Gender approach in Titanic film

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Topic: Gender approach in Titanic film

TABLE OF CONTENT
I. Introduction ......................................................................................................................3
II. Nature of “audience”.......................................................................................................3
2.1 Historical development of “audience” .......................................................................4
2.2 Evolution of theories and models...............................................................................5
III. Audience and gender .....................................................................................................7
IV. Gender issue in Titanic film..........................................................................................8
4.1 Overview of Titanic film............................................................................................9
4.2 Gender issue...............................................................................................................9
V. Conclusion ....................................................................................................................11
REFERENCE ....................................................................................................................12

I. Introduction
Audiences shall be always in the central of any media text regardless of the different
development of social media in the future, since audiences are the targeted people of
media text who could bring inspiration or incentives to select a suitable topic of media.
Therefore, a successful media text should cover enough information as well as messages
related to audiences and attracting them. Raising this idea, there are five main approaches
which could present audiences in relation with the text, exploited from my “Media
Audience” subject, including gender, ethnicity, sexuality, fans and subculture. Among
these above approaches, in this essay, gender aspect is focused on and analyzed from a
traditional film, named “Titanic”.
The essay is expected to be helpful for both media analysts as well as students concerning
about “Media Audience” subject and directors as well as communicators. That said, from
the points in this essay despite its private opinions, media analysts could have
information and assistances in identifying the relationships between audiences and media,
particularly in gender aspect. Furthermore, they also have references from Titanic film,
about how it transferred gender messages to audiences and how the audiences received
them.
Before coming to detailed parts of the essay, it is necessary to split up clearly main
arguments for this topic, about “Gender approach in Titanic film”. Firstly, it is critical to
examine the nature of “audience”, including the historical development of “audience” as
a concept, the evolution of theories and models relating to “audience” and the notion of
“audience” from different perspectives. Secondly, the essay will back-up the appropriate
approach, theory, concept related to topic. And finally, the chosen media text, Titanic will
be exploited for in – depth understanding.
II. Nature of “audience”

2.1 Historical development of “audience”
Actually, the nature of audience had came to existence many years ago, when there was a
crowd to a group of people gathering in circle and seeing what happening in the middle.
To understand clearly about the appearance of audience, Peter Brook (1968) had
imagined in his book “The empty space” about “a man walked across the empty space
whilst someone else is watching him”. “Someone” in this sentence is indicated as
audiences in some years later.
Audience development came from the idea of Danny Newman (1977). He assumed
subscription packaging starting in the 1960’s or in other words, audiences in this period
are called “subscriptions”. After two years from the initial inspiration of Danny, Lisa Ede
(1979) had seen audience as one of the most widely discussed from a neglected concept.
As proved above, people had felt “audience” unknown; they only saw “someone else” or
“subscriptions”. The “audience” was not recognized as a concept until 1988, when Allor
suggested that “the concept of audience is more importantly the underpinning prop for
the analysis of the social impact of mass communication in general”.
Extending the concept of “audience”, Mary Jo Reiff (1996) also pointed out that audience
seemed to be not stable and combine of both oral and written rhetoric. In previous time,
audience is identified as “someone else watching”, it means that people are considered as
audiences through only images, actions and speeches. However, Reiff (1996) broadened
the concept of “audience” into written scope. Few years later, idea raised by Reiff was
measured to be more complicated (Willey, 1998). It is not until the latter half of 20th
century that the complexity of “audience” has been shifted from oral to written rhetoric.
For other researchers, the word “audience” had been also classified in terms of potential
listeners as their ages and stations (Willard and Brown, 1993).

