This document discusses how society has become increasingly sexualized and how this impacts young girls. It provides examples of sexualized imagery in advertising, music videos, clothing and products targeted at children. The author argues that constant exposure to these sexualized images leads young girls to feel pressure to portray older, sexualized versions of themselves. This can have negative physical and mental health effects. The document analyzes this issue through the sociological perspectives of Gramsci and Marcuse, exploring how dominant cultural ideals of sexuality are promoted and internalized.
This document discusses various topics relating to media and gender presentation. It begins by defining what media is, noting it is ubiquitous in contemporary society and comes in many forms. It then discusses how media functions as a single entity that communicates understandings of gender. Media is described as an institution that shares conventions through the construction of content and audiences. Television is used as an example of how the economics of media is driven through commercials and product placement targeted at audiences. The document also discusses how media exerts power over gender norms and representations, and influences social norms around issues like gender, race, and class.
Buckingham's theory suggests that media do not offer transparent reflections of reality but constructed versions intended to maintain dominance. When applied to representations of youth, the media historically constructed unrealistic and subjective portrayals to avoid "chaos" and promote social control, but have become more reflective over time as they challenge dominant ideologies. Examples from films in the 1950s-90s like Rebel Without a Cause showed carefully constructed extremes of youth behavior to create moral panic, while more recent films like The Selfish Giant offer more balanced, realistic reflections that lessen dichotomies between youth and adults. While media still portray some youth subcultures and deviance, they now also provide context and seek to build understanding between audiences and youth.
Media representations of young people are constructed by adults to maintain social order rather than reflect youth identity. Films from the 1950s like "Rebel Without a Cause" represented teenagers as disruptive but showed them eventually conforming to social norms. More recent British films like "Eden Lake" and "Harry Brown" depict working-class youth as vicious threats in order to reinforce middle-class values and legitimacy of controlling young people. The TV show "Misfits" uses a similar imagery of working-class youth but offers a more positive perspective from their point of view rather than adults.
1) Media representations of youth in the 1950s were rather simplistic, typically portraying teenagers as well-behaved and conforming or rebelling against strict adult authority.
2) Films like Rebel Without a Cause in the 1950s and Quadrophenia in the 1970s showed rebellious, "delinquent" youth behavior but also portrayed the emotional struggles of teenagers and generational conflicts with parents.
3) More recent films and TV shows provide more complex representations of youth, showing both rebellious behavior but also understanding of social and family issues facing teenagers today.
The document discusses the complexity of media representations of youth compared to the simplicity of past representations. It analyzes several films and TV shows that portray both positive and negative aspects of youth, like struggles they face with poverty and neglect alongside criminal behavior. While older media focused on youth delinquency to create moral panic, contemporary works provide more understanding of influencing factors and show youth and adults overcoming conflicts. Therefore, the document argues media representations of youth have become more nuanced over time.
This document summarizes a research article about the visual representation of gender-based violence in various media formats and by organizations working to end violence against women. It begins by providing context on gender-based violence as a global issue and the role of information and media in addressing it. It then reviews existing research which finds that mainstream media often depicts violence against women through repetitive stereotypes and myths. The document aims to analyze visual representations provided by anti-violence organizations to determine if they also rely on stereotypes or depict women as victims. It outlines the author's methodology of reviewing literature on media depictions and analyzing a sample of 30 visuals from international, European, Spanish and Austrian anti-violence organizations from 2005-2010.
The document discusses the complexity of media representations of youth. It argues that early films like "Rebel Without a Cause" presented simple representations that focused only on rebellion and consequences. However, more recent films and TV shows offer complex representations that examine underlying societal factors influencing youth behaviors, like poverty, lack of father figures, and racism. These complex representations challenge stereotypes and consider youth perspectives as well as adult fears. Overall, the author believes representation of youth would be improved by focusing more on positivity and the potential of youth to create a better future world.
This document discusses the complexity of media representations of youth subcultures. While media often relies on stereotypes that portray youth as rebellious enemies of society, some representations provide more complexity. For example, the film The Selfish Giant shows how deviant behavior in youth is sometimes driven by desires to support their families in poverty-stricken communities, rather than just mindless rebellion. More recently, the TV show Top Boy portrays gang life not just as deviance but as serving important social and survival functions for youth. However, media still tends to oversimplify youth identities and behaviors by attaching deviance to other motivations. Overall, while stereotypes are still used, some media provides a more complex and contextual understanding of
This document discusses various topics relating to media and gender presentation. It begins by defining what media is, noting it is ubiquitous in contemporary society and comes in many forms. It then discusses how media functions as a single entity that communicates understandings of gender. Media is described as an institution that shares conventions through the construction of content and audiences. Television is used as an example of how the economics of media is driven through commercials and product placement targeted at audiences. The document also discusses how media exerts power over gender norms and representations, and influences social norms around issues like gender, race, and class.
Buckingham's theory suggests that media do not offer transparent reflections of reality but constructed versions intended to maintain dominance. When applied to representations of youth, the media historically constructed unrealistic and subjective portrayals to avoid "chaos" and promote social control, but have become more reflective over time as they challenge dominant ideologies. Examples from films in the 1950s-90s like Rebel Without a Cause showed carefully constructed extremes of youth behavior to create moral panic, while more recent films like The Selfish Giant offer more balanced, realistic reflections that lessen dichotomies between youth and adults. While media still portray some youth subcultures and deviance, they now also provide context and seek to build understanding between audiences and youth.
Media representations of young people are constructed by adults to maintain social order rather than reflect youth identity. Films from the 1950s like "Rebel Without a Cause" represented teenagers as disruptive but showed them eventually conforming to social norms. More recent British films like "Eden Lake" and "Harry Brown" depict working-class youth as vicious threats in order to reinforce middle-class values and legitimacy of controlling young people. The TV show "Misfits" uses a similar imagery of working-class youth but offers a more positive perspective from their point of view rather than adults.
1) Media representations of youth in the 1950s were rather simplistic, typically portraying teenagers as well-behaved and conforming or rebelling against strict adult authority.
2) Films like Rebel Without a Cause in the 1950s and Quadrophenia in the 1970s showed rebellious, "delinquent" youth behavior but also portrayed the emotional struggles of teenagers and generational conflicts with parents.
3) More recent films and TV shows provide more complex representations of youth, showing both rebellious behavior but also understanding of social and family issues facing teenagers today.
The document discusses the complexity of media representations of youth compared to the simplicity of past representations. It analyzes several films and TV shows that portray both positive and negative aspects of youth, like struggles they face with poverty and neglect alongside criminal behavior. While older media focused on youth delinquency to create moral panic, contemporary works provide more understanding of influencing factors and show youth and adults overcoming conflicts. Therefore, the document argues media representations of youth have become more nuanced over time.
This document summarizes a research article about the visual representation of gender-based violence in various media formats and by organizations working to end violence against women. It begins by providing context on gender-based violence as a global issue and the role of information and media in addressing it. It then reviews existing research which finds that mainstream media often depicts violence against women through repetitive stereotypes and myths. The document aims to analyze visual representations provided by anti-violence organizations to determine if they also rely on stereotypes or depict women as victims. It outlines the author's methodology of reviewing literature on media depictions and analyzing a sample of 30 visuals from international, European, Spanish and Austrian anti-violence organizations from 2005-2010.
The document discusses the complexity of media representations of youth. It argues that early films like "Rebel Without a Cause" presented simple representations that focused only on rebellion and consequences. However, more recent films and TV shows offer complex representations that examine underlying societal factors influencing youth behaviors, like poverty, lack of father figures, and racism. These complex representations challenge stereotypes and consider youth perspectives as well as adult fears. Overall, the author believes representation of youth would be improved by focusing more on positivity and the potential of youth to create a better future world.
This document discusses the complexity of media representations of youth subcultures. While media often relies on stereotypes that portray youth as rebellious enemies of society, some representations provide more complexity. For example, the film The Selfish Giant shows how deviant behavior in youth is sometimes driven by desires to support their families in poverty-stricken communities, rather than just mindless rebellion. More recently, the TV show Top Boy portrays gang life not just as deviance but as serving important social and survival functions for youth. However, media still tends to oversimplify youth identities and behaviors by attaching deviance to other motivations. Overall, while stereotypes are still used, some media provides a more complex and contextual understanding of
This presentation discusses how media representations of gender and beauty influence societal norms. Unrealistic ideals are portrayed - women are expected to be extremely thin while men must be muscular. These portrayals shape gender roles, with women often depicted as weak victims and men as strong protectors or villains. Scenes of violence like rape also usually portray women as helpless and men as powerful. The media gaze constructs women as passive objects for the male audience. Through constant exposure, these images shape perceptions of appropriate gender roles and relationships.
