THESIS NOVIANI MAGHFIROH

TOXIC MASCULINITY AS DEPICTED IN BARRY
JENKINS’S MOONLIGHT

A THESIS
In Partial Fulfillment of the Requirements for
the Bachelor Degree Majoring American Studies in English Department
Faculty of Humanities Diponegoro University

Submitted by:
NOVIANI MAGHFIROH
NIM: 13020113120005

FACULTY OF HUMANITIES
DIPONEGORO UNIVERSITY
SEMARANG
2017

i

PRONOUNCEMENT

The writer honestly confirms that she compiles this thesis by herself and
without taking any result from other researchers in S-1, S-2, S-3 and in diploma
degree of any university. The writer ascertains also that she does not quote any
material from other publications or someone’s paper except from the references
mentioned.

Semarang, September 2017

Noviani Maghfiroh

ii

MOTTO AND DEDICATION

“The only thing we have to fear is the fear itself.”
(Franklin D. Roosevelt)

Courage is not the lack of fear. It is acting in spite of it.
(Mark Twain)

With courage you will dare to take risks, have the strength to be compassionate, and
the wisdom to be humble. Courage is the foundation of integrity.
(Mark Twain)

Nothing is impossible, the word itself says “I’m Possible”!
(Audrey Hepburn)

This paper is dedicated to
My beloved family and
to everyone who helped me accomplished this paper

iii

TOXIC MASCULINITY AS DEPICTED IN BARRY
JENKINS’S MOONLIGHT

Written by:
Noviani Maghfiroh
NIM: 13020113120005

is approved by the thesis advisor
On 13th September, 2017

Thesis Advisor

M Irfan Zamzami, S.S.,M.Hum
NIK. 198609230115091000

The Head of English Department

Dr. Agus Subiyanto, M.A.
NIP. 196408141990011001

iv

VALIDATION

Approved by
Strata 1 Thesis Examination Committee
Faculty of Humanities Diponegoro University

On 27th September 2017

Chair Person

First Member

Ariya Jati, S.S.,M.A
NIP. 1978022820050210001

Rifka Pratama, S.Hum.,M.A
NIK. 199004280115111092

Second Member

Third Member

Retno Wulandari, S.S.,M.A
NIP. 197505252005012002

Mytha Candria, S.S,.M.A.,M.A

NIP. 197701182009122001

v

ACKNOWLEDGEMENT

Praise to Allah SWT who has given His strength, blessing, and spirit so this
thesis entitled “Toxic Masculinity as Depicted in the Movie Moonlight” came to a
completion. On this occasion, I would like to thank all those people who have
contributed to the completion of this research report.
The deepest gratitude and appreciation are extended to M Irfan Zamzami,
S.S.,M.Hum who has given his continuous guidance, helpful correction, moral
support, advice, and suggestion, without which is doubtful that this thesis came into
completion.
I would like to extend my deepest thank also goes to the following:
1.

Dr. Redyanto Noor, M.Hum as the Dean of Faculty of Humanities Diponegoro

University.

2.

Dr. Agus Subiyanto, M.A. as the Head of English Department Faculty of

Humanities Diponegoro University.
3.

Drs. Mualimin, M.Hum as my academic supervisor.

4.

M Irfan Zamzami, S.S.,M.Hum as my thesis advisor who has given his guidance,

suggestion, and motivation in completing this thesis.
5.

All lecturers of English Department who have taught, motivated, and supported

me in many ways.

vi

6.

All academic staff in the Faculty of Humanities Diponegoro University who gave

the valuable contributions.
7.

My beloved parents, Wahyudi and Siti, my precious and awesome older sister,

Anna and my beloved older brother, Marom for all the love, supports and prayers.
8.

My friends from American Studies Section, English Department 2013 especially

Class A, Student Department of EDSA Faculty of Humanities Diponegoro University
who have given me pleasant time.
9.

My friends in D17 and all of the members of Korps Sukarela Palang Merah

Indonesia Unit Universitas Diponegoro, IMAKEN, Team KKN who have helped me
to build my characters, gave me the best experiences, but most of all for all the
prayers, supports and advices.
10. My best friends, Nadya, Ana, Ulin, Moi, Linda, Nurul who always be there for
me through thick and thin. My Siwungu Aslay, Detha, Diah, Nia for being my family
in Semarang
11. All those who give help, advice, and encouragement who cannot be mentioned
one by one.
I realize that this thesis is still far from perfection. I; therefore, will be glad to receive
any constructive criticism and recommendation to make this thesis better.
Finally, I expect that this thesis will be useful to the reader who wishes to learn
something about toxic masculinity
Semarang, September 2017
Noviani Maghfiroh
vii

TABLE OF CONTENTS
TITLE............................................................................................................................. i

