This is the second post in a series looking at how Nicolas Winding Refn constructs a stable notion or approach to masculinity in his films. This series is based on the first draft of the second chapter of my Master’s thesis, titled Gangstas, Thugs, Vikings and Drivers: Global Hegemonic Masculinity and Cinematic Masculine Archetypes in the Films of Nicolas Winding Refn. In this post, I examine the concept of stoic masculinity, which is a vital component of the hegemonic masculine ideal. As always, this is a work in progress, so if you are interested in quoting any of the information here, please contact me first for permission. Additionally, I welcome any and all feedback, so please feel free to let me know if you have any suggestions about how the work could be improved or altered. Thank you.
STOICISM AND MASCULINITY
In addition to violence, aggression, and emotional constipation, one of the defining traits of dominant hegemonic masculinity is stoicism. Whereas men are often positioned as existing outside of language, and their silence is used as a way of emphasizing their lack of power, men who exist outside of language are often positioned as having an excess of power, and they are depicted as not needing language because they instead let their actions speak for them (Lehman, 1993). Indeed, the muscular tough guy characters that embody dominant hegemonic masculinity in Hollywood films (particularly action movies) are traditionally depicted as men of few words who are quick to act (Fig. 1).
Gangstas, Thugs, Vikings and Drivers 