The aim of this study is to unravel the power dynamics in news media's positioning of men in relation to the concept ‘masculinity in crisis’. To accomplish this, 52 Swedish news articles are subjects to analysis, using a critical discursive approach with a theoretical framework emphasising power structures and gender dynamics, alongside considerations of subject positions and the notion of antagonism. In order to guide the thesis further, two research questions are created: how are men positioned in relation to previously attributed male ideals and characteristics and how are men contrasted to women? The main findings were that the positioning of men is ambiguous, and the ideal man is not a distinct traditional man nor a “soft boy”. The positioning of men is inferior in contrast to women, and when describing the inferior man, traditional feminine attributes are used. The same is true for describing women superiority with traditional manly attributes and virtues. These findings suggest that Swedish news media in their positioning of men contribute to on one side, a strive to change gender roles according to changes towards a more equal society, and on the other side to question the progress made by women as gone too far leaving men behind as victims.

This thesis investigates a corpus of films identifiable as Hollywood political thrillers during the Cold War spanning a period of seventeen years, between 1945 and 1962. It aims to dispel the assertion by critics and scholars that the political thriller originates with the release of The Manchurian Candidate (Frankenheimer, 1962). Moreover, it is my intent to engage an interdisciplinary approach given that the relationship between contemporary American cinema, ideology and propaganda has often been overlooked (see Shaw, 2007). Utilizing textual and contextual analysis, I shall argue that The Manchurian Candidate is a transitional film with respect to the political thriller. I shall also offer an explanation for the frequent mislabeling of Hollywood political thrillers as film noir, of which generic hybridity or overlap is a contributing factor. The first part of this thesis shall establish a political and historical context, which includes a discussion of Hollywood’s early entry into the Cold War, U.S. strategies of containment and the threat women posed to U.S. national security vis à vis Ethel Rosenberg. Given that the political thriller emerged as a distinct subgenre during the Cold War, the first part of this thesis shall include a chapter on technology and innovation (e.g. lighting, format, film stock) as a means of supporting prime generic theme of authenticity. Five exemplary mini-case studies shall be presented to demonstrate the way in which the Hollywood political thriller delivered distinct narrative and visual style that both projected and reflected Cold War discourses. Philip Wylie’s “momism” shall be considered within the context of the political thriller and Cold War discourses surrounding gender, U.S. national security and the atomic bomb. I shall expand upon current discussions of momism, approaching it through distinct representations evident within the political thriller. Given the pervasiveness of the nuclear threat during the Cold War, I shall discuss the thematic elements of fear and the unknowability of the atomic bomb in relation to the political thriller. In the second part of this thesis, I identify three distinct cycles of atomic political thrillers, in which issues of vulnerability of the physical locale, the nuclear family and the mind are addressed.