PRONOUNCEMENT...................................................................................................ii
MOTTO AND DEDICATION ....................................................................................iii
APPROVAL................................................................................................................. iv
VALIDATION.............................................................................................................. v
ACKNOWLEDGEMENT ........................................................................................... vi
TABLE OF CONTENTS...........................................................................................viii
LIST OF PICTURES ................................................................................................... xi
ABSTRAK ................................................................................................................xiii
CHAPTER I................................................................................................................. 1
INTRODUCTION....................................................................................................... 1
1.1. Background of the Study..................................................................................... 1
1.2. Scope of the Study ................................................................................................ 3
1.3. Aims of the Study ................................................................................................. 4
1.4 Research Methods ................................................................................................. 4
1.4.1 Method of Study ............................................................................................. 4

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1.4. 2 Method of Approach..................................................................................... 5
1.5 Organization of the Writing................................................................................. 5

SYNOPSIS ................................................................................................................... 7
CHAPTER III ........................................................................................................... 11
THEORETICAL FRAMEWORK .......................................................................... 11
3.1 Intrinsic Elements ............................................................................................... 11
3.1.1 Narrative Elements ...................................................................................... 11
3.1.1.1 Theme..................................................................................................... 12
3.1.1.2 Character ............................................................................................... 12
3.1.1.3 Setting..................................................................................................... 13
3.1.1.4 Conflict................................................................................................... 14
3.1.2 Cinematography Elements .......................................................................... 15
3.1.2.1 Camera Distance ................................................................................... 15
3.1.2.2 Camera Angle........................................................................................ 18
3.1.2.3 Mise-en-Scene ........................................................................................ 21
3.2 Extrinsic Elements .............................................................................................. 23
3.2.1 Toxic Masculinity......................................................................................... 23
3.2.1.1 Homophobia .......................................................................................... 25
3.2.1.2 Suppression of Emotion........................................................................ 27
3.2.1.3 Violence .................................................................................................. 28

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CHAPTER IV............................................................................................................ 29
TOXIC MASCULINITY AS DEPICTED IN BARRY JENKINS’S
MOONLIGHT ............................................................................................................ 29
4.1 Intrinsic Aspect ................................................................................................... 29
4.1.1 Theme ............................................................................................................ 29
4.1.2 Character ...................................................................................................... 30
4.1.2.1 Major Character ................................................................................... 30
4.1.2.2 Minor Character ................................................................................... 33
4.1.3 Setting............................................................................................................ 41
4.1.3.1 Setting of Time ...................................................................................... 41
4.1.3.2 Setting of Place ...................................................................................... 42
4.1.3.3 Setting of Social Environment ............................................................. 43
4.1.4.1 Internal Conflict.................................................................................... 44
4.1.4.2. External Conflict .................................................................................. 45
4.2 Extrinsic Aspect............................................................................................... 47
4.2.1 Toxic Masculinity..................................................................................... 47
CHAPTER V ............................................................................................................. 62
CONCLUSION.......................................................................................................... 62
BIBLIOGRAPHY ..................................................................................................... 64

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LIST OF PICTURES

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19. Picture 19 ………………………………………………………………...... 38
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ABSTRAK

Film Moonlight yang disutradarai oleh Berry Jenkins merefleksikan bagaimana
komunitas Afrika Amerika memperlakukan pria homoseks. Film ini menceritakan
tentang Chiron yang mengalami pembulian karena dianggap sebagai seorang gay oleh
orang sekitarnya. Tujuan dari penulisan skripsi ini adalah untuk mendeskripsikan
aspek intrinsik yang mencakup aspek naratif dan aspek sinematografi pada film
Moonlight dan menjelaskan tentang aspek ekstrinsik yang mencakup tentang
karakteristik dari toxic masculinity yang terdapat di dalam film tersebut berdasarkan
teori toxic masculinity oleh Terry A. Kupers. Penulis menggunakan metode penelitian
pustaka dalam pengumpulan data. Untuk menganalisis aspek ekstrinsik penulis
menggunakan pendekatan kebudayaan. Hasil penelitian ini menunjukkan bahwa
terdapat tiga karakteristik toxic masculinity yaitu homofobia, penekanan emosional
dan kekerasan. Penulis juga menemukan bahwa Chiron tak hanya menjadi korban
dari maskulinitas yang beracun ini namun juga memiliki karakteristik itu sendiri.

