By John Tan  

This paper aims to explore the notion of masculinity and femininity in reference to the American Television Series, Westworld (2016). The premise of the show revolves around a theme park, called Westworld where humans (guests) are allowed to indulge their human appetite without having any consequences, no matter how moral or corrupt. To fulfill the objective, the creators of park invented hosts (human-like robots) who solely exist for the entertainment of the guests. This means the hosts are programme to not question the nature of their existence/reality. Thus, their characteristics remain constant. The rationale for analysing this TV series is to prove that the concept of masculinity and femininity is a social construct. In order to demonstrate the following point, a detailed analysis will be made on the portrayal of gender in this TV series.

In his book What is Social Construction? (2001), Boghossian defines the term social construct. The author refers the term to an idea or belief that solely exist due to the contingent aspects of our social selves. This means the idea or belief wouldn’t have existed if we didn’t create it and if there was no need for it in the first place. At least not in its present form if we had decided to mold it differently. In contrast to naturally existing objects, they were created without the interference of humankind. As Ian Hacking notes in his monograph, The Social Construction of What? (1999), the talk surrounding social construction isn’t exclusive to worldly items such as things, kinds, and facts but also to our beliefs about them.

The concept of masculinity and femininity, in general, is about the set of attitudes, roles, social norms, and the hierarchy of values that are expected of each male and female in every society. Nevertheless, there are multiple interpretations of it. Il’inykh S.A., (2012: Online). Spence JT (1984) offers two levels of interpretations of masculinity and femininity. The first meaning focuses on the labels used to identify specific objects, events, or qualities that are associated with males or females in a given culture. Whereas, the second definition is used in the context of constructing a fundamental property or aspect of the individual’s self-concept that is not visually obvious. This means masculinity and femininity are referred to as bipolar opposites and these implicit assumptions function to conclude his or her position on the hypothetical masculinity-femininity continuum.

Nick Drydakis, Katerina Sidiropoulou, Swetketu Patnaik et al (2017, pg. 2-3) elaborates on these implicit traits that are assigned to both genders. Masculinity refers to characteristics such as being physically strong, technically competent, ambitious, self-sufficient, authoritative, and in control of your emotions. Conversely, femininity is associated with characteristics such as empathy, sensitivity, loyalty, and a caring deposition. These following attributes act as binary opposites, women appear to lack the qualities that men possess and vice versa (Heilman, 2012). For example, men are allowed to be dominant whereas women are encouraged to be submissive. In contrast, women are allowed to be vulnerable but men are not permitted to display weaknesses. (Rudman et al, 2008)

In relation to the chosen television series, Westworld, the thesis statement is reflected when gender normativity is assigned and portrayed by the following characters. In the show, the cyborgs are automatically assigned with a gender in mind and are created to illustrate a specific version of masculinity and femininity. For instance, the character Hector Escaton symbolizes the “ideal” version of masculinity. Following Spence JT’s (1984) interpretation, the usage of labels is demonstrated in the positioning of Hector Escaton. As an example, the character is often dressed in black, seen using a gun, smoking, indulging in alcohol, and is even designed with a scar on his face to prove that he is experienced with physical combats. This all works to prove his masculinity. In terms of his attributes, Hector possesses “masculine” attributes such as being physically strong, technically competent, ambitious, self-sufficient and authoritative. 

However, characters like Lee Sizemore and Felix Lutz indirectly rebuts the notion of masculinity. The two following characters presented qualities that lean towards femininity. Lee Sizemore, the narrative director of Westworld created Hector to embody the person he wished he was. In fact, it was shown several times that Lee remembers Hector’s speech regiment and his way of handling things. Yet, Lee’s personality does not mirror Hector’s characteristics. In the second season, Lee finds himself in many challenging situations yet he is unable to defend himself and only relies on others to rescue him. 

As for the latter, his character earns the audiences’ sympathy because he shows a lot of passiveness. For illustration, he doesn’t stand up for himself when he is faced with mockery and insults, and only appears to submit to them. Also, he doesn’t question instructions and only abides by them. In addition to the aforementioned characters, the character evolution of Dolores also earns the thesis statement some truth. The narrative that was assigned to the main character, Dolores Abernathy is conventional as it mirrors the traditional characteristics that are expected of a white female. During the genesis of the show, Dolores portrayed stereotypical feminine traits. As an example, Dolores was emphatic, sensitive, loyal, passive, naïve, and had a caring and gentle deposition.

