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Gender stereotyping in magazines
Gender stereotyping in magazines
Gender stereotyping in magazines
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The Ladies’ Home Journal is a magazine with a long history in America. As one of the leading women’s magazines in the United States, it has for decades continued to succeed in advertising and maintaining a solid audience who continue to keep the journal afloat. But which types of people comprise this audience? By analyzing the gender of contributors, the content of articles, advertisements, and letters from the readers themselves, we can see that the Ladies’ Home Journal of 1945 marketed itself to female housewives and had an ever-growing global presence.
The magazine contains both male and female editors. At the time, Ladies’ Home Journal had 32 associate and assistant editors. 22 were female and 10 were male. Bruce and Beatrice Gould were
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“On the Italian front our editors not only visited with Gen. Mark Clark, but hobnobbed with numerous G.I.’s such as the one below, who let them see his latest foxhole. Earlier, in Rheims, gathering material for How France Lives, Mrs. G. and Mrs. C. first considered a family whose home had been bombed to a hole in the ground”(Ladies’ Home Journal, p.15). This article showcases women editors in a pioneering role as they traveled and were adventurous in a way many women were not able to be in the 1940’s. Louise Paine Benjamin, the beauty editor, speaks directly to her readers in her article, “Any Woman Can Be Beautiful: Says Paul Hesse, and Proves His Claim With His Camera”. She writes about a male photographer who believes that inner beauty is the key to taking a good picture of a woman. Benjamin advises the reader to cultivate beauty through confidence. While saying all women have the right to be lovely despite outward appearance, she also writes that …show more content…
The editorship is majorly female, the authorship is majorly female, and the majority of readers’ letters published by the magazine are from female subscribers. Short stories are often written from a woman’s perspective. There are ten articles about fashion, beauty, and homemaking, subjects that are traditionally an integral part of women’s magazines. But what kind of woman was the Ladies’ Home Journal hoping to attract? From the direct responses of readers, we see many women refer to themselves as “Mrs” and mention their children. Many advertisements mention brides, showcase illustrations of women cleaning the kitchen or whipping up a meal, and mention food that will please the kids. There are plenty of articles written on what to feed the family, and there is even a piece on how to inform small children about childbirth and when/how to start giving sympathetic sex education. One reader even calls the journal the “best representative of American home life” (Ladies’ Home Journal, 136). From this evidence, we can draw the conclusion that the average reader of the Ladies’ Home Journal is a stay-at-home wife, in charge of cleaning, cooking, and childcare for the household. But that was not the entirety of the journal’s readership. The magazine had a global audience that came to light in the war. Found in the readers’ letters, one man from England writes, “In England, today, you can’t go to bed until the
Before men’s magazines become a part of popular culture this realm was dedicated to the female consumer, but in 1933 Esquire set out to change that stereotype. Kenon Breazeale’s purpose in writing ‘In Spire of Women’ is to make people understand that men’s magazines, specifically Esquire promote a sexualized image of women solely for a man’s satisfaction. In doing so Brezeale argues that Esquire contributed to the growth of the male consumer by making women an object of the male fetish that serves as only an annoyance to society. Breazeale is able to argue that Esquire is a rejection to the power of femininity by explaining how Esquire adapts to a consumer-based culture where it emphasizes the difference between masculinity and femininity
Swanson, D., and Johnston, D. "A Content Analysis of Motherhood Ideologies and Myths in Magazines." Invisible Mothers. New York: Plenum Publishing Corporation, 2003. 21-31.
Ed. Katherine E. Kurzman, Kate Sheehan Roach, and Stasia Zomkowski. Boston: Bedford/ St. Martin’s, 1998. 242,243. Print.
This essay has compared and contrasted two magazines aimed at the female readership, and they are called Bitch Magazine and Cosmopolitan, with regards to their front pages, content and articles, their ideals of beauty, and feminism. Cosmopolitan is a magazine that gives harmful ideas to women about their sexuality, their health and happiness, and how it is supposedly dependent upon whether or not they fit into the unrealistic beauty standards that this magazine possesses. In divergence, Bitch Magazine teaches women to love themselves and to support each other no matter what. Bitch encourages women to understand that they are absolutely perfect just the way they are and that there is no need to change or suppress their given identities.
