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Gendered Television
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Gendered Television

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Gendered Television Gendered Television Presentation Transcript

  • Communication Gender and Society Denisha Harshani
  • GENDERED TELEVISION Femininity
  • Soap Opera Form Disruption Deferment and Process Sexuality and Empowerment Women in News Women in Advertisements
  • Brown (1987) list eight generic characteristic of soap opera 1) Serial form which resists narrative closure. 2)Multiple characters and plots. 3)Use of time which parallels actual time and implies that the action continues to take place whether we watch it or not. 4)Abrupt segmentation between parts. 5)Emphasis on dialogue, problem solving, and intimate conversation. 6)Male characters who are “ sensitive men” 7)Female characters who are often professional and otherwise powerful in the world outside
  • • This infinitely extended middle means the soap operas are never in a state of equilibrium. • The equilibrium of a happy, stable family is constantly there in the background, but is never achieved. • The dominant ideology is inscribed in the status quo, and soap operas offer their subordinated women viewers the pleasure of seeing this status quo in a constant state of disruption.
  •  Deferment is equally important characteristic in soap opera. As Modleski , a soap opera “ by placing ever more complex obstacles between desire and fulfillment, makes anticipation of an end an end itself”
  • • As Brunsdon argues, the pleasure in soap opera lies in seeing how the events occur rather than in the event themselves. • The soap opera press often summarizes future plotlines. By it readers knows the events before they occur.
  • Deferment and process are enacted in talk and facial expression. The sound track of soap operas is full of words, and the screen is full of close ups of faces.
  • Porter suggests that “The face in close up is what before the age of film only ever or mother saw”  According to Modleski “an important mode of representation in feminine culture for a number of reasons. They provide training in the feminine skills of ”reading people "and are the means of exercising the feminine ability to understand the gap between what is meant and what is said.
  • Close ups also encourage women’s desire to be implicated with lives of characters on the screen.
  • Brown says “Soaps allow us to linger, like the pleasure of a long conversation with an old friend”
  • • Davies in 1984 argues that “soap opera sexuality is concerned with seduction and emotion rather than, as masculine sexuality is, with achievement and climax” According to him soap operas shows women’s body and sexuality use as weapon against men.
  • The “good” male in the daytime soaps is caring, nurturing, and verbal. Women and men in the soap operas are probably more equal than in any other form of art or drama or in any are of real life.
  • The “macho” characteristics of goal centeredness , assertiveness, and the morality of the strongest by it identify the hero in masculine television and it tend to be characteristics of villain. The villains are typically very good looking and are often featured in the press as desirable “hunks” they are loved and hated, admired and despised.
  • Similarly, the good, feminized men, particularly the youngest ones, typically have the strong good looks associated with conventional heterosexual.
  • according to Brown “soap operas are positive and empowering in the way they handle sexuality and sexual pleasure. Power of the female body to create is given crucial importance.
  • Pregnant women as powerless over natural events, women in soap operas use pregnancy as power over the father of the unborn child. women characters use their bodies to achieve their own ends.
  • The villain turns traditional feminine characteristics into a strength. Women use pregnancy as a weapon and she uses her insight into people to manipulate them. And she uses her sexuality for her own ends.
  • Women in News
  • Women in Advertisements
  • Women in Reality Show