Conflicting Masculine Identities in... A Robot

Both the screening and the Dyer reading for this week expose the contradictions and the ambiguities in the definitions and perceptions of masculinity. Dyer points out a divide in the latter. He speaks of the perception of excessively muscular male power as either “assertive and confident declaration of masculinity, which naturalizes male power … [or] ‘made up’, insubstantial and unnatural" (180 – 81). A hyper-“masculine” figure can either be appreciated for his inhuman strength, or ridiculed for his believability.

These contrasting readings of masculinity noted by Dyer – the admiration and incredulity – are manifested simultaneously – and in conflict – for the audience in Terminator 2: Judgment Day. Audience perception, if in admiration of the terminator’s near-perfect physique, is reminded that the terminator is a machine many times throughout the time; when his skin is ripped off, his red eyes are exposed, etc. Similarly, if an audience member perceives the terminator to be a ridiculously impossible robot with skin, there are constant reminders of the terminator’s more human – and very masculine – nature. For instance, when the terminator turns to John at the end of the film, saying, “I know now why you cry.”  In this way, we are never sure of the nature of the masculinity of the terminator.

The observation Dyer makes exposes a gap in the inherent contradictions in our definition(s) of masculinity: nonchalant, but controlling; protective but unfeeling. The terminator embodies these contradictions. Following the moment when the terminator says, “I know now why you cry,” he says, “But it’s something I could never do.” One reading of this would be that the terminator has learned what at first appears to be empathy, but in reality is simply an understanding of how human emotions work. Alternatively, reading this situation through the lens of the terminator as John’s father figure, we see a protective father who cares deeply for his son – but one who does not cry, instead suppressing his emotions.

Is there a portrait of masculinity that doesn't involve contradictions? Or one that is marginally emotionally healthy or expressive? Furthermore, where do John and Sarah lie on this continuum? Certainly Sarah is more dominant and powerful than John. However, John is often Sarah's protector in the rescue from the hospital. Each seem to show different aspects of the perfect masculine figure. How does this further illuminate our understanding of the film?