The advertisements in Life magazine create a certain deception of women in the early 1950’s and give a message about class. Women are portrayed in a flattering way and are shown to be content with their lives. However, the magazine advertisements, in their sexist nature, give off the message that women are meant to be secluded from anything that is not related to domestic work, creating the female housewife stereotype. Constantly women are shown in advertisements relating to appliances, cleaning, and being a good wife. Class in Life magazine is also shown by the possession of materialistic objects, like cars. It gives off the message that by owning these objects one is essentially living the dream.
With this being said, this idea and understanding of female dissatisfaction described in Friedan’s piece is made out to be a serious epidemic and a social condition that is more severe than it actually was. In this essay I argue that Betty Friedan’s Feminine Mystique serves to highlight the crucial part the media, magazine editors, and marketers played in establishing female societal roles post WWII and in ultimately constructing what became known as the feminine mystique, but the lives of housewives during this period could have been much worse. To describe this unequal treatment of women as progressive dehumanization and as a comfortable concentration camp is absurd, dramatic, and offensive. These women were by no means imprisoned in their homes or forced to live as housewives. Yes, it was seen as a social norm to be a housewife and devote one’s life to marrying and starting a family, but it was not absolute law.
Are women still seen as being homemakers in modern-day society, and are they being sold a domestic lifestyle? It appears that Martha Stewart believes so and desires to continue a trend. For example, in the July/August 2014 issue of Martha Stewart Living, one could argue that women are stereotypically represented as being homemakers in a KitchenAid advertisement, which shows a woman placing a dirty pan in a KitchenAid dishwasher. Moreover, the eye-catching, bold headline, shown on the ad of the American home appliance brand is “cook like you don’t have to clean.” The ad goes further with promoting an ideal familial status of women by using subliminal advertising and product placement techniques to represent the ultimate kitchen. Furthermore, it targets the values and lifestyles of the typical wife with its controversial headline, and it goes on with a plain-folks pitch, which focuses on a conventional established role of women in society.
Breazeale explains, “It had to be unequivocally clear that women were the natural objects of its readership’s desire” (75). In the eyes of Esquire Magazine’s audience, it was just as bad to be a woman as it was to be a homosexual person, so Esquire’s founders had to ensure that their would be no doubt in their readers’ minds that this magazine was created for straight males only. Esquire’s use of erotic imagery of women promoted women as nothing but objects; while half of the magazine insulted women on their tastes, the other half portrayed them in inappropriate, sexual ways solely for men to look at. Esquire Magazine even used inappropriate cartoons and voyeurism as a way to assert the male dominance. Esquire would run articles of women naked in the restroom surprised by construction workers, burglars, or firefighters, or there was an accidental loss of clothes on the street; whatever the situation, all featured a woman in surprise and a male initiating a look that the female does not necessarily want (78).
Over the last few decades, there has been a significant rise in the number of women receiving college educations and a decrease in gender discrimination due to federal law. These two societal factors have helped the average woman to attain a higher paying job than ever before in our history. Presently, women are earning over half of all accounting degrees, 4 out of 10 law degrees, and just about that many medical degrees (Krotz 1). Therefore this gender group, which makes up about half of the American population, has a lot of monetary power. As a result, when women reach the peak of their earning power, they will have money to burn (Krotz 1). Women reach this peak around the age of 40 or older. In the last year alone, of all the women who purchased a new car, 53% were over 40 and so were 60% of those who bought new computers (Quinlan53). Evidently, the majority of buyers are older women. So why then is there a noticeable lack of this age group of women in magazine advertisements?
