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In 1990s America, the question of what made a ‘real’ man was at the forefront of debates about sex and gender. During this pivotal moment, hegemonic masculinity was experiencing numerous threats to its ontological security. For instance, masculinity was infamously pronounced in crisis, the advent of the ‘new man’ betrayed anxieties about an image-conscious and feminine performance of masculinity, and there was mounting pressure from civil rights, feminist and queer groups for straight, white, masculinity to be held accountable. In short, the issue for masculinity in the 90s was that of legitimacy. The response from Hollywood was hardly to be expected: during this time of ontological crisis for masculinities, cinema experienced an influx of crisis films which featured leading men in disguise or masquerade. Kathryn Bigelow's Point Break is one such film that represents the masculinities of its protagonists as masquerades to represent a crisis in the definition of manhood. Through Judith Butler's pioneering theory of gender as a performance, this chapter argues that Point Break's depiction of masculine masquerade both complicates and confirms masculinity's insistence on invoking the rhetoric of ‘the real’ in order to retain hegemonic dominance. Masculinity crisis cinema has been extensively studied, yet the action genre is frequently left out of this discussion (the exception being David Fincher's Fight Club) despite its unique questioning of how manhood is built. Thus, in this chapter there will be an exploration as to how Point Break demonstrates that masculinities both abhor and need crisis in order to secure their continuation in patriarchy.

Purpose – To explore the contested nature of masculinity through an examination of contemporary promotional culture associated with a predominantly masculine commodity – beer. More specifically, the analysis focuses on the representations of masculinity in two New Zealand beer advertisements spanning a 25-year period.

Design/methodology/approach – The chapter is divided into four sections: (1) a brief overview of the contemporary crisis of masculinity; (2) the role of the media and promotional culture in representing and reproducing crises of masculinity; (3) The Holy Trinity: Sport, Beer and Masculinity and (4) analysis of two promotional campaigns for New Zealand beer brand Speight's. Here, the original series ad from 1992 is compared and contrasted with the 2019 instalment using Strate's (1992) framework which conceptualizes beer advertisements as ‘manuals of masculinity’, in order to track potential changes over time.

Findings – The results highlight the enduring value of Strate's (1992) framework of beer advertisements as manuals of masculinity. In addition, the results reveal that while the representation of masculinity in Speight's beer advertising has changed over time, key themes related to exclusive male spaces, physical labour and the core value of ‘mateship’ remain.

Research limitations/implications – Within the context of globalization, promotional culture operating at both the global and local level can cultivate images of masculinity that represent and reproduce the existing gender order, but it can also confront and disrupt it.

Purpose – This chapter examines the role of the media, guns, and violence in the social construction of masculinity in today's mediatized American culture.

Methodology – The chapter draws on critical theory and cultural studies to address crises of masculinity and school shootings. It applies and further develops Guy Debord's (1970) theory on spectacle in the contexts of contemporary violent media spectacles.

Findings – In the chapter it is argued that school shooters, and other indiscriminate gun killers, share male rage and attempts to resolve crises of masculinity through violent behavior; exhibit a fetishism of guns or weapons; and resolve their crises through violence orchestrated as a media spectacle. This demands growing awareness of mediatization of American gun culture, and calls for a need for more developed understanding of media pedagogy as a means to create cultural skills of media literacy, as well as arguing for more rational gun control and mental health care.

Originality/value of paper – The chapter contributes to the contemporary debate on mediatization of violence by discussing it within critical theory and cultural studies. The theoretical framework is applied to analysis of a range of different empirical cases ranging from school shootings to the Colorado movie theater massacre at the first night of the latest Batman movie in the summer of 2012.

Brooker’s mini-series Dead Set displays numerous representations of British masculinity in crisis. Released just as the zombie narrative was regaining momentum, the series uses the threat of an apocalypse to expose British men as weak, cowardly and ultimately monstrous. Initially set within the confines of the Big Brother house, the characters have willingly come under scrutiny for the delectation of a scandal-hungry public. The men are seen to self-consciously perform their own brands of masculinity. However, when people quickly descend from figuratively devouring each other into actually devouring each other, these masculine ideals are left in tatters, and without them, the surviving men are in constant peril.

