Feminism Inc. Coming of Age in Girl Power Media Culture by Emilie Zaslow discusses the birth of the 1990s “Girl Power” movement and subsequent social science data, which uncovers the gender bias in the American schooling system as well as at home. More importantly, Zaslow highlights in her research that parents have been “encouraged to select movies with strong female role models for their daughters” and that much of the poisoning of the girl culture is derivative from such a lack of role models for adolescent girls (Zaslow, 19). While Zaslow strongly emphasizes the need for strong female role models she also encounters a dichotomy between the potential positives of media use on young women and also the negative effects, which ultimately “links the crisis in girl’s development to ‘the pressure’ (that) comes from
Girlfriends and Girl Power: Female Adolescence in Contemporary U.S. Cinema by Mary Celeste Kearney is yet another example, which places a strong emphasis on the Girl Power movement of the 1990s, particularly highlighting the portrayal of strong female protagonists/role models for young women (10 Thing I Hate About You (Junger, 1999), A League of Their Own (Marshall, 1992), Clueless (Heckerling, 1995), etc.). It is also important to note that the majority of girl power movies from this decade were predominantly directed by women a trait shared with The To Do List, yet disregarded as a selling point for the film. For the purposes of this project, Kearney’s work can be utilized to highlight that “while many contemporary films continue to place female youth in the role of girlfriend or sexual fantasy figure since the early 1990s there has been a significant increase in the number of films about teenage girls that do not privilege heterosexual romance narratives” (Kearney, 130). Although released in 2013 The To Do List embodies the 1990s rise of girl power and Kearney’s work can be coupled together to situate this film as a resurgence of female
Decades ago Katha Pollitt realized there were not enough women is the television industry and preschool aged children were the ones being effected the most. From Pollitt’s article the Smurfette principle was developed and spread worldwide. This principle has helped lead the way for women in the media, but has it been enough? In her dissertation about how female characters are represented in Hollywood, Reema Dutt (2013) points out that “Animated children’s films tend to focus on male characters, with females as ancillary accessories...” Young girls are the most impressionable at the preschool age, yet Hollywood allowed men to dominate the big screen for so many years. Dutt (2013) goes on to explain “This is particularly disappointing given the fact that these films target impressionable children, who are being fed normative and antiquated portrayals of women at a young age.” Pollitt’s outlook was not erroneous, however the differences in television between 1991 and 2016 are astounding. There are twenty three years between Pollitt’s article and Dutt’s dissertation and many aspects still hold true. Over those years there has been much headway made for women in television. According to a study in HuffPost Women Nina Bahadur (2012) reported that “…44.3 percent of females were gainfully employed — compared with 54.5 percent of
The media, through its many outlets, has a lasting effect on the values and social structure evident in modern day society. Television, in particular, has the ability to influence the social structure of society with its subjective content. As Dwight E. Brooks and Lisa P. Hébert write in their article, “GENDER, RACE, AND MEDIA REPRESENTATION”, the basis of our accepted social identities is heavily controlled by the media we consume. One of the social identities that is heavily influenced is gender: Brooks and Hébert conclude, “While sex differences are rooted in biology, how we come to understand and perform gender is based on culture” (Brooks, Hébert 297). With gender being shaped so profusely by our culture, it is important to be aware of how social identities, such as gender, are being constructed in the media.
Men do not have the benefits of equality either, they are also limited by societal expectations and having to fulfill the requirements of what it means to “be a man”. Gender roles shape the fabric of our society. In the documentary Tough Guise, Katz chronicles the socialization of boys from the moment they are born and as they grow up. Tough guise explains how the entertainment industry feeds messages about masculinity which exclude basic human qualities such as compassion, and vulnerability. These are portrayed as feminine with a negative connotation implied (Earp, Katz, Young and Rabinovitz 2013). In American modern culture children of both sexes are consuming large amounts of media on a daily basis. The documentary MissRepresentation explores the media’s role in the shaping of our society; specifically the media’s treatment of women. When it comes to girls and women, marketers have made substantial profits from objectifying women and setting an unattainable standard of what it means to be beautiful. Hyper-feminized women are all over the covers of magazines, hypersexualized in advertisements, and in movies. Women have to walk a very thin tightrope and the expectations for a good woman are contradicting (Newsom, Scully, Dreyfous, Redlich, Congdon, and Holland
According to Human Sexuality in a World of Diversity 's gender role is a “learned role by observing behaviors of their parents, peers and media” (Rathus, Nevid, & Fichner-Rathus, 2014, p. 25). Research shows how gender roles in America have evolved and have changed over the last centuries, although there could be many reasons for this change I will examine some causes for the change in gender stereotypes. The following topics were studied during my research: Increased technology and access to internet, violence and explicit content in video games, movies and television shows resulting in gender stereotypes. In addition, the media can have a large influence on societies perception on how women and men are should look like which are sometimes
Miss Representation, a documentary film produced by Jennifer Siebel Newsom released in 2011, presents a contemporary issue which is the misrepresentation of women’s portrayal in mass media. The media is powerful in shaping audience’s belief in how to be feminine. Women are expected to be beautiful, attractive, and even sexual on the media to attract audience’s attention. Also, the film points out the existence of social system in which men are considered more powerful and dominant than women. Finally, the film tries to increase the awareness of female real value including capability, educational achievement, and leadership. Consuming the media wisely to eliminate gendered stereotypes can help young women build their confidence and be successful.
