*This article was published in SUAR BENTANG in June 2026

Zuliany Rizky Aulia Danial Hidayatullah

Universitas Islam Negeri Sunan Kalijaga, Daerah Istimewa Yogyakarta, Indonesia

Abstract

This research analyzes the representation of masculinity in the film Lovely Man and The Birdcage, focusing on how a transgender and gay father are portrayed within different cultural contexts of father-child relationship. This study highlights how their gender identities reshape family dynamics and challenge conventional masculinity. By comparing these films, it offers a broader perspective on how non-conforming gender identities influence family relationships and expand the discourse on fatherhood beyond heteronormative frameworks. Using a qualitative approach and Connell’s masculinity theory, this study examines how masculinity functions in film narratives. In Lovely Man, the father grapples with social stigma, guilts, and difficult choices but strives to connect with his child and fulfill his peternal role despite imperfections. In The Birdcage, the father prioritizes his child’s happiness amid social conflicts. Both films challenge the dominant cultural expectation of fathers as strong, morally upright patriarchs by presenting alternative masculinities that emphasize care, responsibility, and emotional depth. However, hegemonic masculinity traits, like authority and emotional control, persist within these non-normative identities, indicating that paternal behaviors remain influenced by traditional masculine values across diverse identities.

Keywords:comparative study; father-child relationship; fatherhood; film; masculinity

Introduction

The father figure in the filmLovely ManandThe Birdcagerepresents an unusual father figure and has an impact on their children. Therefore, by comparing these two films, the factors that affect this and the children’s views on the concept of family and gender identity can be seen from the way the two fathers interact with their children. The family is very influential in shaping the way children see gender roles because often parents teach or reinforce traditional views of what men and women should do (Gaspar, 2024). But, through the unconventional representation of father figure, both films show how identity, gender, and family relationships can be formed more broadly, free from the confines of traditional stereotypes.

Comparative literary studies play a vital role in understanding literary phenomena and the dynamics of world cultures. This approach highlights universal themes across cultures while fostering an appreciation for the diversity of cultural expressions (Kasimov, 2024). It transcends national and state boundaries, allowing for a deeper and broader understanding of the role and behaviour of literature and cultural interactions (Nemesio, 1999). This approach not only enhances the aesthetic understanding of literature in a global context, but also promotes a more inclusive understanding of literature (Kasimov, 2024). The integration of comparative literary studies into mainstream education is highly recommended to foster a more comprehensive perspective on the dynamics of world literature (Kasimov, 2024; Nemesio, 1999).

The filmsLovely ManandThe Birdcagefeature a father who is a figure who does not embody dominant masculinity, but rather an effeminate one, in stark contrast to the characteristics of masculinity in general. Dominant masculinity is a cultural ideal of manhood, often associated with heterosexual, middle-class men, and is commonly known as hegemonic masculinity (Subrayan, 2016). In contrast with dominant masculinity, effeminacy is frequently seen as a departure from conventional ideals of masculinity (Adams, 2020), and traditionally, effeminacy has been linked to traits such as weakness, softness, delicacy, exhaustion, cowardice, and a fondness for indulgent food and clothing (Shapiro, 1988). Therefore, effeminate behaviour contrasts the typical characteristics of masculinity, which are associated with actions, discourses, or customs linked to manliness (Dvorak, 2018). The portrayal of effeminate fathers in these films challenges traditional gender norms, emphasizing that manhood can be expressed in ways that transcend dominant gender expectations.

This study adopts Connell’s concept of masculinity as its main theoretical framework. Connell (1995) explains that hegemonic masculinity operates as a dominant cultural from that legitimizes men’s power and marginalizes alternative masculinities, such as those associated with effeminate or gay men. This framework is useful to analyze how the fathers in Lovely Man and The Birdcage negotiate their identities in relation to traditional gender expectations, and how these negotiations affect their children’s experiences of family, gender, and acceptance.

In addition, both films challenge conventional representations of masculinity. Conventional social representations of masculinity encourage a strict, dominant, and emotionally reserved form of manhood (Guilherme et al., 2021). The mass media also plays a role in this, not so much “reflecting” masculinity in society, but rather “teaching” it by creating or reinforcing its image (Mackinnon, 2003). In addition to the mass media, the force of hegemonic masculinity shapes our perception of what makes someone a “real man” or “real boy” and influences our construction of masculinity (Young, 2001). Both films depict father figures who challenge the limitations imposed by traditional views of masculinity found in social constructs.