This document is an essay analyzing the portrayal of women in mass media such as films, television, music videos, and advertising. It discusses how women have traditionally been portrayed in narrow gender roles and stereotypes, such as being thin, fragile, and focused on beauty and relationships. However, it notes that some recent portrayals in films like Frozen and music videos like "All About That Bass" show a move toward more empowering and diverse portrayals. The essay also examines how exposure to stereotypical portrayals can influence societal expectations of women. Overall, it argues that while some progress has been made, further work is still needed to eliminate harmful stereotypes and achieve accurate, non-stereotypical representation of women across all
The document discusses youth subcultures and their relationship to pop music. It defines a subculture as a group united by shared values, tastes, and position outside the mainstream. Subcultures respond to topics like individuality versus fitting in, brands, and styles. The document also discusses how the pop music industry both constructs pop stars to appeal to specific markets, but can never truly predict audience tastes. Stars represent and promote certain ideologies that fans who share those values will support and emulate. Finally, it argues that the pop industry struggles to keep up with shifting youth values and groups, and does not create long-lasting subcultures on its own.
The document discusses how media portrays gender through editing and modification of images. It creates unrealistic standards of beauty and gender norms that influence how people view themselves and others. Photoshop is often used to modify pictures of people in magazines. Lorde brought attention to this issue by posting unedited pictures of herself after a modified image surfaced. Media also teaches people about gender through representations in television and film, often portraying women as passive objects and positioning the audience perspective from a male gaze. It is important to view media critically rather than passively accept its messages.
The document discusses the Chinese film "Tiny Times" and how it reflects growing materialism and individualism in China, particularly among younger generations, in contrast to Mao's vision of communist asceticism. While popular among many young viewers, the film was also criticized by some as promoting shallow materialism and an inaccurate portrayal of modern Chinese women and society. It examines the film's significance as a sign of China's social and cultural changes since Mao's time.
Contemporary case study top boy 2011-13CoombeMedia1
The document provides questions to guide an analysis of the British TV series Top Boy, which focuses on youth living in inner-city London who are involved in drug dealing. It asks the reader to summarize the plot of the first series, where and when it is set, and the social issues it reflects, such as poverty, oppression, and racism. It also provides questions about how the series represents youth both positively and negatively, their relationships with adults, stereotypes related to age, class, and ethnicity, and how the film techniques contribute to the representation of youth.
This document discusses role models and provides examples from media sources of people described as role models. It identifies six types of role models: 1) straightforward success, 2) triumph over difficult circumstances, 3) challenging stereotypes, 4) outsider status, 5) personal qualities, and 6) cautionary tales. The document analyzes examples of public figures described as role models and the qualities they are said to embody, such as athletes, celebrities, scientists, and politicians.
Contemporary case study waterloo road 2006-15CoombeMedia1
This document provides background and analysis questions about the British TV series Waterloo Road, which aired from 2006 to 2015. It was set in a comprehensive school in Rochdale, Greater Manchester, England. The series focused on various social issues reflected in society such as poverty, oppression, and racism. It explored ideas of youth subculture and collective identity, and how youth were portrayed both positively and negatively in their relationship with adults. It also touched on stereotypes related to age, class, ethnicity and how the filmmaking techniques contributed to the representation of youth.
The document discusses media representations of youth, analyzing films and studies that both reinforce and challenge common stereotypes. Rebel Without a Cause from the 1950s reflected adult fears but was sympathetic to teenagers. A 2009 UK study found newspapers often portrayed teenage boys in a sensationalized, negative light. The TV series Misfits and film Attack the Block initially used negative stereotypes of working-class youth but ultimately portrayed them positively. The Selfish Giant similarly challenged demonizing portrayals by depicting societal failures that marginalized youth. While media can influence perceptions, interpretations depend on individual experiences and values. Representations of youth are complex and contradictory.
The document provides background information on various British youth subcultures from the 1950s and 1960s to help prepare for an assessment on representations of youth. It discusses the rise of teenage culture following World War 2 and the Teddy Boys subculture of the 1950s. It then covers the mods and rockers, two conflicting subcultures of the 1960s, and how media coverage of fights between them led to a moral panic. Theories that could be applied are also mentioned, such as Cohen's theory of moral panic and Hebdige's theory of subcultures. Students are instructed to compare representations of youth from the 1960s and contemporary society, drawing on examples from music, film, and news articles.
The document discusses possible effects of films on audiences and issues of representation in Disney's Star Wars: The Force Awakens. It analyzes several media effects theories and their potential application to the film, such as the hypodermic needle theory, two-step flow theory, and uses and gratifications theory. It also examines representations of race, gender, age, and sexuality in the film, and debates around these topics. Finally, it outlines some legal issues around discrimination and copyright as well as ethical issues concerning violence in the film.
The document discusses representations of British youth culture over the last 50 years in media. It states that representations have changed dramatically in some ways, such as the increased influence of technology and more extreme portrayals, but have remained largely the same in depicting teenagers as the enemy and demonizing them. It provides historical context of the rise of youth culture in the 1950s and the development of various youth subcultures in subsequent decades. It also analyzes how media, particularly films, tended to negatively portray teenagers as delinquents and a problem to be feared despite lack of evidence.
This document provides lesson materials for analyzing the 1955 film "Rebel Without a Cause". It will teach students to examine how youth and masculinity are portrayed in the film by exploring the historical context of 1950s fears around juvenile delinquency and a perceived crisis of masculinity in post-war America. Students will apply sociological theories like liminality and hegemony to key scenes and symbols to understand how the film both reflected societal anxieties while also reinforcing social norms.
Media has become more and more important in our society today, in the United States but also in other developed countries of the world. Since media and advertisement were created close to about a century ago, several changes have been made in terms of how people and products are advertised, and its consequences on the society.
08. lo4 legal and ethical regulatory bodies reportfrulloc
The document discusses various media effects theories and how they relate to the film Star Wars: The Force Awakens. It analyzes the film through the lenses of the hypodermic needle theory, two-step flow theory, uses and gratifications theory, and desensitization theory. It also discusses issues of representation in the film in terms of race, gender, age, and sexuality. Finally, it considers legal and ethical issues as well as current societal debates around representation that are relevant to the film.
Contemporary Media Representations of Youthjphibbert1979
The document discusses media representations of youth in several British films and television shows from the late 2000s. It notes that newspapers at the time frequently used negative words to describe teenagers and that over half of stories about teenage boys related to crime. It then analyzes how several works construct representations of teenagers, finding common themes of anxiety about uncontrolled and threatening youth, as well as negative portrayals of working-class families and an emphasis on social class differences.
1. Laura Mulvey introduced the concept of the "male gaze" in film theory, which refers to the way films are typically shot from the perspective of the heterosexual male viewer. This objectifies women and turns them into objects to be looked at.
2. The theory suggests that women are often denied agency and identity in films, existing primarily as objects for the male gaze. This can influence how women see themselves.
3. The male gaze is argued to be prevalent in many mainstream films and media, potentially reinforcing patriarchal social norms and power dynamics by influencing how both men and women see gender roles.
This document provides tips and best practices for answering exam questions on film genres and representation. It recommends:
1) Referring to all texts in the question throughout the response and using a simple introduction-identify and justify points-conclusion structure.
2) Focusing on a few key points and including relevant contextual knowledge about directors and years.
3) Comparing the chosen text to other films from the same genre and using quotations when justifying points.
It also identifies common mistakes like mislabeling conventions or claiming a film belongs to the wrong genre.
The document provides information and discussion points about representation and stereotypes from various media texts, including defining key terms like representation, stereotypes, and constructed representation. It also prompts analysis of specific examples of stereotypical representations of gender, race, class and other groups in different media like print magazines and film trailers. Students are asked to consider the issues that can arise from stereotypical representations of people and how such representations are constructed.
This document discusses genre and representation in media. It begins by recapping the concept of genre, noting that genres must balance familiarity and difference to engage audiences. It then discusses the science fiction genre and some of its typical conventions, such as themes of aliens/humans coexisting and new technologies. The document also discusses documentary conventions. It analyzes the film District 9 as an example that pays homage to science fiction genre conventions while also addressing issues of representation and postmodern film theory.
This presentation discusses how media representations of gender and beauty influence societal norms. Unrealistic ideals are portrayed - women are expected to be extremely thin while men must be muscular. These portrayals shape gender roles, with women often depicted as weak victims and men as strong protectors or villains. Scenes of violence like rape also usually portray women as helpless and men as powerful. The media gaze constructs women as passive objects for the male audience. Through constant exposure, these images shape perceptions of appropriate gender roles and relationships.
This document is an essay analyzing the portrayal of women in mass media such as films, television, music videos, and advertising. It discusses how women have traditionally been portrayed in narrow gender roles and stereotypes, such as being thin, fragile, and focused on beauty and relationships. However, it notes that some recent portrayals in films like Frozen and music videos like "All About That Bass" show a move toward more empowering and diverse portrayals. The essay also examines how exposure to stereotypical portrayals can influence societal expectations of women. Overall, it argues that while some progress has been made, further work is still needed to eliminate harmful stereotypes and achieve accurate, non-stereotypical representation of women across all
The document discusses youth subcultures and their relationship to pop music. It defines a subculture as a group united by shared values, tastes, and position outside the mainstream. Subcultures respond to topics like individuality versus fitting in, brands, and styles. The document also discusses how the pop music industry both constructs pop stars to appeal to specific markets, but can never truly predict audience tastes. Stars represent and promote certain ideologies that fans who share those values will support and emulate. Finally, it argues that the pop industry struggles to keep up with shifting youth values and groups, and does not create long-lasting subcultures on its own.
