HBO's Sex and the City has become a cultural icon in its 6 seasons of running. Based on Candace Bushnell's racy book Sex and the City, the show exhibits an unprecedented example of the sexual prowess of women over the age of 35. The result is an immense viewing audience and an evolving view on the "old maid" stigma that a woman's chances of finding love are significantly reduced after thirty-five. In this paper, we will closely analyze the characters and themes of Sex and the City to explain the significance of what the show represents in American culture.
Sex and the City is a show centered around four beautiful, successful women in their mid-to-late thirties. Although the show focuses on the "love lives" of the four women, the title has been dubbed "Sex and the City," and not "Love and the City." The question is, why? Well, it could be simply that sex does sell. Perhaps Candace Bushnell christened her book Sex and the City because it would attract more readers. However, while this may be a small, superficial factor in the reasoning behind the title, the content of the show suggests a deeper purpose behind the focus on sex. For the most part, the relationship between love and sex is dichotomized throughout the show. Although the characters end up married or in a monogamous relationship at the end of the series, the majority of the show is concentrated on the women's brief sexual encounters and the glorification of their trysts. Only once in awhile do the topics of love and sex come up simultaneously in the characters' post-sex brunch conversations.
The show presents beautiful, successful women having sex and talking about sex like men. Meaning, their promiscuity is excused and their sexual vulgarity is quite often the comic relief in the show. This deflates somewhat the double standard that men can sleep around, but if women do, they are "dirty." Although each character has a different view on sex, they all share the mindset that casual sex is acceptable. The show never breaches this mindset, creating a world where promiscuity and sexually aggressive women are common, and sexy. Samantha Jones, played by Kim Cattrall, is a sexually dominant character who is afraid of commitment. The episode entitled "The Good Fight" ("The Good Fight" 1) features Samantha explaining to her friends that her current lover is just a "sex thing" and that her emotions are intact.
The media is a powerful tool and has the ability to influence and change one’s overall perspective of the world and the position they play in it. Although Television shows such as Friday Night Lights are seen as entertainment by consumers, its storyline contributes to the social construction of reality about class in the United States.
Even as the media redefines the roles both genders play at home and in the workforce, a number of traditional stereotypes continue to dominate television screens. Despite the enormous progress society has made to empower women, traditional gender stereotypes continue to thrive in our culture today. This phenomenon is apparent in”Big Baby,” where all parties are represented equally by the dynamic characters of Dr. Cuddy, Dr. Wilson, and Dr. House . To choose to do otherwise would mean that the television show does not portray American pop-culture honestly.
Sex and Gender was the subject of the two movies Dreamworlds 3 and Further Off The Straight & Narrow. In Dreamworlds 3 Sex is portrayed as a status of life and happiness in the media. This media displays people as objects that can be manipulated for sexual pleasure. As the media is populated with sex it tiptoes around gender, specifically that of gays or lesbians. The film Further Off The Straight & Narrow emphasized the movement through media gay and lesbian topics. This text analyzes iconic television programs and how they reflect the societal stance during that time. As a member of a generation that has had the topic of these issues prominent I believe they are important but are banal. In this reflection I will be responding to two questions, what would woman driven Dreamworlds look like? And Do you agree with the statement that if you are not on television you don’t exist?
There has been a significant shift in this generation when it comes to gender roles and identity. In her book, Peril examines advertisements and propaganda from the 1940s to 1970s, when gender roles apparently influence stereotypes and societal pressure on women in America. In one of her examples, Betsy Martin McKinney told her readers of Ladies’ Home Journal that the sexual role of women is to have intercourse and complete it with pregnancy and childbirth and denying it would be denying her femininity.2 It is not right to take one person’s word and speak it fo...
The story A Television Drama, by Jane Rule is an exciting story about an unusual event, which the main character, Carolee Mitchell, experiences the end of. The story is about her quiet street becoming unusually busy with police officers, and how the man who is being chased by these officers ends up being outside her front door. Through the point of view of the story, the characterization and character change of Carolee Mitchell, and the setting of the story, A Television Drama is an exciting read. The story conveys how important it is to be aware of ones surroundings, and what is happening around oneself through these elements.
The values and rules of traditional community add great pressure on an individual 's shoulder while choosing their identity. While women 's have relatively more freedom then before but however values of traditional communities creates an invisible fence between their choices. It put the young women in a disconcerting situation about their sexual freedom. Bell demonstrates the how the contradiction messages are delivered to the young woman 's, she writes that “Their peers, television shows such as Sex and the City, and movies seem to encourage sexual experimentation... But at the same time, books, such as Unhooked and A Return to Modesty advise them to return to courtship practices from the early 1900s”(27).
On September 20, 1984 a show aired that changed the way we view gender roles on television. Television still perpetuates traditional gender stereotypes and in reflecting them TV reinforces them by presenting them as the norm (Chandler, 1). The Cosby Show, challenged the typical gender stereotyping of television, daring to go against the dominant social values of its time period. In its challenge of the dominant social view, the show redefined the portrayal of male and female roles in television. It redefined the gender role in the work place, in social expectations, and in household responsibilities. The Cosby Show supported Freidan in her view of “castigating the phony happy housewife heroine of the women’s magazines” (Douglas 136).