On the other hand, the children in both films show the psychological impact caused by their father’s sexuality. The filmsLovely ManandThe Birdcageportray how a father’s sexuality can influence their children’s psychological and social development. According to Cameron (2009) Children of gay fathers might face challenges or negative outcomes in different areas of their life, such as social acceptance, identity formation, and mental health. In many social contexts, stigma continues to affect gay fathers and their children (Perrin et al., 2019). For that reason, they adopt strategies for managing their identities to navigate societal disapproval of their father’s homosexuality (Bozett, 1988). Despite the negative impacts, children of gay fathers can still overcome these challenges and build strong relationships with their fathers through acceptance.

Gay fathers' sexuality also influences children's social dynamics in everyday life. Gay fathers encounter difficulties stemming from experienced stigma, pressures related to gender roles, and worries about their children’s potential social exclusion due to their sexual orientation, as stigma or discrimination can impact the development of social dynamics (Grigoropoulos, 2022). There is no evidence to suggest that the sexuality of gay fathers has a negative impact on their children’s social interactions in daily life (Golombok et al., 2014). While children of gay fathers tend to have fewer behavioral problems than the general population, the stress of being part of a minority group influences their parenting (Green et al., 2019). The existence of social stigma experienced by fathers results in impacts experienced by their children, even though their sexual orientation does not have a negative impact on their children in a social dynamics context.

Previous research highlights how children of gay fathers may face social stigma and identity challenges due to societal attitudes toward their father homosexuality (Bozett, 1988; Grigoropoulos, 2022). Both films also depict society's views toward gay individuals. Homosexuality is often perceived negatively (McGee, 2018), and not universally embraced in society, and discrimination is widespread (Weishut, 2000). Public views of gay individuals have improved over time, yet negative attitudes toward them are still influenced by factors, such as religiosity (Hicks & Lee, 2006). In some parts of the general population, homosexuality is still linked to negative stereotypes and homophobic attitudes (Bulboacă, 2023). These films, however, underline the difficulties gay people face in a society that still holds negative assumptions and stereotypes.

While sexual orientation may not always align with traditional gender norms, the role of a father within the family can still be performed in accordance with the societal expectations associated with masculinity. This is evident as the father in the filmsLovely ManandTheBirdcagestill serve their gender role for their family event though their sexuality does not match. Gender roles refer to culture-specific social roles that include behaviours and attitudes considered appropriate for an individual based on their sex, and these may differ from one culture to another (More, 2023). Traditionally, gender roles are divided into two categories, with masculine traits liked to men and feminine traits to women (Klein, 2020). Thus, sexual minority men who experience a mismatch between their actual and ideal masculine appearance exhibit higher levels of identity pressure and self-awareness (Parmenter et al., 2019). These films highlight the complex interplay between gender roles and sexual identity, showing that even when individuals’ sexuality deviates from traditional expectations, they can still fulfil their roles within the family structure.

The filmsLovely ManandThe Birdcagefeature father-child relationships that persist despite their fathers’ mismatched identities. Gay fathers frequently open up about their sexual orientation with their children, which can enhance their relationship (Bozett, 1980). Revealing their sexual orientation earlier is connected to more intimate father-child relationships in adulthood, consequently leading to better welfare for adult children (Tornello & Patterson, 2018). Despite prevalent stereotypes about gay fathers, both they and their children describe having deep father-child connections (Miller, 1979). This shows that the quality of the father-child relationship does not depend on the parent’s sexual orientation, but rather on factors such as affection, support, and the father’s presence or involvement in the child’s life.

In both films, transmen and transwomen fathers demonstrate hegemonic masculinities as fathers to navigate gender expectations in certain situations. This occurs because they adjust their parenting styles to emphasize traditional masculinity in order to safeguard their masculine identities and avoid being within the traditionally feminine realm of parenting (Hauser, 2015). On the other hand, by showing more compassionate and less conventionally masculine parenting behaviors, they challenge gender norms when compared to heterosexual fathers (Meyer, 2017). Fathers, including transgender ones, encounter difficulties in balancing caregiving responsibilities with the expectations of hegemonic masculinity (Baliscei & Gonçalves, 2021). This shows how fathers continue to fulfil their role as fathers while challenging gender norms with a different sexual identity.

Despite the perceived mismatch between their fathers’ identities and traditional gender norms, the children in both films show acceptance of their fathers for who they are. According to Bozett (1980) the majority of children embrace their gay father’s homosexuality, which frequently strengthen the bond between father and child. Acceptance typically develops and evolves over time through understanding and one-on-one discussions with their father (Tasker et al., 2010). However, in order to shield their children from society hostility, some fathers choose to keep their sexuality hidden (Bozett, 1988). In both films, the complexity of accepting a father’s identity and the challenges of facing social stigma are still clearly visible, highlighting the importance of understanding and supportive acceptance in confronting these realities.

