Masculine Narrative in Cinematic Spaces: Intersectional Framing of Female Oscar-Winning Directors

Abstract

This study examines how three female Academy Award-winning directors, Kathryn Bigelow, Chloé Zhao, and Jane Campion, construct and potentially destabilize representations of masculinity in their films The Hurt Locker (2008), Nomadland (2020), and The Power of the Dog (2021), respectively. The study aimed to explore media studies by examining how women filmmakers represent masculinity within cinematic genres traditionally associated with male perspectives and experiences. There are three aspects: camera angles, spatial positioning, and lighting, and how cinematic techniques reproduce or challenge hegemonic masculinity. This is quantitative content analysis that examines the visual representation of male and female characters in the films produced by female directors. The comparative findings revealed two statistically significant associations: camera angle in The Power of the Dog (χ²(2) = 11.60, p = .003) and intersectional framing in Nomadland (χ²(2) = 7.22, p = .027). The findings revealed that the representation of masculinity is not uniform, nor is it consistent with a specific gender. These films are related to cinematic approaches that cover masculine power, emotional vulnerability, and socially situated gender identities. This study adds to female film production and media scholarship by examining the engagement of female directors in establishing visual masculinities and exploring the instability of presentation in different genres