Kata kunci : homoseks, toxic masclinity, homofobia, penekanan emosional, kekerasan

xiii

CHAPTER I
INTRODUCTION

1.1. Background of the Study

Masculinity is not something that a man born with but rather it is socially and
culturally constructed that set standard on what it means to be a man (Pleck, 1993).
This notion explains how men act in certain ways not because of their male role
identity or even their masculine characteristics but rather how the society establishes
the ideal types of what it means to be a man. The society dictates what is expected for
men therefore who do not conform the ideal types of manhood are usually being
condemned. Gay are usually the one who are mostly being condemned because they
do not fit the traditional masculine role. They usually become a target of humiliation
and violence because they are seen as effeminate or weak.
One of the movies with masculinity theme is Moonlight (2016), a film
directed by Barry Jenkins based on the play entitled in Moonlight Black Boys Look
Blue by Tarell Alvin McCraney. The story follows Chiron to three chapters of his
lives from the childhood, teenage age to adult life. Ever since at young age Chiron
who is nicknamed Little are being bullied because of his small figure. Because of that
he was also accused of being gay even before he understands it himself. This had led
to harsh and even violence treatments from his peers at school until his teenage years.

1

The movie depicts how a Black gay male is being treated in their own
community. They become a target of violence and humiliation. It has been known
that the African Americans are tolerant toward homosexual people of their own rather
than the white are (Anthony J. Lemelle & Battle, 2004). The reason homophobia is
stronger in a Black community related to hypermasculinity that has been associated
with Black male. There are stereotypes that a Black male are aggressive, rough and
violent and hence being a gay is equivalent to effeminate or weak. However, the root
of homophobia went deeper than that. As Bell Hooks stated in Race and
Representation:
Many heterosexual Black men in white supremacist patriarchal culture have
acted as though the primary "evil" of racism has been the refusal of the
dominant culture to allow them full access to patriarchal power, so that in
sexist terms they are compelled to inhabit a sphere of powerlessness, deemed
"feminine," hence they have perceived themselves as emasculated. To the
extent that Black men accept a white supremacist sexist representation of
themselves as castrated, without phallic power, and therefore pseudo-females,
they will need to overlassert a phallic misogynist masculinity, one rooted in
contempt for the female. Much Black male homophobia is rooted in the desire
to eschew connection with all things deemed "feminine" and that would, of
course, include Black gay men (1992:147).

For a long time, they have been emasculated because of the white patriarchy
dominance over them. Since they do not want to be seen as effeminate or even weak
anymore they feel the need to overcompensate by enforcing the ideal types of
manhood which are aggressive and violent. This rigid Black masculinity is strongly
instilled to Black men from young ages as depicted Chiron who is bullied constantly
by his friends for being physically smaller and weaker. Chiron who does not conform

2

the gender stereotypes of Black male reflects how a black gay male is treated in the
society nowadays. What happened to Chiron in this movie are results of society’s
toxic masculinity.
Terry A. Kupers, describes toxic masculinity as, “the constellation of socially
regressive male traits that serve to foster domination, the devaluation of women,
homophobia, and wanton violence” (2005:714). Toxic masculinity explains why men
always have the need to compete and dominate others aggressively and also embody
the most problematic traits in men. Toxic masculinity demands not only
subordination of women but also from men who do not participate actively to the
superior masculinity standards.
The writer chooses Moonlight because the scenes in the movie reflect how
toxic masculinity have influenced the Black community in treating Black gay male.
Chiron, the main character not only become the target violence from his friends but
also embody the result of toxic masculinity traits itself. The writer will focus on the
traits of toxic masculinity that are depicted in the movie.

1.2. Scope of the Study

Limitations are important to maintain the focus of the research. The writer will limit
the analysis on two elements, the intrinsic elements and extrinsic elements. The
intrinsic elements include the narrative and cinematography aspects. Furthermore, the

3

writer will analyze the extrinsic elements by using theory of toxic masculinity in
order to find the toxic masculine traits in the movie Moonlight.

1.3. Aims of the Study

The aims of the study are as the following :
1. To describe the narrative and cinematography aspects of the movie Moonlight.
2. To explain the traits of toxic masculinity that are described in the movie
Moonlight.

1.4 Research Methods

In conducting this writing, methodology is needed in order to analyze the research
problems that are described in the thesis. The writer uses method of study and method
of approach to analyze the research problems in this thesis.

1.4.1 Method of Study

As stated by Atar M. Semi, method of research is a method that is used to find out,
develop and test the truth of knowledge according to facts and data (1993). In
conducting the research the writer uses library research to gather facts and data.
Library research is being conducted by reading books and journal articles, browsing

4

through internet to gather the data that are required for the research (Semi, 1993).
However the main data is the movie, Moonlight.