In addition to the development of “audience” as a concept, many authors had evaluated
the notion of “audience” from different perspectives, including individuals, groups and
organizations. Kuhn (2002) argued that the key problem for attracting audiences is not
volume of stories, histories or memories, but how to analyze and interpret them, since the
notion of audience may be different in understanding and conveying messages. Raboy et
al. (2001) explored “audience” has been regularly approached as individual perspective.
That said, under either the group or organization view, the notion of audience is described
in the similar opinions, thoughts, and behaviors due to their cultures. Under this
circumstance, Sharon Crowley (1898) asserted the uniformity of audience from the
perspective of group or organization which referred that all readers/ listeners believe, feel
and act in the same manner. Therefore, the concern of an individual audience is put at the
lower level. However, in fact, different persons also have different thoughts regardless
the similar points under the same group or organization. It finally indicated that
information will not only be gathered, tabulated and analyzed in the timely manner but
also have to be analyzed by individual users (Balnaves & O’Regan, 2002). In supporting
this idea, Hagen (1999) had explained the need of analysis individual audience
information as service media sector gradually moved from public to privatized and
commercialized. In the past, systematic efforts to serve the needs and wants of audience
in term of individuals had been raised by Emmett (1968).
Survey of BBC (1940s) had been taken in order to clarify the meaning of audience from
the perspective of individual. The survey was built to collect assessment of audience
reactions, how they enjoyed the individual broadcasting in their own opinions. At last, an
Appreciation Index came into force to sustain this perspective.
2.2 Evolution of theories and models
Many researchers have implied that models relating to “audience” have passed four
evolutions, including: hypodermic needle model, two step flow model, uses and

gratification theory and reception theory. It is critical to point out something about these
four types of theories.
Firstly, it seems to be obsolete when considering hypodermic needle model, or in other
words, called magic bullet because this perspective biased toward “folk belief”. This
model was created by Frankfurt School in Germany in 1930s. Choukas (1965) expressed
this approach that “Propaganda offers ready – made opinions for the unthinking herd”. It
means in this period, audience reacted to mass media immediately and incautiously. One
characteristic of this theory is unmediated information (Lowery & DefFluer, 1995).
Additionally, passive audiences are the centre of “magic bullet” model, who soak up the
empty promises of mass entertainment, becoming willing victims who both produce and
consume the products of consumer capitalism (Adorno and Horkheimer, 1930). That said,
the audiences are so weak and powerless to control and resist the effect of mass media.
From idea of Frankfurt School, in 1940s, Elihu Katz introduced the new model, called
“two step flow theory”, which was an analysis of “the people’s choices”. In contrast to
unmediated information in the first model, Katz (1955) built a reception in which media
messages are mediated by opinion leader. It was thought that this century has defined the
concept of democracy (Kim & Katz, 1999) and each individual would be eager to
participate in fluid social networks oriented to self-expression even though they had
seemed to be less likely to join in groups or organizations (Giddens, 1991).
Thirdly, uses and gratification theory (Katz & Blumler, 1974) marked an important
navigation for audience development, aiming to active audiences. It is understood in
different perspective since people can do with media instead of what media can lead to
people’s thoughts (Seamen, 1992). Active audiences then will become directors, mass
communicators or marketers in few years later and they use media text as a tool to get
their own profits (Baran & Davis, 2009). In other words, uses and gratification theory

defined the way of audiences being goal oriented and motivated by their use of everyday
media to satisfy their wants (Haridakis & Whitmore, 2006).
The next step for audience development was from reception theory, when one text can be
described or illustrated in different symbols, characters, actions depending on the feelings
and abilities of individuals (Arbudan, 2012). It means when a text is published, it is also
up to the active audience to distinguish the contents, which refers to decoding method
(Fiske, 1987).
To conclude, it is critical to recap that evolution of models relating to “audience” shifted
from passive audience to active audience with the different decoding process.
III. Audience and gender
To analyze how media text attracts audiences, there are five aspects concerned most,
including fans, gender, ethnicity, sexuality and class. Due to limit of time and words, my
essay only explores the role of gender in media text in relation with audiences.
In order to explain clearly about the problem indicator, it is essential to take a look at
gender status for the time being. Even though discrimination in gender has decreased in
almost countries in the world, it seems to be still a hot issue which is concerned by every
person. Elizabeth (2001) had proved that once a society experienced discrimination on a
basis of gender, it would pay a significant price, illustrated by higher poverty, lower
quality of life, slower economic growth, and weaker governance. Foreseeing these bad
results, any country has tried to not only balance the gender equality but also give some
favors for women and children. In comparison with other approaches set out in the
immediately above paragraph, gender can be considered as the most concerned issue of
audiences. However, sexuality is nowadays hot and chosen as the inspiration of many
media texts, it still remains controversial and many audiences may avoid commenting on