The document discusses how media portrays gender through editing and modification of images. It creates unrealistic standards of beauty and gender norms that influence how people view themselves and others. Photoshop is often used to modify pictures of people in magazines. Lorde brought attention to this issue by posting unedited pictures of herself after a modified image surfaced. Media also teaches people about gender through representations in television and film, often portraying women as passive objects and positioning the audience perspective from a male gaze. It is important to view media critically rather than passively accept its messages.
The document discusses the Chinese film "Tiny Times" and how it reflects growing materialism and individualism in China, particularly among younger generations, in contrast to Mao's vision of communist asceticism. While popular among many young viewers, the film was also criticized by some as promoting shallow materialism and an inaccurate portrayal of modern Chinese women and society. It examines the film's significance as a sign of China's social and cultural changes since Mao's time.
Contemporary case study top boy 2011-13CoombeMedia1
The document provides questions to guide an analysis of the British TV series Top Boy, which focuses on youth living in inner-city London who are involved in drug dealing. It asks the reader to summarize the plot of the first series, where and when it is set, and the social issues it reflects, such as poverty, oppression, and racism. It also provides questions about how the series represents youth both positively and negatively, their relationships with adults, stereotypes related to age, class, and ethnicity, and how the film techniques contribute to the representation of youth.
This document discusses role models and provides examples from media sources of people described as role models. It identifies six types of role models: 1) straightforward success, 2) triumph over difficult circumstances, 3) challenging stereotypes, 4) outsider status, 5) personal qualities, and 6) cautionary tales. The document analyzes examples of public figures described as role models and the qualities they are said to embody, such as athletes, celebrities, scientists, and politicians.
Contemporary case study waterloo road 2006-15CoombeMedia1
This document provides background and analysis questions about the British TV series Waterloo Road, which aired from 2006 to 2015. It was set in a comprehensive school in Rochdale, Greater Manchester, England. The series focused on various social issues reflected in society such as poverty, oppression, and racism. It explored ideas of youth subculture and collective identity, and how youth were portrayed both positively and negatively in their relationship with adults. It also touched on stereotypes related to age, class, ethnicity and how the filmmaking techniques contributed to the representation of youth.
The document discusses media representations of youth, analyzing films and studies that both reinforce and challenge common stereotypes. Rebel Without a Cause from the 1950s reflected adult fears but was sympathetic to teenagers. A 2009 UK study found newspapers often portrayed teenage boys in a sensationalized, negative light. The TV series Misfits and film Attack the Block initially used negative stereotypes of working-class youth but ultimately portrayed them positively. The Selfish Giant similarly challenged demonizing portrayals by depicting societal failures that marginalized youth. While media can influence perceptions, interpretations depend on individual experiences and values. Representations of youth are complex and contradictory.
The document provides background information on various British youth subcultures from the 1950s and 1960s to help prepare for an assessment on representations of youth. It discusses the rise of teenage culture following World War 2 and the Teddy Boys subculture of the 1950s. It then covers the mods and rockers, two conflicting subcultures of the 1960s, and how media coverage of fights between them led to a moral panic. Theories that could be applied are also mentioned, such as Cohen's theory of moral panic and Hebdige's theory of subcultures. Students are instructed to compare representations of youth from the 1960s and contemporary society, drawing on examples from music, film, and news articles.
The document discusses possible effects of films on audiences and issues of representation in Disney's Star Wars: The Force Awakens. It analyzes several media effects theories and their potential application to the film, such as the hypodermic needle theory, two-step flow theory, and uses and gratifications theory. It also examines representations of race, gender, age, and sexuality in the film, and debates around these topics. Finally, it outlines some legal issues around discrimination and copyright as well as ethical issues concerning violence in the film.
The document discusses representations of British youth culture over the last 50 years in media. It states that representations have changed dramatically in some ways, such as the increased influence of technology and more extreme portrayals, but have remained largely the same in depicting teenagers as the enemy and demonizing them. It provides historical context of the rise of youth culture in the 1950s and the development of various youth subcultures in subsequent decades. It also analyzes how media, particularly films, tended to negatively portray teenagers as delinquents and a problem to be feared despite lack of evidence.
This document provides lesson materials for analyzing the 1955 film "Rebel Without a Cause". It will teach students to examine how youth and masculinity are portrayed in the film by exploring the historical context of 1950s fears around juvenile delinquency and a perceived crisis of masculinity in post-war America. Students will apply sociological theories like liminality and hegemony to key scenes and symbols to understand how the film both reflected societal anxieties while also reinforcing social norms.
Media has become more and more important in our society today, in the United States but also in other developed countries of the world. Since media and advertisement were created close to about a century ago, several changes have been made in terms of how people and products are advertised, and its consequences on the society.
08. lo4 legal and ethical regulatory bodies reportfrulloc
The document discusses various media effects theories and how they relate to the film Star Wars: The Force Awakens. It analyzes the film through the lenses of the hypodermic needle theory, two-step flow theory, uses and gratifications theory, and desensitization theory. It also discusses issues of representation in the film in terms of race, gender, age, and sexuality. Finally, it considers legal and ethical issues as well as current societal debates around representation that are relevant to the film.
Contemporary Media Representations of Youthjphibbert1979
The document discusses media representations of youth in several British films and television shows from the late 2000s. It notes that newspapers at the time frequently used negative words to describe teenagers and that over half of stories about teenage boys related to crime. It then analyzes how several works construct representations of teenagers, finding common themes of anxiety about uncontrolled and threatening youth, as well as negative portrayals of working-class families and an emphasis on social class differences.
1. Laura Mulvey introduced the concept of the "male gaze" in film theory, which refers to the way films are typically shot from the perspective of the heterosexual male viewer. This objectifies women and turns them into objects to be looked at.
2. The theory suggests that women are often denied agency and identity in films, existing primarily as objects for the male gaze. This can influence how women see themselves.
3. The male gaze is argued to be prevalent in many mainstream films and media, potentially reinforcing patriarchal social norms and power dynamics by influencing how both men and women see gender roles.
This document provides tips and best practices for answering exam questions on film genres and representation. It recommends:
1) Referring to all texts in the question throughout the response and using a simple introduction-identify and justify points-conclusion structure.
2) Focusing on a few key points and including relevant contextual knowledge about directors and years.
3) Comparing the chosen text to other films from the same genre and using quotations when justifying points.
It also identifies common mistakes like mislabeling conventions or claiming a film belongs to the wrong genre.
The document provides information and discussion points about representation and stereotypes from various media texts, including defining key terms like representation, stereotypes, and constructed representation. It also prompts analysis of specific examples of stereotypical representations of gender, race, class and other groups in different media like print magazines and film trailers. Students are asked to consider the issues that can arise from stereotypical representations of people and how such representations are constructed.
This document discusses genre and representation in media. It begins by recapping the concept of genre, noting that genres must balance familiarity and difference to engage audiences. It then discusses the science fiction genre and some of its typical conventions, such as themes of aliens/humans coexisting and new technologies. The document also discusses documentary conventions. It analyzes the film District 9 as an example that pays homage to science fiction genre conventions while also addressing issues of representation and postmodern film theory.
A guide to MS4 - Section A Text. Responses should engage with question and contain as many elements as possible to achieve the highest grade. Detailed analysis and confident use of terminology will demonstrate a sophisticated understanding.
Gemma Atkinson is an English actress and model born on November 16, 1984 in Hartlepool, England. She is best known for playing Lisa Hunter on the ITV soap opera Hollyoaks between 2001 and 2005, and Tamzin Bayle in the BBC medical drama Casualty between 2006 and 2010.
Scralett Johnson is an American actress and singer Here You get more informations of her and biography,its pictures,latest news, Hair Styles, Wallpaper,Awards,Filmography and updates.
Guan Zeju nació en 1941 en China y se graduó en la Academia de Bellas Artes de Guangzhou en 1966. Es un pintor hiperrealista reconocido internacionalmente por sus pinturas femeninas que fusionan el arte tradicional chino con una perspectiva hiperrealista, creando ambientes apacibles con cierta carga erótica. Ha tenido una larga y exitosa carrera artística, exponiendo sus obras en galerías de todo el mundo.
This document advertises an adult entertainment group on Yahoo called the Indian Babe Group. It claims to present the hottest and naughtiest content and entertainment of every type. While it does not explicitly claim to have the best members, it says that some members opine that it always presents the best.
