Sam Shakusky – The Challenger of Hegemony Genre in Hollywood is based on the contrived actions of men who save their female damsel-in-distress counterparts. The male focuses in the film take on the role of emotionless individuals who only strive to outdo male competition and sexually objectify women, while lacking any emotional intelligence (Bird 143). This is overwhelmingly portrayed in the film because it perpetuates concepts of male hegemony, manly acts, and how boys should behave to become men (Schrock and Schwalbe, 162). These portrayals have created a standard in cinema and society that stimulates scrutiny if rigorous criteria are not met. However, in Wes Anderson's Moonrise Kingdom, there is a challenge to these criteria, the manly acts of the focus are depicted in a different light than in other films, which makes this film important for American cinema. For the purposes of the film, his masculinity is not hegemonic and is not perpetuated by bold acts of manliness; rather, it is nobility. Sam Shakusky, the focus of the film, embodies male nobility and challenges hegemonic masculinity because he is emotional, respectful, and refuses to succumb to the almost cartoonish and conflicting attempts at manly acts performed by others in the film, making his character important to the 'identity. of masculinity in modern film culture. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Sam Shakusky's noble masculinity comes first and foremost from his emotions. As an ignored orphan who has no real home in the film, Sam has no sources from which to draw an idea of ​​masculinity. His negligence causes him to behave differently from the other men in the film, as he has little respect for many of them. In the article Men, Masculinity and Manhood Acts by Douglas Schrock and Michael Schwalbe, it is noted that differentiation in terms of masculinity begins in childhood. Throughout Sam's childhood, outlined in the scene illustrating his and Suzy's letters, it is evident that both his peers and the adult figures in his life ignored him. Ignoring this led to him becoming a more emotional boy, rather than playing and competing in large groups, he secluded himself, allowing him to focus on painting rather than learning behaviors from the kids around him. Through this he becomes a more emotional boy and his masculinity takes shape. Although, by traditional definition, his lack of other male companions while growing up affects his masculinity, but for Sam it has intensified self-possession, an important aspect of masculinity. Self-possession refers to one's physical and behavioral attributes that must be maintained. Sam's consistent behaviors contribute to his emotions, thus making them an important aspect of his masculinity. His interactions with Suzy also demonstrate that he is masculine and his masculinity is noble. Sam's emotional investment in Suzy is very different from that of any other man in the film. As mentioned before, men must have ownership of themselves, which also extends to their personal desires (Schrock and Schwalbe 155). When Sam sees Suzy, he immediately realizes his feelings for her, which is a wish. He sees her on stage during a theater show and is immediately attracted to her. After that, he sneaks backstage to talk to her personally. His pursuit of Suzy is important because it demonstrates his desires for Suzy, but it also shows his acceptance of male behavior within the gendered social structure. He takes the initiative, which is masculine, but approaches it in a waysensitive and gentle, which is different from traditional masculinity. Instead of acting and trying something heroic to attract her, he approaches her, showing his thoughtfulness and emotional intelligence, as well as his respect for women. This is important to film because of his open emotional investments, which contrast traditional masculinity in cinema, yet allow him to be a masculine figure because they reflect his personal desires. Sam's respect for women is another important aspect of his masculinity. Sam's respect for Suzy is demonstrated in many ways, the first being his teamwork with her in an equal power relationship. In Barbara J. Risman's Gender as a Social Structure: Theory Wrestling with Activism, she argues that based on the context of a relationship, gender roles change and that such changes are detrimental to progress toward gender equality. However, in Sam's case, regardless of the title of his relationship with Suzy, he is willing to work with her to escape. Rather than completely taking control of the scenery as he moves through the woods, he relies on Suzy's equal input. This is especially evident during the scene where they are cornered by the traditionally male Khaki Scouts, who are trying to capture Sam and Suzy to prove that they are "man enough". In this scene, Suzy saves Sam, and instead of being angry that he wasn't in charge of the situation, Sam appreciates Suzy's actions. His equal power relationship with Suzy shows that he is comfortable and modest with his masculinity, and does not need to assert himself to prove that he is masculine, unlike the Khaki Scouts, his peers. The Khaki Scouts, throughout the film, constantly try to assert their male dominance over Sam and Suzy, contrasting Sam's noble and humble masculinity. When tasked by the police to help search for Sam and Suzy, the Khaki Scouts take on the role of all-powerful men, even though they are only boys. This behavior supports Schrock and Schwalbe's thesis that many young people play in large groups and try to emulate the male figures they admire during their development. The Khaki Scouts' conflicting attempts to be masculine demonstrate that they are still developing their masculinity, while Sam has accepted his. Their lack of self-possession, shown by their constant attempts to reinforce their own masculinity, in contrast to Sam's personal comfort, shows that he is a much more masculine figure. His comfort dominates the Khaki Scouts, even though they are doing everything they can to be a dominant force. The contrast between Sam's humble and noble masculinity, compared to the overwhelming efforts of the Khaki Scouts to be hegemonic in their masculinity, shows the flaws of traditional masculinity in the film. In traditional cinematic masculinity, males constantly seek competition with other men, which is an unrealistic assumption in the culture because intrinsic goals often differ. The aforementioned traditional masculinity in film is a common thread that has not been drastically altered throughout the history of cinema. movie. There are problems with this, because not only does it create unrealistic perceptions of men and masculinity, but it also creates serious gender equality issues. Moonrise Kingdom, however, is an important film because Sam Shakusky is the embodiment of what masculinity in cinema should be. His modesty and respect despite his social adversities are admirable, a trait that is seen in masculinity, but not in this light. Male focuses are often admirable for their heroic actions, not modest behavior. Sam's role is important because it contrasts with the social implications of masculinity. Keep in mind: this is..