c) Film, photography and television

Note: Also see general works above.


-. (1985). Men in Camera. Ten 8 Magazine, No. 17, Great Britain.

Aasebø, T. S. (2005). Television as a marker of boys’ construction of growing up. Young, 13(2), 185-203.

Abbott, M. E. (2000). “The street was mine”: White masculinity and urban space in hardboiled fiction and film noir. Unpublished Ph.D., New York University, United States— New York.

Aleley, Jeff. (1994). Marketing Masculinity in Jean-Claude Van Damme’s Universal Soldier. Bad Subjects, Issue No. 16, October

Allen, Matthew. (1996). Masculinity as masquerade: The funny business of gender on Man O Man. Continuum (Perth), v.10 no. 2: 60-77.

Aoun, Steven. (2006). Idiot’s Box: Rape Me: ‘Rescue Me’ and the Crisis of Masculinity. Metro Magazine: Media & Education Magazine, Issue 150; 206-213.

Arthur, Erica. (2004). Where Lester Burnham Falls Down: Exposing the Facade of Victimhood in American Beauty. Men and Masculinities, 7(2), October.

Banaji, Shakuntala. (2006). Reading ‘Bollywood’: The Young Audience and Hindi Films.
Hindi Films: Theoretical Debates and Textual Studies.
Audiences and Hindi Films: Contemporary Studies.
Hindi Film-Going and the Viewing Context in Two Countries.
‘A Man Who Smokes Should Never Marry A Village Girl’: Comments on Courtship and Marriage Bollywood-Style.
Short Skirts, Long Veils and Dancing Men: Responses to Dress and the Body.
More or Less Spicy Kisses: Responses to Sex, Love and Sexuality.
Politics and Spectatorship 1: Viewing Love, Religion and Ethnic Violence.
Politics and Spectatorship 2: Young Men Viewing Terrorism and State Violence.
Conclusion: The Tricky Politics of Viewing Pleasure.

Beasley, C. (2009). Rethinking Hegemonic and “other” Masculinities in Australian Cinema: Male Bodies at the Edge of the World. In S. Fouz-Hernández ed., Mysterious Skin: The Male Body in Contemporary Cinema, I. B. Tauris, London & New York, 59-76.

Beavers, Herman. (1997). ‘The Cool Pose’: Intersectionality, Masculinity, and Quiescence in the Comedy and Films of Richard Pryor and Eddie Murphy. In Stecopoulos, Harry and Uebel, Michael. (eds.). Race and the Subject of Masculinities. Duke University Press.

Ben-Ghiat, R. (2005). Unmaking the fascist man: masculinity, film and the transition from dictatorship. Journal of Modern Italian Studies, 10(3): 336-365.

Benshoff, Harry M. (2001). ID4 and Mars Attacks!. http://www.nottingham.ac.uk/film/journal/filrev/id4-and-mars-attacks.htm. 8 January. Accessed 9 May 2001.

Berila, Beth, and Devika Dibya Choudhuri. (2005). Metrosexuality the Middle Class Way: Exploring Race, Class, and Gender in Queer Eye for the Straight Guy. Genders, Issue 42.

Berkowitz, R., and D. Cornell. (2005). Parables of Revenge and Masculinity in Clint Eastwood’s Mystic River. Law, Culture and the Humanities, 1(3): 316-332.

Beuka, R. (2000). Just One Word. ‘Plastics’: Suburban Malaise, Masculinity, and Oedipal Drive in The ‘Graduate’. Journal of Popular Film & Television. 28(1):12-21, Spr.

Biber, Katherine. (1999). ‘Turned Out Real Nice After All’: Death and Masculinity in Australian Cinema. In Playing The Man: New Approaches to Masculinity. Eds. Katherine Biber, Tom Sear, and Dave Trudinger. Sydney: Pluto Press.

Bick, Ilsa J. (1992). The Look Back in E.T. Cinema Journal, 31(4), Summer.

