‘Chuck Flick’: A Genealogy of the Postfeminist Male Singleton

Brabon, Benjamin A.

doi:10.1057/9781137306845_8

Cited by 7 publications

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“…As Kolehmainen () asserts, the construction of postfeminist masculinities is not independent from the construction of postfeminist femininities, although the discursive processes for constituting each may differ. For example, there is a significant body of research on masculinity and the tensions arising between discourses of crisis and men's privilege, in relation to postfeminism and TV, cinema and popular literature (Brabon, ; Clark, ; Dow, ; Edwards, ; Gill, ; Hamad, ; Horrocks, ). Some research explores the portrayal of, and audience responses to, the depiction of postfeminist masculinities in fictitious workplaces in TV shows like Mad Men (Agirre, ) and Frasier (Gann, ), in which some men are incited to become self‐reflexive subjects and perform more inclusive forms of masculinity.…”

Section: Introductionmentioning

confidence: 99%

Postfeminism, Men, Masculinities and Work: A Research Agenda for Gender and Organization Studies Scholars

Rumens¹

2016

Gender Work & Organization

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Mobilizing the concept of postfeminism as a sensibility, this article invites organization and gender scholars to examine how postfeminist masculinities are discursively constituted and performed by men within contemporary work contexts. Acknowledging that women are interpellated within postfeminist discourses as empowered and autonomous subjects whose lives are shaped by individual choice, this article explores the implications for men, in particular how men variously perform postfeminist masculinities and the implications for addressing gendered inequalities within the workplace. Developing a research agenda, this article outlines three research trajectories: (1) problematizing a gender binary in which women are depicted as empowered at work and men in a state of crisis; (2) interrogating signs of ‘new’ postfeminist masculinities coded as inclusive in the workplace; and (3) examining how different types of men perform postfeminist masculinities at work. This article concludes by providing examples of research questions to generate future organizational scholarship in these areas.

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Section: Introductionmentioning

confidence: 99%

Postfeminism, Men, Masculinities and Work: A Research Agenda for Gender and Organization Studies Scholars

Rumens¹

2016

Gender Work & Organization

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Lads' Films

Webster¹

2020

The International Encyclopedia of Gender, Media, and Communication

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There is a congested field of proposed genre labels applied to films that center on an objectified masculinity, comprising “lad flicks,” “homme‐coms,” “bromances,” “chuck flicks,” and “romantic sex comedies.” These experience varying levels of popular and critical uptake with bromance arguably the most prominent. However, these labels are not interchangeable and present different emphases in their look at screen masculinities. “Lad flicks” are a subgenre, aimed at male audiences, that explore masculinity as a troubled cultural category often as a source of humor. Narratives are typically “about” masculinity insofar as its definition is explored through the protagonist(s) and their ongoing struggles to fulfill it. David Hansen‐Miller and Rosalind Gill propose the phrase to emphasize the ambivalent negotiation of lad culture or “laddism” within these texts. Lad flicks are not necessarily “rom‐coms” whereas Tamar Jeffers McDonald's “homme‐coms” remain anchored to these conventions, albeit reconfigured for male viewers with “gross out” bodily humor and explicit, sometimes slapstick, sex scenes. Benjamin A. Brabon's “chuck flicks” focus on so‐called male singletons that find themselves adrift courtesy of late capitalism and the financial burden of hegemonic masculinity. These constructions bear an inverse relation with their economically liberated yet romantically unfulfilled female counterpart. Lauren Jade Thompson meanwhile proposes “romantic sex comedy” as a crucially ungendered umbrella term that, unlike these increasingly niche gendered partitions of genre, does not reify the continuing feminization of the macro “rom‐com” genre.

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Objects of Desire

Stepić

2018

Angelaki

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‘Chuck Flick’: A Genealogy of the Postfeminist Male Singleton

Cited by 7 publications

References 7 publications

Postfeminism, Men, Masculinities and Work: A Research Agenda for Gender and Organization Studies Scholars

Postfeminism, Men, Masculinities and Work: A Research Agenda for Gender and Organization Studies Scholars

Lads' Films

Objects of Desire

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