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The impact of mass media on health trends
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Provide an Annotated Bibliography of sources consulted
Watching Rape : Film and Television in Postfeminist Culture
Projansky, Sarah, Watching Rape : Film and Television in Postfeminist Culture, August 2001
In Watching Rape, Projansky refutes to the viewpoint that feminism has already achieved equality for women. The book includes close analysis on depictions of rape in US media such as film, television and independent video. It contains the analysis of films including ‘daughters of the dust’, ‘she’s gotta have it’. Sarah challenges the readers to critically observe the popular culture in US society.
The author Sarah Projansky is the professor of film and media arts as well as of gender studies at the university of Utah.
The book addresses
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Ayers, Benjamin M. Althouse, Eric C. Leas, Jon-Patrick Allem, Internet searches for suicide following the release of 13 reasons why
The authors debate about the public health implications that could have been driven from release of TV series 13 reasons why. It closely analyzes the series and examine whether the series glamorizes the victim and the suicide act in a way that could promote suicide among teenagers. The research includes the effect on suicidal rate after the series’ release.
The research provides professional opinion on the impact that the series could have on the society. It will give an insight on how strong influence the media could bring on public. In addition, the research is based on close analysis of the series, which would aid the investigation of the series.
“The series has generated widespread interest(>600,000 news reports), including debate about its public health
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
Today’s culture sees a gap between the male and female gender. This is evident in everything from the films we watch, music we listen to, and even in our everyday lives. Historically, this issue has seen an even larger gap, and can be observed in the films that were made during that time. Vertigo and Citizen Kane both show the objectification of women by controlling them, writing them in supportive roles, and placing their value in the way that they look.
An example of the media degrading and objectifying women is Laura Mulvey’s ‘Male Gaze’ theory. In Laura Mulvey’s essay ‘visual pleasure and narrative cinema’; she discusses the term ‘Male gaze’. In film, the male gaze occurs when the audience is put into the perspective of a heterosexual man, for example, a scene may focus with specific conventions such as slow motion or deliberate camera movements on a sexual aspect of a woman’s body, forcibly putting you as the viewer in the eyes of a male. This theory suggests that the male gaze denies women human identity, manipulating them to the standard of manifest objects to be appreciated solely for their physical appearance. The theory implies women can more often than not only watch a film from
Westford, Massachusetts: The Murray Printing Company. Company, 1978 Kulik, Sheila F. Home Page. 17 Feb. 2000 http://www.feminist.com/femfilm.html. Rosenberg, Jan. “Feminism in Film.”
Riseman, Barbara. “Gender as a Social Structure: Theory Wrestling with Activism.” Multicultural Film: An Anthology. Spring/Summer 2014. Eds. Kathryn Karrh Cashin and Lauren Martilli. Boston, MA: Pearson, 2013.
There are so many codes of cultural context to learn, social rulebooks to observe and accept norms to understand. It’s flung at us in disjointed bits and pieces, seemingly offhand phrases and at informal moments. Maybe the core stereotyping role we are all passed from birth is based on gender and the norms that surround it, that never leaves our side. Director Siebel Newsom is no newcomer to gender issues. With 2011’s “Miss Representation,” a study of the damaging effects of mainstream media on women and girls, she addressed the frequently accepted underdog gender in an inspirational
At the point when a lady is depicted in films, she is either pursuing adoration, sexualized or delineated as a housewife. Contrary to popular belief, today’s society has developed the media to become a source of great influence in our everyday lives.
Williams, Linda. "Film Bodies: Genre, Gender and Excess." Braudy and Cohen (1991 / 2004): 727-41. Print.
Mainstream movies are about men’s lives, and the few movies about women’s lives, at their core, still also revolve around men (Newsom, 2011). These female leads often have male love interests, looking to get married or get pregnant. Strong independent female leads are still exist for the male view, as they are hypersexualized, or the “fighting fuck toy,” (Newsom, 2011). This depiction has created a culture where women are insecure and waiting for a knight on a horse to come rescue and provide for her as well as the acceptance of women
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.
Also, the film revealed women empowerment and how superior they can be compared to men. While demonstrating sexual objectification, empowerment, there was also sexual exploitation of the women, shown through the film. Throughout this essay, gender based issues that were associated with the film character will be demonstrated while connecting to the real world and popular culture.
Gail Dines, and Jean M. Humez. Gender, Race, and Class in Media: A Critical Reader. SAGE, 2011.
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 ...