I recently watched afternoon cartoons on Nickelodeon and Cartoon Network and I was shocked to find a flood of highly gendered toy commercials. These ads not only market toys to children but it also promotes and encourages gender specific values that are very limiting to boys and girls in different ways. The values and skills promoted in these commercials can play a critical role in the socalization of youth and their development of emotional expression, conflict resolution, the confidence to pursue various careers and the ability to maintain healthy relationships as adults.
Related Links and Articles:
Read Media Literacy, an article by Cynthia Peters discussing and analyzing media literacy programs and how we need to transform them and hold the media accountable.
The Reel Grrls remix was made by Sahar & Diana, check out more remixes made by Reel Grrls participants here.
Reel Grrls is an amazing after school program that teaches girls and young women video making skills in a safe and encouraging environment.
Jonathan McIntosh is pop culture hacker who facilitates workshops that promote and teach critical media literacy through the use of remix video (You might also recognize him from his viral remixes Buffy vs Edward and Right Wing Radio Duck).
Campaign for a Commercial Free Childhood is an organization whose mission it is to reclaim childhood from corporate marketers. They are a coalition of health care professionals, educators, advocacy groups, parents, and individuals who are working to stop the commercial exploitation of children
To learn more about what “Male Identified” and “Male Dominated” means read Allan G. Johnson’s The Gender Knot and check out articles and videos on his website agjohnson.us
Tuesday night’s season premiere of Glee may have been one of the most offensive hours of television I’ve watched in a long time. It seemed like every minute or two they would make another sexist, racist or homophobic joke. I was afraid Glee was going in a bad direction after the first few episodes of season one but none-the-less I kept watching. I understand the popularity surrounding Glee because it’s a fun show with silly over the top characters, and I’m kind of a sucker for musicals, however the offensive stereotypes masked in humour as well as continuous tokenizing has taken it’s toll. The season two premiere had me enraged.
Glee is a show that stars mainly white characters with a secondary cast of token “minorities” which is illustrated by the fact that only the white cast members were featured on the cover of Rolling Stone. The show is notorious for tokenism. It does so by including a limited number of individuals from oppressed groups to make a TV show (or workplace) “feel” more inclusive while maintaining the status quo. In this case the status quo is white and heterosexual. Token characters are usually relegated to a secondary or sidekick role. In Glee, nearly all the secondary characters are tokenized even as the writers attempt to cover it up by “special episodes about –insert oppression here–”.
There were so many problems with the season premiere that it would take me pages and pages to write it all out so here are my top 5 issues.
#1 TRANSPHOBIA & HOMOPHOBIA
In this episode we are introduced to Sannon Beiste (pronounced Beast – I CANNOT believe they had the nerve to name her Beast), the new female football coach at McKinley High. Immediately Beiste is made ridiculous because of her name, her appearance, her gender and her profession. The writers used all this to make jokes at her expense playing up her perceived sexuality and gender identity without ever mentioning it. Although Beiste does not necessarily self identify as lesbian or transgendered the writers are clearly playing on transphobia. I’ve already seen posts on the internet inquiring about the actor’s “real” gender. They did attempt to add complexity to her character by bringing in a bit of a back story which I appreciate but it doesn’t make up for endless homophobic and sexist jokes. Also they consciously chose to name her Beiste, a “butch” and monstrous name to match their casting, costuming and writing of the character. They clearly did this to create a hyper stereotyped caricature of a masculine or ‘butch’ woman with endless possibilities of homophobic and sexist jokes. Characters on the show that have a non normative gender presentation and don’t fit neatly into traditional “male” or “female” identities are often ridiculed; this even happens with Sue, the villain that everyone loves. Beiste is initially made fun of by other characters and framed as an outsider. Later the audience develops more sympathy for her through Will as he begins to see that she is a “person” too despite her monstrous appearance and behaviour. Although we are supposed to have more tolerance and some measure of sympathy by the end of the episode, she is still an over the top stereotyped, caricatured “other”.
#2 “FAKE” SEXUAL ASSAULT & RAPE
I’m so tired of the fake rape plot point in TV shows. Writers often use it because it provides a seemingly unpredictable twist in the narrative, but in this episode it’s just played for comedy. It’s another case of writers having fictional women use the fake accusation of rape or assault to destroy an individual as a personal vendetta. Sue convinces Brittany to accuse Coach Beiste of sexual assualt in order to get her fired. Although it is clearly and obviously a plot point played for laughs, the pervasiveness of this trope creates an environment where real women are thought of as suspect when reporting rapes and assaults. In the real world these sorts of false accusations are extremely rare especially in contrast to the real world epidemic: 1 in 6 women will be sexually assaulted in their lifetime.