Bingham, Dennis. (year?) Acting Male: Masculinities in the Films of James Stewart, Jack Nicholson, and Clint Eastwood. New Brunswick, NJ: Rutgers University Press.

Biskind, B., and Barbara Ehrenreich. (1980). Machismo and Hollywood’s Working Class. Socialist Review, No. 10, pp. 109-130.

Boman, Christine. (2003). ‘Let’s get her’: masculinities and sexual violence in contemporary Australian drama and its film adaptations [Paper in: Voicing Dissent, Mc William, Kelly; Stephenson, Peta; Thompson, Graham (eds.)] JAS, Australia’s Public Intellectual Forum, no. 76: (127)-135, 246-247.

Boon, Kevin Alexander. (2003). Men and the Nostalgia for Violence: Culture and Culpability in Chuck Palahniuk’s Fight Club. Journal of Men’s Studies, 11(3), Spring.

Boucher, L., and S. Pinto. (2007). “I Ain’t Queer”: Love, Masculinity and History in Brokeback Mountain. Journal of Men’s Studies, 15(3): 311.

Brayton, S. (2007). MTV’s Jackass: Transgression, Abjection and the Economy of White Masculinity. Journal of Gender Studies, 16(1): 57 - 72.

Britton, Andrew. (1986). Blissing Out: The Politics of Reaganite Entertainment. Movie, 31(32), Winter.

Bromley, Roger. (2001). Living in the Borderlands: Masculinity in Crisis. pp. 33-46; IN: From Alice to Buena Vista: The Films of Wim Wenders; Westport, Conn.: Praeger.

Brookey, Robert Alan, and Robert Westerfelhaus. (2002). Hiding homoeroticism in plain view: The Fight Club DVD as digital closet. Critical Studies in Media Communication, 19(1), March, pp. 21-43.

Brown, Jeffrey A. (2002). The Tortures of Mel Gibson: Masochism and the sexy male body. Men and Masculinities, 5(2), October.

Bruzzi, Stella. (1998). Undressing Cinema: Clothing and Identity in the Movies. Routledge.

Buchbinder, D. (2008). Enter the Schlemiel: The Emergence of Inadequate or Incompetent Masculinities in Recent Film and Television. Canadian Review of American Studies 38(2): 227-245.

Buchbinder, D., and A. E. McGuire. (2013). Homme Fatal: Illegitimate Pleasures in Darkly Dreaming Dexter. In Murders and Acquisitions: Representations of the Serial Killer in Popular Culture, ed. Alzena MacDonald, 227-242. United States: Bloomsbury Academic.

Buchbinder, David. (1994). Masculinities and Identities. Melbourne: Melbourne University Press

Buchbinder, David. (1994). Mateship, Gallipoli and the Eternal Masculine. In Fuery, Patrick. (ed.). Representation, Discourse & Desire: Contemporary Australian Culture and Critical Theory. Melbourne: Longman Chesire

Buckingham, David. (ed). (1993). Reading Audiences: Young people and the media. Manchester & New York: Manchester University Press.
Includes;
Boys’ talk: Television and the policing of masculinity / Buckingham, David.
Repeatable pleasures: Notes on young people’s use of video / Wood, Julian.

Bukatman, Scott. (1988). Paralysis in Motion: Jerry Lewis’s Life as a Man. Camera Obscura, 17, May.

Butters, G.R. (2000). Portrayals of Black Masculinity in Oscar Micheaux’s The ‘Homesteader’. Literature-Film Quarterly. 28(1):54-59.

Butters, Philip. (1998). When being a man is all you’ve got: masculinity in Romper Stomper, Idiot Box, Blackrock, and The Boys. Metro (Melbourne, Vic), no.117: 40-46.

Cadmus, Paul, and Joe Lalli. (1998). Fun? Game: Male Models Revealed. Universe Books.

Carroll, H. (2008). Men’s Soaps: Automotive Television Programming and Contemporary Working-Class Masculinities. Television New Media, 9(4): 263-283.

Chan, Jachinson W. (2000). Bruce Lee’s Fictional Models of Masculinity. Men and Masculinities, 2(4): 371-387.