For the purposes of this chapter, I will look specifically at three characters within the series and how their representations adhere to the ideas put forward by Anthony Clare, among others – that contemporary masculinity is in a period of crisis. I also wish to uncover how representations of masculinity within the series reflect contemporary social and political concerns within British society – a distrust of state apparatus and the rise of a particularly malicious, right wing ideology are both prevalent here. The zombie has long been acknowledged as an allegory for society’s ills – but this chapter asks: what can those fighting (or failing) against the zombie threat tell us?

Purpose – Building on the work of Wenner (2011) and Messner and Montez de Oca (2005), this study provides an updated critical stocktaking of the narrative tendencies in sport-related alcohol advertising on television. Set in contemporary understandings of a ‘crisis of masculinity’ and in the political economy of the alcohol industry, this study anchors a critical reading of masculinity, the sporting context and alcohol advertising in Wenner's (2007, 2013) ‘dirt theory of narrative ethics’.

Design/methodology/approach – Our theoretical and methodological approach is grounded in a dirt theory of narrative ethics. Set at the intersection of reader-oriented literary theory (Iser, 1978) and ethical criticism (Gregory, 1998), we ‘follow the dirt’ to understand how contagion from imported communicative meanings (McCracken, 1990) exerts power (Leach, 1976) by influencing reading and interpretation. We draw upon a diverse sample of 20 television ads representing a balanced cross-section of sport-dirtied beer commercials produced between 2010 and 2019. To balance this sample, we divided the ads by their opposing tendencies to characterize men as either ‘real men’, drawn in mythical masculinity terms, or ‘himbos’, drawn as ‘losers’ or slackers. To address the dominance of Anheuser-Busch InBev (ABI) in the American market, we further divided our ‘real men’ and ‘himbo’ samples, contrasting five ads produced for ABI brands with five ads produced for beer brands not held by ABI.

Findings – We contend that contemporary sports-dirtied beer ads combine to form a schizophrenic picture of American manhood. Male sports fans are alternatively hailed through mocking and misandry, through playfully saluting the norms of ‘bro culture’, and through encouraging men to understand themselves as proud keepers of tradition. We critically consider the ethical implications of building brand affinities through staking disparate positions in contemporary cultural and political debates about the place of men and masculinity in contemporary society.

Research limitations/implications – We discuss the difficulties involved in holding advertisers accountable for balancing ethical and market demands. Nevertheless, we call on the industry to engage in a more reflexive and responsible approach to crafting sports-dirtied alcohol advertising.

The image of Mel Gibson and Hugh Jackman (as Wolverine) in the Mad Max and X-Men franchises represents traditional heroic action masculinity. This chapter explores the roles of female action heroes in defying patriarchy and subverting action film genre stereotypes in male-dominated franchises. In contrast to past characterisations of Max, Mad Max: Fury Road (2015) provides both a departure to the role of Max as the male saviour seeking vengeance, by focusing on Imperator Furiosa and offering space for a portrayal of femininity characterised by inclusivity and tolerance. In Logan (2017), the decay of Wolverine is central to the narrative. Rather than the portrayal of an immortal hypermasculine hero in the previous X-Men films (with emphasis on men in X-Men), a new female mutant Laura assumes his mantle. In this context, I consider the gender roles and depiction of women in these films, and how they may be read as offering a futuristic vision of utopia in dystopian narrative worlds.

In the distant future, the social and economic systems build by the patriarchy are crumbling, causing an environmental crisis and divisive society, where people who are different (mutants) are hunted down. Mad Max: Fury Road and Logan both offer an alternative depiction of women and girls, providing new perspectives to navigate an uncertain dystopian world through fierce female warriors Furiosa, and mutant girl Laura. Ultimately this chapter demonstrates that survival in the post-apocalyptic and dystopian worlds represented in Mad Max: Fury Road and Logan may be achieved via a subversive feminist solution/utopia to the crisis of masculinity.

