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This thesis will review David Ayer’s stories, screenplays and films focussing on masculine camaraderie, homosocial bonding and the relationships of its characters in an attempt to get a deeper sense of the ambivalence between machismo and male-male affection that seems to characterize Ayer’s projects. Thus, Grady’sbehavior is arguably representative for ambivalence of egoistic machismo and homosocialintimacy in his works.
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Singer 2016) and hisinstinctive feel for their intimacy and “social currency” (Axmaker 2006). A look atarticles on Ayer’s films supports this claim: While many call him a “macho helmer” (Perez2016) - going so far as to accuse him of “single-handedly trying to put the macho backinto the movies” (O'Hehir 2014) -, Ayer is equally often recognized for his “knack fordramatizing the ins and outs of male relationships” (Schager 2016, cf. The new millennium has seen severalnegotiations of this masculine control, yet few films have focussed as much on exactly thiscombination of - or conflict between - the “male ego, attitude andcamaraderie” (Schager 2016) as the works written and directed by David Ayer. Thisalternative version of the protagonists’ initial meeting found among the additional sceneson the home entertainment of David Ayer’s war film Fury sums up an incongruity thatRaewyn Connell calls the “tension” between patriarchy’s prohibition of homosocialaffection and its tendency to “constantly produce homo-social institutions” in itsattempt to consolidate its power (1995: 85). After initial intimidation, Grady, arguably the toughest of the three, bites,kisses and chokes the boy, while assuring to “like him” - right before abruptly shovinghim away and calling him “weird” for having allowed Grady to touch him like that. Germany, spring of 1945: Among mud, corpses and battle fatigue a battered trio ofAmerican tankers welcome the newest addition to their small crew - a shy and freshlyrecruited boy. Framing and juxtaposing friendship and marriageħ. Music and scores between hip-hop and melodramaĤ.3. Shooting and framing macho posturing and heroismĤ.2. Masculinity in montage and mise-en-scène by director David AyerĤ.1. Highlighting concepts of scripted masculinityĤ. Homosocial, masculine relationships in stories by writer David Ayerģ.4. A first look at the intertextual relay and an updated research premiseģ. Masculinity, genre and the “buddy formula”Ģ.5. Hegemonic masculinity and homosocial camaraderieĢ.4.