Media can influence people’s behaviors, thoughts, and development of self-criticism towards themselves and others. Thus, media’s depiction of female heroines affects girls’ self-esteem from ages five to thirteen. The terms: Associative Self-Esteem, Mirror Stage, Aural Self-Esteem, and Body Dissatisfaction, are key elements that built a girl’s self-esteem and are found to be affected by the influence that heroines have on girls. Superheroines’ femininity has been created with false stereotypes that defines their behavior and constructs a specific body image; thus, these stereotypes drive girls to self-judge their own persona according to heroines that are portrayed in media. Elizabeth Marhsall and Özlem Sensoy, authors of "The
Ouellette, Laurie. "Inventing the Cosmo Girl." Gender, Race, and Class in Media: A Critical Reader. By Gail Dines and Jean McMahon Humez. Thousand Oaks, CA: SAGE Publications, 2011. 228-29. Print.
In "Where the girls are: Growing Up Female With the Mass Media," Susan Douglas analyses the effects of mass media on women of the nineteen fifties, and more importantly on the teenage girls of the baby boom era. Douglas explains why women have been torn in conflicting directions and are still struggling today to identify themselves and their roles. Douglas recounts and dissects the ambiguous messages imprinted on the feminine psyche via the media. Douglas maintains that feminism is a direct result of the realization that mass media is a deliberate and calculated aggression against women. While the media seemingly begins to acknowledge the power of women, it purposely sets out to redefine women and the qualities by which they should define themselves. The contradictory messages received by women leave women not only in a love/hate relationship with the media, but also in a love/hate relationship with themselves.
Led by Laura Mulvey, feminist film critics have discussed the difficulty presented to female spectators by the controlling male gaze and narrative generally found in mainstream film, creating for female spectators a position that forces them into limited choices: "bisexual" identification with active male characters; identification with the passive, often victimized, female characters; or on occasion, identification with a "masculinized" active female character, who is generally punished for her unhealthy behavior. Before discussing recent improvements, it is important to note that a group of Classic Hollywood films regularly offered female spectators positive, female characters who were active in controlling narrative, gazing and desiring: the screwball comedy.
Sofia Coppola’s movie, The Virgin Suicides, 1999, brings to the forefront the reality of what life is like for five oppressed teenage girls living in suburbia in the mid-70’s. After examining numerous articles, a few of them made an impact on my perspective. The first of many articles is Todd Kennedy’s piece, Off with Hollywood’s Head: Sofia Coppola as Feminine Auteur. Kennedy discusses how Coppola has a tendency to lean toward directing films that cater toward females’ interest, either because of the visual imagery or women’s feelings of connectedness with the characters. The author reveals that The Virgin Suicides portrays women as becoming dominated by the environment surrounding them. The author gives an interesting point of view when he claims, “The film tells a story of the five Lisbon sisters whose identities exist only insofar as they are defined as the objects of the masculine desire” (44). Furthermore, the Kennedy asserts how the film serves as a prolonged exploration into the degree to which female characters are idealized, objectified, and defined by the image that the film- and their society- imposes upon them.
Recently, the conflict of young girls portraying characteristics of women is increasing. Because of media influences, children are beginning to look and act in ways that mimic the lives of adults; the information they are learning is nowhere near age appropriate for these children. Girls are being taught to focus more on their appearance. They are being taught from a very young age that it is most important to be skinny and look pretty. Girls are learning to treat themselves as objects rather than people, and allowing themselves to be seen as objects, they allow others to treat them that way. One program in particular, “Toddlers and Tiaras,” sexualizes young girls, and produces such thoughts due to the broadcast that it has to the world.
In the society we live in, we are all looking for acceptance, whether we like to admit it or not. We turn to the media to see what other people are doing. The media plays a large role on the way we, a society as a whole, are influenced and think about responsibilities and roles of genders. As young children, we are still not sure of who we are and how we should act about certain topics. In order to ‘find ourselves,’ as young children, we look at things that are available to us. The television is found in every home and thus makes it one of the easiest ways for children to be influenced. This is not to say that the adult female population is not influenced as well. Adult females are seeking more information on how they should be as a person in order to be accepted in society as an acceptable woman.
A number of popular television shows and films filling mainstream media today have taken a spin to promote women to main character roles of power and command. The traits of these female characters, however, become illusionary as plots thicken to reveal their status to be subordinate to leading male character roles; of which are typically controlling or manipulative over gender stereotypic female traits within the script. While media is being blindly applauded for their newfound glorification of women in power, there remains an underlying message of male supremacy in more than many broadcasted portrayals. Today’s mainstream television media delivers a notion that only a man can pave way for the merit of a woman.
Gender stereotyping has been ongoing throughout history. The media has been distorting views by representing gender unrealistically and inaccurately. It created an image of what "masculinity" or "femininity" should be like and this leads to the image being "naturalized" in a way (Gail and Humez 2014). The media also attempts to shape their viewers into something ‘desirable’ to the norm. This essay will focus on the negative impacts of gender-related media stereotypes by looking at the pressures the media sets on both women and men, and also considering the impacts on children.
Journal of Popular Culture, 32(2), pp. 79-89. Retrieved from: http://web.b.ebscohost.com/ehost/detail?vid=6&sid=64cd7df8-8ea3-4d9a-ad60-1deef7e616e6%40sessionmgr114&hid=103&bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#db=aph&AN=1585569 Starlet C. (2007). Women in action movie empowered role models or chicks with guns.