1999, 82′, reż. Sut Jhally
Dokument porusza kwestię krępowania tożsamości mężczyzny poprzez jego popkulturowy wizerunek. Zawiera dokładną analizę tego, jak wpojony przez media ideał męskości przekłada się na nasze życie, wywołując presję bycia twardym i nieokazującym ani słabości, ani uczuć. Jednocześnie autorzy wyjaśniają zależność pomiędzy taką kreacją a wzrostem przemocy. Obraz zawiera liczne przykłady z kinematografii, życia publicznego, sportu i muzyki.
2011, 58′, Written and produced by Thomas Keith
Filmmaker Thomas Keith, a professor of philosophy at California State University, Long Beach, provides an engrossing look at the forces in male culture that condition boys and men to dehumanize and disrespect women. Breaking down a range of contemporary media forms targeted explicitly at young men, Keith teases out the main maxims of „bro culture” and „the bro code,” and examines how this seemingly ironic mentality reinforces misogyny and gender violence in the real world. Whether he’s looking at movies and music videos that glamorize womanizing, pornography that trades in the brutalization of women, comedians who make fun of sexual assault, or the recent groundswell in men’s magazines and cable TV shows that revel in reactionary myths of American manhood, the message Keith uncovers in virtually every corner of our „entertainment” culture is clear: that it’s not only normal — but cool — for boys and men to control and humiliate women. Along the way, The Bro Code makes a powerful case that there’s nothing normal, natural, or inevitable about this toxic ideal of American manhood, and challenges young people to fight back against the resurgent idea that being a „bro” — and a man — means glorifying sexism, bullying, and abuse.
2008, 60′, reż. Thomas Keith
Despite the achievements of the women’s movement over the past four decades, misogyny remains a persistent force in American culture. In this important documentary, Thomas Keith, professor of philosophy at California State University-Long Beach, looks specifically at misogyny and sexism in mainstream American media, exploring how negative definitions of femininity and hateful attitudes toward women get constructed and perpetuated at the very heart of our popular culture.
The film tracks the destructive dynamics of misogyny across a broad and disturbing range of media phenomena: including the hyper-sexualization of commercial products aimed at girls, the explosion of violence in video games aimed at boys, the near-hysterical sexist rants of hip-hop artists and talk radio shock jocks, and the harsh, patronizing caricatures of femininity and feminism that reverberate throughout the mainstream of American popular culture.
2009, 72′, reż. Sut Jhally
Arguing that advertising not only sells things, but also ideas about the world, media scholar Sut Jhally offers a blistering analysis of commercial culture’s inability to let go of reactionary gender representations. Jhally’s starting point is the breakthrough work of the late sociologist Erving Goffman, whose 1959 book The Presentation of the Self in Everyday Life prefigured the growing field of performance studies. Jhally applies Goffman’s analysis of the body in print advertising to hundreds of print ads today, uncovering an astonishing pattern of regressive and destructive gender codes. By looking beyond advertising as a medium that simply sells products, and beyond analyses of gender that tend to focus on either biology or objectification, The Codes of Gender offers important insights into the social construction of masculinity and femininity, the relationship between gender and power, and the everyday performance of cultural norms.