Thus, this study raises some questions: how do the filmsLovely ManandThe Birdcagedepict the impact of fathers' sexuality on their children’s psychological development, and how do children inLovely ManandThe Birdcagedemonstrate acceptance of their father's mismatched identities?

This study aims to examines the representation of non-traditional father figures, particularly transgender fathers, which has been underexplored in literary texts. By analyzing the father-child relationship inLovely Manand the family dynamics inThe Birdcage, the research offers a broader perspective on how non-conforming gender identities shape family relationships while expanding the discussion on fatherhood beyond heteronormative constructs.

Several earlier studies have exploredLovely ManandThe Birdcage. Studies discussing the representation of lives of transvestites in social life in the filmLovely Man(Pratama et al., 2015), the role and subject of transsexuals inLovely Man(Praditasari, 2015), and study on the filmThe Birdcageanalyzing the roles and positions of men and women in same-sex relationship (Oktavianto, 2012) have been conducted. These studies provide important insights into the representation and gender roles in films, particularly regarding the LGBT+ community. However, research and comparative studies examining the effects of masculinity on children have not yet been conducted. Therefore, this study contributes to the growth of literary studies exploring family structures and evolving gender roles in contemporary narratives. Both films challenge conventional representations of masculinity, and this research provides a critical comparison of how transgender men and women negotiate their masculine identities within the family context. It examines how the children in these narratives negotiate their father's gender identity within broader societal expectations of masculinity and fatherhood.

Research Method

This research uses a qualitative research method, applying the concept of representation. The main focus of this research is to analyze the representation of masculinity in the filmsLovely ManandThe Birdcage, with a focus on how the characters of a transgender and gay father are portrayed in the context of a father-child relationship. The masculinity theory developed by R. W. Connell is used as the analytical framework to understand how masculinity emerges within the film narratives. The analysis is conducted through observations of visual and narrative elements, including dialogue, behavior, and interactions between characters. Data is collected from the films using two main categories of masculinity types developed by Connell, namely, hegemonic masculinity and subordinate masculinity. Thesetwo variables are chosen because the conflict between characters in both films arises due to hegemonic and subordinate masculinity. Then, to classify and identify individuals into one of these categories, variables such as practices, discourse, and symbols are used in this study. These variables will later provide information on how and to what extent individuals express their masculinity. From this, it will be possible to determine whether they belong to the hegemonic or subordinate masculinity category. Through this approach, the research is expectedto provideamore profound understanding of the complex and diverse construction of masculinity, particularly in the context of father-child relationships involving transgender and gay father figures. By using the representation approach and R. W. Connell’s theory of masculinity, this research aims to uncover new ways of viewing masculinity in film narratives and how these films reflect broader social and cultural dynamics regarding gender identity and the role of fathers in the family.

Result and Discussion

The different sexualities of fathers, in this case, being transgender and gay in the filmsLovely ManandThe Birdcage, have more or less influence on the psychological condition of their children. Some of the psychological effects on children due to their father's different sexual orientations, include feelings of shock, anxiety, and fear. These feelings also arise due to the negative views from society regarding their father's sexualities. In the filmLovely Man, Cahaya, who is seeking to find and meet her father, is shocked by her father’s condition, which is different from what she expected. Meanwhile, inThe Birdcage, Val experiences fear and anxiety about his father’s different sexual orientation and worries about how society will view his father. This can be seen in the data below.

Cahaya meets Saiful, her father, on a bridge at night for the first time, wearing makeup, a dress, and heels often associated with feminity. When Cahaya sees Saiful, she is shocked by her father’s appearance, which is different from what she expected. The makeup, dress, and heels, symbols that are traditionally linked to feminity, stand in contrast to the image she had of her father, someone who has always been a manly. Saiful, presenting himself in a way that resembles a woman, does not reflect the ‘ideal father figure’ she had envisioned.

Cahaya had always pictured her father as an office worker, someone who wore formal attire, such as a suit or shirt, projecting authority, respect, and stability. The appearance using feminine symbols that Saiful uses causes Cahaya to experience psychological effects due to his behavior, and makes Cahaya question society’s expectations about what father a father should be like. This moment also leaving Cahaya to question not only her father’s true self, as well as her own perceptions of gender, identity, and family roles.

Saiful angrily asked Cahaya the reason why she wanted to meet him:

Saiful:Sebenarnya kamu ngapain sih ke sini? Pengen tau gue seperti apa? Ngapain sih lo musti nangis.(What are you doing here? Want to know what I am like? Why do you have to cry?)