Chan, Jachinson W. (2001). Chinese American Masculinities: From Fu Manchu to Bruce Lee. New York: Routledge.
1. American Inheritance: Chinese American Male Identities.
2. Sax Rohmer’s Dr. Fu Manchu: Scrutinizing the Inscrutable.
3. Charlie Chan: A Model Minority Man.
4. Bruce Lee: A Sexualized Object of Desire.
5. Shang-Chi: Master of Kung Fu.
6. From Boyhood to Manhood.
7. Toward a Masculinity of Inclusion.
Epilogue: Contemporary Asian American Men’s Issues.

Clark, M. (2004). Men, masculinities and symbolic violence in recent Indonesian cinema. Journal of Southeast Asian Studies, 35(1): 113.

Clarke, E.A. (2006). Ideal heroes: Nostalgic constructions of masculinity in ‘Tigerland’ and ‘We were soldiers’. Literature-Film Quarterly, 34(1): 19-26.

Clarkson, Jay. (2005). Contesting Masculinity’s Makeover: Queer Eye, Consumer Masculinity, and “Straight-Acting” Gays. Journal of Communication Inquiry, 29(3): 235-255.

Clarkson, Jay. (2006). “Everyday Joe” versus “Pissy, Bitchy, Queens”: Gay Masculinity on StraightActing.com. Journal of Men’s Studies, Spring, Vol. 14 Iss. 2.

Clayfield, Matthew (2006). That’s Not a Knife: Performing Masculinity in Greg McLean’s ‘Wolf Creek’. Metro Magazine: Media & Education Magazine; Issue 150; 130-133.

Clum, John M. (2002). He’s All Man: Male Homosexuality and Myths of Masculinity in American Drama and Film. Palgrave.

Cohan, Steven and Hark, I.R. (1993). Screening the Male: Exploring Masculinities in the Hollywood Cinema. London: Routledge.

Cohan, Steven. (1991). Masquerading as the American Male in the Fifties: Picnic, William Holden and the Spectacle of Masculinity in Hollywood Film. Camera Obscura, Vol. 25-26, January-May.

Cohan, Steven. (1997). Masked Men: Masculinity and the Movies in the Fifties. Indiana University Press (Arts and Politics of the Everyday).

Comer, Debra R., and Elizabeth A. Cooper. (1998). Gender relations and sexual harassment in the workplace: Michael Crichton’s Disclosure as a teaching tool. Journal of Management Education, April, Vol. 22, Iss. 2.

Conlon, James. (1990). Making Love, Not War: The Soldier Male in Top Gun and Coming Home. Journal of Popular Film and Television, 18(1), Spring.

Cook, Pam. (1982). Masculinity in Crisis? Tragedy and Identification in Raging Bull. Screen, 23(3-4), September-October, pp. 39-46.

Cooper, B. (2002). Boys Don’t Cry and female masculinity: Reclaiming a life & dismantling the politics of normative heterosexuality. Critical Studies in Media Communication, 19(1): 44-63.

Cooper, B. and E. C. Pease (2008). Framing Brokeback Mountain: How the Popular Press Corralled the ‘Gay Cowboy Movie’. Critical Studies in Media Communication, 25(3): 249 - 273.

Cooper, Emmanuel. (1990). Fully Exposed: The Male Nude in Photography. London: Unwin Hyman.

Craine J., and S.C. Aitken. (2004). Street fighting: Placing the crisis of masculinity in David Fincher’s Fight Club. GeoJournal, vol. 59, no. 4, pp. 289-296.

Creed, Barbara. (1990). Phallic Panic: Male Hysteria and Dead Ringers. Screen, 31(2), Summer.

Davies, Jude. (1995). ‘I’m the Bad Guy?’ Falling Down and White Masculinity in 1990s Hollywood. Journal of Gender Studies, 4(2), July, pp. 145-152.

Dennis, J. P. (2006). Queering Teen Culture: All-American Boys and Same-Sex Desire in Film and Television. New York: Harrington Park Press.