1.4. 2 Method of Approach

Method of approach is crucial for the writer to observe the object thorougly to find
the facts and information that are essential in conducting the research. The writer uses
exponential approach and cultural approach. The exponential approach focuses on
intrinsic elements of the movie, narrative and cinematography aspects. The narrative
aspects comprise analysis on theme, characters, setting and conflict using narrative
theories. The cinematography aspects include the camera distance, camera angle, and
mise-en-scene. Meanwhile, the cultural approach is applied to analyze extrinsic
elements of the movie. It is applied to identify the traits of toxic masculinity
described in the movie Moonlight.

1.5 Organization of the Writing

CHAPTER I : INTRODUCTION
Chapter 1 include Background of the Study, Scope of the Study, Aims of the Study,
Methods of the Study, and Organization of the Study.
CHAPTER 2 : SYNOPSIS
Chapter 2 contain the synopsis of the movie Moonlight.

5

CHAPTER 3 : Theoretical Framework
Chapter 3 comprise the theoretical framework of the thesis in order to support the
study. The theoretical framework consist of intrinsic elements and extrinsic elements
of the movie.
CHAPTER 4 : Toxic Masculinity as Depicted in Barry Jenkins's Moonlight
Chapter 4 consist of the explanation of the movie Moonlight from intrinsic aspects
and extrinsic aspects.
CHAPTER V CONCLUSION
Chapter 5 concludes all the previous analysis that is explained.

6

CHAPTER II
SYNOPSIS

The movie is divided to three chapters of Chiron’s life, his childhood, teenage age
and adulthood. In the first chapter titled “Little”, the movie mainly exposes Chiron as
a small kid living with his mother who is addicted to drugs and also how he copes
with the bullying from his peers. The second chapter, titled “Chiron”, focuses on
Chiron in his teenage age who is struggling with his sexual orientation and dealing
with more intense bullying. The last chapter, titled “Black”, shows adult Chiron who
is now called Black and seems more hardened and bulked up to hide how vulnerable
he is because of his past.
The story starts with Juan, a Cuban drug dealer in Liberty City, Miami, who
meets one of his crew in a rundown place. Suddenly, Juan sees Chiron running from a
group of bullies and then hide in an abandoned apartment. After the bullier left, Juan
comes to find Chiron and asks him to join for a lunch. Chiron reluctantly agrees. At
first, Chiron did not say anything but he finally opens up when Juan takes him to his
girlfriend’s house, Teresa. Chiron tells them that he is more known as “Little”.
On the next day, after playing football with his friends, Chiron is told by his
only friend, Kevin, that he should not be soft if he does not want to get picked on. A
few days later, Juan takes Chiron for swimming at the beach and shares his
childhood. In that moment he gives an important lesson to Chiron that he needs to be

7

himself and not let anyone decide that for him. A night after that, Juan sees Paula,
Chiron’s mother, smoking a marijuana with a man. Juan admonishes Paula’s action
however she retorts back that he is the one who sold it to her. Then they are arguing
about how the right way to raise Chiron and Paula asks him if he wants to raise
Chiron himself. The argument ends when Paula asks if Juan knows why Chiron
always gets bullied by the other kids.
Chiron goes to Teresa’s home in the next morning and sits there silently while
Juan and Teresa keep asking what is wrong with him. Chiron is terribly upset by his
mother’s angry words the next before. He then asks what a gay is and Juan hesitantly
answers him and also asks if he is the one. He also questions if her mother is doing
drugs and that Juan is also the one who sold it to her. He left without saying a word
and Juan looks tearful and remorseful about that.
Chiron is a teenager in the second part of the movie. His life does not seem to
be easier with Juan’s passing away and his mother’s drug addiction. In the school,
Chiron is publicly mocked in the middle of a class by Terrel until the teacher
dismisses Terrel from the class. Later that day, Chiron meets Kevin and is told that
Kevin gets detention because he get caught having intercourse with another student.
Before going home, Kevin calls Chiron “Black”.
The next day, when Chiron is on his way to Teresa’s house, he encounters
Terrel and his friends. They taunt Chiron about his mother’s job as a prostitute to
fund her drug addiction and make a degrading remark about Teresa. Chiron is ready
to fight back but they intimidate and threaten him not to.
8

Later, Chiron goes to the beach and Kevin finds him there. They talk about
their worries and the reason Kevin gave the nickname “Black” to Chiron. There is a
clear sexual desire between them and they kiss each other. That night ends with
Kevin gives Chiron a hand job, manual stimulation of male genitalia by another
person.
The following day in school, Terrel approaches Kevin in cafeteria and talks
about the childhood game “Knocked down/Stay down”. Terrel pressures Kevin to
play that game and he will be the one who chooses the target. Later, Terrel points
Chiron and reluctantly Kevin hits him. Chiron, however, would not back down and
thus making Kevin keep beating him until the school guard stops them. Chiron
refuses to say who hit him when the headmistress asks him. The next day, Chiron
goes back to school and hits Terrel with a chair. The second part of the story ends
with Chiron being arrested.
The story moves forward to ten years later in the last chapter of the movie. It
starts with Chiron waking up from his childhood memories. He is now a drug dealer
in Atlanta. Suddenly, he receives a call from Kevin to apologize for what he did back
then and asks him to visit him in Miami. Before going to Miami, Chiron visits his
mother, who is in rehabilitation. Paula asks for forgiveness and Chiron decides to
forgive her.
Chiron arrives at the diner where Kevin works. Kevin seems surprised at
Chiron’s appearances, then he cooks a special dish for Chiron. Kevin tells Chiron
about his son, Kevin Junior. On the other hand, Chiron confesses that he is a drug
9