Who is really responsible for stereotyping among the ethnic characters in films? According to Jessica Hagedorn in her article “Asian Women in Film: No Joy, No Luck” she explains the stereotypes that are happening in the movie industry since then. In fact, this issue was very popular in Hollywood films. There always have been this racial issue about the roles that they give to Asian actors and actresses that were always limited. Another problem is about the racial options of the casting of the films even though the original roles was made to be Asian (“Yellow Faces”). Hollywood writers and directors have a social responsibility to avoid stereotyping ethnic characters because they have the power to choose the characters, to interpret the movies, and to influence people.
“Oh, no!” I thought to myself when she asked us to present our essay proposals to the class. A sinking feeling set in, and my heart began to race. I was about to share one of my deepest, darkest secrets. Each person went, and finally, it was my turn. My heart felt like it would burst as the words glided in slow motion across my lips: “Real Housewives.” The whole class started to laugh, and I wanted to shove the words back into my mouth, but I couldn’t. I just sat there and thought: “What have I just done?”
What is stereotype? The Merriam-Webster dictionary defines stereotype as “believing unfairly that all people or things with a particular characteristic are the same.” Stereotypes are everywhere. Stereotypes cover racial groups, gender, political groups and even demographic. Stereotypes affect our everyday lives. Sometimes people are judged based on what they wear, how they look, how they act or people they hang out with. Gender and racial stereotypes are very controversial in today’s society and many fall victims. Nevertheless, racial and gender stereotypes have serious consequences in everyday life. It makes individuals have little to no motivation and it also puts a label about how a person should act or live. When one is stereotype they
Society continually places restrictive standards on the female gender not only fifty years ago, but in today’s society as well. While many women have overcome many unfair prejudices and oppressions in the last fifty or so years, late nineteenth and early twentieth century women were forced to deal with a less understanding culture. In its various formulations, patriarchy posits men's traits and/or intentions as the cause of women's oppression. This way of thinking diverts attention from theorizing the social relations that place women in a disadvantageous position in every sphere of life and channels it towards men as the cause of women's oppression (Gimenez). Different people had many ways of voicing their opinions concerning gender inequalities amound women, including expressing their voices and opinions through their literature. By writing stories such as Daisy Miller and The Yellow Wallpaper, Charlotte Perkins Gilman and Henry James let readers understand and develop their own ideas on such a serious topic that took a major toll in American History. In this essay, I am going to compare Gilman’s “The Yellow Wallpaper” to James’ “Daisy Miller” as portraits of American women in peril and also the men that had a great influence.
As early as the nineteen fifties women were identified and targeted as a market. In a consumer culture the most important things are consumers. Advertisers convinced homemakers that in order to be a “good” wife and mother you must have their products and appliances to keep a clean and perfect home. The irony of this ploy is that consumers must have money to buy, and so trying to improve their quality as homemakers, off into the workforce women went. This paradox left women ...
In her memoir, Autobiography of a Face, Lucy Grealy tells the story of how the deformities caused by her cancer forced her into a life of isolation, cruel insults, and unhappiness. Grealy clearly demonstrates how a society that excessively emphasizes female beauty can negatively affect a young girl, especially one with a deformity. Most interpret this story as a way for Grealy to express the pain that she endured because she did not measure up to society’s definition of female beauty, a standard that forces girls into unhealthy habits, plastic surgery, and serious depression. In the afterword of the memoir, Grealy’s friend, Ann Patchett, tries to change this interpretation by saying that Grealy never meant for it to be a story of the hardships she faced as a young girl with a deformity; she simply wished it to be viewed “as a piece of literature.” (232). However, this short passage takes away from the important message that Grealy expresses in her memoir: that the unattainable standards of female beauty in society can destroy the joy and livelihood of young girls. Grealy understandably denied this as her reason for writing because, to her, admitting that the story of her life was dominated by her deformity would be like admitting that she had never lived. She frequently explains in her memoir that she longed for physical beauty so that she could finally live without isolation and dejection. To label her memoir a story of loneliness and sorrow would be admitting that she never reached this sense of beauty she so strongly desired. Despite Ann Patchett’s interpretation of the memoir, it should still be seen as a story demonstrating how society’s unreachable standards of beauty can deprecate the lives of young girls, as ...