Abstract

On their debut album Outlandos d’Amour (1978), British band The Police explicate the machinations of hegemonic masculinity in their lyrical content to highlight the multidimensional and performative aspects of normalized male dominance over women. Within the constraints of punk, the band engages in a mediated form of introspective and self-reflexive “profeminist cross-dressing” in the three singles and their accompanying music videos released in promotion of the album. Owing a great debt to queer performance theory, The Police does not simply question the processes of gender socialization through which hegemonic masculinity is maintained. Rather, the band engages popular audiences with a masculine feminist perspective within a genre rooted in hegemonic masculinity, wielding its privilege in public and performative ways to subvert and undo these toxic structures. The study of mediated profeminist performances allows for the analysis of profeminist messages beyond interpersonal interactions within their unique political, social, and cultural circumstances.

摘要

在他们的首张专辑Outlandos d'Amour 中（1978 年），英国乐队 The Police 在其抒情内容中阐明了霸权男子气概的阴谋，以突出正常化男性对女性的统治的多维和表演方面。在朋克的束缚下，乐队在为专辑宣传而发布的三首单曲及其随附的音乐视频中进行了一种内省和自我反省的中介形式的“女权主义变装”。由于酷儿表演理论的巨大债务，警察并不仅仅质疑维持霸权男性气质的性别社会化过程。相反，该乐队以男性化的女权主义视角在根植于霸权男性气质的流派中吸引大众观众，以公开和表演的方式运用其特权来颠覆和消除这些有毒结构。