dealer. After the dinner ends, they go to Kevin’s apartment. There Chiron admits that
he has not been intimate with anyone after Kevin. The next scene shows Kevin
embraces Chiron on his bed as he gently caresses Chiron’s head. The movie ends
with Chiron as a child standing on the beach under the moonlight.

10

CHAPTER III
THEORETICAL FRAMEWORK

3.1 Intrinsic Elements

In analyzing a movie, there are two aspects to consider which are the intrinsic aspects
and extrinsic aspects. The intrinsic aspects are the elements that can be found in the
movie itself. Based on Pratista’s Memahami Film, there are two elements to analyze
which are narrative aspects and cinematic aspects (2008).

3.1.1 Narrative Elements

Narrative aspects are important to understand the movie completely. According to
Abrams on A Glossary of Literary Terms:
Narrative is a story, whether told in prose or verse, involving events,
characters, and what the characters says and do. In drama, the narrative is not
told but evolves by means of the direct presentation on stage of the actions
and speeches of the characters (1999).

It can be concluded that narrative aspects are necessary to make the viewer
understand the movie very well. As stated by Pratista, narrative aspects consist of
theme, setting, character, conflict and plot (2008). However, this thesis will mainly
focuses on theme, setting, character and conflict.

11

3.1.1.1 Theme

Theme is the main idea that represents the whole story of a literary work. It is the
underlying message of what the author wants to convey to the reader. According to
Laurence Perrine states that:

The theme of a piece of fiction is its controlling idea or its central insight. It is
the unifying generalization about life stated or implied by the story. To derive
the theme of a story, we must ask what its central purpose is: what view of life
it supports or what insight into life it reveals (1998).

Therefore, theme is vital to a story because it deals with how the author would
develop the story. However in literary works, theme does not have to be limited to
one theme only since we can find more than one theme that dominate the story. In the
movie, we recognize the theme by finding the idea that dominates most of the story.

3.1.1.2 Character

Character plays an important role in the movie. Character is not only the one who
does the action but also the one who delivers the message of what the narrator wants
to convey. According to Abrams in A Glossary of Literary Terms:
They are people who present in dramatic or narrative works who are
interpreted by the reader as being endowed with particular moral, intellectual,
and emotional qualities by inferences from what the persons say and their
distinctive ways of saying it –the dialogue- and from what they do –the action
(1999:33).

12

Furthermore, characters are divided into two types, major character and minor
character. According to Richard Barsam and Dave Monahan, major character can be
described as “the most important characters to the plot, make the most things happen
or have the most things happen to them” (2010:135). Therefore, major character is
usually the main character in the story because major character gives big influence in
how the story will turn out. In contrast, minor characters “play a less important role in
the overall movie, functioning usually as a means of moving the plot forward or of
fleshing out the motivations of the major characters” (Barsam & Monahan, 2010, p.
136). Although major character is usually the lead of the story, the minor characters’
contributions are also the ones that keep the story moving forward.

3.1.1.3 Setting

Setting, such as place, time and social environment, is the background that play a
major part to the story. Sylvan Barnett states further that “the setting of the story, not
only the physical locale but also the time of the day or the year or the century, may or
may not be symbolic. Often, however, the setting is more important, giving us the
feel of the people who move through it” (2008:152). Based on A Handbook to the
Literature, settings are divided into three kinds, they are; setting of time, setting of
place and setting of social environment.
The setting of time can be described as “the time or period in which the action
takes place, for example the epoch in history or season in the year” (Holman, 1960, p.

13

453). The setting of time tells us when the scenes in the movie happen such as day,
night, month or year. Commonly, the setting of times can be revealed from the
weather in the scene, news or events that are shown in the Television and specific
products such as vehicle or clothing style, etc.
Setting of place “is the actual geographical location, its topography, scenery,
and such physical arrangements as the location of windows and doors in a room”
(Holman, 1960:453). Setting of place can be a country, a city, a village, or a house.
Setting of place is not just any place where the scene takes places, because some
specific place like town or village can actually support the story.
Setting of social environment is “the general environment of the characters in
the film, e.g., religious, mental, moral, social, and emotional conditions through
which the people in the narrative move” (1960:453). It can give the audience better
understanding of the social background of the story such as customs, traditions,
norms and culture. The setting of social environment serves as the social
circumstances for the characters.