Derne, Steve. (2000). Movies, Masculinity, and Modernity: An Ethnography of Men’s Film Going in India. Greenwood.

Devas, Angela. (2005). How to be a Hero: Space, Place and Masculinity in The 39 Steps (Hitchcock, UK, 1935). Journal of Gender Studies, Volume 14 Number 1, March.

DiPiero, Thomas. (1991). The Patriarch is Not (Just) a Man. Camera Obscura, Vol. 25-26, January-May.

Donald, Ralph R. (1992). Masculinity and Machismo in Hollywood’s War Films. In Craig, Steve. (ed.). Men, Masculinity and the Media. Newbury Park: Sage

Dorit, N. (2006). Beyond Flesh: Queer Masculinities and Nationalism in Israeli Cinema. International Journal of Middle East Studies, 38(1): 137.

Duncan, M. C. (1990). Sports Photographs and Sexual Difference: Images of Women and Men in the 1984 and 1988 Olympics. Sociology of Sport Journal, 7.

Dyer, Richard. (1977). Homosexuality and Film Noir. Jump Cut, 16.

Dyson, Michael Eric. (1995). Making Malcolm: The Myth and Meaning of Malcolm X. New York: Oxford University Press.
Includes;
4. In Malcolm’s shadow: Masculinity and the ghetto in Black Film.
6. Using Malcolm: Heroism, Collective Memory, and the Crisis of Black Males.

Eberwein, Robert. (1995). Disease, Masculinity, and Sexuality in Recent Films. Journal of Popular Film and Television, Winter, Vol. 22 No. 4.

Eberwein, Robert. (2007). Armed Forces: Masculinity and Sexuality in the American War Film. New Brunswick, NJ: Rutgers University Press.

Eck, Beth A. (2003). Men Are Much Harder: Gendered viewing of nude images. Gender & Society, 17(5), pp. 691-710.

Edwards, Tim. (2006). The Spectacle of the Male: Masculinity at the cinema. Chapter 7 in Cultures of Masculinity. Routledge.

Elias, J. (2008). Hegemonic Masculinities, the Multinational Corporation, and the Developmental State: Constructing Gender in "Progressive" Firms. Men and Masculinities, 10(4): 405-421.

Enck-Wanzer, S.M. (2009). All’s Fair in Love and Sport: Black Masculinity and Domestic Violence in the News. Communication and Critical/Cultural Studies, 6(1): 1-18.

Esposito, J. (2003). The Performance of White Masculinity in Boys Don’t Cry: Identity, Desire, (Mis)Recognition. Cultural Studies <=> Critical Methodologies, 3(2): 229-241.

Faludi, Susan. (1999). Man in a can. Chapter Nine in Stiffed: The Betrayal of the American Man, William Morrow & Company.

Farrell, K. (2003). Naked Nation: The Full Monty, Working-Class Masculinity, and the British Image. Men and Masculinities, 6(2): 119-135.

Floyd, K. (2001). Closing the (Heterosexual) Frontier: Midnight Cowboy as National Allegory. Science & Society. 65(1):99-130, Spr.

Fouz-Hernandez, Santiago. (2005). Phallic Matters? Ewan McGregor and the Representation of the Male Body in Peter Greenaway’s The Pillow Book. (1996). Men and Masculinities, 8(2), October, pp. 133-147.

Frigoso, Rose Linda. (1993). The Representation of Cultural Identity in Zoot Suit. (1981). Theory and Society, 22.

Frohlick, S. (2005). ‘That playfulness of white masculinity’: Mediating masculinities and adventure at mountain film festivals. Tourist Studies, 5(2): 175-193.

Fujii, H. (2007). Journey to the End of the Father: Battlefield of Masculinity in The Mosquito Coast. Critique, 48(2): 168.

Gabbard, Krin. (1992). Signifyin(g) the Phallus: Mo’ Better Blues and Representations of the Jazz Trumpet. Cinema Journal, 32(1), Fall.

