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Gender representations in media
How the media portrays transgenders
Gender representations in media
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The figure of the drag queen is pivotal in understanding transgenderism and issues related to gender. Drags are places where femininity or masculinity is performed by opposite sexes. The film, Paris is Burning, directed by Jennie Livingston, is a valuable source for understanding issues including race, gender and otherness. The film touches upon the lives of black gays and transsexuals who live in New York and constitute a subculture, which is differentiated from heteronormative culture in a given society. The film depicts the culture of gays and transsexuals, who are African American or Latin, who perform femininity through drag. Also, drags offer a sense of community which creates a space of belonging for individuals who are marginalized by society because they do not conform to the expectations of the dominant culture. Drags are defined by appearing as a straight woman or man which gives important clues about how they understand femininity and how to define and categorize gender. Thus, in Jennie Livingston’s film Paris is Burning, drag queens are symbols of transgression of the white, male heterosexist culture Leo Bersani describes in “Loving Men.” It can be seen that gays and transsexuals in the film have a conservative attitude regarding gender and femininity, equating being a woman with beauty, wealth and whiteness, in keeping with the standards dictated by patriarchal heterosexist society.
Gays and transsexuals establish “drags” and “houses” to define their rules freely in an environment where they are committed to each other. In drags, femininity is performed through male bodies, which brings an innovative question to the forefront; whether gender is a performance or not. The individuals in the film are born as male but i...
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...conservative ideas about femininity because they depend on traditional institutions to be welcomed by society. They associate femininity with being beautiful and white, which are standards of heterosexual, patriarchal, white culture.
Works Cited
Bersani, Leo. “Loving Men.” Constructing Masculinity. Ed. Maurice Berger, Brian Wallis, and Simon Watson. New York and London: Routledge, 1995. 115-123.
Butler, Judith. Bodies that Matter: On the Discursive Limits of Sex. Florence, KY, USA: Routledge, 2011. 1-250.
Dean, Tim. Beyond Sexuality. Chicago: University of Chicago Press, 2000. 14. hooks, bell. Reel to Real: Sex and The Class At The Movies. New York: Routledge, 1996. 1-244.
Livingston, Jennie, dir. Paris is Burning. Miramax Films, 1991. Film.
Rupp, Leila, and Verta Taylor. Drag Queens at the 801 Cabaret. Chicago: University of Chicago Press, 2003. 1-256.
Mulvey, Laura."Visual Pleasure and Narrative Cinema." The Sexual Subject: A Screen Reader in Sexuality/Screen. London: Routledge, 1992.
Butler, Judith. "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory." Theatre Journal 40.4 (1988): 519-31. The Johns Hopkins University Press. Web. 11 May 2011.
The semiotics of traditional theatrical form reinforce an oppressive patriarchal system. The physical body becomes the catalyst by which gender is assigned and expected. This emphasis on the body is amplified in the theater. Simone Benmussa’s play The Singular Life of Albert Nobbs, adapted from the short story by George Moore, deals with issues of femininity and masculinity and how these are portrayed within the theater as well as how theater is formed by the traditional patriarchal gaze. This play also deals with issues of class and how class status is intrinsically tied to gender, gender performance and sexuality. Through the example of this play it is seen that a form of theater which creates and maintains the woman as subject rather than object (as Sue-Ellen Case proposes) cannot be truly realized until the performative nature and many issues inherent in masculinity are acknowledged and processed. Here also is an excellent case study of how the politics of the theater are deeply rooted in body politics and gender essentialism. All of these factors contribute to the play’s overall complexity in matters surrounding and pertaining to the performative nature of masculinity and the manner in which masculinities are brought forth on stage and how that differs from femininity on stage.
In her essay “Visual Pleasure and Narrative Cinema”, Laura Mulvey discusses the subject of how female characters, through various methods, are subjected to erotic objectification, by both the characters on screen as well as the spectators within the auditorium. While Mulvey makes an excellent point in acknowledging female’s exposure in cinema, she fails to realize that male characters are just as likely to be subjected to the same kind of objectification, depending on what type of audience the motion picture is directed at. Mulveys claim depends on a generalization of a homogenous audience and characters that only consists of heterosexual men. When transferring Mulveys claim onto homosexual male characters starring in a production that is in first-hand directed towards a gay audience, the erotic objectification of male characters share several similarities with those Mulvey describe women to be exposed to in her essay. Consequently, erotic objectification is governed by different circumstances, in which the audience plays a large role.
Judith Butler’s concept of gender being performative focuses on how it creates a sequence of effect or impression. Human have a consistent way of talking about their gender as if it were something that is simply a fact. People go about their lives following patterns that are interconnected with their male or female appearance. They get very settled in the expected behaviors and common attributes of male or female, without recognizing that gender is a social construction. It is difficult to wrap your head around the idea that gender is always changing and being reproduced because it is conversation that often goes unnoticed. Butler realizes that it will be a struggle to get people to grasp the idea that nobody actually is their gender and that
Seidman, Steven, Nancy Fischer , and Chet Meeks. "Transsexual, transgender, and queer." New Sexuality Studies. North Carolina: Routledge, 2011. . Print.
Discrimination has always been prominent in mainstream society. Judgments are quickly formed based on one’s race, class, or gender. The idea that an individual’s self-worth is measured by their ethnicity or sexual preference has impacted the lives of many Americans. During the early colonial period, a social hierarchy was established with white landowners at the top and African-American slaves at the bottom. As equality movements have transpired, victims of discrimination have varied. In the late 1980’s when Paris is Burning was filmed, gay rights were still controversial in society. The lack of acceptance in conventional society created hardships in the lives of transgender women and gay men.