Cahaya:Aku kesini mau ketemu bapakku, tapi yang aku dapet cuma ga sesuai sama apa yang aku harapin. Aku juga ga tau pak harus kek gimana.(I came here to meet my father, but what I got is just now what I expected. I also don’t even know what to do, Dad.)

In this scene, Cahaya expresses a deep sense of rejection towards her gather’s condition, a rejection that stems from her inner struggle with the social expectations placed on her father. She hopes that Saiful will return to being the ‘ideal’ figure of a man and a father, a role that has long been determined by social norms, like when she was a child. This longing reflects Cahaya’s desire for her father to return to the traditional image that she has always known, namely a masculine figure who works in an office, conforms to societal expectations, and behaves according to the traits typically associated with masculinity. Cahaya wants her father to conform to these gender expectations, where masculinity is determined by his profession, clothing, and behavior.

However, she instead encounters a father who is a transwoman and gay, which does not align with the ideal masculinity that emphasizes and shows the traits typically associated with masculinity. The contrast between her wishes and reality she faces with Saiful’s choice to present himself in a more feminine way causes a deep emotional conflict within Cahaya. Her dialogue in this scene also implies a strong desire for her father to live a ‘normal’ life because she is afraid of the judgments society will make towards her father. This internal struggle underscores the psychological effect on Cahaya, as she is confronted with a version of her father that challenges everything she had once believed about identity, masculinity, and family.

Val told Armand about Barbara’s family background and asked Armand, who is his father, to pretend to be a cultural attaché in front of Barbara’s family.

Val: No. He is conservative, like half of America is conservative. And I'm not marrying him, I'm marrying her. And I need your help

Armand: Not for this

Val: You've done it before

Armand: What? Lied about who I am? Never

Armand is reluctant to help Val because he doesn’t want to pretend to be someone else by displaying man's ‘ideal’ traits, such as masculinity, dominance, strength, and power. On the other hand, Val unconsciously showed signs of emotional or psychological disturbance due to his father’s sexuality. He felt anxious and fearful about how his girlfriend’s prestigious family would view his father, who is transgender and gay. This illustrates that although Val accepts his father’s different sexual identity, he is actually facing psychological responses that cause her anxiety and fear of the social perception of his father.

There was a conversation between Val and Armand:

Armand: Albert is hysterical now. You know what he'll do if Katharine comes in this house?

Val: Nothing. She won't embarrass me. It was my mother, I couldn't tell her not to come. Pop, without her I'm screwed. You know that Val showed the psychological impact of his father’s different sexuality, which he feared could cause him to be judged negatively by Barbara’s family.

Due to traditional stereotypes about family dynamics, where the father is usually a masculine figure and the mother represents femininity, Val is faced with the complexity of her father’s identity which is different from the expectations of a traditional masculine figure. He indirectly expressed that he needed his mother to help him project the image of a ‘normal’ family, one with a mother and father of different genders, rather than a man with a man. His desire for this conventional image reflects the pressure Val feels to conform to societal expectations of what a ‘normal’ family should be like, especially in front of Barbara’s family who may not understand or accept his father’s sexual identity. The fear of judgment highlights the psychological pressure Val experiences.

There was a conversation between Val and Armand before meeting Barbara’s family: Armand: Any last instructions?

Val: Just don't walk unless you have to. Try not to gesture

Armand: That’s all?

Val: Don't talk too much. It doesn't matter. This is not gonna work

In this scene, Val seemed anxious and insecure about meeting Barbara’s family when he saw Armand’s behavior that did not show a dominant masculine side that Val has always believed is ‘normal’ for a father. Val’s insecurities grow as he realizes how Armand’s actions and attitudes do not align with traditional expectations of masculinity. The contrast between Armand’s behavior and social expectations of what a father should be highlight the psychological effect on Val because of Armand’s different sexuality and identity. He worries that Armand’s lack of traditional masculine traits will lead to rejection or ridicule, adding to the pressure in Val to conform to a particular family image and masculinity.

The psychological condition of children will be affected to some extent by their father’s sexualorientation. Thisprovesthatthe difference in parental sexual orientation, in this case, the father, unknowingly impacts the psychological condition of their children. The effect is further exacerbated by the social stigma from society towards their fathers. Therefore, increasing awareness and social support is necessary to create a comfortable environment, regardless of an individual’s sexual orientation. This research also shows that in the filmsLovely ManandThe Birdcage, a father’s sexuality can influence the social dynamics of their children in everyday life. The social stigma associated with the father’s sexuality in both films impacts the social dynamics of their children. InLovely Man, Cahaya experiences social stigma due to her father’s different sexuality, which leads her to feel awkward and struggletoacceptherfather’sidentity. Meanwhile, inThe Birdcage, this is evident in Val’s behavior as he faces the social standards when his family and his girlfriend’s family are about to meet. This can be seen in the data below.