Gabbard, Krin. (2009). Men in Film. In Debating Masculinity, eds. Josep M. Armengol and Angels Carabi. Harriman, Tennessee: Men’s Studies Press.

Gallagher, M. (2004). Tripped out: The psychedelic film and masculinity. Quarterly Review of Film and Video, 21(3): 161.

Gallagher, Mark. (2006). Action Figures: Men, Action Films, and Contemporary Adventure Narratives.
Introduction: Popular Representations of Active Masculinity Since the Late 1960s.
Armchair Thrills and the New Adventurer.
“I Married Rambo”: Spectacle and Melodrama in The Hollywood Action Film Omega Men: Late 1960s and Early 1970s Action Hero Prototypes.
Airport Fiction: The Men of Mass-Market Literature.
Restaging Heroic Masculinity: Jackie Chan and the Hong Kong Action Film.
Conclusion: The Future of Active Masculinity.

Gardiner, Judith. (2005). Why Saddam Is Gay: Masculinity Politics in South Park-Bigger, Longer, and Uncut. Quarterly Review of Film and Video, Volume 22, Number 1, January, pp. 51-62.

Gates, P. (2004). Always a Partner in Crime: Black Masculinity in the Hollywood Detective Film. Journal of Popular Film & Television, 32(1): 20.

Gates, P. (2006). Detecting Men: Masculinity and the Hollywood Detective Film. Albany: State University of New York Press.

Gates, Philippa. (2001). The man’s film: Woo and the pleasures of male melodrama. Journal of Popular Culture, v 35 no 1, Summer, pp. 59-79.

Gerstner, David. (1997). The Production and Display of the Closet: Making Vincente Minnelli’s Tea and Sympathy. Film Quarterly, 50:3 (spring): 13-26.

Gerstner, David. (2002). Dancer From the Dance: Gene Kelly, Television, and the Beauty of Movement. Velvet Light Trap, special issue, “Beauty Marks” 49 (Spring): 48-66.

Gerstner, David. (2002). Unsinkable Masculinity: The Artist and the Work of Art in James Cameron’s Titanic. Cultural Critique, 50 (Winter): 1-22.

Gerstner, David. (2006). Manly Arts: Masculinity and Nation in Early American Cinema. Durham: Duke University Press.

Good, G.E., M.J. Porter, and M.G. Dillon. (2002). When Men Divulge: Portrayals of Men’s Self-Disclosure in Prime Time Situation Comedies. Sex Roles, June, vol. 46, no. 11-12, pp. 419-427.

Gorman-Murray, A. (2006). Queering home or domesticating deviance?: Interrogating gay domesticity through lifestyle television. International Journal of Cultural Studies, 9(2): 227-247.

Goulet, Robert G. (1991). Life With(out) Father: The Ideological Masculine in Rope and other Hitchcock Films. In Raubicheck, Walter et.al. (eds.). Hitchcock’s Rereleased Films: From Rope to Vertigo, Detroit: Wayne State University Press.

Gray, Herman. (1996). Black Masculinity and Visual Culture. Muse, http://muse.jhu.edu/quick tour/18.2gray.html.

Green, Ian. (1984). Malefunction: A Contribution to the Debate on Masculinity in the Cinema. Screen, 25(4-5), July-October.

Halberstam, Judith. (1998). Female Masculinity. Durham & London: Duke University Press.

Hank, Robert. (1998). The ‘Mock-Macho’ Situation Comedy: Hegemonic Masculinity and its Reiteration. Western Journal of Communication, 62(1), Winter

Hansen, M. (1986). Pleasure, Ambivalence, Identification: Valentino and Female Spectatorship. Cinema Journal, 25(4).

Hart, Kylo-Patrick R. (2000). Representing Gay Men on American Television. Journal of Men’s Studies, Volume 9 Number 1, Fall, pp. 59-79

Hart, Kylo-Patrick R. (2004). We’re Here, We’re Queer -- and We’re Better Than You: The Representational Superiority of Gay Men to heterosexuals on Queer Eye for the Straight Guy. Journal of Men’s Studies, Spring, 12(3).