This document summarizes a meeting discussing challenges around child sexual abuse. It covers several topics:
1) Definitions of child sexual abuse (CSA) and child sexual exploitation (CSE) can be problematic and inconsistent. Worldwide prevalence of CSA is estimated to be 1/3 girls and 1/7 boys.
2) Challenges include the widespread nature of the problem, powerful perpetrators, societal reluctance to discuss the issue, demonization of victims and perpetrators, and conflicting views among professionals.
3) Opportunities discussed include raising awareness, strengthening communities, reducing division through education, and improving support services. The political climate and role of media were also mentioned as opportunities.
This document analyzes how the character Mystique from the X-Men franchise has been portrayed differently over time, especially in response to 9/11 and changing American identity. In earlier X-Men films, Mystique is portrayed as a villainous sidekick to Magneto. However, in more recent prequel films, she is shown as a complex antihero undergoing a journey of self-discovery. This reflects how American society has moved from seeking clear divisions between "good" and "evil" post-9/11 to embracing more fluid concepts of identity. The document examines Mystique's changing roles and appearances in the films in the context of Marvel storytelling formulas and shifting American social values.
This document discusses pornography and its definitions, categories, consumption, and impacts. It defines pornography as sexually explicit material primarily meant to arouse viewers. Pornography is categorized into softcore and hardcore varieties. Research suggests exposure to violent pornography can increase acceptance of rape myths and aggression towards women. The widespread availability of pornography online, especially for youth, is also discussed as a concern.
This chapter discusses how the brain learns to associate sexual arousal and pleasure with certain stimuli through repeated experiences that create strong neural pathways. Viewing pornography is highly rewarding for the brain due to the potent neurochemical cocktail released during masturbation and orgasm. This conditions the brain to repeat the behavior and develop an attachment to pornography. The combination of arousal, novelty, secrecy, and reward strengthens these neural pathways and makes pornography use hard to break. Understanding these neurological factors helps explain why pornography habits can be difficult to change.
Painful Paradoxes, Dilemmas & Premises For The Understanding of PainSigurd Mikkelsen
1) Pain is not simply caused by the stimulation of receptors in a linear sensory system.
2) The document discusses various paradoxes and dilemmas in understanding pain, such as the idea that specific causes lead to specific solutions.
3) It emphasizes that knowledge and understanding of pain is case specific and depends on certain premises, as different models and definitions of pain can be useful for different purposes.
Women have a long history of involvement in gaming from pioneers like Ada Lovelace and Grace Hopper. However, the proliferation of "boy genres" like shooters and the gendering of entertainment has led to fewer female players and less access to technologies. While girls do play games for around 9 hours per week, their preferred console is often the PS1 and they rely on recommendations. Massively multiplayer online games are popular among women because they allow for social interaction, meaningful gameplay like caring for virtual pets, and exploration of identities. However, the gaming industry remains mostly male-dominated and women face barriers like lower salaries and lack of role models. Increasing diversity through scholarships and broadening recruitment could help address this.
This document provides guidance on how to write an effective evaluation for an MS3 media production assignment. It should be 500-750 words and worth 10% of the total marks. The evaluation should demonstrate application of media knowledge and theory when analyzing the production. It should also reference how research informed the production. The evaluation structure suggested is to summarize research in 5 sentences, using each as a topic sentence for a paragraph. Paragraphs should explain how learning was applied to specific elements of the production and refer to facts, figures, and media theory when relevant.
From "Stand by Your Man" to "Stand by Your Suntan:" Women in boardsports from...Cori Schumacher
Takes a closer look at the mythology of female surfing as represented by the surf industry (e.g. surf brands/companies; surf media). The key is not to deny forthright the sexuality of women, but to ensure that women are not simply narrowly defined as passive objects for another's sexual pleasure. This is especially important in sports where we find a powerful paradigm of health and mitigating the negative social influences of the media and peers.
IDENTIFIES the opportunity of Sports, specifically boardsports, as a social institution that mitigates the influence of media and peers in the sexualization of girls and women; DEFINES the problem of how women and girls (and female athletes) are represented by the majority of surf companies through their websites and advertising and how the surf media narrowly portrays and marginalizes female surfers using sociological concepts; EXPLORES the sponsorship dynamic and how it creates and maintains the internalization of the sexualization, learned helplessness and negative body image of young girls in surfing despite the rhetoric of surf brands claiming to be "authentic" depictions of the life of sponsored athletes; TARGETS three areas which require attention to FIX the problems illustrated, with an added emphasis on the need for the visibility of positive role models who are not narrowly defined by their sexuality.
To what extend do postmodern text challenge...Naamah Hill
This document discusses three postmodern texts - Gorillaz, The X-Factor, and The Only Way is Essex - and how they challenge conventions of traditional media. Regarding Gorillaz, it notes their eclectic music style mixes genres and that they use virtual band identities rather than showing the real band. For X-Factor, it discusses how the interactive audience voting challenges the passive audiences of modernism. It also notes X-Factor's hyperreal presentation of contestants. For TOWIE, it discusses how the show references stereotypes through its characters and blurs reality versus simulation. Overall, the document analyzes how these postmodern texts upend traditions of singular genres, passive audiences, authentic representation, and the real
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An Examination of Gender Roles and Homophobia in the TV program, "Friends"Zoe_Cumler
This document provides an analysis of gender roles and homophobia in the TV show "Friends" from the 1990s. It summarizes previous research on how sitcoms from this era shaped concepts of gender and sexuality. The author then analyzes 5 consecutive episodes of "Friends" to identify instances of prescribed gender roles, stereotypes, disciplining of gender norms, and homophobia. Examples found include characters upholding expectations of masculinity and femininity, as well as discomfort with behaviors that disrupt heteronormativity. The analysis uses concepts like cisgender, doing gender, and hegemony to examine how the show reinforced dominant social attitudes.
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The media plays an important role in representing reality and shaping attitudes and beliefs. However, media representations are inherently selective and simplified versions of reality that are intentionally framed, edited and produced with certain goals in mind. As a result, media representations often rely on stereotypes of groups to quickly convey information and make sense of the world. Common stereotypes in media include representations of gender, race, age, sexual orientation and disability.
BrandonDisney and Barbi are sexist. Women are objectified i.docxAASTHA76
Brandon:
Disney and Barbi are sexist.
Women are objectified in all forms of media. "For many years, women have been portrayed extremely negatively in the media, and in the rare times that they are portrayed ‘positively’ it is in a way that they are sexualised to appear as objects of lust. We see advertisements of women in skimpy clothing, or in many cases, no clothing at all which are sometimes ironically trying to advertise a clothing brand. Other times we see women being portrayed domestically, doing household chores as if that is their only purpose in adult life (Berlingieri 2013)."
Berlingieri, S. 2013, Sep 13. Media studies. Retrieved f26 Sep 2016 from: https://sarahberlingieri.wordpress.com/2013/09/13/portrayal-of-women-in-advertising/
Women are feminine - subordinate and inferior
Men are masculine - money maker of the home and tough
http://genderinmedia363.weebly.com/monkey-see-monkey-do.html
Brandon
Brandon:
1. B) Mass Communication influences attitudes and opinions about gender, race and sexuality. After reading "The SAGE Handbook of Gender and Communication: Chapter 16: Gender, Race and Media Representation," pose a question or statement in the group discussion that you now have after completing the readings. For example, this could be a statement about how we could start to combat the misrepresentations.
How have we as a society allowed the media tell us what to think? For this problem to change we have to strengthen our minds and form our own opinions. We all know the media is only showing us what they want us to see and the same goes for Hollywood. Until we start to treat one another with common decency and show some respect for ourselves, and our fellow man/woman, the media is going to continue to perpetuate the cycle. Why? Because it sells papers and it gets viewers. If we stop buying into what they tell us to think society can then begin to heal its self. The article had a few lines I wanted to share.
Black feminist scholars have acknowledged the neglect which women of color, specifically black women, have experienced through their selective inclusion in the writings of feminist cultural analysis I believe they are the reason we are It is from this perspective that we begin our discussion of black female representation in the media.
Black feminist thought also challenges the way some media outlets run by black men engage in misogynistic depictions of black women.
Spike Lee's Bamboozled, he creates female characters that become (or should I say allowed themselves to become) defined by the men in their lives. We claim that although his films fight to challenge racist frameworks within the mass media and society,
Asian women in film are either passive figures who exist to serve men as love interests for White men (lotus blossom) or as a partner in crime of men of their own kind (dragon ladies)”
I am going to stop here with this quote from Morgan Freeman in an interview with Mike Wallace. “The notio ...
G325 example Response: Media and Collective IdentityM Taylor
This document provides an outline for an essay discussing the social implications of media representations of youth subcultures. It includes sample introductions, discussions of representations in film and music videos with references to social identity theory, and suggests ending by discussing the future of these representations and their social implications. Examples of films such as "Kidulthood" and "Shifty" are given to illustrate negative and stereotypical portrayals of youth in media and their potential effects on societal views.
