computer nerd, the rebel, the fashion guru) now available to them. In many ways, this supports Moss’ argument, that there is not—nor was there ever—one dominant form of masculinity. Rather, hegemonic masculinity is an ideal type contingent upon context, positioning, and perspective. However, the reliance on a hero during “times of crises” seems to reiterate the continued search for a dominant form of masculinity. Thus, while many alternative forms of masculinity are available in the media, men’s ability to emulate this diversity might be more difficult than Moss suggests.
The Media and Models of Masculinity is an excellent interrogation of the models of masculinity available through media. Moss clearly articulates his main argument and provides ample evidence in support of his thesis. The text would nicely compliment a media studies or sociology course examining masculine identity. I would also recommend this book for a business or advertising class given the insights it provides on the changing consumption patterns of men.