Friday, October 14, 2011

Song lyrics











One of the most popular and accessible forms of media, which we our class has actually under
discussed, is music. From trends like dances and genres to social
acceptability, musical lyrics have shaped our culture for generations.
Why then are they one of the most under criticized and overly sexist forms of
media? Too often we get into the idea that a visual aspect is necessary
for a woman to be portrayed as an object or an inferior.

While there may not be a literal male "gaze," both of these lyrics, purposefully
from different genres, show how women can take on the form of an object, to be
used and forgotten. The Eric Church lyrics on the left show the
implication of the "bad boy" with the "good girl." Clearly, he doesn't care that he is bad for her, he expects her to not only put up with his darker ego, but to help control it as well. Not only must she look past it, but she must clean up after it and help to save him from his own
problems.

The Lil' Wayne quote on the right is even worse. It's actually much, much worse.
The way he describes this woman, a lady of power and authority, is sickening. He plays off the fact that she is a police officer, as if being a woman totally overrides whatever authority a policeman should carry. He sees her as a sexual object, and can not take her seriously as a woman police officer.

As Ziesler talks about in chapter 3(pages 84-85), the music video industry is huge as
well. Now, these artists are telling women not only how they should act, but showing them very sexualized dancers as objects. Women in these videos are all too often underrepresented as artists and overrepresented as objects able to do nothing more than dance with no clothes on. Girls who see these videos and listen to these songs get influences of women with no
values, whose faces and names are not important, and seem to be willing to throw themselves without inhibitions towards these men just to please them. Is this the influence we want young girls to see? There are no strong women characters as background dancers, nor can they be viewed as role models.
When one considers the traditional background dancer, one can see where the problems arise. She is one of many, none standing out, and she has no name, or at least it is not important. She is scantily dressed, and has a very sexualized body. She is there in every sense of the word, as a piece of meat, to be stared at by both men and women, as a sexualized object.
Even with all of the newfound “media literacy ,” it is still hard to watch these videos and listen to this music and not get caught up in all of the hype and forget for a minute the damage this is causing towards many girl’s futures, and many women to lose credibility and their earned status as equals in this world. These songs are just a window into the world of music that is shaping an ever oppressive culturte for women in our world and our youth. How bad must it get before something is done?

Bond Movies and Feminism


Movies are the most influential pop culture item as they are viewed by millions of people across the globe in theaters, on television, electronic media, etc. Movies these days are meant only for entertainment purposes more than anything and most of them fail to deliver a social message. The sad part however, is the way women are being depicted in films. They are given less and unimportant screen space, wears skimpy clothes, are sexually objectified and scrutinized through the 'male gaze’.   Budd Boetticher summarizes his view as: "What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance." Male gaze denies any sexuality of the women other than the male construction and it is also applicable to females. Andi Ziesler explains in her book, ‘Feminism and Pop Culture’ that “The surveyor of women in herself is male: the surveyed female. Thus she turns herself into an object – and most particularly an object of vision: a sight.”

Most famous Bond cinematography 


An example of this phenomenon is very prominent in almost all of the 'Bond' films. Bond girls are considered "ubiquitous symbols of glamour and sophistication”.  Bond girls are often victims rescued by Bond, fellow agents or allies, villainesses, or members of an enemy organisation (most typically the villain's accomplice, assistant or mistress). Some are mere eye candy and have no direct involvement in Bond's mission; other Bond girls play a pivotal role in the success of the mission. Other female characters such as Judi Dench's M and Miss Moneypenny, who have a significant role to play are usually old and are not Bond girls. With the exception of ‘doomed’ bond girls, the love interest of Bond is gone by the next film and is never mentioned or alluded to again. This fact shows that women fall prey to wealthy, powerful and handsome men and finally get nothing out of it as they are shown to be incapable of gaining Bond’s love.




