But four inmates agreed to participate and began to speak about their lives with surprising candor, according to Viñayo. She says she kept reminding them the film would be shown in El Salvador and available online, and asking if it would put them at risk. “But the truth is that they are already condemned: they’ve left the gang; they’ve lived with former members of other gangs; and they’ve lived openly as gay people,” she says. “If they ever got out of prison, they’d have nowhere to go. One of them said the only solution would be to live in the sewer.” Beesley, Francis; McGuire, James (2009). "Gender-role identity and hypermasculinity in violent offending". Psychology, Crime & Law. Taylor & Francis. 15 (2–3): 251–268. doi: 10.1080/10683160802190988. S2CID 144181799. Self-imposed emotional monitoring by men has also greatly affected the conditions in which they communicate with women. [6] Ben-Zeev, Scharnetzki, Chan and Dennehy (2012) write of a recent study that has shown many men to deliberately avoid behaviours and attitudes such as compassion and emotional expression, deeming these traits feminine and thus rejecting them altogether. Scheff adds, "The hypermasculine pattern leads to competition, rather than connection between persons." [7] In the context of intimate or emotional communication (especially confrontation) with women, the masculine male often withdraws emotionally, refusing to engage in what is termed affective communication (Scheff). In a similar study of affective communication behaviours, gender contrast – the deliberate or subconscious negation by one sex of the behaviours of the other – was far more evident within the young boys used as test subjects than of the girls. It’s in this sense that Village People can serve as a bridge to the past, for me and many other young queer people. I’m fascinated by historical queer culture, forged as it is by community revolts and political struggle, and the joy I derive from their music comes in part from the lineage their music evokes. The imagined history that pops into my head when I hear such songs as Fire Island – of free men dancing in pulsating clubs, their shirtless bodies entwined. In this particular prison, San Francisco Gotera, in the east of the Central American country, gang culture was not the only source of virulent homophobia. Starting in 2015, evangelical pastors had converted almost all of the prisoners there to Christianity, and convinced them to leave their gangs. The state had effectively ceded control of daily life inside Gotera to church leaders, who preach that homosexuality is a sin as grave as violence.

a b American Psychological Association 118th Annual Convention in San Diego, California, Aug. 12-15, 2010, 2010, doi: 10.1037/e553752010-001 Otterj has worked extensively with the queer party producer Honcho, whose underground queer sex-positive aesthetic fits well with Otterj's vision. In addition to photographing several of its parties, he has hosted several blowouts on his home turf in Denver. a b Franklin, Karen (April 2004). "Enacting Masculinity: Antigay Violence and Group Rape as Participatory Theater". Sexuality Research & Social Policy. Springer Verlag. 1 (2): 25–40. doi: 10.1525/srsp.2004.1.2.25. S2CID 143439942 . Retrieved 8 July 2020– via ResearchGate. Yes, our treatments are specially tailored for adults only. + How much notice is required to cancel?I can’t recall exactly where I was when I first heard a song by the Village People. I was doubtless very young – as I remember, the venue was either a school disco or a wedding reception. It certainly wasn’t a sordid affair. I should admit immediately, though, that I suspect this memory to be made up. This is probably where we all imagine we heard Village People for the first time – those of my generation, at least: such is the way their biggest hits have become the sonic staples of our biggest events and get-togethers. Pitt, Richard; Sanders, George (2010). Revisiting Hypermasculinity: Shorthand for Marginalized Masculinities?. Harriman, TN: Men's Studies Press. p.44. ISBN 978-1931342230. Where this insistence on emotional indifference manifests in the physical definitions of hyper masculinity is discussed by Scheff: "Repressing love and the vulnerable emotions (grief, fear and shame, the latter as in feelings of rejection or disconnection) leads to either silence or withdrawal, on the one hand, or acting out anger (flagrant hostility), on the other. The composure and poise of hypermasculinity seems to be a recipe for silence and violence." [7] In visual media [ edit ]

GOODEY, J. (1997-01-01). "Boys Don't Cry: Masculinities, Fear of Crime and Fearlessness". British Journal of Criminology. 37 (3): 401–418. doi: 10.1093/oxfordjournals.bjc.a014177. ISSN 0007-0955. The facts are dazzling: the sweltering Spanish capital, with its 500,000-strong queer population ( according to city hall) is Spain’s most queer-friendly city – despite Barcelona and Sitges enjoying a higher profile among many LGBTQ+ holidaymakers. Meanwhile, Madrid Pride (1-10 July) is the second biggest in the world (after San Francisco) and by far the largest in Europe, attracting more than a 1.5million people each year, including 300,000 overseas visitors. Ben-Zeev, Scharnetzki, Chang and Dennehy point toward images in the media as the most important factor influencing hypermasculine behaviour, stating "After all, media does not only reflect cultural norms but can and does transform social reality". [6] This is based on the fact that physical and emotional elements of hypermasculine behaviour are manifested regularly in advertising, Hollywood film, and even in video games through the use of very strong imagery: muscular men overpowering women in advertisements, actors portraying staunch male characters who do not give in to the emotional appeals of their female counterparts and countless video games whose story lines are based strictly on violence. The constant availability of these images for every-day public viewing and use has indeed paved the way for the construction of a system of re-enactment (consciously or unconsciously) by both men and women, of the values they perpetuate (Ben-Zeev et al.). [6]

a b c d Scheff, Thomas. (2006). "Hypermasculinity and Violence as a Social System". "2" (2):1–10. {{ISSN: 1558-8769}} In the gaming industry, hypermasculinity is experienced mainly through the fantastic and often violent situations presented in the gameplay, and as well by the typical design and character traits of the playable characters: often powerfully built, bold and full of bravado and usually armed. "The choice of female characters and actions within games leaves women with few realistic, non-sexualized options", while female characters, like Lara Croft, are but illusions of female empowerment, and instead serve only to satisfy the gaze of men. [8]