3.1.1.4 Conflict

Conflict is one of instrumental elements that construct the plot of the story. Based on
Perrine’s Literature: Structure, Sound and Sense (1998):
Conflict is a clash of action, desire, ideas, or goods in the plot of a story or
drama. Conflict may exist between the main character and some other person
or persons (man against man); between the main character and some external

14

force, physical nature, society, or fate (man against environment); or between
the main character and some destructive elements in his own nature (man
against himself).
From the explanation above, we can determine two kinds of conflicts, external
conflict and internal conflict. The external conflict happens between characters or any
outside forces in the story. It is not limited between the protagonist and antagonist but
can be any outside force in the story. Meanwhile, internal conflict happens in the
character’s minds. For example, the character’s struggles in making big decision that
could affect his/her life in certain ways.

3.1.2 Cinematography Elements

Cinematography is everything that is relevant in filmmaking. It is a term that derived
from Greek roots that means “writing with motion”. Blain Brown further explains
that cinematography is more than just acts of photography, but as a “ process of
taking ideas, words, actions, emotional subtext, tone, and all other forms of nonverbal
communication and rendering them in visual terms” (2012:2).

3.1.2.1 Camera Distance

Camera distance refers to the placement of camera in filming the scenes. According
to David Bordwell and Kristin Thompson, camera distance is described as “…
framing of the image stations us not only at a certain angle and height and on a level

15

plane or at a cant but also at a certain distance. Framing supplies a sense of being far
away or close to the mi se-en-scene of the shot” (1997, p. 190). Giannetti Louis states
further that the shots depend on size of the humans that are captured in the shots and
is not necessarily determined by how far the distance between camera and the subject
that is photographed (2008:11).

3.1.2.1.1 Extreme Long Shot

Extreme long shot is a shot captured from a long distance to show the full view of
panorama, where human sometimes cannot be clearly seen (Bordwell & Thompson,
1997). It is usually outdoor view to show the locale area. It is taken from great
distance like quarter mile of a mile away to capture all those vast area or the
panoramic view (Giannetti, 2008).

3.1.2.1.2 Long Shot

In the long shot, the human is the main object but the background is still noticeable
(Bordwell & Thompson, 1997). This shot shows the whole figure of human body
from head to toe. Although the background is prominent but we will be able to see
clearly what is the human doing.

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3.1.2.1.3 Medium Long Shot

Medium long shot frames human body from the knees up. This creates well balanced
shot between the human figure and the background view (Bordwell & Thompson,
1997). The length of the distance is between long shot and medium shot.

3.1.2.1.4 Medium Shot

The medium shot is the shot which captures human figure from the waist up. In this
shot, the expression and gesture will be more noticeable (Bordwell & Thompson,
1997). As it is focus on the figure, the background is less prominent.

3.1.2.1.5 Medium Close up

The medium close up is shot that frames human figure from the chest up (Bordwell &
Thompson, 1997). This shot is taken between medium shot and close up shot. The
focus of the shot is on the facial expression.

3.1.2.1.6 Close Up

The close up shot frames only one part such as face, hands, legs or any small object
(Bordwell & Thompson, 1997). This shot captures clearer facials expression and the
details of gesture. These shots are the most common in filmmaking because through

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this shot the filmmaker will be able to deliver the emotions very well. It also tends to
focus on the small object thus these shot usually magnifies the significance of the
object.

3.1.2.1.7 Extreme Close Up

The extreme close up focuses on one part only, for instance, eyes, lips or any small
object (Bordwell & Thompson, 1997). This shot is taken by zooming in the object to
get the details clearly. This shot is not as common as the close up shot because it is
more intense and only focuses on one thing only.

3.1.2.2 Camera Angle

David Bordwell and Kristin Thompson define angle as “the frame’s positions us at
some angle looking on the shot’s mise-en-scene” (1997:190). Louis Gianetti explains
further that camera angle is determined by where the camera is placed, not the subject
that is photographed (2008:14). He states further that there are four types of angle; the
bird’s eye view, the high-angle shot, the eye level shot and the low angle shot.

3.1.2.2.1 The Bird’s Eye View

The bird’s eye view captures the scene directly from overhead. Because this angle
might be disorienting, the object sometimes is hard to be recognized. The filmmaker

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tends to avoid using this angle but if it can be done very well, the result can be very
expressive (Giannetti, 2008:14).

