The Television series "The Wire" provides an in-depth critique on sociopolitical conditions of postmodern urbanity and uses depictions of characters' masculinities to expose differences between legitimate and illegitimate economies. Throughout the series Avon, a drug kingpin within the structure of "the ghetto" and the "street-corner", bases his masculinity on the idea of family, community, reputation, and territory allowing these to directly influence the decisions he makes within his drug dealing practices. Avon's masculinity is further judged based upon the level of police scrutiny in addition to the number of shootings and murders over territory, most of which occur between men. Essentially Avon imagines his interactions within his drug dealing practices as a way to achieve a form of capitalist masculinity.
Comparatively, the film "Ghost Dog" provides an in-depth illustration of rapidly changing ideas of masculinity in a postmodern world. Ghost Dog, an African American contract assassin, adheres to the codes of the Samurai as described in the Japanese text "Hagakure" from the eighteenth-century. The code of the Samurai exists within an all male world and hinges upon close personal bonds with other men off of which they judge themselves. This is what Ghost Dog does throughout the entire film and can be seen by the existence of his friendship with the Haitian man, his loyalty to his male master, and hist quote to eliminate the male Italian gangsters. Clinging to the masculine code of the Samurai, Ghost Dog believes he is achieving a masculine identity of which he can call his own.
Though it is true that "The Wire" and "Ghost Dog" go about telling their stories in very different ways, they also are both gangster movies, take place in urban settings, and feature African-American leading roles who pursue a quest to achieve a desired masculinity. Ghost Dog's use of the code of the Samurai and Avon's use of territory, family community, and reputation highlight how each characters actively attempts to fulfill their own desire to define themselves through a male worldview.
Bradley, here is a different twist on “masculinity” as respresented in The Wire and Ghost Dog. If we discount (now stay with me) physical and biological characteristics and, instead, consider emotional attributes usually attributed to men such as independence and strength, I propose that the two most “masculine” persons were Detective Shakima Greggs and Pearline. Detective Greggs was aggressive, risk-taking, street-smart, and in an open lesbian relationship in a macho-male dominated profession. Pearline, unlike other male characters, with the possible exception of Raymond, was independent, and willing to take risks, such as associating with Ghost Dog—an unknown and odd personality.
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