this problem. Additionally, ethnicity and class seem to not draw as strong attention of
audiences as gender can do.
Question of gender has been consistently raised over recent decades, both in terms of the
restricted range of story types in which women and children appeared (Tuchman et al.,
1978) and women’s positions in economy as well (Gallagher, 1995). Gans (1979) implied
clearly about inequality between man and women as well as citizens and government
spokespeople. Being aware of this discrimination, public media had taken it in showing
to audiences in order to not only attract them but also encourage them to ensure equality
in gender. Gunter (1995) and his supporter, Elasmar et al (1999) recapped the findings of
various content analysis studies, which have counted the prevalence of women and men
in significant speaking roles in TV shows. They said by the mid 1980s, even though there
were more women in leading roles, there were still twice as many men on screen.
Nowadays, gender has been a core concept in media context. As mentioned by Lauretis
(1987), “gender is not sex, a state of nature, but the representation of each individual in
terms of a particular social relation which pre-exists the individual and is predicted in the
conceptual and rigid (structural) opposition of two biological sexes”. It means gender
element in a media text does not simply distinguish who is woman and who is man, but
indicates position of each individual in behaviors of others, how others treat them as a
woman or as a man. Thus, it is very important to address clearly gender issue in any
media text to avoid any disputes and conflicts that may arise beyond control of the
manufacturer.
IV. Gender issue in Titanic film
Having been the classic drama for many years, Titanic film contains many valuable
messages. This scenario is derived from a true story about an actual ship. Hence, it should
not be seen as only a love story because apart from romantic scene, Titanic also conveyed

to the audiences issues relating to gender and sexuality. As a famous drama which has
been watched by many people all over the world, Titanic is the most suitable media text
to become my central subject of my essay.
4.1 Overview of Titanic film
On April 15, 1912, the Titanic ship had collided into an iceberg and sunk very quickly,
which led to the death of more than 1,000 passengers (The New York Times), including
people in both first class and second class.
More than 80 years later, the disaster came into screen under the title “Titanic”, which is
considered as a resounding success both in terms of revenue and expertise. The film was
based on the true story of one survival passenger in sinking, Rose Dawson Calvert. Not
only does it illustrate a horrifying spectacle in 1912 but it also expresses a great love
between two people in two different classes, between Jack and Rose. My essay will not
address either how they love each other or how terrible the sinking happened, but
emphasizes on any scene where gender problems appeared. Also, it must be noticed that
the final scene when Rose dreamed of Jack with their desires and plans is an impressive
stage since Jack behaved to Rose in different ways from what Cal, her fiancé can treat
her. In other words, the true love Rose felt from Jack is not restricted in gender issue as
current situation of any women in this period in terms of inequality and discrimination.
4.2 Gender issue
It is noted that gender issue is not the main objective of this film, however, it still existed
as an attractive idea toward audiences after the romantic love between Jack and Rose. My
essay divided the analysis into two parts, including time before the disaster and while it
was occurring, also took into consideration the way Jack treated Rose as well as other
women and children in comparison of the way other men, particularly, Cal, thought of
position of women and children.