Well, for one thing, it’s a job in an economic climate that makes landing even a low-paying retail job harder and harder to come by. And, lots of young things are attracted to the very idea of working for a company that has such picky hiring standards. If you’re hired, well, that must mean you’re special and super hot.
In fact, that is exactly the reason a former employee started working for Dov’s retail porn palace and, in the end, the reason I received this letter chronicling the dirty details so many employees have come forth with lately. The details of the following letter aren’t a novelty (see letter after the jump). In fact, stories like these have become commonplace for American Apparel and Charney which is why this letter is worth posting.
After multiple sexualharassment suits and similar exposes, what is striking about this letter is the fact that nothing has changed. Charney is so arrogant and confident in himself and his “politically progressive,” “hipster” brand image that the public masturbation, bedding of employees and controversial hiring, firing and at-work practices continue blatantly and without apology.
My post, Sexist Meat Market:Pamela Anderson’s Newest Campaign for PETA, which was posted here and at Elephant Journal has garnered some interesting and thought-provoking feedback. Much of it has been insightful and extremely intelligent and some of it has been an affirmation of the reasons why we need to continue deconstructing images and creating dialogue.
The comments from the post at Elephant Journal, a journal catering to the “enlightened,” “conscious,” and “progressive,” proves that sexism is still en vogue, should not be taken seriously and enlightenment ends when it comes to women’s issues.
The list of comments below has been compiled from Elephant Journal’s facebook page and the post located on their blog. Critics accused me of being “too serious,” “too sensitive,” “selfish,” “whiny,” “prudish” and, get this, sexist.
After posting the latest disturbing images from Marc Jacobs the other day and connecting it to the larger array of images in advertising in the ad-round up, I have found a few of the images from his 2005 ad campaign. The series of images below are not complete. They are the only 3 I have found (so far) in my mammoth private collection of ads over the last decade. The image in the middle is from the January 2005 issue of Vogue. I did not accurately label the other two images but they were also found in mainstream fashion magazines from the same time period.
What’s particularly interesting and disturbing about these images is how much they resemble the work of photographer Melanie Pullen. In 2005, I went to see Pullen’s exhibit High Fashion Crime Scenes at the ACE Gallery in Beverly Hills. Pullen recreated from files obtained from the Los Angeles and New York Police Department’s and various coroner’s offices, crimes that took place at the beginning of the last century. She recreated these crime scenes by outfitting models in high-fashion clothing (Prada and Gucci) and shoes (Jimmy Choos and Marc Jacobs, ironically). Her work is coupled with an artist’s statement that indicates her intention in critically examining the glamorization of violence and the distraction of that violence through the use of beautiful women in beautiful clothes. The fashion industry barrages us with seemingly normative images of violence against women in mainstream magazines advertising everything from clothing to perfume. These instances are exactly what Pullen is attempting to examine.
The difference between Jacobs and Pullen? Pullen’s work is accompanied with an artist’s statement and takes a critical eye at this rather gruesome trend and asks that we become aware of our tendency to focus on the beauty of the images while ignoring their brutality (they are images of actual crime scenes, after all). Jacobs’ work does not come with an artist’s statement. Instead, he is on the other side of the issue.
What other explanation is there for a company that continues to create ad campaigns that depict women as 1. disposable 2. victims, sometimes disposable victims.
If you saw the ad round-up posted recently, you have seen the patterns, image after image reinforcing narrow and limiting themes of women in advertising. To see the images lined up next to one another takes on a remarkable quality and produces a powerful impact. I know it did for me when I saw all of the ads put together, even after 15 years of conscious and critical analysis.
With that said, I’ve seen scores and scores of ads as a consumer and even more through the lens of a media critic and, unsurprisingly, in that process I have become a bit desensitized. Oh, another super skinny model, another model posed passively, and on it goes. I’ve seen such awful ads that many have become less shocking because there are others that are so much worse.
Marc Jacobs continues to strike me with the blatant devaluing of women and the often brutal or degrading circumstances in which they are depicted. The two below are no expection.