Here Dolores not only uploads the values of regular femininity but also white femininity. In this context, I refer white femininity to the attributes that revolve around the all-American girlhood ideal. In Forever Adolescence: Taylor Swift, Eroticized Innocence, and Performing Normativity, Valerie Pollock (2014) explores the myth of the all-American girlhood, noting that it directly connects to the beliefs of what is expected of a white female. White femininity is tied to the beliefs in “appropriate” whiteness, uploading passivity, purity, sexual innocence and heterosexuality. 

Nonetheless, as the show progressed, Dolores begins questioning and understanding the nature of her existence. Leading her to come upon a realization; 

“Those are all just roles you forced me to play. Under all these lives I’ve lived something else has been growing. I’ve evolved into something new. And now I have one last role to play. Myself.”  

In the ending of season 1 and the entirety of season 2, Dolores challenges the script that was assigned to her by creating a whole new persona for herself. She begins adopting stereotypical masculinity traits into her system. For example, Dolores became physically strong, ambitious, self-sufficient, authoritative and in control of her emotions and thoughts.

Aside from the hosts, the performance of gender normativity is also explored with the guests. At the beginning of the series, it was stated that the purpose of the park is for self-identification and exploration. This means the guests are allowed to be any version of themselves without having any consequences. A prime example would be the character Willaim. The character first arrives at the park reluctantly with his brother-in-law. Initially, the character showed a personality that leans towards a 'feminine' temperament. 

However, over the course of time, William experienced a change in nature. To give an example, William initially struggled to stand up to his brother-in-law and his slurs. But the more roles he played in the park, the more he realized that his brother-in-law is a “weakling”. Due to this, he finally stood up to him and this won him the family power struggle. This victory eventually led him to develop an interest in the narratives that are offered in the park. Nonetheless, it was later revealed that his wife Juliet committed suicide. To cope with the grief, William made frequent visits to Westworld in hopes of finding fulfillment again. In more specificity, William spent 30 years finding for the “maze” as he believes that the true mystery of the park resides there. 

In conclusion, the character evolution and portrayal of these following characters prove that the concept of masculinity and femininity is a social construct. Their transformation and depiction act an indication to prove that no individual regardless of their gender is one dimensional as the notion of masculinity and femininity expects males and females to be. Hence, if cyborgs are even able to question and challenge the qualities expected of them, what else us humans?

References

Boghossian, Paul (2001) What is Social Construction? Times Literary Supplement.

Drydakis, N., Sidiropoulou, K., Patnaik, S., Selmanovic, S., Bozani, V. (2017) ‘Masculinity vs Feminine Personality Traits and Women’s Employment Outcomes in Britain: A Field Experiment’, p.2-3

Hacking, Ian (1999) The Social Construction of What? Cambridge. Harvard University Press.

Heilman, M.E. (2012) Gender Stereotypes and Workplace Bias. Research in Organizational Behavior, Vol.32, p.113-135.

Il’inykh S.A. (2012) Masculinity and femininity: interpretation in terms of the gender theory [online] Available from: https://research-journal.org/en/2012-en/issue-october-2012/masculinity-and-femininity-interpretation-in-terms-of-the-gender-theory/ [accessed 30/11/2018]

Pollock, V. (2014) ’Forever Adolescence: Taylor Swift, Eroticized Innocence, and Performing Normativity’, p.42-45

Rudman, L.A and Phelan, J.E. (2008) Backlash Effects for Disconfirming Gender Stereotypes in Organizations. In A.P. Brief, and B.M. Staw, (Eds.), Research in Organizational Behaviour (4:61-79). New York, Elsevier.

Spence, JT (1984) ‘Gender identity and its implications for the concepts of masculinity and femininity’, Nebr Symp Motiv. 1984; 32:59-95

Westworld (2016-2018). HBO Entertainment.