Picture 1
The Bird Eye View (Giannetti, 2008)

3.1.2.2.2 The High-Angle Shot

The high-angle is captured by setting the camera on a crane or high place to get the
whole scene but not enough to overwhelm the audience. This allows the audience
impression of the general overview of the scene. The high angle reduces the heights
of the objects and uses the floor as the background thus diminishes the importance of
the subjects and makes them look insignificant (Giannetti, 2008:14).

Picture 2
The High-Angle Shot (Giannetti, 2008)

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3.1.2.2.3 The Eye Level Shot

The eye level shot is taken by putting the camera four feet above the ground and
captures all the characters equally. The position of camera is mostly neutral and
dispassionate. Therefore, eye level shots allow us to make our opinion about what
kind of the people that are being presented (Giannetti, 2008:14).

Picture 3
The Eye Level Shot (Giannetti, 2008)

3.1.2.2.4 The Low Angle Shot

The low angle shot is the opposite of the high angle shot. Low angle increases the
height of the subject and thus is useful for suggesting verticality. The surroundings
are mostly minimized in this angle and often the sky or ceiling serve as the
background. Psychologically, this angle increases the significance of the subject.

Picture 4
The Low Angle Shot (Giannetti, 2008)

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3.1.2.3 Mise-en-Scene

According to David Bordwell and Kristin Thompson in Film Art : An Introduction,
mise-en-scene (pronounced “meez-ahn-sen”) was originated from French root means
staging an action. In the beginning, it was used in the practice of directing plays
before the film scholars extend the term to film direction. The film directors apply
this term to emphasize their control over what appears on the film frame (Bordwell &
Thompson, 1997:112). As this term is originated from theatrical plays, mise-en-scene
includes several aspects such as costume, lighting and sound (1997:169).

3.1.2.3.1 Costume and Make up

The costumes and make up are important because they help emphasize the setting of
the film. Costumes are usually the clothes that the characters are wearing which suit
the setting of the movie. To enhance the appearance of those characters, make up
usually is needed in certain genre movie like horror movie, historical movie, etc. In
Film Art : An Introduction , make up was actually needed since the actor’s face
would not be registered well on the early film production. Until today, make up has
been used in many different ways to magnify the actor’s appearance on the screen
(Bordwell & Thompson, 1997)

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3.1.2.3.2 Lighting

David Bordwell describes lighting as, “more than illumination that permits us to see
the action. Lighter and darker areas within the frame help create the overall
composition of each shot and guide our attention to certain objects and action”
(1997:178). For example, bright illuminated object will quickly draw our sight to the
key gesture meanwhile shadow might hide the detail and even build anticipation on
what will appear (Bordwell & Thompson, 1997). Thus, lighting also helps to set the
atmosphere of a scene in the movie by creating shadow or highlight.

3.1.2.3.3 Sound

Sound is essential because it provides information about the plot or characters from
the movie. One type of sounds is dialogue. Dialogue is a form of verbal
communication between the characters in the movie. It is not only words that are
spoken back and forth by the characters but also the way of the characters delivers the
lines. The actors have to be able to deliver the written words in order to make the
audience understand the subtext behind the lines. Blain Brown refers subtext as the
hidden meaning in the movie script (2012:252).

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3.2 Extrinsic Elements
3.2.1 Toxic Masculinity

As John Beynon states in Masculinities and Culture:
Men are not born with masculinity as part of their genetic make-up; rather it is
something into which they are acculturated and which is composed of social
codes of behaviour which they learn to reproduce in culturally appropriate
ways. It is indexical of class, subculture, age and ethnicity, among other
factors (2002:2).

Masculinity is culturally shaped and can never be separated because it is a
result of culture. It is shaped and expressed differently at different times in different
circumstances in different places by individuals and groups. The common
assumptions are that masculinity “is a standardized container, fixed by biology, into
which all ‘normal’ men are placed, something ‘natural’ that can even be measured in
terms of psychological traits and physical attributes” (Beynon, 2002:2). However,
when culture is linked to masculinity it becomes more diverse in the terms of
enactment. It should be emphasized that masculinity is not uniformity but can best
regarded as “singular-plural” that can take many forms. The concept of hegemonic
masculinity is then made known as an introduction in looking at masculinity in a
historical context or through lens of class (Beynon, 2002).
Connell describes hegemonic masculinity as “the dominant notion of
masculinity in a particular historical context” (1987). In contemporary Western
culture, it dictates men on what are the ideal standards of becoming ‘real men’. The

