Logan Hill’s article “13 Rules for Creating a Prestige Television Drama”, on top of being funny, demonstrates that once considered ‘revolutionary’, prestige television dramas have now become formulaic. Within the context of the class on difficult men, the first rule described by the article is particularly relevant: “start with an anti-hero”. To do so, you should “make him middle-aged”, “give him a health problem and a traumatic memory”, “make him great at his job”, “make his business a microcosm of the American Dream”, “give him a secret”, and “make him a woman”. The television shows studied this semester do follow these rules and so does the show that I suggest to add to the watching list, Masters of Sex, yet another period drama featuring a difficult man as a main character, William “Bill” Masters. Masters of Sex is a heavily fictionalized biopic television show inspired by Thomas Maier’s biography Masters of Sex: The Life and Times of Williams Masters and Virginia Johnson, the Couple Who Taught American How to Love published in 2009. Broadcasted on the American channel “Showtime” since 2013, Masters of Sex tells the story of Dr. William Masters (played by Michael Sheen) and his assistant Ms. Virginia Johnson (Lizzy Caplan), who started to research the physiology of human sexual response within the conservative context of America in …show more content…
What distinguishes it from the shows we are already watching and would make Masters of Sex worth a discussion? I argue that 1) since the show is made by a female show runner, it offers a female and feminist perspective on masculinity as incarnated by the difficult man that is Bill Masters; 2) it would lead to a discussion about American puritanism in relation to sexuality as depicted in the show; 3) masculinity, as exemplified in Masters of Sex, will be redefined with regard to the contemporary understanding of family and fatherhood, as well as gender, sex, and
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?
Pepper Schwartz opens Why is Everyone Afraid of Sex? with "In spite of the visibility of sex in the media and popular culture, despite a widespread acceptance of a variety of sexual practices, Americans still hold a deep-rooted fear of sex." (252) Schwartz then goes on to explain the surprising, but obvious truth. American society portrays a sexual attitude, but is actually hiding a fear of the activity. Schwartz does a great job of showing both sides of this argument. She mentions how sex seems to no longer be a completely taboo thing within the media and society today. Within television, magazines, articles, movies, etc, sexual themes are all over the place. Another factor is that premarital sex is becoming more and more acceptable these
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
In the classical Western and Noir films, narrative is driven by the action of a male protagonist towards a clearly defined, relatable goal. Any lack of motivation or action on the part of the protagonist problematizes the classical association between masculinity and action. Due to inherent genre expectations, this crisis of action is equivalent to a crisis of masculinity. Because these genres are structured around male action, the crises of action and masculinity impose a crisis of genre. In the absence of traditional narrative elements and character tropes, these films can only identify as members of their genres through saturation with otherwise empty genre symbols. The equivalency between the crises of genre and masculinity frames this symbol saturation as a sort of compensatory masculine posturing.
BDSM is highlighted as “bad, abnormal, unnatural, damned sexuality” in the “outerlimits” of Rubin’s “charmed circle” (Rubin, p:153) a sexuality that is both taboo to practice and also to portray in the media. However, in the last few decades the concept of BDSM has come to mean more in the view of the general public, predominantly in the form of media entertainment. BDSM is evident in film, music, and television, including the 2002 film Secretary starring Maggie Gyllenhaal, Rhianna’s 2011 pop hit, S&M and most recently in the popular Fifty Shades trilogy by E.L James which has sold over 10 million copies worldwide. (Deahl, 2012)
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.
By analyzing my very own personal investment in the idea that heterosexuality is normal, I have realized that I am currently and that I used to deliberately present myself in a heterosexual persona to the world at large. Personally, when I was young, I used to be uncomfortable with women who broke the social norms of heteronormativity in public. I remember feeling anxious, and believing that one day soon society would perceive me as a divergent towards the norms because I hang out with women who didn’t present a heterosexual persona. I feared unspeakable things that would happen to me once I lost my privileges of being perceived as the ‘good’ heterosexual female. The lost of my social standing in society scared me; I was already a minority,
The influence of the media on women is not unknown, but it was especially prevalent in the 1960s. According to David Croteau and William Hoynes, both professors of sociology, “Media images of women and men reflect and reproduce a whole set of stereotypical but changing gender roles” (quoted in Mahrdt 1) and, as society changes and opinions are altered, television shows adapt. However, the television show Mad Men is unique because it does not show life today, but the life of the 1960s. It shows what life was like for the women who lived during a time when the “feminine mystique” controlled society.