There are many other ‘bikini-clad’ girls in Bond films.  The only role they serve is that of a ‘piece of meat’ (pardon the language) used and thrown away by James Bond. This truly demeans the value of women and in fact feminism.  When 'Sir Sean Connery' or 'Daniel Craig' look at the women in the films and the camera turns to focus just on the women we too unknowingly 'gaze' through their eyes and construe the image of a perfect woman. These women are shown to be the ideal ones with straight hair, lots of make - up and a perfect body. When a woman watches these films her view too is restricted by the 'male gaze' and she fantasizes to be like those women. This creates a stereotype of a woman being the sex-object of a man. Most of these films also have the lead actresses uttering some very cheesy and cheeky lines which are unacceptable in most societies.

Moore as Bond

Moore’s Bond is truly the basis of feminist criticism for being “a world class misogynist—the poster boy for male chauvinist pigs”.  His relationships with women in these films are not only non-romantic but often bordering on abusive.  In Live and Let Die he deceives Jane Seymore’s Solitaire in order to steal her virginity and pulls a gun on Gloria Hendry’s Rosie Carver immediately after a sexual encounter, stating that “I certainly wouldn’t have killed you before!”  Bond girls in these instances are not only objectified but almost victimized by the hero.

On the other hand, there are a few positive things depicted about women through these films.                          Bond, as a British Agent, along with a few Bond girls is increasingly involved in preventing schemes involving world domination achieved through the auspices of technology.  This connects gender roles and relations to the technological innovations of post digital-divide Western civilization. In this sense, the films also expose our notions of masculinity and femininity in a post-feminist, post-Xena, post-Buffy world.  “Bond Girls” fight as well as the next Warrior Princess or Slayer and can also program software or manipulate networks to rival Bill Gates.  
Pussy Galore
                                                                                        
Pussy Galore( a very inappropriate name), is a female character in one of the films is a confirmed lesbian and self-proclaimed “damn good pilot,” she is independent and allegedly, by sexual preference and by assertion, immune to Bond’s charm. This asserts the role of women as independent beings and also sends out a message that a woman’s sexuality should not affect her position in the society.

Citations:

1.Zeisler, Andi. Feminism and Pop Culture. Berkeley, CA: Seal, 2008. Print.
2. Adams, Michelle. Bond Girls: Gender, Technology and Film (2002): 2. Print.Oct 12th 2011.
3. Pictures in the order of appearance:
2. http://img2.timeinc.net/ew/dynamic/imgs/060810/13533__evabond_l.jpg




Wednesday, October 12, 2011

MOVIES AND FEMINISM

(audience: undergraduate students)

Movies are the most influential pop culture item as they are viewed by millions of people across the globe in theaters, on television, electronic media, etc. Movies  these days are meant only for entertainment purposes more than anything and most of them fail to deliver a social message. The sad part however, is the way women are being depicted in films- given less and unimportant screen space, wear skimpy clothes, sexually objectified and scrutinized through the 'male gaze'. 

'Male gaze' is the most predominant thing depicted in movies. Budd Boetticher summarises the view thus: "What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance."  Laura Mulvey's germinal essay "Visual Pleasure and Narrative Cinema" (written in 1973 and published in 1975) expands on this conception of the passive role of women in cinema to argue that film provides visual pleasure through scopophilia, and identification with the on-screen male actor. She asserts: "In their 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 to-be-looked-at-ness," and as a result contends that in film a woman is the "bearer of meaning, not maker of meaning." 

An example of this phenomena is very prominent in almost all of the 'Bond' films. When 'Sir Sean Connery' or 'Daniel Craig' look at the female leads in these films and the camera turns to focus just on the women we too unknowingly 'gaze' through their eyes and construe the image of a perfect women. These women are shown to be the ideal ones with straight hair, lots of make - up and a perfect body. When a woman watches these films her view too is restricted by the 'male gaze', which denies any sexuality of the women other than the male construction. 






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Monday, October 10, 2011

Gossip Girl and her Hidden Gossip




XOXO


Gossip Girl

When I first began reading about

feminism and pop culture and about, the now called, “media literacy” I thought I was a sufficiently mature and capable person to see and understand the messages behind any Reality Show, Series and Advertisement.