There was a conversation between Cahaya and a woman, who is Saiful’s neighbour: Tetangga saiful: Hah? Kamu anaknya ipuy (saiful)? Ipuy bisa juga punya anak ya? Hihi. (Ah? You’re Ipuy’s (Saiful) child? Ipuy can have a child too? Hihi)

In this scene, it is clear that Cahaya faces social stigma because she’s the child of Saiful, who is transgender and gay. The statement made by the woman seems to underestimate and question Saiful’s true identity. This may occur due to Saiful’s behaviour, voice, or clothing, which do not align with the ‘ideal’ image of a man who is dominant over women, has a deep voice compared to women, and wears clothes like t-shirt and pants instead of dresses, which is associated with feminist behaviour. This also reflects how society views individuals who do not meet the ‘ideal’ standards of masculinity. It shows that Saiful falls into subordinate masculinity, as he is perceived as not conforming to the ideal hegemonic masculinity.

Cahaya comes out of the bathroom after taking off her hijab:

Cahaya: Udah bisa ngobrol santai kan? (We can talk casually now, right?)

Saiful: Iya. (Yes.)

In this scene, Cahaya tries to bond with Saiful, her father, by taking off her hijab so that Saiful feels comfortable and less self-conscious, hoping that by doing so, her father can open up to her without feeling awkward about Cahaya’s appearance with the hijab. She recognized that Saiful’s sexual identity might make her feel uncomfortable or awkward, and she wanted to create a safe space where Saiful could open up to her without scared of feeling judged. By taking off her hijab, which had become an important symbol of her own identity, Cahaya sacrificed a part of herself in hopes of building a connection between them, allowing for a more genuine and intimate conversation between father and child. Cahaya’s actions also reveal the deep emotional conflict she experiences, even though her hijab is a representation of her personal faith and beliefs, she is willing to change her appearance to make her father feel more accepted. This scene also reflects how Saiful’s sexual identity, which deviates from traditional gender norms, affects his child interactions with others in everyday life. Val told Armand about Barbara’s family background and asked Armand, who is his father, to pretend to be a cultural attaché in front of Barbara’s family.

Val: Dad, Barbara's father is a senator, a conservative senator. He is running for reelection, and she told him you are the cultural attaché to Greece, and Albert was a housewife

Armand: I don't care who he is; I don't want to be somebody else. Do you want me to be somebody else?

Armand shows reluctance to help Val because he does not want to become someone else by embodying the ‘ideal’ image of a man, which is associated with masculinity, dominance, strength, and power. His refusal to conform to these norms demonstrates his rejection of conventional masculinity, which he believes will force him to suppress his true self. Also, this scene shows the influence of his father’s sexuality, which causes Val to become entangled in a conventional masculinity construct, making him feel obligated to conform to these social norms in order to be accepted by his girlfriend’s family. Armand’s nonconformity challenges Val’s understanding of masculinity and leaves him feeling trapped within a rigid societal construct. There was a conversation between Val and Armand.

Val: I just make it a bit more like other people's homes

Armand: I see, so we need a total redecoration. So we can be more like other people

Val: And you're going to have to try to, you know, change your mannerisms a little Armand: What are you saying?

Val: Just be a little less obvious.

In this scene, Val says that Armand must display the ‘ideal’ masculinity expected from a man, through actions, words, and symbols that traditionally representing masculinity. Val’s demands reflect not only his personal expectations but also societal pressures to conform to rigid and hegemonic standards of masculinity. This reflects how Armand’s sexual orientation, as a transgender and gay father, influences the social dynamics of his child’s everyday life, where Val feels pressured to conform to the hegemonic masculinity standards that are considered the norm in society, even though these standards do not align with his father’s true identity. Val is forced to navigate the tension between his love and loyalty to his father and the social pressures that demand he conform to traditional gender roles. He feels obligated to embody the masculine behavioral qualities that society deems necessary for acceptance, especially in a context where others, such as her girlfriend’s family, may judge his father and him.

Thus, the difference in the father’s sexual orientation can influence the social dynamics of their children in everyday life. The social norms and stigma faced by their fathers also affect the children due to their father’s sexual orientation, which does not align with societal standards and norms. Therefore, society needs to eliminate the existing stigma so that children are not affected by social pressure that could ultimately harm them. This can also reduce discrimination against minority groups, fostering the development of a more tolerant social environment.