Harvey, Anne-Marie. (1995). Terminating the Father: Technology, Paternity, and Patriarchy in Terminator 2. Masculinities, 3(2), Summer, pp. 25-42.

Hayes, Dannielle B. (1977). Women Photograph Men. New York: William Morrow & Co.

Henry, Matthew. He is a “BAD MOTHER*$%@!#”. Shaft and contemporary black masculinity. Journal of Popular Film and Television, pp. 114-119.

Heung, Marina. (1983). Why E.T. Must Go Home: The New Family in American Cinema. Journal of Popular Film and Television, 11(2), Summer.

Hiflnauer, Christian, and Thomas Klein. (eds.). (2002). Maenner - Machos - Memmen. Maennlichkeit im Film. Mainz Germany: Theo Bender Verlag.

Hodgetts, D., and K. Chamberlain. (2002). The Problem with Men’: Working-class Men Making Sense of Men’s Health on Television. J Health Psychol, 7(3): 269-283.

Holdstein, Deborah H. (1983). Tootsie: Mixed messages. Jump Cut, 28, April.

Holland, Felicity, and Jane O’Sullivan. (1999). ‘Lethal larrikins’: Cinematic subversions of mythical masculinities in Blackrock and The Boys. Antipodes (Brooklyn, New York), v.13, no. 2, Dec.: 79-84.

Hollows, J. (2003). Oliver’s Twist: Leisure, Labour and Domestic Masculinity in The Naked Chef. International Journal of Cultural Studies, 6(2): 229-248.

Hollows, J. (2003). Oliver’s Twist: Leisure, Labour and Domestic Masculinity in The Naked Chef. International Journal of Cultural Studies, 6(2): 229-248.

Holmlund, Christine. (1986). Sexuality and Power in Male Doppelganger Cinema: The Case of Clint Eastwood’s Tightrope. Cinema Journal, 26(1), Fall.

Holmlund, Christine. (1989). Visible Difference and Flex Appeal: The Body, Sex, Sexuality, and Race in the Pumping Iron Films. Cinema Journal, 28(4), Summer.

Holmlund, Christine. (2002). Impossible Bodies: Femininity and Masculinity at the Movies. London; New York: Routledge.

Hubbard, Ethan. (1997). The Face of a Man: Images From Around the World. Pilgrim Press.

Hunter, L. (2003). The Celluloid Cubicle: Regressive Constructions of Masculinity in 1990s Office Movies. Journal of American & Comparative Cultures, March, vol. 26, no. 1, pp. 71-86.

Iglebæk, Vegard. (2000). Masculinities in the television series ‘Friends’: A different kind of friendship? MA dissertation.

Ingersoll, Earl G. (1995). The Construction of Masculinity in Brian De Palma’s Film Casualties of War. Journal of Men’s Studies, 4(1), August, pp. 25-41.

Iocco, Melissa. (1998). “Christ kid, you’re a weirdo”: A Kristevan reading of Bad Boy Bubby. Thesis (B.A.(Hons.)), University of Adelaide, Dept. of Social Inquiry.

Jackson II, Ronald, and Jamie E. Moshin. (eds.). (2013). Communicating Marginalized Masculinities: Identity Politics in TV, Film, and New Media. New York and London: Routledge.

Jeffords, Susan, and Claudia Springer. (1988). Masculinity as Excess in Vietnam Films: The Father/Son Dynamic of American Culture. Genre, 21(4), Winter.

Jeffords, Susan. (1990). Reproducing Fathers: Gender and the Vietnam War in U.S. Culture. In Linda Dittmar and Michaud Gene, (eds.). From Hanoi to Hollywood: The Vietnam War in American Film. New Brunswick, NJ: Rutgers University Press.

Jeffords, Susan. (1993). Hard Bodies: Hollywood Masculinity in the Reagan Era. New Brunswick, NJ: Rutgers University Press.