Before the disaster, inequality between women and men is identified clearly in what they
appeared, talked to others and expressed themselves. That said, women must always wear
dresses, speak softly and walk carefully. All of what they must wear every day is the
painful and constricting dresses. The climax of gender issue raised through this film
before the vessel was hit an iceberg happened at the conflict of Rose and her fiancé, Cal.
It is the first point that my essay shall be investigated that Cal really did not respect his
fiancée and treated her as a property. It can be seen easily why this marriage came into
force, based on decision of Cal and her mother, not herself. Truthfully, voice of women is
invaluable; they could not make decisions by themselves, even about their husbands,
marriages or their life. Cal did not care about Rose’s feelings, only binding her in her
family’s financial matter; that is the reason for her despair. His ruthlessness made many
audiences angry, especially women because they saw Cal as a conservative man who
needed to be re-educated about equality between men and women. When he encountered
Rose and Jack together, he still disregarded, even when Rose said that she was about to
slip accidentally. The stonyhearted statement of Cal about paying Jack a number of
money in exchange for his help to save his fiancé’s life really annoyed not only Rose but
also the audiences. It is controversial that the value of a woman seems to be very “cheap”
in comparison with men.
However, the putrefaction of Cal was the only scotoma in this drama. If Cal character
disdained women, the appearance of Jack can be considered as a bright star and new era
for women to be respected.
The relationship between Rose and Jack had many troubles in terms of both class and
gender issue. The image of Rose was similar to perspectives of many modern women for
the time being. She dared to dream of her marriage with her lover, Jack bravely even
though at that time, she was bound into many social prejudices. Perhaps, the existence of
Jack and his love brought her many incentives to dream and trust in brighter future. Scene

when two main characters were hand in hand on board was the symbol of freedom and
gender prejudice exemption. Through Jack, Rose learns to feel good about herself, to
overcome oppression by overcoming repression. She dances with the steerage, stands on
the bow with the breeze blowing through her hair, poses nude, has sex in a car in the
ship's hold. The disaster is presented here for the first time as a kind of therapy: for Rose,
the burdens of gender and class are swept away by Jack and the sea, even though her
nasty mother and fiancé survive. Pollitt (2004) evaluated the film as a “women’s
fantasy”.
The most fantastic image in this film is rescuing process, when all of people here unified
together one law “Women and children first”, which later became the law of the sea
(Agnes Ryan, 2003). Facing the possible perish, gender separation seemed to be ignored
and the only thing happening in their minds was to rescue women and children first. This
ennoblement thrilled many audiences, even touched their hearts and made them cry. In
contrast to the first period of the film when women had not been respected and had no
right, until now, they were prioritized. Although Titanic film is about a disaster with sad
ending, many audiences felt that it provided a lot of things pinky and bright in terms of
true love and its greatness.
V. Conclusion
In conclusion, all of supporting arguments set out in above parts are the reason why
“when a woman talks woman's rights, she will be answered with the word Titanic,
nothing more—just Titanic” (St. Louis Post-Dispatch). Perhaps, it is because Titanic had
performed perfectly about gender issues from the first scene to the final one, from a dark
perspective to noble sacrifices with the brighter future of equality between men and
women as well as the justifiable rights of women.

REFERENCE
Abrudan, E. (2012), “Media audience”, Journal of Media Research, Vol. 3, p. 3-9
Baran, S. J., & Davis, D. K. (2009), Audience Theories: Uses, reception, and effects.,
Mass Communication: Foundations, ferment and future, Boston, MA: Wadsworth
Cengage Learning, p. 228-267
Dennis, M. (2010), McQuail's Mass Communication Theory, 6th
ed. SAGE Publication,
New Delhi, p. 407-460
Elihu, K. (1957), The Two-Step Flow Communication: An up-to-date report on an
hypothesis, Scholarly Commons, p. 3-14
Fiske, J., (1987), “Active audiences”, Television Culture, London, Metheun Publisher, p.
62-84
Howells, R. (2012), The Myth of the Titanic: Centenary Edition, New York, p.72-106
James, G. & Patricia, F. (2006), Ratings analysis: The theory and practice of audience,
3rd
ed. Lawrence Erlbalim Associates Publishers, London, p. 230-240
Kaye, B. K. (1998), “Uses and gratifications of the World Wide Web: From couch potato
to Web potato”, The New Jersey Journal of Communication, Vol. 6, p. 21-40
Linda, M. (2012), The Titanic on Film: Myth versus Truth, Mcfarland Publisher, p.46-85
Negulesco, J. (1953), Titanic, New York, p.12-56
Ruddock, A. (2001), Understanding Audiences, SAGE Publication, New Delhi, p. 18-45
Steven, B. (2011), “Film Review: Titanic”, Journal of American History, Vol. 85, No. 3,
p. 1177-1179

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