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University of Huddersfield Repository CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Huddersfield Repository University of Huddersfield Repository King, Martin S "Running like big daft girls." A multi-method study of representations of and reflections on men and masculinities through "The Beatles" Original Citation King, Martin S (2009) "Running like big daft girls." A multi-method study of representations of and reflections on men and masculinities through "The Beatles". Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/9054/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ “RUNNING LIKE BIG DAFT GIRLS.” A MULTI-METHOD STUDY OF REPRESENTATIONS OF AND REFLECTIONS ON MEN AND MASCULINITIES THROUGH “THE BEATLES.” MARTIN KING A Thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy. The University of Huddersfield June 2009 Contents Contents … … … … … … … … … 2 Copyright Statement … … … … … … … 11 Acknowledgements … … … … … … … 12 Abstract … … … … … … … ... … 14 Chapter 1: Introduction … … … … … … 15 Why the Beatles? : Personal Location … … … … … 15 Why the Beatles? : A Rationale … … … … ... … 23 Introduction … … … … … … … … … 23 Facts and figures … … … … … … ... … 25 What are The Beatles? … … … … … … … 26 Beatlemania … … … … … … … ... … 27 Men of ideas … … … … … … … … … 33 A focus for new ideas … … … … … … … … 38 We’re Sgt Pepper’s Lonely Hearts Club Band, we hope you will enjoy the show … … … … … … 39 Art and a giant Dansette … … … … … … … 44 Bigger than Jesus: The Beatles as cult … … … ... … 46 A 21st Century phenomenon? … … … … … … … 50 Conclusion … … … … … … … ... … 55 Developmental of the Theoretical and Methodological Framework … … … … … … 56 Development of the idea… … … … … … ... … 56 Structure of the thesis … … … … … … … … 58 Part One: Literature and Methodology … … … … … 61 2 Chapter 2: Social Change in “the Sixties” in the UK ... ... 62 Introduction … … … … … … … ... … 62 The Sixties … … … … … … … … … 62 Introduction … … … … … … … ... … 62 Men and the 1960s … … … … … … … … 67 Social Changes for men … … … … … ... … 69 Never had it so good … … … … … … … 69 Men at work … … … … … … … ... … 71 Cultural revolution or shift to consumerism? … … … … … 72 The sexual revolution … … … … … ... … … 74 The White Heat of Technology … … … … … … 74 Boys’ toys … … … … … … … ... … 76 1960s’ media as contradictory cultural practice … … … … 79 The Mass Media in the 1960s … … … … ... … 79 The Dream Life: blurred boundaries … … … … … … 82 The TV in the home … … … … … … ... … 84 The ‘60s as a Golden Age … … … … … … … 86 The Sit-Com … … … … … … … ... … 89 The Rise of celebrity … … … … … … … … 90 McLuhan’s Global Village … … … … … ... … 91 The Beatles vis a vis the Sixties … … … … … … 92 Introduction: icons, heroes and principal cast members … ... … 92 Inheritors of possibilities … … … … … … … 93 Be Here Now … … … … … … … ... … 96 Don’t Start me Talking About the Beatles … … … … … 98 3 The Establishment … … … … … … ... … 101 The Beatles: inside and outside of “The Establishment” … … … 104 Pot at the Palace … … … … … … ... … 107 Conclusion … … … … … … … … … 108 Chapter 3: Men and Masculinities … … … … … 112 Naming Men as Men … … … … … … … … 112 Introduction … … … … … … … ... … 112 Cultures of Masculinity … … … … … … … 113 What is a man? … … … … … … … … 114 The Crisis in Masculinity … … … … … … … 115 The hegemony of men … … … … … ... … 120 Masculinism … … … … … … … … … 122 Culturalist Approaches … … … … … … … 126 The language of sex and gender … … … … ... … 132 1950s’ man-in crisis or revolt … … … … … 133 Introduction … … … … … … … ... … 133 Angry Young Men … … … … … … … … 134 The male revolt … … … … … … ... … 137 The rise of Playboy … … … … … … … … 139 Crisis or revolt? … … … … … … ... … 141 The Beatles vis a vis Masculinities … … … … … … 142 Introduction … … … … … … … ... … 142 Fluidity of gender … … … … … … … … 145 Girl Groups … … … … … … … ... … 148 The Beatle women … … … … … … … … 149 4 Conclusion … … … … … … … … … 152 Chapter 4: Representations of Men and Masculinities … … 153 Representations … … … … … … … … 153 Introduction … … … … … … … ... … 153 The role of representation … … … … … … … 153 Semiotics … … … … … … … ... … 155 Cultural Marxism … … … … … … … … 156 The Mass Media and discourse … … … … ... … 157 The Audience … … … … … … … … … 163 Representation