Sam Shakusky is a leader who is determined to challenge the existing power structure.
Hollywood’s gender system is built on men saving their women-in-distress counterparts by conceiving and performing their roles. In films, the male focus is assumed to be emotionless and unable to feel empathy. This is how film depicts men in their most extreme forms. These depictions have been a norm in society and film. If they are not, it can cause a lot of scrutiny. Moonrise Kingdom by Wes Anderson is challenging these criteria. The manhood actions of the main character are depicted in a very different light than in other films. This makes it important for American cinema. According to the film’s main focus, his masculinity doesn’t have to be hegemonic. And it isn’t perpetuated by edgy manhood acts. The film’s focus, Sam Shakusky is a man of nobility who challenges hegemonic masculinity. He is emotionally and respectful and resists the almost cartoonish and contradictory attempts at manhood that others make. This makes his character crucial to modern film culture’s understanding of masculinity.
Sam Shakusky is a man of noble masculinity. His emotions are the first thing that drives his actions. Sam Shakusky, an orphan left behind by his family and without a place to call home, has no inspiration for masculinity. As a result of his neglect, Sam behaves in a way that is different from other men in film. Men, Masculinity and Manhood Acts, Douglas Schrock and Michael Schwalbe, highlight the fact that boys are the first to be differentiated in masculinity. It becomes clear from the scene in which Sam and Suzy exchange letters that he was ignored by both his peers as well as adults during Sam’s childhood. He became more emotional and focused on painting than learning from the boys around. As a result, he develops a stronger sense of emotion and masculinity. Traditional definitions would say that Sam was not able to have male friends as a child, but it enhanced his sense of self, which is a key aspect of masculinity. One’s physical and/or behavioral characteristics must be maintained in possession of one’s self. Sam’s consistent behavior reflects his emotions. His masculinity is also reflected in his emotions. He is masculine and Suzy is a good example of his masculinity. Sam’s emotional attachment to Suzy is different from any other male character in the film. Men must possess an awareness of their self and be able to fulfill their needs. Schwalbe and Schrock 155. Sam immediately recognizes that Suzy is his desire when he meets her. He first meets Suzy on stage in a play. He then sneaks backstage and speaks with Suzy. It is important that he pursues Suzy because it demonstrates his desire for her and also shows that he accepts masculine behavior within the gender social structure. Although he’s masculine in his approach, he approaches Suzy with a gentle, sensitive manner. This is a departure from traditional masculinity. He approaches her and shows his compassion for women, rather than trying to be heroic and act out. This is important because his open and honest emotional investments in women, which contrast with mainstream masculinity as film, allow him still to be a manly figure.
Sam’s respect of women is another aspect that defines his masculinity. Sam’s respect of Suzy is demonstrated in many different ways. Barbara J. Risman discusses Gender as a Society: Theory Wrestling With Activism. She argues, based upon the context of a relationship gender roles change and that this can negatively impact progress towards gender equality. Sam, however, is open to the idea of working with Suzy as he runs away, regardless his title in their relationship. He doesn’t want to be in complete control of the scene while they move through woods. Instead, he trusts Suzy and allows her to contribute equally. This is evident when Suzy and Sam are captured by traditionally masculine Khaki Scouts. They want to prove they’re “man enough.” Suzy saves Sam. Sam appreciates Suzy’s efforts to save him.
His actions. Suzy is his equal power partner. He doesn’t need to be assertive to prove that he’s masculine like his peers, the Khaki Scouts.
The Khakis Scouts constantly try to assert their male power over Sam and Suzy. This contrasts with Sam’s noble but humble masculinity. While they are boys, the Khakis Scouts take on the role of men when they are assigned by police to help find Sam and Suzy. Schrock-Schwalbe’s argument is supported by this behavior. Young men tend to form large groups and emulate male figures during their development. Sam’s acceptance of his masculinity is evident by the contrast in their attempts to be masculine as Khaki Scouts. Sam’s personal happiness and lack of possession of their masculinity is evidence of their lack of self-esteem. While he dominates the Khakis Scouts, they try harder to be dominant. Contrast Sam’s noble and humble masculinity with the Khaki Scouts overwhelming attempts to be hegemonic, shows the flaws in traditional masculinity in film. Because of their intrinsic goals, males often seek competition with others in film’s traditional masculinity.
The film’s tradition of masculinity has not been changed significantly in its history. This leads to unrealistic male and female perceptions. Moonrise Kingdom is a great film, but Sam Shakusky, who is a perfect example of masculinity in film, makes Moonrise Kingdom a very important film. He is admirable for his modesty and kindness, even in the face of social difficulties. This trait is not often seen as masculinity. Male focus is often admirable for their heroic actions and not modest behaviour. Sam’s important role is due to its contrast of the societal implications on masculinity.
Moonrise Kingdom by Wes Anderson focuses on masculinity in a variety of ways. This film is important for American cinema as well as the definition of masculinity. The film shows that masculinity isn’t hegemonic as traditional films portray. Masculinity isn’t based on absurd acts of manhood, rather it is based more on modesty than nobility. Moonrise Kingdom’s value in American filmmaking comes from its depiction and celebration of masculinity. Through Sam Shakusky, the film challenges Michael Schwalbe and Douglas Schrock’s arguments about hegemonic masculinity.