However, the father-child relationship can still be maintained even though their father's identities are mismatched. The fathers are portrayed as individuals who provide emotional support to their children, even with their different sexual orientations. This does not cause them to relinquish their responsibilities as fathers. InLovely Man, the father-child relationship gradually becomes evident through the interactions between Saiful and Cahaya, who are reunited after years apart, in contrast toThe Birdcage, which portrays a strong father-child relationship from the beginning of the film. This can be seen in the data below when Saiful asked Cahaya’s weel-being and life for the first time after being separated for many years.

Saiful:Lo udah kelas berapa sekarang?

(What grade are in now?)

Cahaya:Baru lulus SMA pak.(I just graduated from high school, Dad.)

Saiful:Terus, mutusin (buat) kuliah? apa kerja?(So, have you decided (to go) to college? Or are you working?)

This scene shows the father-child relationship between Saiful and Cahaya. Despite not fitting the traditional image of an ‘ideal’ father, Saiful still shows his care and concern for Cahaya by asking about her life and the events that have occurred over the years. This demonstrates how Saiful brings his masculinity as a father, remaining caring and attentive to his child’s condition and circumstances, even though he does not fit the ‘ideal’ father figure who behaves and dresses like a typical man who is dominant over women and other genders, and wearing t-shirts, shirts, or suits. This scene reveals how Saiful, as a father figure, embraces his masculinity in a way that is different from societal expectations, manifested through his attention and emotional support for his daughter. His willingness to connect with his daughter and ask about her well-being shows that masculinity can also manifest in caring, empathy, and openness. Saiful and Cahaya reminisce about their past when they were together.

Saiful:Apa yang lu inget?(What do you remember about me?)

Cahaya:Eee kalo sebelum tidur, aku suka inget main ujan-ujanan, tapi lupa ama siapa cuma inget keadaanya aja. Terus eee ibu suka marah-marah, tapi lupa marah-marahnya ama siapa.(Uh, before going to bed at night, I used to remember playing in the rain, but I forgot with who, I just remember the situation. And then, uh, mom used to scold a lot, but I forgot who she was scolding.)

This scene shows the father-child relationship pattern between Saiful and Cahaya, which gradually becomes deeper. They both reminisce about the past, when Saiful was still the ‘ideal’ father figure for Cahaya, both in terms of behavior, tone of voice, and clothes Saiful wore. He was a father who spent time with and accompanied his child to play during leisure time, using a soft tone of voice and wearing a shirt. Saiful’s actions, such as accompanying Cahaya to play, are a symbol of the love and attention given by a father to his child. The depiction of Saiful in the past highlights the contrast between the father Cahaya remembers and Saiful she now encounters, whose appearance and expression of masculinity have changed. Armand meets Val, his child.

Armand: You keep getting better looking His Son: Thank you, so do you

Armand: Oh, no. Really?

Armand’s behavior in this scene shows his masculinity as a father and head of the family. When Armand hugs and greets his son, it shows the natural affection and bond that exists between a father and son that symbolizes the strength of their relationship, which transcends any societal judgment or expectation. Although Armand’s sexual identity differs from what is traditionally expected of a father, the deep, harmonious father-child relationship is clearly visible in this scene and remains unchanged. Armand’s masculinity in this context is not about conforming to the typical image of a dominant heterosexual man, but rather about representing himself as a loving, supportive, and present father.

Armand: Any last instructions?

Val: Just don't walk unless you have to. Try not to gesture

Armand: That’s all?

Val: Don't talk too much. It doesn't matter. This is not gonna work

Armand: Come on! Don't be so negative. I think we can pull this off

In this scene, the father-son relationship between Armand and Val can be seen through Armand’s effort to lie about his identity in front of Barbara’s conservative family and play along by pretending to be a man with a conventional sexual identity. To protect Val from potential judgment and rejection from his girlfriend’s family, Armand pretends to be a man with a conventional sexual identity, hiding the truth about his transgender and gay identities. This action shows the depth of Armand’s love and affection for his son. As a father, Armand prioritizes Val’s well-being and acceptance, even if it means hiding his true self and conforming to societal expectations. Armand’s willingness to ‘sacrifice’ his own identity for Val’s highlights the lengths a parent might go to for the sake of their child’s happiness.

Despite their father’s sexual identities being different, the father-child relationship can still be established. Even with different sexual identities, the fathers in both of these films continue to fulfil their role as fathers, which allows the father-child relationship to form regardless of their mismatched identities. This also shows that the emotional support and involvement in their children’s lives, which the fathers continue to provide, influence the qualityof thefather-childrelationship, regardless of their different sexual orientations.