However, this was not true. I proved it to myself when I finished reading a book named Feminism and Pop Culture and I decided I was going to watch a show and be a “media literate”. I decided to watch the series Gossip Girl -a series based upon the books written by the American novelist Cecily Von Ziegesar which focuses on the lives and romance of a group of wealthy teenagers who live in the upper east side of New York City- from a completely “Media Literate” perspective. The result? I ended simply watching Gossip Girl like any other time before. Why?


Well, I should have started with investigating what media literacy really is. After my failure I searched a clear definition and I found that media literacy is:

“The ability to access, analyze, evaluate and create media in a variety of forms.”

The previous definition is really straightforward. However I prefer the following one,

“Media Literacy is a 21st century approach to education. It provides a framework to access, analyze, evaluate, create and participate with messages in a variety of forms — from print to video to the Internet. Media literacy builds an understanding of the role of media in society as well as essential skills of inquiry and self-expression necessary for citizens of a democracy.”

The way I understand the previous definitions is by an analogy. I think media (Series, Movies, Advertisements, TV Shows etc..) are a Box of Candy and Media Literacy is the ability to read the nutritional table printed on the box.

Before we open a Box of Candy it is very intelligent to first read the Nutrition Facts. However, when we watch media we have to be reading and understanding that nutrition table at every single moment. It is not sufficient to only read it before watching a series, an advertisement or a reality show; in fact, it is almost- if not completely impossible.

On my first attempt to watch Gossip Girl as a “Media Literate” I didn’t see anything extremely wrong about it. What I saw in Gossip Girl were empowered women who obtained what they wanted and were not subordinated by their male counterparts. Then, after reading more about media literacy and how women are portrayed in pop culture I realized I was not seeing the small details, which made the big differences.

Having said so, for this particular case I’m going to focus on one of the main ingredients of the series: Blair Waldorf.


She is rich, successful, powerful, popular, and (most important) she seems to fit society’s definition of beauty (long hair, perfect skin, thin body) almost without trying.

At the beginning of the series Blair Waldorf was what Zeisler describes in her book Feminism in Pop Culture as: “The most stereotypically, beautiful, least independent women with the lowest-carb diets” In fact, we then learn that Blair has episodes of bulimia. She was insecure and she was always looking for male validation.

Although Blair experiences later on a change of behavior, interests and, in some cases, personality, which makes her a strong person who doesn’t need a man at her side (at least is what she is trying everybody else to convince of) she is still not getting where she wants to get in life.

This doesn’t only happen to her. It is a gender related denominator in Gossip Girl. The men in the show always get what they want, they get to have sex with many different girls without being judge and they are usually more successful in their careers than girls are. Clearly, Blair is more successful than other male in the show. But she is always less successful than “her equal”: Chuck Bass.

While Blair is absolutely dependent on her mother to buy her own things and is in repeated frustration for her attempts to attend a reputable University, Chuck Bass gets to own his personal hotel empire. This not only gives him the sufficient money needed to meet his standards of life but also gives him enough power to make look Blair as a completely helpless persona.

These characteristics shown in Gossip Girl strengthen the idea that women ought only to be pretty and dependent. Yes, they might be somehow successful, but they will never have as much money, power and freedom as their male counterpart. Are they telling us that women should stop trying so hard because, no matter what, they’ll never be fulfilled as women?

___________________________________________

Center for Media Literacy. "Media Literacy: A Definition and More." Center for Media Literacy. Center of Media Literacy, 2011. Web. 08 Oct. 2011. .

Every Parent's Nightmare - Gossip Girl. Digital image. Cwtv.com. CWTV. Web. 8 Oct. 2011. .

Zeisler, Andi. "Women Under The Influence: Pop Culture Now And Beyond." Feminism and Pop Culture. Berkeley, CA: Seal, 2008. 126. Print.

