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“I want to infect you with the tremendous excitement of living, because I believe that you have the strength to bear it.”

In his essay, “Masculinity as Spectacle,” Steve Neale seeks to extend Laura Mulvey’s work on the male gaze and to challenge her assertion that the male or male-identified spectator can never look upon the male body as an erotic object. To challenge Mulvey’s assertion, Neale identifies the mechanisms mainstream Hollywood cinema uses to represent the male body as erotic. One way of doing this, Neale argues, is by making the male body the target of violence. In the war film, a soldier can hold his buddy – as long as his buddy is dying on the battlefield. In the western, Butch Cassidy can wash the Sundance Kid’s naked flesh – as long as it is wounded. In the boxing film, a trainer can rub the well-developed torso and sinewy back of his protege – as long as it is bruised. In the crime film, a mob lieutenant can embrace his boss like a lover – as long as he is riddled with bullets. Violence makes the homoeroticism of many “male” genres invisible; it is a structural mechanism of plausible deniability.

“We notice in language as well as in life that the male occupies both the neutral and the male position. This is another way of saying that the neutrality of objectivity and of maleness are coextensive linguistically, whereas women occupy the marked, the gendered, the different, the forever-female position. Another expression of the sex specificity of objectivity socially is that women have been nature. That is, men have been knowers, mind; women have been “to-be-known,” matter, that which is to be controlled and subdued, the acted upon. Of course, this is all a social matter; we live in society, not in the natural world.”