They thereby make familiar markers of manliness unfamiliar, and empower women. As these representations critique the masculine valorisation of exploration and conquest, they demonstrate how men's success in the public sphere is undercut by failure in the private one. They depict the public sphere as the principal site for masculinity's definition and expression, while linking voyeurism with violence and investigating how distinctions between England and America influence masculine identity and desire. These representations of masculinity are marked by uncanniness, pervasive tensions, and liberatory possibilities, and enriched by generic and visual features. Beginning with the premise that neo-Victorian films and television programmes set in the late-Victorian era offer especially rich objects of study for those interested in gender and sexuality, this article explores how masculinity is constructed and problematised in Sherlock Holmes (2009), Crimson Peak (2015), Ripper Street (2012-2016), and Penny Dreadful (2014-2016).
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