Gossip Girl and her Hidden Gossip

XOXO Gossip Girl

When I first began reading about feminism and pop culture and about, the now called, “media literacy” I thought I was a sufficiently mature and capable person to see and understand the messages behind any Reality Show, Series and Advertisement.

However, this was not true. I proved it to myself when I finished reading a book named Feminism and Pop Culture and I decided I was going to watch a show and be a “media literate”. I decided to watch the series Gossip Girl -a series based upon the books written by the American novelist Cecily Von Ziegesar which focuses on the lives and romance of a group of wealthy teenagers who live in the upper east side of New York City- from a completely “Media Literate” perspective. The result? I ended simply watching Gossip Girl like any other time before. Why?

Well, I should have started with investigating what media literacy really is. After my failure I searched a clear definition and I found that media literacy is:

“The ability to access, analyze, evaluate and create media in a variety of forms.”

The previous definition is really straightforward. However I prefer the following one,

“Media Literacy is a 21st century approach to education. It provides a framework to access, analyze, evaluate, create and participate with messages in a variety of forms — from print to video to the Internet. Media literacy builds an understanding of the role of media in society as well as essential skills of inquiry and self-expression necessary for citizens of a democracy.”

The way I understand the previous definitions is by an analogy. I think media (Series, Movies, Advertisements, TV Shows etc..) are a Box of Candy and Media Literacy is the ability to read the nutritional table printed on the box.

Before we open a Box of Candy it is very intelligent to first read the Nutrition Facts. However, when we watch media we have to be reading and understanding that nutrition table at every single moment. It is not sufficient to only read it before watching a series, an advertisement or a reality show; in fact, it is almost- if not completely impossible.

On my first attempt to watch Gossip Girl as a “Media Literate” I didn’t see anything extremely wrong about it. What I saw in Gossip Girl were empowered women who obtained what they wanted and were not subordinated by their male counterparts. Then, after reading more about media literacy and how women are portrayed in pop culture I realized I was not seeing the small details, which made the big differences.

Having said so, for this particular case I’m going to focus on one of the main ingredients of the series: Blair Waldorf.

She is rich, successful, powerful, popular, and (most important) she seems to fit society’s definition of beauty (long hair, perfect skin, thin body) almost without trying.

At the beginning of the series Blair Waldorf was what Zeisler describes in her book Feminism in Pop Culture as: “The most stereotypically, beautiful, least independent women with the lowest-carb diets” In fact, we then learn that Blair has episodes of bulimia. She was insecure and she was always looking for male validation.

Although Blair experiences later on a change of behavior, interests and, in some cases, personality, which makes her a strong person who doesn’t need a man at her side (at least is what she is trying everybody else to convince of) she is still not getting where she wants to get in life.

This doesn’t only happen to her. It is a gender related denominator in Gossip Girl. The men in the show always get what they want, they get to have sex with many different girls without being judge and they are usually more successful in their careers than girls are. Clearly, Blair is more successful than other male in the show. But she is always less successful than “her equal”: Chuck Bass.

While Blair is absolutely dependent on her mother to buy her own things and is in repeated frustration for her attempts to attend a reputable University, Chuck Bass gets to own his personal hotel empire. This not only gives him the sufficient money needed to meet his standards of life but also gives him enough power to make look Blair as a completely helpless persona.

These characteristics shown in Gossip Girl strengthen the idea that women ought only to be pretty and dependent. Yes, they might be somehow successful, but they will never have as much money, power and freedom as their male counterpart. Are they telling us that women should stop trying so hard because, no matter what, they’ll never be fulfilled as women?

___________________________________________

Center for Media Literacy. "Media Literacy: A Definition and More." Center for Media Literacy. Center of Media Literacy, 2011. Web. 08 Oct. 2011. .

Every Parent's Nightmare - Gossip Girl. Digital image. Cwtv.com. CWTV. Web. 8 Oct. 2011. .

Zeisler, Andi. "Women Under The Influence: Pop Culture Now And Beyond." Feminism and Pop Culture. Berkeley, CA: Seal, 2008. 126. Print.