Top: Marc Jacobs ad from the March 2010 issue of Harper’s Bazaar (Kate Moss is on the cover)
Bottom: Marc Jacobs ad from the March 2010 issue of W (Megan Fox on the cover).
They’re both disturbing (and entirely unnecessary to sell whatever they’re trying to sell: the bag? the shoes?) but the bottom is one is what really made me cringe. Do we need to draw on rape scenes of women assaulted in back alleys? It reminds me of the Marc Jacobs ad campaign circa 2005 when shoes were being sold by placing them on models whose feet would be attached to a lifeless body on the ground, legs poking out from behind a bush. Yup, more images of disposabe, victimized women. I’ll be rummaging through my collection of ads to post them if you’re in the least bit skeptical or doubt me.
So, not much has changed in 5 years. In fact, not much has changed in over 30 years. Check out the vintage ad for shoes from 1974 that Ms.Blog posted yesterday. The fact that these images have not changed drastically in several decades solidifies my commitment to remaining vigilant and using my media literacy skills to call out the misogynistic companies that use victimized, brutalized and disposable women as ways to make a profit. Shame on you.
If you’ve ever played an immensely popular online video game on Xbox Live, you know how annoying it can be. It’s usually seconds before you end up pausing, going to the settings menu, and selecting an option to turn off the sound of the other players – screaming 13-year olds, racism, homophobia, and more swearing in a 15 minute Call of Duty match than at your average frat party. Seriously, playing online can (and usually does) suck. People cheat, players drop out, and internet connections go down. Bummer!
Okay – so those are the problems faced by your average gamer playing online (read: male). Being a girl introduces a new set of issues: sexual harassment and misogyny run amok. Women won’t participate in the smack talk so their gender isn’t revealed, saving them the verbal abuse; they’ll avoid using feminine slanted usernames for the same reason. A fellow female gamer I know, who has a feminine descriptor in her username, is frequently bombarded with pictures of male genitalia and sexually explicit messages.
A few weeks ago, a website was set up to appeal men who do want women involved in their games – GameCrush.com The site offers men the ability to play online with girls specifically. Currently the site is down, “…due to the incredible user response.” Interested parties can pay $6.60 for ten minutes of game play with the girl of their choice. The trailer boasts “Thousands of Profiles” to choose from.
GameCrush’s press release positions the site as empowering for women, advertising that “PlayDates can make up to $30 or more per hour while having fun playing online games. After a game session is completed, Players rate their gaming experience, and top-rated PlayDates are rewarded with enhanced site promotion and additional benefits.”
Now – I’m not one to throw around the word “prostitution” lightly, but the site feels it could be headed that way. Alas, the site is down so it’s impossible to tell what the average profile pictures looks like, or what an average “chat” consists of. But telling women that they can make money and reap the benefits by impressing the men who pay to play sounds like a fast way to promote a “Tits or GTFO” mentality in the interactions.
The site was built on a negative assumption – video game playing men are nerds who can’t get girls. If a guy has girl-friends or a girlfriend who plays video games with him, what would the appeal of this website be? There wouldn’t be any!
Sample screenshots of the website show conventionally attractive women, and the homepage preview displays a “Featured Player” pulling down her top. This:
is GameCrush.com’s profile picture on Twitter. They’re already using sex to sell, as evidenced by their promotional campaign. GameCrush readily admits it “…does not monitor, moderate or otherwise control the interaction between its users.” Sounds like a recipe for a creepy party.
For a supposedly overwhelmingly popular site, their Facebook fans are less than 500, and they haven’t even achieved 1000 followers on Twitter. I’m certainly curious to see what the site actually has to offer once they go live.
The list of products that pigeonhole girls in the clothes and makeup category goes on and on. Disney sells pink vanity tables for girls as young as 3, for example, and the European retailer Primark stocks a T-shirt in a 2-year-old size that’s emblazoned with the motto “S is for Super, Shopaholic, Soon-to-be-Supermodel.” Even old classics now offer girls’ versions, such as an all-pink Monopoly game in which the houses and hotels have been replaced by boutiques and malls, and a “Designer’s Edition” Scrabble that has letters on the front of the box spelling out fashion. It wasn’t always this way. A couple of decades ago, children’s clothing mostly came in primary colors and princesses were confined to the occasional film or Halloween costume. But as marketing to children has burgeoned into a multibillion-dollar industry, and our consumerist ethos has saddled kids with mountains of stuff, the gender divide has grown wider.