Lady Gaga has cultivated a large, loyal fan base through her innovative use of social media and online platforms. She forms parasocial relationships with fans by sharing personal details with them and interacting with them online. This strategy helps promote her music and ideology of acceptance. Examples show her rewarding engaged fans, and experts believe this parasocial relationship has significantly contributed to her commercial success, with her album "Born This Way" topping charts in many countries and her social media following of over 50 million on Facebook alone.
1) The document discusses how television shows appeal to audiences through gratifications as defined in Blumler and Katz's model. It provides examples of how shows like Lost, Mad Men, and Peaky Blinders construct narratives and use techniques to appeal to both active and passive audiences.
2) Specific techniques discussed include the use of flashbacks in Lost to provide models of behavior for audiences, the historical and social information in Mad Men appealing to active viewers, and Peaky Blinders avoiding stereotypes to appeal to local audiences.
3) The document analyzes how texts target different audience types through elements like cinematography, use of non-diegetic sound, genre blending, and inclusion of famous actors.
1. The document discusses revision techniques for an exam question on audience appeal, including focusing on key points for the audience, exam technique, and adding evidence and examples.
2. It then provides paragraphs analyzing how various television shows appeal to both active and passive audiences through mechanisms like including backstories to provide models of behavior, regularly occurring scores to aid decoding for passive viewers, focusing on historical and social information rather than simple entertainment, avoiding stereotypes, high levels of cinematography, and starring well-known actors.
3. One show, Lost, is discussed as successfully attracting a wide audience through personal identification with characters and situations, and having a hybrid genre.
1. Radiohead are an award-winning band from Oxford, UK who have released 8 albums and are known for their experimental and innovative music and marketing.
2. With their 2007 album "In Rainbows", Radiohead pioneered a "pay what you want" model for digital sales that highlighted the importance of the fan-artist relationship while also responding to piracy threats.
3. Radiohead's subsequent albums "King of Limbs" and other works demonstrated their self-released and digital-first approach to distribution and promotion, including streaming performances online.
This document discusses the music industry and the band Nirvana. It provides background on Nirvana's formation in 1989 and release of their debut album Bleach. In 1991, Nirvana signed to Geffen Records and released their breakthrough album Nevermind, which has now sold over 30 million copies worldwide. The document examines Nirvana's importance in changing the mainstream music industry and genre, combining elements of punk, metal, and pop to help create the new grunge genre. It also explores Nirvana's marketing strategies, including their use of music videos and reliance on television performances for promotion in the pre-internet era.
- All students will receive their evaluations and current 50% grades. Students should act on the advice given and any new additions must be in red.
- Only digital submissions via email will be accepted by the deadline of Thursday at 12:00. If a student fails to submit, their original mark will be reported.
- Students must return any old printed evaluations today and not take them at the end of class. Those who have finished evaluations should create revision mind maps.
- Students will receive their current 50% grade evaluations and must act on the individual and generic advice provided.
- Any additions to the evaluations must be written in red and students must submit a digital copy by Thursday at 12:00.
- Students must return their old printed evaluations today and will work on revision mind maps if they have finished their evaluations.
This document outlines guidance for a student to summarize their research into the evolution of the action genre in film into five sentences and five paragraphs. The student is instructed to use their findings to influence the mode of address in their production of a DVD cover and film poster. They must refer to facts, figures, quotations, media theory, and explain any ways they subverted their research findings. The example provided summarizes the student's research findings on gender representation in action films and how they applied this to their print texts by reinforcing stereotypical gender roles and hegemonic masculinity.
This document provides guidance for evaluating a research investigation and three creative productions. It instructs the writer to:
1) Briefly introduce the research investigation topic and summarize key findings.
2) Critically analyze each creative production by justifying the chosen mode of address and how it adheres to or subverts the research findings in terms of genre, representation, and narrative.
3) Reflect on the technical skills or approaches used for each production.
The evaluation should have an introduction and then alternate between justifying the mode of address and reflecting on technical skills for each of the three productions. It aims to be 750 words in length.
This document discusses different types of film posters and considerations for magazine design and advertising. It identifies four main types of film posters: teaser posters with minimal information, main theatrical posters with production details and stars, DVD release posters with reviews, and character posters focusing on a main character. For magazine design, it recommends considering font choices, image selection, article topics linked to the genre. Advertising should define an angle to sell a product and benefits to consumers, and strategically place and style products with care for color, lighting, body language and clothing connotations.
The document provides guidance for a student to link their research investigation to a creative production. It prompts the student to reflect on how they have used signifiers and post-production techniques to adhere to or subvert their research findings on how the crime genre has evolved from traditional conventions. Specifically, it asks the student to consider 1) the intended meanings of signifiers in their text, 2) whether an audience can decode their text as intended, and 3) how their text relates to their research findings and how they would justify and convince a marker of that relationship.
This document provides feedback on exam responses about how media texts appeal to audiences. It notes that many responses were graded C or D because they oversimplified the complex relationship between media construction and audience appeal. The document offers guidance on how to move responses to an A grade level by fully discussing this complexity, using encoding/decoding theory, linking points to specific audience types, comparing/contrasting texts, and applying a four-stage formula of identifying a point, linking it to an audience, justifying the appeal, and giving an example. It also provides examples of stronger and weaker responses and common student errors regarding cinematography and Mad Men to help improve answers. Finally, it provides a homework assignment requiring analysis of targeted audiences and appeals
This document provides feedback on exam responses and guidance on how to improve answers from a C to an A grade when discussing how media texts appeal to audiences. It recommends discussing the complex relationship between media construction and audience appeal, using encoding/decoding theory, linking points to specific audience types, comparing/contrasting texts, and applying a four-stage formula of identifying a point, linking it to an audience, justifying the appeal, and giving an example. It also addresses common errors and provides homework assigning a multi-part question analyzing the audience appeal of different TV texts.
This document discusses different types of lighting techniques used in photography, including low key lighting, high key lighting, soft lighting, and hard lighting. It then describes several portrait lighting techniques such as edge lighting, Rembrandt lighting, and butterfly lighting. Understanding different lighting techniques allows photographers to identify the style of images they like and apply similar lighting in their own photos, helping them develop higher quality images and analyze their work more critically.
When designing print media, it is important to consider research, analysis and planning, linking the design to your research investigation through genre, representation or narrative, and the design quality including images, composition and integration. Some tips for effective design include researching genres and conventions, ensuring the design reflects your research findings, using techniques like silhouettes or still life to showcase narrative content within constraints, employing lighting, color palettes, font choices, rule of thirds composition, and including typical elements for the genre like credits or publication details. The target audience and conforming to conventions of the intended medium or genre should also guide the design approach.
This document provides guidance for art students on creating brainstorms and mood boards for a controlled assignment. It includes 14 potential questions that could be used, such as exploring how homes reflect personality, conveying a sense of atmosphere, or celebrating the status of workers. For each question, relevant artists and artworks are referenced that could serve as influences or inspiration for visual concepts. Students are instructed to create 3 brainstorms and 3 mood boards, with the mood boards including detailed collages of images to realize their intentions for each of their strongest concepts.
Peaky Blinders is a BBC crime drama set in 1919 Birmingham following a gang of former soldiers led by Tommy Shelby. While initially aired on BBC Two targeting highbrow audiences, the show uses some mainstream conventions. Some critics argue this diluted the show's artistic merit and realism for popularity. However, others praise its production values and cinematography. The show attracted audiences by breaking stereotypes of Brummies and featuring acclaimed film stars like Cillian Murphy, Sam Neill and Helen McCrory in leading roles.
This document provides an overview of semiotics and how audiences respond differently to texts based on their own experiences and interpretations. It discusses three key stages: understanding semiotic theory, applying semiotics to analyze how audiences respond, and practicing these skills. Semiotics is defined as the study of symbols and their interpretation. Ferdinand de Saussure's key concepts of the signifier (the object carrying meaning), the signified (the meaning), and the sign (the combination of the two) are explained. The document notes that audiences can have preferred responses by interpreting a text as intended, negotiated responses by modifying the meaning, or oppositional responses by rejecting the meaning due to their own beliefs. Groups are then assigned different tasks to complete
What to consider when writing an Artist statementchristimothy12
The artist statement discusses how humans have modified the natural landscape through farming, grazing, burning, and clearing land for development. These practices have caused extensive environmental damage, with few remote places left untouched. The global population is projected to exceed 9 billion by 2050, requiring a 70% increase in food production that could further degrade agricultural lands and contribute to greenhouse gas emissions. Through their artwork, the artist aims to bring awareness to the impacts of human activity on the environment and question whether future generations will be able to feed themselves sustainably. The subject matter is meaningful to the artist because they believe humans have a moral obligation to be responsible stewards of the planet and protect
These texts discuss the television channel AMC and its original series Mad Men. AMC aimed to attract a niche audience with high-quality scripted shows that broke mainstream conventions. Mad Men was AMC's first original series and was critically acclaimed. Its success led AMC to commission other hits like Breaking Bad and The Walking Dead. AMC's business model was to win over critics first and let wider promotion follow, targeting an engaged audience willing to pay for the channel and view advertisements. This slower approach has proven successful for AMC.