Another important finding is the children in both films accept their fathers’ mismatched identities. The children in both films also continue to respect their fathers as father figures, regardless of the existing realities. With the acceptance of their father’s different sexual identity, their relationship becomes stronger. In the filmLovely Man, acceptance of her father’s identity is portrayed emotionally and psychologically through the journey that Cahaya goes through. While in the filmThe Birdcage, doesn’t emphasize personal transformation as much asLovely Man, instead, the child’s acceptance of his father’s identity is portrayed through humor and comedy. This can be seen in the data below.

Cahaya who recognizes Saiful as her father: Orang:Neng, kok mau sih, jalan sama banci.(Girl, why would you walk with a drag queen?)

Cahaya:Itu bapak aku kok.(That’s my dad.)

This scene shows the social perception that Saiful has to endure because he is different from the ‘ideal’ male figure, which typically displays masculinity and physical strength. As a result, Saiful faces societal judgment and its often considered ‘different’ because his appearance and behavior do not conform to conventional gender expectations. This scene also illustrates how Cahaya ultimately acknowledges and accepts Saiful as his father, regardless of his father’s physical condition not matching his sexual identity, after going through a phase of denial and rejection of his father’s different identity. This acceptance is a crucial moment in their relationship, as it changes from rejection to understanding, proving that family bonds can persist beyond society’s judgments and stereotypes. Cahaya’s emotional growth is also clearly visible, learning to accept her father for who he is, not the image that society expects of him. Val admits to all the charades he had planned in front of Barbara’s family in order to be accepted.

Kelley: Well, this woman just introduced herself as Val's mother. How many mothers does Val have?

Val: Just one. This is my mother (point at Albert). My father owns the club downstairs, my mother is the star

In this scene, Val shows the acceptance of a child towards their father’s different sexuality by revealing the truth about Armand’s sexual identity as a gay and transgender person in his relationship with Albert. This act of revelation marks a significant turning point in Val’s character development, as he overcomes societal expectations and personal resistance to accepting his father’s true identity. Despite the complexity of Armand’s identity, Val’s willingness to admit the truth openly demonstrates his growing understanding and acceptance of his father’s true self. By revealing Armand’s sexuality, Val not only supports his father but also challenges the norms that dictate how relationships and identities should be perceived.

Based on the data presented, the author concludes that children can still accept the differences in their father’s sexual identities. Openness with their children regarding their sexual identity allows the children to accept it. Additionally, the children continue to respect and value their fathers, regardless of their different identity conditions. This emphasizes that children’s acceptance of their father’s sexual identities largely depends on the quality of the relationship and the openness of communication between them, which in turn fosters a relationship that is more respectful and accepting of each other’s condition.

Moreover, the study found that transgender fathers in both films carry out their hegemonic masculinities as fathers in certain situations, navigating fatherhood while simultaneously challenging and reshaping conventional gender norms. Both films demonstrate how transgender fathers negotiate and reshape masculinity within their family roles, revealing that hegemonic masculinity is a performative and context-dependent construct. Hegemonic masculinity, as described by Connell (1995), refers to the dominant form of masculinity that is culturally exalted, often associated with traits like authority, protection, and strength. The father figure inLovely Manembodies these traits, displaying a caring, protective, and authoritative behavior towards his child in certain situations, despite his physical and gender appearance has changed. In contrast, the father figure inThe Birdcageis depicted as someone who tries to maintain conventional masculinity to face the existing social pressures, especially in front of his child’s conservative girlfriend’s family, by presenting himself as a ‘normal’ father with conventional masculinity and trying to fulfil existing social expectations. This can be seen in the data below.

Saiful:Bapak tau, kamu ga pernah minta apa-apa sama bapak. Selama ini juga bapak belum pernah berbuat baik sama kamu. Bapak tau, itu ga mungkin bisa menebus semua kekurangan dan kesalahan bapak selama ini. Tapi paling engga, cuma itu yang bisa bapak lakukan. Cahaya, kamu ingat perjanjian kita?(I know, you never asked me for anything. I also haven’t done anything good for you. I know this can’t possibly make up for all the mistakes and shortcomings I’ve had all this time. But at least, tthis is the only thing I can do. Cahaya, do you remember our aggrement?)

Cahaya:(menggangguk)(nods)

Saiful:Kita cukup sampai di sini, ga bisa lebih dari itu. Apa pun yang Cahaya lakukan dalam hidup, bukan masalah benar atau salah. Tapi itulah jalan hidup. Cahaya ingat? Waktu kecil Cahaya seneng dan sering sekali bermain hujan bersama bapak, ya kan?(We stop here, it can’t go beyond that. Wherever you do in life, it’s not about whether it’s right or wrong. But that’s your path in life. Do you remember when you were little, you loved and often played in the rain with me, right?)