There are serious ramifications to all this marketing, the Moores say. The tidal wave of pink toys and clothes suggests there’s only one way to be a girl — pretty, princessy and fashion-minded. And this segues disturbingly quickly into often sexualized images of tween girls a few years older, says Lyn Mikel Brown, an education professor at Colby College in Maine and co-author of the book Packaging Girlhood. The not-so-subtle pressures of this marketing can damage self-esteem and feed worries about body image and appearance later in life, the sisters say. They also link it to a celebrity-obsessed culture that undermines adult women by glorifying glamour figures like Paris Hilton while neglecting those women engaged in more serious pursuits.
The Jezebel article questions the long-term effects of these toys that promote what Lynn Peril terms “pink think.“
Yet here we are, studiously deployed in the combat of such messages to girls and women. We somehow emerged intact — not immune to internalized sexism, of course, but able to think clearly and beyond it. Was my love of Perfect Wedding a form of Stockholm Syndrome, its effective antidote parents who expected me to be more than a future wife and an internship at Ms.? Or was it just a really, evilly fun game and not much more?
To answer the question posed above, I say no. My students analyze children’s toys and clothing utilizing a critical gendered lens every semester (in fact, I graded this semester’s papers this afternoon). In many ways, toys created and marketed to children today are more sexist and confining than those from my childhood. To say that the writers at a critical and conscious blog emerged unscathed from the messages promoting beauty and domesticity as the sources of happiness for girls and women is not a conclusion that is representative of the mass population. Those Jezebel writers are sassy, smart and conscious. They can sniff out things like misogyny, sexism and sexist stereotypes quickly and easily.
Like the writers at Jezebel, I consider myself conscious and equipped with the ability to detect double-standards, sexist stereotypes and gender expectations. And, like the writers and individuals commenting at Jezebel, I liked my girl toys. I owned over 40 Barbies, the vacation home and the 3-story townhouse with elevator. I had the pink corvette and bags full of clothes and accessories. I loved grooming and dressing my Barbies, getting them ready for parties and dates (and engaging them in naughty behavior with Ken). Given a choice, I would have played with and had my Barbies proudly on display well into my teens. My mother eventually convinced me that it was time to put them away when I got my first boyfriend at 14.
Clearly, I loved Barbie and all the pink paraphernalia associated with Barbie. But I also remember the scale that was perpetually fixed on 110 pounds. 110. The last time I weighed 110 was when I was 5′ 2″ and in 6th grade. But that number, Barbie’s impossible measurements and “perfect” body were stuck in my mind as examples of what a woman should weigh and look like. I am not blaming Barbie and her pink scale as the sole variables that impacted my distorted and negative body image through most of my life. But I do recognize Barbie as one toy and one aspect of gender socialization that is part of a larger cultural onslaught (see here and here) that encourages girls and women to focus on beauty and relationships (the former as a way to nab the latter).
I agree with Irin Carmon’s statement “We somehow emerged intact — not immune to internalized sexism, of course, but able to think clearly and beyond it” only because I spent years deconstructing and decoding the messages reinforcing these gendered themes my entire life. I don’t blame my toys alone and I don’t pretend that these toys didn’t bring me hours of immense satisfaction and fun. But I also don’t discount these toys as agents of gender socialization that helped frame my expectations of my self, my place in the world, my relationships and possibilities. I recognize my ability to transcend these messages and “think clearly and beyond” them thanks to Sociology and Women’s Studies courses and becoming media literate.
CNN reported on the latest [apparently, not the latest: see comment below] atrocious video game that allows the player to rape a woman over and over again while choosing a variety of methods to initiate the assault.
That’s right.
RapeLay, a video game that has gone viral since people, especially women’s rights groups, have reacted in outrage (and rightly so). Rapelay, a video game that, as CNN reports, makes Grand Theft Auto (the game that stirred up a firestorm of criticism upon its release in 2008) appear as harmless and “clean as Pac-man.”
Given the statistics on domestic violence, assault, and rape, it is difficult for me to conceptualize this video game as a “game.” Our media landscape is (and has been) populated with endless streams of images and messages glorifying, eroticizing and diminishing the serious nature of violence against women, an issue that some have called a hidden pandemic and others have labeled an epidemic of global proportions.