1. Living in a Sexualised Society
The Effects on Young Girls
Anna Webster
2. Introduction
I have recently found myself contemplating how my upbringing and the way I see myself today
would possibly be different if I was born in the year 2000 rather than in 1993. I look at young
girls now who are barely entering their teenage years and wonder how it appears that so much
has changed since I was at the age of twelve, wearing clothes that my mum had bought for me
and no make-up. My cousin is now at the age of twelve where wearing the latest fashion labels,
hair extensions and false nails is a big part in constructing her image. Although to my family we
look so alike, I have found that being seven years apart we could not be more different. I feel
that the sexualisation of society plays a major role in influencing young girls to convey a certain
sexual maturity and displaying an image far beyond their years. Adult sexual motifs are seeping
into products and clothing targeted at children so much so, that it appears the gap between
what is produced for children and for adults is being pulled closer and closer together. Not
only is the merchandise aimed at young girls pushing the boundaries of ‘sexiness’, but the
images of women we see in our day-to-day lives, in particular through advertising and music
videos, emote a certain provocative and sexual allure that can in turn have many physical and
mental effects on young girls that are harmful.
This is an issue which I feel personally close to and which I believe has enhanced since I started
the course in October. My evolving sociological imagination has allowed me to acknowledge
this issue by recognising the influence of the wider structures of society, in conjunction with
how individual biographies are situated within this wider framework and how this may change
over a period of time (Wright Mills, 1959). In particular how the impact of the media industries’
portrayal of women influences many young girls today. In contrast to the time when I was at a
young age, I find that there is a certain pressure applied on children to conform to a sexualised
image. I am going to elaborate on these issues by adapting the ideas and theories of Gramsci
and Marcuse to my chosen topic in terms of the impact of the media affecting consumption at a
macro level of analysis. I will also adapt the works of micro-level theorists Mead and Goffman
who explore the meanings and understandings established through interaction in relation to
individual action.
2
3. A Culture of ‘Hotness’
When I pick up my favourite glossy magazine such as ‘Look’ and ‘Cosmopolitan’ or turn on the
television it appears that in today’s image- orientated culture the women staring back at me are
presented, positioned and poised in increasingly sexualised ways. I feel that as a society we have
been thrust into a world in which the seductive images we see everyday teach us that
desirability and attraction are the most important accolades you can achieve. Young girls in
particular are becoming increasingly influenced by the fashion, music and advertising industries
that advertise that “they should look ‘hot’ not later but now” (Reist, 2008: 42). As a result,
they are growing up alongside sexually saturated images in a society which is preoccupied with
being evaluated on terms of sexual appeal. Looking at my cousin who does not need to wear
make-up or designer fashion labels to make herself look more attractive, I can see firsthand
how young girls in today’s narcissistic and consumerist society feel they need to aspire to
create an older and sexualised image of themselves (Reist, 2008). For example my cousin
regularly straightens her hair, wears false nails and eyelashes, all of which are common rituals
associated with adult behaviour and are now making their way into childhood as a result of the
sexualised images they see every day.
I feel that the impact of advertising plays a significant role in this, as it has been argued that
children subjected to advertising desire many of the intangible values associated with certain
products, in particular sex appeal (Fox 1996, cited in Strasburger and Wilson, 2002). In many
ways, it has become a natural occurrence for adverts to feature thin, attractive models in
provocative and visually exciting scenarios. Although this is a common marketing strategy to
influence consumers, studies have found that young girls in fact compare their physical
attractiveness to models featured in advertising, which in turn can have many serious effects
(Martin and Kennedy 1993, cited in Strasburger and Wilson, 2002:62). An area of the media
which I feel particularly highlights this concern is that of perfume advertisements. Icons such as
Beyonce have recently been criticised for overly explicit content in the advert for her new
fragrance ‘Heat’ (see image 1). It features the star dancing seductively with the camera showing
her chest and thighs as she caresses her neck and breasts (Poulter, 2010).
3
4. Image 1: Beyonce, 2011. Image 2: Rosie Huntingdon-Whiteley,
2011.
I have found that many other brands have used half-naked celebrity icons to endorse their
products in order to make the brand more seductive and sexual. The stunning actress Rosie
Huntingdon-Whiteley has recently become the new face of Burberry fragrances, in which she
appears dressed in nothing but a trench coat, positioned in a sexually inviting pose, running her
fingers through her hair and staring seductively down the lens of the camera (see image 2). I
feel that it is examples like these used in the advertising world, which filter what young girls
view as ‘perfect’ (Wright, 2011: 3). It is extremely rare for an unattractive and overweight
model to appear in such campaigns. These depictions of women in the media industry
emphasise how women should look in overtly sexual ways, and as a result it becomes
increasingly difficult for young girls to pull away from this notion. It is as if they have become so
entangled in a web where a perfect sexual image of females has become the norm, that they are
effectively trained about how to present a hypersexualised version of themselves (Reist, 2008:
10).
Music Videos
It has been argued that various Pop and R’n’B style music has always been somewhat sexually
inclined; however, in recent years it has become even more obscene and in some cases has
descended into pornography (Wright, 2011: 70). In one recent analysis of popular music videos,
researchers found that in 84% of the videos analysed, women were shown to be dancing in a
provocative nature (Ward and Rivadeneyra, 2002 cited in Walter, 2010: 33). It is clear by
watching various music channels that the female artists whom young girls are encouraged to
look up to rely heavily on their sexiness, raunchy costumes and suggestive dance routines
(Walter, 2010: 35) to attract attention and most importantly to sell records. The display of
4
5. sexualised women as objects of desire has become a crucial element to the industries’
economy in achieving both pleasure for the audience and profit for the companies (Rauton and
Watson, 2005: 115).
I want to explore the differences which the music industry produces between male and female
characters in various music videos. I have taken the example of ‘Ayo Technology’ by 50 Cent
and Justin Timberlake to highlight this. In the video both artists are fully clothed in suits in
comparison to the array of female strippers who appear in extremely sexualised clothing and in
some cases just their underwear (50 Cent ft. Justin Timberlake-Ayo Technology, 2010). In one
scene Justin Timberlake is watching a woman in her bedroom as she undresses down to a bra,
hotpants and stockings (50 Cent ft. Justin Timberlake-Ayo Technology, 2010). Further into the
video in a room full of semi-naked women, 50 Cent enters while the women dance erotically
for him; he is blindfolded while a lap dance is being performed in between his legs (50 Cent ft.
Justin Timberlake-Ayo Technology, 2010).
Throughout the video, the representation of women conforms to a very pornographic version
of sexuality that involves stripping and sexual servitude to men (Durham, 2009). In this case
“sex is displayed as something purely physical based on female exhibitionism” (Durham, 2009:
73). There are no explorations of mutual love or respect, the woman’s role in this video is
purely to excite the male gaze (Durham, 2009: 54). It is very rare for women in these videos to
be presented as the ‘gazers’ of men - their sexuality never translates as anything other than a
form of sexual and desirable stimulus (Durham, 2009: 54). I also feel that the choice of lyrics
used in this particular video suggests that men should stay passive in sexual encounters while
women should be sexually available to attend to their needs “She always ready, when you want
it she want it...if you want a good time, she gone give you what you want”
(www.metrolyrics.com/ayo-technology-lyrics-50-cent.html). The current enquiry into music
videos receiving a specific age rating has been sparked by the increasingly sexualised nature of
many music videos such as this, shown before the nine o’clock watershed (Harrison, 2011).
However, I believe that in today’s contemporary and digital society, new media has become
increasingly individualised. Young adolescents can now view these videos via the internet on
sites such as ‘YouTube’ or through the interactive services on many household televisions.
5
6. They are becoming more and more accessible to young viewers despite media regulations and
are coaching young girls to project a very adult sexuality (Durham, 2009: 62), which is
subservient to the male gaze.
Antonio Gramsci
Having looked at the examples of advertising and music videos as areas which contain strong
sexual presentations of women, I believe that this constant exposure to such images can create
a distortion between reality and a fabricated, media-constructed version of the female image.
The vast array of airbrushed images claiming that super slim women have the ‘perfect beach
bod’ have become splashed across the pages of teen magazines, consequently leading its young
readers to believe that there is no other image worth aspiring to (Brooks, 2008). Many are
under the assumption that as individuals we have a free choice in accepting as truth or not the
images we see, yet I feel that in the modern world they are inescapable. Not only do we see
increasingly sexualised depictions of women in the confines of our home, but to a certain
extent the public sphere has been hijacked by these images too (McGuigan 1996, cited in Rossi,
2005: 129). If it is not the visual tricks the media play on innocent minds, many body-critiquing
messages from shows such as ‘Extreme Makeover’ and ‘America’s Next Top Model’ become
internalised by young girls (Reist, 2008: 18), messages that particularly value girls who are “hot,
thin and sexy” (Reist, 2008: 8). Girls see women in the media spotlight subjected to constant
scrutiny, creating anxiety for their own self-image. This anxiety, however, is beneficial for
businesses, as it keeps girls purchasing (Hamilton, 2008: 44).
