The media has always been an institution inseparable from the rest of society – where they have been societies, there have been ways of discussing and representing information that is key to constituting those societies through media. Specifically, it has been argued that gender identities are informed by social representations in the media, but relatively little research has focused on male gender identities. The importance of understanding male gender identity in South Africa cannot be overstated as this identity shapes men’s interactions with women and other men. For example, beliefs around male dominance and aggression may lie behind woman abuse, homophobic behaviour, and the spread of HIV (Dunkle & Decker, 2012; Engh, 2011). For example, South African women suffering intimate partner violence or in gender-unequal relationships have a higher risk of HIV infection (Dunkle & Decker, 2012). In this context, a sample of 52 male undergraduate students from a large university in Johannesburg, South Africa, completed an open-ended survey after viewing video clips taken from popular media. The three clips showed men carrying out non-stereotypical male activities, such as ballet dancing, nursing, and striptease. The participants were asked to give their feelings about the clips, the importance of being male and about masculinity in general. A thematic content analysis of the data gathered illuminated the dominant social representations regarding masculinity in contemporary South Africa, which were primarily interpreted with reference to the theory of hegemonic masculinity and Moscovici’s social representations theory. Some themes which emerged were around heteronormativity, the high status of male identity, male defensiveness and the constant flux of masculine identity. The appearance of these themes shows the complex interplay of sexuality and gender, the diversity of masculinity, and the power that men continue to hold. This serves to illuminate the relationships between hegemonic and non-hegemonic masculinities in South Africa. Beyond its theoretical significance, this study may also inform gender-education campaigns. There are several university societies for which the results would be useful, such as the LGBQTIA society, Wits Activate. National social programmes that may be able to act on these results include the Brothers for Life campaign, which seeks to change masculine stereotypes. Changing attitudes such as male superiority and defensiveness may be key to the prevention of gender-based violence as well creating greater gender harmony in South Africa. Some hope is created by tolerant attitudes and resistance to hegemonic social representations this study, but the results presented are divergent.

This thesis is submitted in fulfillment of the requirements for the degree of Master of Arts in Community-based Counselling Psychology in the Faculty of Humanities at the University of the Witwatersrand / This thesis took an interpretive approach to analysing content as presented in the print media. The focus of this study was Destiny Man magazine, a six year old lifestyle publication aimed at middle-class men in South Africa. This thesis explored how black middle-class men are presented by looking at the latent content from an interpretive stance. Therefore, a psychosocial approach was adopted to understand how political, socio-economic, and gender interact with one another at the psycho-social level. A total number of 35 articles were analysed using interpretative psychoanalytic methods and relevant critique. In addition to these 54 images were chosen to be analysed and included in an overall contextual framework relating to topics such as race, masculinity, economics, alcohol, and sport. This content was chosen from the eight 2014 issues of Destiny Man magazine. In analysis, the history of colonialism, apartheid, and the development of neoliberal capitalism was taken into account regarding how black middle class men negotiate their masculine identities in the new South Africa. The development of neoliberal capitalism and a multimodal discourse on the male psyche is explored in-depth, with the resultant social analysis. Overall, the basis of this research was to critically analyse African middle class masculinity in post-apartheid South Africa taken many factors into account. The key themes identified in the analysis include narcissism, domination, and denial of feminity, fatherhood, alcohol consumption, and performances of gender. The interactions of all of these factors have been shown to have an impact on our understanding of contemporary African middle class masculinity, affecting the construction and definition of this concept in a complex and dynamic way. Destiny Man magazine is a poignant example of how these interactions are presented in the media. / MT2017

No description available.

This study is an exploration of the representation of masculinity in film, with particular focus on the way in which the leading male characters in a purposive sample of action genre and romantic comedy genre films represent masculinity. It is posited that masculinity is a construct, the meaning of which is dependent on the social context of the individual. Film being a social artefact could then possibly influence individuals understanding of the construct. Therefore an exploration of the kind of masculinity, the variations thereof across genres, and masculine characteristics of masculinity prevalent in each genre, is a first step in understanding possible influences of the definition of masculinity. In order to accomplish this exploration, a combination of methods is used to analyse these fictional characters according to a set of codes and „real‟ world norms. The real world norms are based on seven theoretically derived norms of masculinity developed from previous research on masculinity conducted by Levant, Hirsch, Celentano, Cozza, Hill, MacEachern, Marty and Schnedekerl (1992). The results of the findings from this study indicate that the way in which male characters are created for each genre are different, with male lead characters from the action genre having more characteristics that align with the „real‟ world norms of masculinity (Levant et al 1992). Alternatively, the male lead characters from the romantic comedy genre, have fewer characteristics that align with the seven theoretically derived norms of masculinity. The masculinity represented in the romantic comedy genre is more emotionally available and expressive, less aggressive, more compromising and reliant on others; while in the action genre masculinity is more independent, stoic, aggressive and more physically adventurous. The male lead characters in the romantic comedy genre are more about the emotional aspects of masculinity while the male lead characters in the action genre are more about the physical aspects of masculinity. / Communication Science / M.A. (Communication)

This study is an exploration of the representation of masculinity in film, with particular focus on the way in which the leading male characters in a purposive sample of action genre and romantic comedy genre films represent masculinity. It is posited that masculinity is a construct, the meaning of which is dependent on the social context of the individual. Film being a social artefact could then possibly influence individuals understanding of the construct. Therefore an exploration of the kind of masculinity, the variations thereof across genres, and masculine characteristics of masculinity prevalent in each genre, is a first step in understanding possible influences of the definition of masculinity. In order to accomplish this exploration, a combination of methods is used to analyse these fictional characters according to a set of codes and „real‟ world norms. The real world norms are based on seven theoretically derived norms of masculinity developed from previous research on masculinity conducted by Levant, Hirsch, Celentano, Cozza, Hill, MacEachern, Marty and Schnedekerl (1992). The results of the findings from this study indicate that the way in which male characters are created for each genre are different, with male lead characters from the action genre having more characteristics that align with the „real‟ world norms of masculinity (Levant et al 1992). Alternatively, the male lead characters from the romantic comedy genre, have fewer characteristics that align with the seven theoretically derived norms of masculinity. The masculinity represented in the romantic comedy genre is more emotionally available and expressive, less aggressive, more compromising and reliant on others; while in the action genre masculinity is more independent, stoic, aggressive and more physically adventurous. The male lead characters in the romantic comedy genre are more about the emotional aspects of masculinity while the male lead characters in the action genre are more about the physical aspects of masculinity. / Communication Science / M.A. (Communication)