Women’s and Gender Studies Revised4

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Representation of racialized masculinity in film and theatre
Equality of men is but a statement, far from the truth. Most may argue that this is true regarding the mode in which the treatment of individuals should be carried out. The same cannot be said concerning their backgrounds and or appearance. It is for this reason that most movie and theatrical productions often like to highlight these differences that exist among men. This is particularly when it comes to productions that cover the experiences of citizens of color. In this article, I investigate how focusing on sexual relations, and the unequivocal sex act recognizes the mystery of delight and savagery in racial subjection. It is possible to figure better comprehension of the connection between sexual oppression and racial subjectivity. The objective can be achieved through the thought of express sex acts amongst bosses and slaves as both a type of restraining enslavement and liberatory self-development for racial subjects.
They are often depicted in such a way to portray more masculine features such as courage, brute strength, perseverance and undying determination in any of their ventures (Jackson, 20). A good example of such a movie is Mandingo. The subject of how control functions between those enabled and those oppressed continue as a good and moral predicament inside contemporary relations and portrayals. In the movie Mandingo, Hammond buys a black Mandingo slave by the name Ganymede whose job entails working as a paid fighter.

Not only does Ganymede appear so physically fit, but he also dominates over all his other fighting rivals. In an aim of toughening his slave up, Hammond initially bathes him in scalding hot water, a process that the slave endures, although with great pain. He is well fed, and all his needs including sexual needs are taken care of by his master who sees to it that he is kept good company by the other female slaves in his procession. Prematurely, the film is rejected as a peaceful supremacist venture – a recounting subjugation from the perspective of slave sexual happiness. The reason for this is because Hammond has turned his slave into a cash cow by betting on his fighting. Portrayals of sexuality and race, specifically, raise specific difficulties that the film Mandingo keeps on conveying to the fore today.
Evidently, the common man’s take on manhood has been diluted to neglect the important role played by race. More often than not throughout history, men of color have been considered been attributed to attributes of masculinity. The difference is enshrined in the declaration of independence that “all men are created equal,” various occurrences have proven this notion not to be the case. This is because of the uniqueness of men both on an individual level and in collective entities such as race in this situation. In the United States, for instance, the adoption of the second amendment, which gave all her citizens similar to the free will to purchase and own a firearm has for many years to date been abused. This is particularly regarding America’s citizens of color who are considered to be more predisposed to violence than their peers from other races (Jackson, 20).
To this end, it is irrefutable that racial masculinity is real is something that cannot be disputed. Several movies and theatrical productions, as well as other works of art, are there to support this claim. The film’s questioning proposition dodges more genuine engagement when most every now and again portrayed as a trashy southern gothic that utilizations interracial sex as its hot offering point. This is evidence as to the existence of racialized masculinity in the society today.

Work Cited
Jackson, Ronald L. Scripting the black masculine body: Identity, discourse, and racial politics in popular media. Suny Press, 2006.