Jeffords, Susan. (1993). The Big Switch: Hollywood Masculinity in the Nineties. In Collins, J. et.al. (eds.). Film Theory Goes to the Movies. New York: Routledge.

Johinke, Rebecca (2001). Manifestations of masculinities: Mad Max and the lure of the forbidden zone [Paper in: Fresh Cuts: New Talents 2001, Ruinard, Elizabeth and Tilley, Elspeth (eds.). ] JAS, Australia’s Public Intellectual Forum, no. 67: (118)-125,226.

Jones, A. B. (2004). Stars and Masculinities in Spanish Cinema. Journal of Gender Studies, 13(1): 85.

Jones, Joanne (2006). It’s a Fine Line between Pleasure and Pain: Representations of Masculinity in ‘Gladiator’. Screen Education, 43: [110]-115.

Journal of Men’s Studies. (2006). Spring, Vol. 14 Iss. 2.
Brokeback Mountain and the Geography of Desire / Alex J Tuss.
Understanding the Complexity of Love in Brokeback Mountain: An Analysis of the Film and Short Story / Jane Rose, Joanne Urschel.
They’re Bi Shepherds, Not Gay Cowboys: The Misframing of Brokeback Mountain.
Harry Brod.
Downlow Mountain? De/Stigmatizing Bisexuality through Pitying and Pejorative Discourses in Media / Richard N Pitt Jr.

Kawin, Bruce. (1978). Me Tarzan, You Junk: Violence, Sexism and Moral Education in the Paranoia Film. Take One, 6(4), March.

Kehr, Dave. (1989). The New Male Melodrama. American Film, 7(6), April.

Kendall, L. (2008). James Bond, Peter Pan, and A Sticky Night of Love: irony and masculinities in amateur animated videos. The Journal of Men’s Studies, 16(2): 124(16).

Kendall, L. (2008). James Bond, Peter Pan, and A Sticky Night of Love: irony and masculinities in amateur animated videos. The Journal of Men’s Studies, 16(2): 124(16).

Kent, Sarah, and Jacqueline Morreau. (eds.). (1985). Women’s Images of Men. London: Pandora

Khorrami, S. (2002). Genius, Madness, and Masculinity: A Beautiful Mind Examined Through a Men’s Issue Model. Men and Masculinities, 5(1): 116-118.

Kibby, Marjorie D. (1998). Nostalgia for the Masculine: Onward to the Past in the Sports Films of the Eighties. Canadian Journal of Film Studies, 7(1), Spring, pp. 16-28.

Kinder, Marsha. (1989). Back to the Future in the 80s with Fathers and Sons, Supermen and Peewees, Gorilla and Toons. Film Quarterly, 42(4), Summer.

Kirby, Lynne. (1988). Male Hysteria and Early Cinema. Camera Obscura, 17 May.

Kirby, Marj. (1996). Cyborgasm: Machines and male hysteria in the cinema of the eighties. Journal of Interdisciplinary Gender Studies, v.1 no.2 Sept: 139-145.

Kirkham, Pat and Thumin, Jane. (1993). You Tarzan: Masculinity, Movies, and Men. London: Lawrence & Wishart.

Kleinhaus, Chuck. (1974). Contemporary Working Class Heroes. Jump Cut, 2.

Klinger, Barbara. (1994). Melodrama and Meaning: History, Culture, and the Films of Douglas Sirk. Bloomington: Indiana University Press.
Includes Chapter 4. Star Gossip: Rock Hudson and the Burdens of Masculinity.

Koureas, Gabriel. (2007). Memory, Masculinity, and National Identity in British Visual Culture, 1914--1930: A Study of “Unconquerable Manhood.” Aldershot, Hampshire: Ashgate.

Koven, Mikel J. (1997). My Brother, My Lover, My Self: Traditional Masculinity in the Hong Kong Action Cinema of John Woo. Canadian Folklore. v 19 n 1.

