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Ben Wheatley's Sightseers is a brutally violent and darkly comic addition to British cult cinema, satirising British values, habits, and relationships with the humble caravan at the centre of its world. However, Wheatley's third feature warns against the harmful effects of not conforming to masculinity. Performance, recognition, and hegemonic masculinity enter this conversation. This paper critically analyses how Sightseers uses frame, sound, character, and narrative to condemn white, working-class toxic masculinity in a regional context. The true cautionary tale is in the numerous and savage manifestations of violence and hyper-masculinity. Sightseers is a cult film that shows the harmful effects of masculinity and societal demands, but it neglects alternative masculinities, which may help us comprehend gender construction and portrayal. This research relies on scholars like Jack Halberstam who discuss alternative and subordinate masculinities. How do these affect viewers? This dissertation concludes by considering how current cult cinema may offer alternatives to "heroic" masculinity or "real thing" as Halberstam calls it. Whether it's Everything Everywhere All at Once's "gentle masculinity" or other constructions, different spaces will hopefully continue to reshape our understanding of masculinity and the positive role these on-screen representations can play in this ideology evolution.
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