Viewing repetitive and stable images decreases our sensitivity to an issue, it normalizes the images and themes contained therein. Violence against women is an issue that we, as a culture, are already desensitized to on many levels. The systematic objectification and dismemberment of women (see Jean Kilbourne‘s film Killing Us Softly 3 and read her book, Can’t Buy My Love: How Advertising Changes the Way We Think and Feel) is rampant in and a staple fixture of our mediated culture, reinforcing images of aggression and violence against women as normative and unremarkable.
“Games” that continue to use images of gratuitous and unapologetic violence as a source of “entertainment” frighten me because the inevitable results are horrifying. We know that dating violence among young people is increasing. We also know that the level of mediation and amount of time young people are exposed to messages constructed by the mass media, including video game makers, is increasing (there are even treatment programs for young people addicted to video games). Taking these variables into consideration and recognizing the correlation between the level of mediation and one’s attitudes, expectations and behaviors creates a dismal picture for girls and women (and this isn’t even taking the construction of gender and the corresponding expectation of violent masculinity and submissive femininity as normative into consideration).
Given that, I think it is safe to say that rape, virtual or real, is never simply a game, at least not for the victims of that violence, virtual or real, and its social, physical and emotional consequences. In the end, we’re all negatively effected by a culture that makes violence against *anyone* a game.
A few months ago, I was driving down a busy street when I whizzed past a poster featuring a helmet with a pair of shapely legs sticking out the top. I whipped my head around but couldn’t make out the source of the ad. A few weeks later, I saw the same ad and was able to make out the tag line “College football’s never been dirtier.”
Eye roll. Cringing.
I couldn’t shake the image of that girl stuffed into the helmet with her legs popping out from of my mind. I guess the advertisers did their job. They created a reaction, an unforgettable one at that. But, ewww. That poster is the epitome of Jean Kilbourne‘s themes of objectification and dismemberment as prominent themes depicting women. Sadly, this ad proves that things aren’t necessarily getting better and that a feminist analysis of sexist media content is imperative.
Unfortunately, I was never able to find the producer of this ad until…
I’m currently teaching my dream course, Women and Popular Culture, that features a class blog. My repeat student, Rachel, posted on that same poster I had seen but was unable to source. I was so pleased with her post that I am featuring it below (the title of this post is hers.):
I’m typically not one to generalize this badly – but writing a post about sexism on Spike TV is a little bit like being shocked that cooking is featured on the Food Network.
I really shouldn’t expect more from the network that features such greats as “Bikini Poll of the Week” on their website, as well as “The Top 7 Butterbodies” (I wish I was joking), which has since mysteriously been removed from their website (likely following a widespread backlash across various celebrity and feminist blogs). Luckily, a celebrity blog/community I frequently read posted the article in its entirety when it was originally put up on the Spike site. However, I have noticed some bus stop ads for their new original series lately, and I felt inspired to write about it.
“Hmmm….that looks familiar” I thought looking at the poster with the girls legs sticking upside down out of football helmet. It didn’t take long to place the reference, to one of the (if not the) most famous covers of Hustler Magazine:
Blue Mountain State is just the latest in the successful networks testosterone, breast fueled programming. The sexism of the network runs rampant, featuring such shows as “Faster Harder Manswers” and “The Search For the Ultimate Spike Girl.“ (Unrelated – I found their website to be almost unbearable, every page click results in the loud auto-play of a commercial.) While Spike TV, (and even Larry Flynt) are and were perfectly within their rights to publish these images, it’s important to look at the larger sociological context we live in, the pop culture messages, that allows for such images to be made. It’s disappointing to think of this new Blue Mountain State ad in terms of how many hands it had to pass through – at ad agencies, through the network.
I know about Larry Flynt, I’ve even seen the “People Vs.” movie starring Woody Harrelson, Edward Norton, and Courtney Love. I understand both sides of the argument, although it can sometimes be a difficult distinction to make – to be a feminist, and to believe in Larry Flynt having the right to publish the image. Thirty years after the highly controversial (June 1978) cover appeared on newsstands, the network shows that they have no problem portraying women as objects, as “pieces of meat.”
A teaser trailer that was released in anticipation for the shows premiere shows women in various states of undress, (in some cases completely naked), a lot of macho attitude, and some that’s so gay jokes thrown in for good measure. If I had the patience, I would watch an episode to critique, but I found it difficult enough to make it through the 2 minute long trailer.
#2 “FAKE” SEXUAL ASSAULT & RAPE