Such ideas can be related to Antonio Gramsci’s theory of hegemony, which suggests that the
dominant and cultural ideologies in society are secured by the most dominant groups in order
to maintain a coercive position (Strinati, 1995: 148). It has been argued that because young girls
have limited life experiences, they do not question the sexual images they see (Hamilton, 2008:
44). Marketers use hypersexualised images because ‘sex sells’ and as a result the more
sexualised the material we see, the more desensitised we become to it (Hamilton, 2008: 45).
Gramsci argues that as a result we tend to assume that is the way things are meant to be, as
we naturally think along the lines already organised for us (Inglis, 1990: 163). Consequently, it
can be argued that this constant subjection and pressure to live up to a culturally designed
6
7. appearance ensures that young girls believe that this image is the most dominant and pervasive
(Durham, 2009: 65). However, I feel that it is extremely important for young girls to be aware
that the majority of images they come into contact with are in many cases airbrushed,
exaggerated and eroticised versions of women (Durham, 2009: 65). This is because the more
images of sexualised images girls see of so-called ‘perfect’ women, the more they believe this to
be what every woman should look like. It is very unlikely that we should come across plus-
sized models, those who are a size 16 plus, sexually posing in perfume campaigns and on the
covers of magazines. Much emphasis is placed on the sexual appeal of these women and how
they serve as compelling role models, yet young girls should be taught to acknowledge they are
in fact effigies of what a modern society has depicted as perfect (Durham, 2009: 67). In fact,
many of the images we see are a far cry from the real world (Durham, 2009: 67).
‘Mini Me’ Culture
Walking through the town centre today we see that many of the shops we recognise for selling
adult clothing now include a range of clothes for children. When looking at many of the designs
it is likely that the average person would assume that they are aimed at their elders. One
example that I found most shocking is in ‘River Island’, a shop intended for late teen and adult-
wear, which has now included a ‘boys and girls’ section. From leopard print skinny jeans to lace
ra-ra skirts (see images 3 and 4 on page 9) these sexy items start at sizes aged 3-4 years old
(www.riverisland.com.online/girls, 2012). However, what I find most disturbing is that these
items along with many other examples are also sold in the women’s section, but in bigger sizes
(www.riverisland.com/online/girls, 2012). It is evident that many brands of clothing sold to
young girls allow them to buy into this sexualised culture, which pays much attention to
obtaining an older image (Walter, 2010: 35). The fashion industry has created an ‘adultification’
of products (Edwards, 2011: 88), which allows barely teenage girls to dress as adults; it is now
possible for these girls to dress in exactly the same clothes as their mothers. I remember as a
young child trying on my mum’s dresses and high heels, using her lipstick and hanging her
jewellery around my neck. To me, pretending to be an adult just for a few hours before your
mum finds you and wipes the make-up off your face is a very normal part of growing up. Yet in
today’s modern and ever-changing society it takes very little imagination to enter the world of
role play and ‘make-believe’ and many of these products are produced with children in mind
(Brooks, 2008: 92). We have reached a point where dressing up in this way in the private
7
8. domain is acceptable, yet as soon as young girls take up this image in the public domain, it is
seen as a cause for concern (Brooks, 2008: 92).
Image 3: River Island, Girls Pink Image 4: River Island, Girls Cream
Leopard Print Skinny Jeans, 2012. Lace Ra-Ra Skirt, 2012.
However, it is not just the available clothing which is luring kids out of their childhood faster
than ever (Brooks, 2008: 93), but also the underwear that is worn underneath it.
‘’Abercrombie and Fitch’s thong underwear for pre-teens and La Senza push-up bras in sizes for
little girls bring up much of the same problematic and sexualised associations” (Durham, 2009:
83). Much controversy has been caused about the shop ‘Matalan’, which sparked outrage
among many parents for selling “a range of padded bras available in sizes as small as 28AA”
(Daily Mail Reporter, 2011) (See Image 5). Disagreement has been caused regarding this,
meaning that stores such as ‘Matalan’ and ‘Primark’ need to stop products that “treat girls like
women” (Shipman, 2011), as “first bras should be constructed by the industry to provide
comfort, modesty and support without enhancement” (Shipman, 2011). Not only are many of
the bras targeted at young girls promoting breasts to look fuller and more enhanced, but some
of the slogans printed on them are sexually suggestive in their message (Shipman, 2011).
Products include High School Musical themed underwear with the slogan “Dive In” as well as
bras that have “Little Miss Naughty” (see Image 6) across the breast area (Shipman, 2011).
Retailers and producers of these items are slowly pushing the levels of acceptability further and
further to encourage children to act in a manner beyond their pre-teen years. One of the
reasons behind this over-sexualisation of clothing and underwear aimed to be worn by young
8
9. children could potentially be that such businesses have begun to work in conjunction with the
highly-sexed presentations in the media. Designers of pre-teen underwear now recognise that
these are the type of items most favourable to young girls in today’s society and as a result
have the ability to create cheap high-street versions, which makes this ‘adult image’ even more
accessible.
Image 5: Matalan, Heart Image 6: Daily Mail, Little
Bra Peach, 2010. Miss Naughty Underwear,
2011.
Erving Goffman
The theories of Erving Goffman are a microanalysis of interaction and are concerned with what
people do when they are in the company of others (Williams, 1980: 190). Goffman recognised
that through interactions stable patterns arise, common rules and actions, common knowledge,
in which we recognise a range of social actions (Williams, 1980: 190). I feel that this notion can
apply to forms of clothing in the sense that through interactions clothes can create specific
social codes (Durham, 2009: 81). We create common rules and values about certain styles
which we believe to be the norm for different groups. In today’s society you can now tell a lot
about someone from the way they dress, “they convey attitudes, qualifications, social
awareness, class rank or status” (Durham, 2009: 81). This may provide one explanation for why
many young girls believe that specific styles of clothing help them to find acceptance within a
group (Durham, 2009: 82).
9
10. I have been told by my cousin that at her secondary school wearing popular brands such as
Hollister, Jack Wills and Paul’s Boutique are essential if you want to be part of the so-called
‘popular group.’ She went on to explain how if you do not wear these branded items you will
be laughed at or teased by the rest of the group. I find this to be a huge contrast to when I was
at secondary school, having a big group of friends where what we wore played no part in
‘gaining acceptance’ - if anything individuality and different styles of clothing was embraced
rather than rejected. Yet now these specific brands which promote older, sexier styles of dress
create an environment, in which young girls begin to evaluate each other, dependent on their
clothing. This analysis ties into Goffman’s theory of the self as a social product in the sense that
individuals put on different performances depending on the social situation (Lemert and
Brananman, 1997: 23). In relation to clothing, our different social codes include appropriate
attire for different contexts (Durham, 2009: 82). For example I have seen that when my cousin
goes out with her friends into the public domain, she will wear clothes that are deemed
desirable by the ‘school culture’, however, when she is at home, she will dress down in more
casual clothing that is appropriate in the private sector in front of her family. Goffman
acknowledges that enhancing our own self-image in the eyes of others is the most essential way
we commit ourselves to the dominant ideas of society (Lemert and Branaman, 1977: 21).
Therefore, as more and more sexualised clothing becomes available to young children, the
pressure to conform to this style increases. Yet the questions remain - are girls dressing up for
male attention? For each other? Or to uphold their image in society? (Durham, 2009: 24). I
personally feel that this is a hugely important issue which needs to be further investigated and
researched in order to target the main sources which enhance this widespread sexualised belief
in image and appearance.
‘Girls with a Passion for Fashion’
Not only has increased sexualised clothing become produced and available to younger and
younger girls, but also much disagreement has been created based on sexualised merchandise
and products which target young children. Of particular concern are ‘Bratz Dolls’ - “mini-
skirted mannequins, which outsell more conservatively dressed Barbie dolls by two to one”
(MacRae and Sears, 2007), with many girls suggesting that Barbies have become “boring” and
don’t have “attitude” like Bratz (Brooks, 2008: 96). The brand’s slogan “Girls with a passion for
fashion” was created by manufacturers “to persuade us that their sexualised style of clothing is
10
11. the height of fashion and that young girls should be wearing the same” (Durham, 2009: 74).