“Queer Cinema is Back” – headlines the front page of the 2005 issue of the Advocate, signifying to a new flood of movies making way into theatres. Five years prior to this news release B. Ruby Rich, who coined the art as New Queer Cinema almost a decade earlier, declared that the cinema had co-opted into “just another niche market” dominated by popular culture (Morrison 135 & Rich 24). What had seemed to be a movement, turned out to be only a moment in the brief years between the late 1980s and early 1990s when the energies of queer theory, the furies of AIDS activism, the legacies of independent and avant-garde filmmaking, and the schisms of postmodern identity politics came together in a bluster of cultural production to form a cinema of its own (Morrison 136). In many ways Rich’s criticism of the cinema is correct, the queer aspect that so brightly shone in films like Poison, Swoon, Paris Is Burning, Tongues Untied, The Living End and Head On, was shifting as the new millennium was approaching and making more difficult for queer films to stay queer against the forces of Hollywood. However, Rich lacks in her analysis on New Queer Cinema because she does not consider the breadth to which queer operates as a concept within the cinema. For Harry Benshoff and Sean Griffin, the editors of Queer Cinema, queer is an umbrella term encompassing dissident sexualities through history and, indeed, nominating them more productively than they were ever named in their own time (Morrison 137). For Michele Aaron, queer is a specific product of exigencies of social activism of the late 1980s and early 1990s, “with AIDS accelerating its urgency” and New Queer Cinema arising as an “art-full manifestation” of i...
Funnily drag did not n’t start out as a form of expression but as a necessity. In Ancient Greece, women could not n’t perform in plays because it was considered deemed “too dangerous”(Conger). In the middle ages, Europe’s Christian church continued the ban
In their publication, “Doing Gender, ” Candance West and Don H. Zimmerman put forward their theory of gender as an accomplishment; through, the daily social interactions of a man or woman which categorize them as either masculine or feminine. From a sociological perspective the hetero-normative categories of just sex as biological and gender as socially constructed, are blurred as a middle ground is embedded into these fundamental roots of nature or nurture.To further their ideology West and Zimmerman also draw upon an ethnomethodological case study of a transsexual person to show the embodiment of sex category and gender as learned behaviours which are socially constructed.Therefore, the focus of this essay will analyze three ideas: sex, sex
Gender Outlaws (Smith, 2010) breaks the laws of gender by defying gender normative rules that exclude trans, queer and other non-conforming gender expressions often oppressed by “gender-norming rules,” rules, “expected to observe” or be subject to ridicule and often times labeled as freak by those who consider themselves as normal (p. 28). A gender outlaw seeks to, redefine the notion of gender and are carving out spaces of their own” (p. 30).
Gay suggests another way characters within pop culture are portrayed as unlikable or at least not powerful, is by being a person of color. As stated earlier, there exists a narrow conceptualization of womanhood and femininity, which primarily mirrors the privileged class, which dominates pop culture in terms of the books we read, television we watch, ads we consume, heroines we aspire to be, and music we listen to. However there does exist different identities of what it means to be a woman. In Punks, Bulldaggers, and Welfare Queens. Cathy J. Cohen imagines the contemporary view and power of women to be in relation to their homogenized identity. This meaning, to be a woman also depends on other factors of identity; to be a woman in relation to if you are poor or rich, black or white, gay or straight, queer or fall into the dominant class. Luckily, this understanding of womanhood has somewhat expanded. The scope of racial expansion somewhat increases by moving to include Gay’s idolized Black Miss America. Unfortunately, this expansion follows the privilege trend where only a certain type of green girl is able to satisfy the role of Black Miss America. A large issue that Gay has with representation of women of color is that they are tokenized, they are stereotyped, and they are grossly generalized. Instead of this poor misrepresentation of women of color, both Gay and Cohen seek, “a new political direction and agenda, one that does not focus on integration into dominant structures but instead seeks to transform the basic fabric and hierarchies that allow systems of oppression to persist and operate efficiently” (Cohen 165). Gay concludes that inclusion of women of color in pop culture fails to portray them as more than one dimensional characters. This lack of depth is attributed to the lack of respect that women of color face in real life as well. While the
This article was written to bring attention to the way men and women act because of how they were thought to think of themselves. Shaw and Lee explain how biology determines what sex a person is but a persons cultures determines how that person should act according to their gender(Shaw, Lee 124). The article brings up the point that, “a persons gender is something that a person performs daily, it is what we do rather than what we have” (Shaw, Lee 126). They ...
Throughout various mediums, queer and gender portrayals are not shown in the best light. Majority of media show clear negative connotations of homosexuals and queens while constantly being a target of discrimination and ridicule. Though as time went on many writers decided to speak up and gain awareness for queer and gender biases by incorporating messages of societal discrimination in their plays. Much of their ideals were that of how sexual/gender identity portrayal, lifestyle stigma, and preconceived notions of the homosexual community. These ideals were combined in what is called gender studies and queer literary theory. Some of these concepts and ideas of queer and gender theory can be seen throughout the play
The relationship between sex and gender can be argued in many different lights. All of which complicated lights. Each individual beholds a sexual identity and a gender identity, with the argument of perceiving these identities however way they wish to perceive them. However, the impact of gender on our identities and on our bodies and how they play out is often taken for granted in various ways. Gender issues continue to be a hugely important topic within contemporary modern society. I intend to help the reader understand that femininities and masculinities is a social constructed concept and whether the binary categories of “male” and “female” are adequate concepts for understanding and organising contemporary social life with discussing the experiences of individuals and groups who have resisted these labels and forged new identities.