and identity … … … … … ... … 166 Representations of Masculinities … … … … … … 172 The Gaze … … … … … … … ... … 172 Possibilities of pleasure: the male as subject … … … … … 174 Public Men … … … … … … … … … 177 Masculinity as fact … … … … … … ... … 178 Masculinity as signs … … … … … … … … 179 Representations of The Beatles: The Beatles on Film … ... … 181 Conclusion … … … … … … … … … 185 Chapter 5: Methodology and Research Methods ... … 187 Introduction … … … … … … … … … 187 Research beliefs and the location of the study … … ... … 188 Rationale … … … … … … … … … 190 Documentary research … … … … … ... … 193 Case studies … … … … … … … … … 195 Method: The documentary stage ... … … … … … 197 5 Sampling: The films as texts … … … … … … … 197 Textual analysis … … … … … … ... … 198 Interviews … … … … … … … … … 203 Semi-structured Interviews … … … … … … … 206 Method: The interview stage … … … … … … 210 Sampling … … … … … … … … … 211 Procedure … … … … … … … … … 212 Interview analysis … … … … … … ... … 213 Ethical Framework … … … … … … … … 217 Conclusion … … … … … … … ... … 217 Part Two: Analysis and Findings … … … … … … 219 Chapter 6: The Beatles’ Films … … … … … … 220 Introduction … … … … … … … ... … 220 The Beatles’Films: A Hard Day’s Night … … … ... … 221 The Film: Circumstances of production … … … … … 221 A Day in the life … … … … … … ... … 222 Nouvelle vague … … … … … … … … 224 Run for your Life … … … … … … … … 226 Men of Ideas: From producers to consumers … … ... … 229 Boys my Boys: homosexuality and pop music … … … … 230 The Gang … … … … … … … ... … 233 “To be-looked-at-ness” (Mulvey, 1975 : 18) … … … … … 236 The Image: dressed by Brian … … … … … ... … 236 Mod … … … … … … … … … … 237 Subtlety as subversion… … … … … … … … 238 6 Hair: Mop Tops … … … … … … ... … 239 The Gaze … … … … … … … … … 240 I Should Have Known Better … … … … … … … 241 And I Love Her … … … … … … … … 242 Concert Scene … … … … … … … … 242 Conclusion … … … … … … … … … 243 The Beatles’ Films: Help! … … … … … ... … 244 The Film: circumstances of production … … … … … 244 A Technicolor international travelogue … … … ... … 246 Escape … … … … … … … … … … 250 Indoor boys … … … … … … … ... … 251 Outdoor boys … … … … … … … … … 253 Men of Ideas … … … … … … … ... … 255 The Beatles as pre-Metrosexual … … … … … … 258 Conclusion … … … … … … … ... … 260 The Beatles’ Films: Magical Mystery Tour … … … … 262 The Film: circumstances of production … … … ... … 262 Escape … … … … … … … … … … 263 A dalliance with the counterculture … … … … ... … 265 Men of Ideas … … … … … … … … … 266 Arcadia in Albion… … … … … … … ... … 269 Different from that which is normal or expected: The subversive Agenda … … … … … … … 270 Granny Takes a Trip … … … … … … ... … 273 Painting The Car and the Granny Glasses … … … … … 275 7 Conclusion … … … … … … … ... … 277 The Beatles’ Films: Let it Be … … … … … … 279 The Film circumstances of production … … … ... … 279 Woman … … … … … … … … … 281 A messy divorce … … … … … … ... … 282 Lennon and a politicised masculinity … … … … … … 284 Social constructionism at work? … … … … ... … 285 “To-be-looked-at-ness” (Mulvey, 1975 : 18) … … … … … 286 The Look … … … … … … … ... … 288 And in the end … … … … … … … … … 290 In a high place … … … … … … ... … … 291 Conclusion … … … … … … … … … 293 The Beatles’ Films: Conclusion … … … … ... … 295 Challenges to Hegemonic masculinity … … … … … 295 An Alternative version of masculinity … … … ... … 297 Chapter 7: Looking Back – what do men say? … … … 299 Introduction … … … … … … … ... … 299 Interview Data … … … … … … … … 305 Key Themes … … … … … … … … … 305 The Interviews and ‘I’ … … … … … … … 309 Detailed Analysis … … … … … … … … 311 Presentation and Discussion of Findings … … … … … 313 Respondent 1 … … … … … … … ... … 313 The Beatles and the 1960s … … … … … … … 313 Football and dominant and resistant masculinities … … ... … 316 8 Constructions of Masculinity … … … … … … … 318 The 1960s as social change … … … … … ... … 321 Conclusion … … … … … … … … … 322 Respondents 4, 5 and 6 … … … … … ... … 323 The Beatles and the 1960s … … … … … … … 324 The 1960s as social change … … … … … ... … 328 Constructions of masculinity … … … … … … … 331 Conclusion … … … … … … … ... … 335 Respondent 11 … … … … … … … … … 336 The Beatles and the 1960s … … … … … ... … 337 Constructions
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