Cahaya: (menggangguk)(nods)

Saiful:Kurang lebih hidup seperti itulah Cahaya. Bukan lalu kita harus lari dan berteduh dari hujan, tapi kita menikmati hujan itu. Kamu ingat itu.(Life is a bit like that, Cahaya. It’s not about running away and seeking shelter from the rain, but about enjoying the rain. Remember that.)

In this scene, Saiful portrays a masculine figure as a family leader to his child. This can be seen through the sincere advice Saiful gives to Cahaya, reflecting the father’s deep care and concern for his child. The depth of his care and responsibility as a father is evident in this scene, underline his role as protector and mentor to his daughter. Saiful also recalls Cahaya’s childhood memories with him, which shows that despite their current situation, Saiful shows that he has never forgotten his bond with his daughter and continues to cherish them. This act of remembering their past also highlights Saiful’s efforts to maintain his identity as a loving and care father. On the other hand, this scene indicates Saiful’s attempt to elevate his masculine hierarchy as a dominant father, as he attempts to position himself as an authority in his daughter’s life. Although he attempts to assert this role, in reality, he embodies subordinate masculinity, a form of masculinity that does not conform to conventional standards (Connell, 1995). Despite the fact that he attempts to present himself as a dominant and authoritative figure, Saiful’s identity still clashes with traditional expectations of masculinity, making his role as a father challenging.

Armand: Agador?

Agador: Goddamn it. What did I do?

Armand: We're redoing the apartment for tomorrow night. Goddamn it

Armand:We have to get rid of everything that's over the top

Agador: That's a lot

Armand: You'll have to get a uniform and dress like a butler

In this scene, Armand portrays the masculinity and ideal image of a father who strives to meet existing social expectations, dominating as the head of the family who helps fulfil his child’s wishes while showing his masculinity to his child. On the other hand, this scene also highlights Armand’s masculinity as a father who wants his son to be seen positively and have a harmonious family in front of his girlfriend’s family. Armand’s discourse also reveals his attempt to elevate his position within the hierarchy of masculinity by being dominant toward Val and Agador, even though this cannot be fully achieved within the existing conservative construction. His attempts to assert dominance over Val and Agador stem from a desire to prove his worth within the hierarchical structure of masculinity, but they also highlight the limitations and challenges he faces in trying to fulfill the masculine role desired by society.

Transgender fathers, in certain situations, carry out their hegemonic masculinity. This is done as an effort to elevate their position in the masculinity hierarchy or to demonstrate dominance or leadership in order to be more ‘respected’ by others. They strive to create space for their identity to be accepted despite stigma and social discrimination. Therefore, it can be seen that how a person expresses their masculinity may vary, depending on their situation.

Conclusion

After examining the two literary works above, the authors found several things from both films. By facing the existing social stigma, the father figure in the filmLovely Manis portrayed as a man who lives with different life choices and guilt over his past, but his efforts to build a connection with his child show that he is trying to fulfil his role as a father, even if in ways that far from ideal. Meanwhile, inThe Birdcage, the father figure prioritizes his child’s happiness and well-being and strives to demonstrate that a family can be formed, even though the situation is complex and fraught with social conflicts and tensions. Comparing the two films, it is discovered that within a heteronormative culture, the father figure is often defined within the rigid and conventional framework, which is expected to always appear as an ideal, strong figure who follows moral and social standards. Both films challenge this concept by depicting the condition of an unconventional father figure. As in the filmLovely Man, the father figure is portrayed in a way that does not align with societal norms, while inThe Birdcage, the father figure is shown as someone who does not follow and challenge the role of conventional and heteronormative masculinity. Another interesting finding of this research is that hegemonic masculinity is still seen in certain situations in transgender men. Thus, hegemonic masculinity is never totally absent. This research contributes to the growing discourse on masculinity and fatherhood in film studies by highlighting how cinematic narratives can subvert hegemonic constructs and offer more inclusive representations of paternal roles. By placing a Western and Southeast Asian film in conversation, the study underscores that the redefinition of fatherhood is a cross-cultural project, one that challenges rigid gender binaries and opens space for empathetic, non-traditional father figures. It also advances gender studies by complicating the assumption that marginalized gender identities are inherently oppositional to hegemonic masculinity, instead showing how these identities may reproduce or resist dominant norms in nuanced ways. However, this research has limitations. It might not get the insight related to the internal and psychological conflicts or identity crises a father might experience, such as feelings of guilt or not being good enough towards his child.

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