However, it has been argued that much of the clothing which includes extremely short skirts,
high heels, knee- high boots and stockings (Brooks, 2008: 96) (See Image 7) is an attire suitable
for a “gentlemen’s clubs and pole dancing” (Durham, 2009: 83). It is these associations with sex
work which are most worrying, as these dolls aimed at a demographic between 7 and 13
encourage the belief that these are acceptable forms of dress (Brooks, 2008: 96). Their general
appearance too can be regarded as overly sexualised as the dolls themselves are branded only
as ‘girls’ themselves. Unlike the classic Barbie (See Image 8), their eyes are bigger, layered with
eye-shadow and liner, highlights in their hair and pouting rouge-coloured lips (Brooks, 2008:
96). To me this is more like a depiction of an older woman before a night out, not a girl in her
everyday clothes.
Image 7: Bratz Dolls, 2011. Image 8: Barbie
Doll, 2012.
In order to reinforce and establish the Bratz brand, merchandisers have also created DVDs,
electronic games in which the girls travel overseas, date, become rock stars and hang out in
night-clubs (Brooks, 2008: 98). A creation of the ‘good life’ full of fun, friends and fashion is
established by the brand, yet many of the DVDs show that these girls are in the eighth grade,
so would only be fourteen years old (Brooks, 2008: 98). Therefore, half of the activities shown
in these games and programmes would not even be possible to do for a girl at this age. The
brand has created these plastic girls who can practically wear and do what they please; it is a far
cry from the real world, yet young girls are being encouraged to believe that this is what they
should be doing too. Many retailers, however, including stores such as WHSmiths and Tesco,
are now selling a variety of Bratz items such as clothing, underwear, make-up, stationary, linen
and furniture (Brooks, 2008: 100). It seems that with all these branded accessories children
11
12. really can become their own version of ‘the living doll’ (Brooks, 2008: 100). Sexualised
products have now overtaken the shelves which were once lined with innocent childhood
characters such as Winnie the Pooh, Bagpuss and the Magic Roundabout.
Herbert Marcuse
It is evident from the examples I have given that much of the clothing and products now
available encourage young girls to act older at a younger age (Durham, 2009: 47). Marketers
deliberately sell these items with powerful sexual overtones (Durham, 2009: 47), knowing they
have the ability to “poke the bruises of stigma and stroke the egos of kids desperate to fit in”
(Brooks, 2008: 90). In particular, the advertising of such products often conveys the idea that
the “product will bring fun and happiness into a young person’s life” (Strausburger and Wilson,
2002: 53). In relation to this notion, Herbert Marcuse theorised that the material items which
surround us “can be a way in which the patterns of lives are shaped by society” (Dant, 2003:
70). As the standard of living rises, so does the process of consumption of commodities (Dant,
2003) in which individuals’ identities become shaped by the items they purchase (Dant, 2003).
Marcuse argued that this link is a result of advertising and articles that continually encourage us
what to buy (Dant, 2003). He believes this creates a ‘one- dimensional society’ by which society
introjects its needs into the individual (Dant, 2003). However, according to Marcuse, these
needs superimposed upon the individual are ‘false’ (Marcuse, 1964) and work to deny and
suppress true or real needs, such as being creative, independent, etc (Strinati, 2004: 154).
Marcuse saw that these needs are determined by the external powers over which the individual
has no control. No matter how much they are reproduced and fortified to become the
individuals’ own, no matter how much the latter identify with them, “they continue to be what
they were from the beginning - products of a society whose dominant interest demands
repression” (Marcuse, 1964: 5). To an extent in today’s modern world the mechanisms of mass
media have largely taken over the roles of other institutions in the process of socialisation,
“mediating between the individual and their society.” (Dant, 2003: 71). It seems that we no
longer need to sit children down to talk about society’s norms and values, the media has now
filled that void by injecting sexualised messages into children at a very young age. However,
these messages are ones which recognise sexual appeal and desirability as a key value in the
modern world.
12
13. The Effects- Increased Body Dissatisfaction
I have given some examples which I feel are areas in society which have become dramatically
sexualised in comparison to when I was growing up. These examples have tried to show how
the sexualisation of children occurs when “the slowly developing sexuality of children is
moulded into stereotypical forms of adult sexuality” (Rush, 2006: 41). However, I also feel that
it is extremely important to acknowledge the risks which accompany this issue.
Many of the images young girls are exposed to through advertising and music videos create an
increased desire for a thinner, ‘ideal’ body (Rush, 2006). Girls become more aware of dieting to
lose weight and in some cases this may lead them to engage in disordered eating habits (Rush,
2006). Our society has placed so much emphasis on the ‘perfect body’ it becomes increasingly
difficult for young girls to accept this as anything other than the truth. I feel that the majority of
women we see in the media on a daily basis are displayed to the viewer as having impossibly
perfect bodies, which puts great pressure on young girls to conform. For many of these girls
the “thin-look has become the normative” (Field et al, 1999 cited in Strausburger and Wilson,
2002: 262). Studies have even found that girls who aspire to look like these women are twice
as likely to be concerned about their weight (Field et al, 1999 cited in Strausburger and Wilson,
2002).
In particular, acquiring a ‘Barbie body’ is said to be a ‘perfect’ look which many girls aspire to
look like. When I asked my cousin who her role model is she answered Cheryl Cole – one of
many of the women in the media spotlight who are examples of “living Barbies” (Durham,
2009: 97). Although this seems to be a look young girls are determined to achieve, when the
Barbie doll measurements are translated into human scale “she would be five foot nine inches,
have an eighteen inch waist, thirty six inch breast and thirty three inch hips and would weight
one hundred and ten pounds” (Durham, 2009: 96). However, according to medical analysis that
is “pretty much unattainable without borderline starvation and plastic surgery (Durham, 2009:
97) and would be too skinny to menstruate (Durham, 2009). It is clear that the media, fashion
and marketing industries’ main aim is to achieve profit by choosing to glorify the most
unrealistic body type possible, despite the fact that this encourages innocent and naive young
children to regard this as an ideal image to strive towards. However, I believe that many of
13
14. these industries are in fact aware that much of the items they promote are inappropriate for
the age range they target, yet unfortunately many still respond solely to the idea that sex sells.
George Herbert Mead
Mead’s theory of the self focuses on how “each individual’s socialisation structures the mind
and the self in two important ways” (Baldwin, 1986: 112). The first is the “common traits that
are shared with others and the second, unique personal traits distinct from others” (Baldwin,
1986: 112). Mead argued that this distinction of the self is divided into two separate
components, the ‘I’ and the ‘Me’ (Baldwin, 1986). The ‘I’ is the inner self that acts, whereas the
‘Me’ is the outer self we observe from other peoples’ perspective. He believed that the ‘Me’
allows us to put ourselves in the role of the other in order to establish our own feelings about
the ways we ought to be in varying circumstances (Baldwin, 1986). “The individual sees himself
from the point of view of other individuals which form the point of view of himself”(Mead,
1914 cited in Baldwin, 1986:116). Here Mead shows how we are able to “evaluate the
innovations of the ‘I’ from the perspective of society, encouraging socially common innovations,
while discouraging undesirable actions” (Baldwin, 1986:116).
This is related to the issue of self-objectification in which young girls emphasise their physical
body as seen by others and de-emphasise their own perception of the self (Rush, 2006: 43).
Adapting Mead’s theory, the component of the ‘I’ for young girls and their subjective belief of
themselves is the innocent child who does not need to worry about physical appearance.
However, the ‘Me’ component, while giving the objective perspective, is enhanced by the
production of sexualised images. Young girls are influenced to believe that this sexualised image
is a ubiquitous look for other girls and as the others begin to dress and act in sexually mature
ways, it becomes perceived as the norm. Young girls would be happy with any toy or clothing
that is bought for them, however, the ‘me’ recognises what is regarded as socially desirable and
undesirable. Yet unfortunately, in today’s modern society what is desired is sexual appeal, an
asset we are encouraged to learn and reproduce.
Conclusion
To conclude my journal I want to pose a question which I feel is central to this issue. Why is it
that sexual appeal has become considered as an important value in today’s society? Not only
14
15. have the media created depictions of women which are constructed as ‘sexy’ and ‘seductive’,
but in some cases they are presented as role models to young girls. I have shown through some
of the examples that various products, including everyday clothing, are becoming more and
more adult-like encouraging girls to present themselves in a way we might expect a twenty-
year-old woman to dress. I think that through the acknowledgement of many of the issues that
were raised throughout, clearly the answer is that profit serves as the main drive for these
companies and institutions who work on the basis that sex sells. They do not comprehend the
damage they are doing to many young girls, as these children begin to trust what they see as
the look which they too should be following.
In so many ways young girls are growing up in a shadow cast by a sexualised vision of
themselves and others, dressed head to toe in clothing intended for adults, with a mindset
based on image and sexual appeal. However, I believe that childhood is a period in every human
being’s life which should be preserved and enjoyed as a child, not under the false constructions
of the media. It is a time in your life which needs to be enjoyed for being who you are, having
fun and not worrying what everyone else thinks. I hope that my cousin will be able to realise
that she does not need to abide by a certain code to ‘fit in’ or dress in a certain way to be
noticed. Beauty is an accolade which comes from within and this is a message which all young
girls across the world, including my cousin, should learn to accept.
15
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