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How men perceive or evaluate themselves, how they perform their masculinity is often the consequence of media portrayal. Portrayal of explicit masculinity by the media is at times a somewhat simplistic and restrictive representation. Resistant stereotypes still have resonance, particularly with the evolving fragmentation around male performance. Homi Bhabha (1995) once suggested that trying to define the "uncanny invisibility" of masculinity was like trying to grasp mist. Overt and polarised representations of [hard] and [soft] masculinity were exemplified in eighties television shows such as the "A Team" and "Thirty Something." A new construct has surfaced in the personification of ineptitude, of being "out of touch, and a complete buffoon" (Salzman, Matathia, & O'Reilly, 2005). Furthermore, Salzman et al. suggest men are being relegated to third place behind women and gay men especially in many television shows. For example, "The Simpsons," "Everybody Loves Raymond," and "Queer Eye for the Straight Guy" appeal to a female demographic. This paper explores the part the media plays in formulating myths, stereotypes and ultimately frameworks around masculinity. The exploration is confined to North American situation comedies only and examines the influences upon masculinity in general with a New Zealand perspective and the resultant performative aspects of their gender. As a key insight into societal myths, stereotypes and expectations, the paper analyses historical press representations from the Great War and the resultant restrictions around New Zealand masculinity.
Keywords: media portrayals of masculinity, American comedies, male performance, stereotypes, Home Improvement, New Zealand masculinity
This paper examines notions of masculine representation in American situation comedies (sitcom) and the possible translations and ramifications around male performance. It will explore historical, contemporary and emergent stereotypes as well as how men engage with, decode and make sense of media portrayals of masculinity. It analyses the situation comedy as a methodology to both construct and constrain masculinity. The paper principally explores notions rather than established readings of masculine representation and resultant performance.
The paper investigates examples of definitive New Zealand masculine stereotypes and expectations from historical newspaper definitions at the time of the Great War. This is to explore how pivotal these constructs have become in establishing potential restrictive masculine frameworks, "Media representations tell us who we are, who we should be and who we...