Purpose – This research is an analysis of expressions of masculinity among members of two social movements. The focus of the study is how racialized constructions of masculinity shape similar discourses of victimization in the mythopoetic men's movement and the Militia of Montana.

Method – Content analysis of the movement members’ written work available to the general public is analyzed. A theoretical overview of masculinity and victimization is also utilized to illustrate essentialist narratives in masculinity.

Findings – This research raises questions about the lived experience of the racialization of masculinity in movements, the complexity of identity formation of movement members, and challenges assumptions about the limitations of essentialism in these types of social movements. Both movements employ language that explicitly and implicitly illustrate a perception of white male victimization. Attention to essentialism in each movement shows the contradictions of each movement, with attention to how movement members choose to construct their own identities.

Research limitations – This research is limited to the written words of some movement members from material generated by each movement, and therefore, this research does not contain interview narratives of the movement members.

Originality/value of chapter – Previous research has faulted each movement for essentialist notions of self and group. This work argues that group cohesion and success of these types of movements depends on the ability of members to create essentialist categories of masculinity to support their claims and interests.

The author looks at how advertising aimed at cisgender men has shifted over the last two decades, moving from standard representations of hegemonic forms of masculinity to the adoption of the language and style of “postfeminist authenticity.” Drawing on a range of insights from across the social sciences and using the examples of three popular grooming products, Axe, Gillette, and Dollar Shave Club, the author critically examines the manner in which these new campaigns emphasize individual self-improvement and consumption choices as a means to solving the problems generated “by traditional, supposedly inauthentic, expressions of masculinity.”

Gender remains a politically charged and powerful ideological social identity dimension that categorically essentializes and reproduces opportunities and limitations in organizations. Addressed in Chapter 6 are assumptions about gender and ways that gender classifications and gender roles form and spill forth into both work and home life for an overlap of public and private spheres that disadvantage women and privilege men. Furthermore, femininity and masculinity constructs strengthen the power system that undergirds them, reinforces their meanings, and perpetuates behaviors, changing over time, across and within cultures, and over the life course.

In organizations, the glass ceiling metaphor has become a popular representation of inequality in the workplace for women, people of color and sexual minorities; a phenomenon expanded in recent years to include glass walls and glass cliffs to describe advancement barriers. Gender-neutral mindsets and blame-the-victim strategies found in organizations are examined, as well as the breadwinner role and intersectionalities of gender with social identity dimensions of age, ethnicity, and social class. Chapter 6 is divided into these subthemes: gender, roles, femininity, and masculinity; power and gender inequality at work, and effects on women; gender, parenting, and the second shift; the breadwinner role, hegemonic masculinity, and masculinity in crisis; gendered occupations and feminization of career fields; intersectionalities of gender with age, ethnicity, and social class; and shattering schemas with androgyny and transgenderism.

Decades after feminist scholars first applied the lens of patriarchy to explain gender inequalities, and wrestled with the consequences of the patriarchal order, masculinity studies have moved from an emphasis on hegemonic masculinities to more nuanced constructions of men’s gendered performances. However, many analyses about men’s social interactions still focus on a limited set of behaviors, and men’s relations with women are often presented as problematic. Many accounts pay insufficient attention to changing contexts and men’s own explanations or perspectives, so we do not see men’s struggles or fully understand why and how some men resist patriarchal norms and perform less conventional masculinities, and what the costs and benefits of contesting dominant constructions are. One of the abiding ideologies of manhood is related to the role of the provider. In this chapter, we propose that the persistence of the social expectation that men should be the (main) family providers, despite changing economic circumstances and historical evidence to the contrary, is profoundly implicated in the tenacity of social expectations for men to perform dominant roles. We explore this contention through conversations with young African men in six cities on the continent and in the diaspora, namely Accra, Kampala, London, Nairobi, Philadelphia and Pretoria.