Krutnik, Frank. (1991). In a Lonely Street: Film Noir, Genre and Masculinity. Routledge

LaBoskey, Sara. (2001-2002). Getting off: Portrayals of masculinity in hip hop dance in film. Dance Research Journal, New York; Winter, Vol. 33, Iss. 2.

Lahoucine, O., and R. Morrell. (eds.). (2005). African Masculinities: Men in Africa from the Late Nineteenty Century to the Present. New York and South Africa: Palgrave Macmillan and KwaZulu-Natal Press.
PART II: REPRESENTING MASCULINITY
To Be A Man: Changing Constructions of Manhood in Drum Magazine, 1951-1965; L.Clowes
Of Masks, Mimicry, Misogyny, and Miscegenation: Forging Black South African Masculinity in Bloke Modisane’s Blame Me On History; M.Goldsmith
The Troubled Masculinities of Tsitsi Dangarembga’s Nervous Conditions; K.Holland
(Dis)Enabling Masculinities: The Word and the Body, Class Politics and Male Sexuality in El Saadawi’s God Dies by the Nile; S.Hayward
The Masculine Subject of Colonialism: The Egyptian Loss of the Sudan; W.C.Jacob.

Lamm, Kimberly. (2003). Visuality and black masculinity in Ralph Ellison’s Invisible Man and Romare Bearden’s photomontages. Callaloo. Baltimore: Summer, Vol. 26, Iss. 3.

Leddick, David. (2000). Naked Men, Too. Universe Books. (Nudes)

Lehman, P. (1998). In an Imperfect World, Men with Small Penises are Unforgiven: The Representation of the Penis/Phallus in American Films of the 1990s. Men and Masculinities, 1(2): 123-137.

Lehman, Peter. (1991). Penis Size Jokes and their Relation to Hollywood’s Unconscious. In Horton, A. (ed.). Comedy/Cinema/Theory, Berkley: University of California Press.

Lehman, Peter. (1993). Don’t Blame This on a Girl: Female Rape-Revenge Films. In Cohan, S. and Hark, I.R. (eds.). Screening the Male: Exploring Masculinities in Hollywood Cinema. London: Routledge.

Lehman, Peter. (1998). In an Imperfect World, Men With Small Penises are Unforgiven: The Representation of the Penis/Phallus in American Films of the 1990s. Men and Masculinities, 1(2), October

Lehman, Peter. (ed.). (2000). Masculinity: Bodies, Movies, Culture. New York: Routledge.
Contents;
‘Someone is going to pay’: Resurgent white masculinity in Ransom / Krin Gabbard.
Crying over the melodramatic penis: Melodrama and male nudity in films of the 90s / Peter Lehman.
The saviors and the saved: Masculine redemption in contemporary films / Amy Aronson and Michael Kimmel.
Identity, queerness, and homosocial bonding: The case of Swingers / Justin Wyatt.
Rape fantasies: Hollywood and homophobia / Joe Wlodarz.
‘Choosing to be. not a man’: Masculine anxiety in Nouri Bouzid’s Rih essed/Man of ashes / Robert Lang and Maher Ben Moussa.
T(he)-men’s room: Masculinity and space in Anthony Mann’s T-men / Susan White.
The talented Poststructuralist: Heteromasculinity, gay artifice, and class passing / Chris Straayer.
‘Emotional constipation’ and the Power of dammed masculinity: Deliverance and the paradoxes of male liberation / Sally Robinson.
‘As a mother cuddles a child’: Sexuality and masculinity in World War II combat films / Robert Eberwein.
The nation and the nude: Colonial masculinity and the spectacle of the male body in recent Canadian cinema(s) / Lee Parpart.
Lynching photography and the ‘black beast rapist’ in the southern white masculine imagination / Amy Louise Wood.
Screening the Italian-American male / Aaron Baker and Juliann Vitullo.
‘Studs have feelings too’: Warren Beatty and the question of star discourse and gender / Lucia Bozzola.
James Bond’s penis / Toby Miller.
Oliver Stone’s Nixon and the unmanning of the self-made man / Dennis Bingham.
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