This essay will examine my thoughts and those of David Sterrit on the critically acclaimed television show The Honeymooners. First, I will talk about the Honeymooners and it’s setting in postwar America. Secondly, the social and cultural issues the series portrayed. Next, would be the psychological perspective and the aesthetics of the show. Finally, the essay would conclude with my thoughts on how the Honeymooners were impacted by these aspects, but also how the show managed to leave a legacy in television today.
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.
Originally published in Cinema Journal 40, No. 3, Spring 2001, Jason Mittell’s “A Cultural Approach to Television Genre Theory” conceives of television genre as a cultural category rather than merely a textual component. In the decade since the original publishing of the article, television has evolved out of the multi-channel era and into the post-network era. In this new television landscape, genres are no longer a fixed entity1, and there is great academic potential in the in the study of television genres. The text, Thinking Outside the Box: A Contemporary Television Genre Reader, aims to explore and analyze genre in the current television landscape, and the Mittell article, republished in the book, serves as an entry point to such scholarship.
Gender has been around throughout history; however, within recent years, gender has separated itself from the traditional view of sex, e.i., male or female, and has become centered on ones masculinity or femininity. Of course gender is more than just ones masculinity or femininity, gender has become a way for one to describe, he or she, in a way in which they are different from everyone else. Gender has turned into a sense of identity, a way for one to feel different and fulfilled among all of those around them. Of course gender’s sense of freedom would seem outside of structure and only affected by one’s own agency, however, structure is a key component in establishing gender. We can look into both ethnic Mexican’s culture practices regarding sexuality, children songs and games, and see that cultural traditions still heavily influence gender, creating what is masculine and what is feminine and what is the role of each gender, as well as challenging the notions that gender is solely based on agency.
Feminism is a movement that supports women equality within society. In relation to film, feminism is what pushes the equal representation of females in mainstream films. Laura Mulvey is a feminist theorist that is famous for touching on this particular issue of how men and women are represented in movies. Through her studies, she discovered that many films were portraying men and women very differently from reality. She came up with a theory that best described why there is such as huge misrepresentation of the social status quos of male and female characters. She believed that mainstream film is used to maintain the status quo and prevent the realization of gender equality. This is why films are continuously following the old tradition that males are dominant and females are submissive. This is the ideology that is always present when we watch a movie. This is evident in the films from the past but also currently. It is as if the film industry is still catering to the male viewers of each generation in the same way. Laura Mulvey points out that women are constantly being seen as sexual objects, whether it is the outfits they wear or do not wear or the way they behave, or secondary characters with no symbolic cause. She states that, “in traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote it-be-looked-at-ness.”(Mulvey pg. 715). Thus, women are nevertheless displayed as nothing more than passive objects for the viewing pleasure of the audience. Mulvey also points out through her research that in every mainstream movie, there is ...
Gender and sexuality can be comprehended through social science. Social science is “the study of human society and of individual relationships in and to society” (free dictionary, 2009). The study of social science deals with different aspects of society such as politics, economics, and the social aspects of society. Gender identity is closely interlinked with social science as it is based on an identity of an individual in the society. Sexuality is “the condition of being characterized and distinguished by sex” (free dictionary, 2009). There are different gender identities such as male, female, gay, lesbian, transgender, and bisexual that exists all around the world. There is inequality in gender identities and dominance of a male regardless of which sexuality they fall under. The males are superior over the females and gays superior over the lesbians, however it different depending on the place and circumstances. This paper will look at the gender roles and stereotypes, social policy, and homosexuality from a modern and a traditional society perspective. The three different areas will be compared by the two different societies to understand how much changes has occurred and whether or not anything has really changed. In general a traditional society is more conservative where as a modern society is fundamentally liberal. This is to say that a traditional society lists certain roles depending on the gender and there are stereotypes that are connected with the genders. One must obey the one that is dominant and make decisions. On the other hand, a modern society is lenient, It accepts the individual’s identity and sexuality. There is no inequality and everyone in the society is to be seen as individuals not a part of a family unit...
In order to answer the question above this essay will discuss in depth what exactly sex is and what gender is and the differences between the two terms. The research carried out will display that we live in a patriarchal society without a doubt as we look at how gender links to inequality in society. A patriarchal society can be clearly seen from the gender inequality in the labour force which is paid labour and also in unpaid labour which occurs in the household. Another area the answer will reflect on is how gender inequality links to education which overall links to society. Finally the answer below will show how the media also portrays gender inequality and how it affects the people in society.