Marginaliserade manskroppar: Bilder av feta arbetarklassmän

Abstract

This artide is analysing contemporary cultural menings of the fat male body. More specifically it is looking into how the fat, male body is used as a cultural symbol for the crisis of a white, heterosexual working-class masculinity, in relation to the hegemonic masculine (and fallic) body as hard, muscular and impermeable. Two British movies are used as illustrating examples, both dealing with the male working class anti-hero as facing social and economic marginalisation and loss of power: The Full Monty by Peter Cattaneo (1997) and All or Nothing (2002) by Mike Leigh. Both these movies have leading male characters who are fat/overweight. They are not only represented as marginalised because of unemployment and an inability to construct masculinity around work and the identity as provider, but they are also positioned as marginalised because of theirdeviant bodies. The movies are analysed within the social and cultural context of an increasing visibility (and nomalization) of the fat man in movies and sitcoms (primarily in the USA), the increasing media objectification of the male body, weight, eating and appearance as becoming issues for men, and finally, the highly moralizing and stigmatizing "fat is bad" discourse which dominates Western culture. The analysis focus on how both the character Dave in The Full Monty and the character Phil and hisson Rory in All or /Vof/7/'ngare feminized in relation to the other male characters and in relation to women. They are represented as without traditional male characteristics such as assertiveness, aggressivity and sexual potency. For example Dave is depicted as being ashamed of his body, deeply concerned of his weight and appearance, occupied with finding ways to reshape his body through dieting etc. He manifests an objectified body consciousness, usually associated with women and femininity. In the conclusion Johansson argues that both movies represent the fat male body in a ambivalent and contradicting way, outlining different alternatives for the fat characters to deal with marginalization and loss of masculine power. One way is to try to fulfil the traditional norm of working class masculinity, to be hard working and sexually potent, and be able to earn the epithet of "big and strong" rather than "fat and weak". The other way is to "do" masculinity in new ways and to perform femininity. Johansson argues that the actual turning points for the characters of Dave and Phil, the shift from shame and passivity to pride and activity, are the scenes when they openly acknowledge their shame and vulnerability, and when they are met with acceptance and love. Although none of the movies challenge male dominance, the way the representations of the fat, white, heterosexual working dass man transgress stereotypes, could possibly open up for alternative representations of masculinity. Through a practice of communication the fat male figure ceases to symbolize the subordination of the white, heterosexual working dass man in relation to a hegemonic ideal. Instead he becomes an adive subject, embodying hope, respect, closeness and pride.