In American culture today, women continue the struggle of identifying what their roles in society are supposed to be. Our culture has been sending mixed messages to the modern day female, creating a sense of uneasiness to an already confusing and stressful world. Although women today are encouraged more than ever to be independent, educated, and successful, they are often times shamed for having done just that. Career driven females are frequently at risk of being labeled as bossy, unfeminine, or selfish for competing in many career paths that were once dominated by men. A popular medium in our culture such as television continues to have significant influences as to how people should aspire to live their lives. Viewers develop connections with relatable characters and to relationship dynamics displayed within their favorite shows. Fictional characters and relationships can ultimately influence a viewer’s fashion sense, social and political opinion, and attitude towards gender norms. Since the days of Bewitched and I Dream of Jeanie, where women were commonly portrayed as being the endearing mischievous housewife, television shows have evolved in order to reflect real life women who were becoming increasingly more independent, educated, and career oriented throughout the subsequent decades. New genres of television are introduced, such as the workplace comedy, where women are not only career oriented, but eventually transition into positions of power.
An analysis of the relationship between pornography and the American culture reveals that the industry is blamed for dozens of social ills for the men of our society. Those ills also work to damage the women in several irreparable ways. Some of the damages to men include: illegal sexual behavior, illegal non-sexual behavior, callousness, sexual harassment, casual sex, and multiple sexual partners. The problems for the women directly involved in the industry are long term and long lasting, creating overall issues that affect women’s economic and social status. But what are there damages caused by the type of movies most women love, the type of movies they drag their boyfriends and husbands to, the type of movies millions watch unashamedly in public-the romantic comedy?
Breazeale claims that society’s view of women has everything to do with how consumerism has been viewed primarily as a feminine attribute, and describes how men believe women are just poor consumers. Additionally, Breazeale describes how showing women in erotic, sexual ways made men feel that women were solely objects of their desire and nothing more. Breazeale effectively convinces the audience that society’s perception of women today has been significantly swayed by their constant portrayal as consumers through an in-depth look at Esquire Magazine and how it not only portrayed women as lavish, silly spenders, but simply as objects of the male
Sex in today’s world can be seen anywhere. It is on billboards, radio stations, personal books, school books, magazines, peers, movies, songs, and the most famous is televisions. Commercials use seductive images, sounds, and music grabbing the attention of the audience. Movies and television are proof of the sickness of sexual addiction in society. This disease spreads across the country, infecting the way people think and live their lives. Ultimately it is destroying society and what America holds to be morally correct. Two such sources of writing, “Sic Transit Gloria…Glory Fades” and Countering the Culture of Sex, give examples of what effect culture play in the way of living. Today’s culture pumps out messages of sexual immorality and the idea of sexual relations outside of marriage are fine. Sexual immorality can destroy families and create dysfunction in the sacred vows of marriage.
Today, love, sex and romance are three main topics that presented in media as main themes discuss in contemporary popular culture. Social media is important in shaping audience value about feminism through the framework of contemporary media like films, magazines, plays, advertisements, TV shows, graphic novels, etc. The television show “Sex and the City” incorporates “pop feminism” that influences many lives of women. Sex and the City is originally talking about four single thirty-something women living in Manhattan. They are coming to New York in order to seek “love and labels” (Sex and the City). The main theme of Sex and the City is concentrating on contemporary American woman’s conception of sex, love, and romance. As we learned from lecture, sex, love, and romance have a history; they are different in different cultures; they are shaped by gender, class, race, ethnicity, nation, ability, and other differences (Lecture Notes). Sex and the City is focusing on modern American woman’s experiences and their thinks with sex, love, and romance. The four main women characters in Sex and the City represent diversity of gender, class, race, ethnicity, religion, age, able-bodiedness through their different experience and expectations of their life (Lecture Notes). Sex and the City represents that the feminism notions of sex, love, and romance are socially constructed, and this social construction of sex, love and romance are featured in these female characters’ personalities.
Noted in Yvonne Tasker’s Working Girls: Gender and Sexuality in Popular Cinema, Goldie Hawn says this about women's role in the film business “There are only thee ages for women in Hollywood: Babe, District Attorney and Driving Miss Daisy” (1998, p. 3). While Haw...
Swift, J. K., Callahan, J. L., & Vollmer, B. M., (2011). Preferences. In J. C. Norcross (Ed.), Psychotherapy relationships that work (2nd ed.). New York: Oxford University Press.
Values, Morals, and Beliefs are components that play a role in an individual’s self-identity. The establishment of these components shape human nature, behavior, and the development of an individual’s purpose. The basis of these fundamentals has contributed to my desire to become a counselor. This paper will discuss my views of human nature, factors of behavior changes, goals of therapy, the roles of a therapist, and the counseling approaches that I chose to incorporate in a practice.