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foundations of hegemonic masculinity are based on hierarchy of inter male
dominance, domination against women and stigmatization against homosexual
(Connell, 1987).
From the definition of hegemonic masculinity above, the Western and
European culture have identified the recent hegemonic masculinity aspects that
dominate the most. For example, ruthless competition, suppression of emotion except
anger, unwillingness to show fear, refuse to ask for help, devaluation of women,
abhor everything that relates to feminine attributes and homophobia (Brittan, 1989).
At the same time, Kupers also states that men try to divert from the hegemonic norm
of masculinity but when they do so, they are afraid that they will be considered as
unmanly from other men because they do not conform to the hegemonic ideal of the
real men (2005:716).
The concept of toxic masculinity is useful in regards of gender and forms of
masculinity discussion because it depicts the norms of hegemonic masculinity that
are socially destructive such as homophobia, misogyny, violence, dominance but
those are accepted even valued culturally (Kupers, 2001). On the other hand, there are
some aspects of hegemonic masculinity that are not toxic such as having pride in
winning sports, having close-knit friendship, succeeding in career and providing for
the family. Another nontoxic example is subordinated masculinity that differs from
hegemonic masculinity because it supports feminism and anti-homophobia movement
(Kupers, 1993).

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Based on the Toxic Masculinity as a Barrier to Mental Health Treatment in
Prison by Terry A. Kupers:
Toxic masculinity is constructed of those aspects of hegemonic masculinity
that foster domination of others and are, thus, socially destructive.
Unfortunate male proclivities associated with toxic masculinity include
extreme competition and greed, insensitivity to or lack of consideration of the
experiences and feelings of others, a strong need to dominate and control
others, an incapacity to nurture, a dread of dependency, a readiness to resort to
violence, and the stigmatization and subjugation of women, gays, and men
who exhibit feminine characteristics (Kupers, 2005:717).

Based on the definition above, there is connection between toxic masculinity
and hegemonic masculinity because toxic masculinity deviates from hegemonic
masculinity aspects that mostly are destructive. The central idea of toxic masculinity
is that ideal masculinity traits can be in fact harmful not only toward men themselves
but also women and the society as a whole. The point is not to demean men who
retain masculine traditional traits. It is to discern that those behaviors are ingrained
deeply in men and can be harmful for everyone that involved (Kaplan, 2016). The
writer chooses three toxic masculinity traits such as the following;

3.2.1.1 Homophobia

Kimmel defines homophobia as the fundamental principle of the cultural definition of
manhood. It is more than just unreasonable fear of homosexuality or that men are
afraid to be perceived as a gay (1996). He elaborates that homophobia is “the fear that
other men will unmask us, emasculate us, reveal to us and the world that we do not

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measure up, that we are not real men” (1996). Thus, it is the fear that leads them to
silence and allow other to believe that men approve the way things done to women,
minorities, gays, lesbians. For instance, men who don’t help women when they
receive insulting remark in the street or school, making sexist or racist comment,
bashing gay men, etc (Kimmel, 1996). Men would rather associate with those traits
than perceived as unmanly. Hence, they foster homophobia and reject anything that
has feminine attributes.
As they do not want to feel emasculated by other men, they try to do anything
to assert their manliness to anyone who threatens their belief, for instance, gay men.
One of the most often homophobic act is calling gay male or anyone who acts like a
girl, a “faggot”. Leverenz explains that the word “faggot" is not only homophobic
slur, but also as a label of ultimate contempt for anyone who conveys the impression
of pushover, weak, effeminate or uncool (1986:455). Simultaneously, this also causes
gay men to despise themselves and afraid to come out of the closet because they
know they will never be fully accepted by the society.
Hence, it is harder for Black gay male to be accepted in their own community
because of the stigma that surrounds homosexuality. Based on the research by Elijah
G. Ward, the homophobia toward Black gay are related to the hypermasculinity that
had been associated with Black male. The Black male perceived being gay as
feminime and that means being weak. Because as we have seen how is the potrayal of
Black male in the popular culture, they are mostly depicted as violent and aggressive
(2005) .
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3.2.1.2 Suppression of Emotion

According to Butler and Gross, suppression of emotion doesn’t mean that the
individuals don’t have emotion but it is a state that they actively maintain and
generate in order to hold back their emotion. It has more negative effects rather than
positive ones. The emotional suppressions increase negative emotions for the
individuals. For instance: disgust, anger, sadness and embarrassment. Thus, the
emotional suppressions have harmful effects such as more negative experience, selfalienation and negative relationship outcomes (Butler & Gross, 2004).
The emotional suppressions are more common found in men rather than
women. They develop their emotion in different way because of the different
socialization and cultural context. Women are always able to express their emotion
without the fear of judgment from the others. It is quite different case with men
because men are always dictated to suppress their emotion. As bell hooks states in
The Will to Change: Men, Masculinity and Love:
The first act of violence that patriarchy demands of males is not violence
toward women. Instead patriarchy demands of all males that they engage in
acts of psychic self-mutilation, that they kill