This dissertation will explore the role of fashion and dress as differential values that separate groups by class, colour and gender in three different films: Divergent,
The Cook, the Thief, his Wife and her Lover and Boys don´t cry. Then it would show how artistic and main stream films have common similarities representing
separation through dress. In relation to what Patrizia Calefato (2004) says on ther book The Clothed Body, Film and Fashion contruct a world in which social subjects
are depicted in relation to one other. “The cinema is a sense-making machine that produces feelings, sensations and desire. Often clothes are mediators in this “sensemaking”
as signs charged with social significance” (Calefato.P, 2004, p.92).
Choosing these three films this studie will have the opportunity to show several ways of making troops and subsequently banned individuals.
Exclusion by class, colour and gender as many others are nowadays a more subliminal way of separation by groups, it is more hidden than before but still exists.
Freedom as a sign of identity gains recognition with fashion. This study will discuss the relationship between fashion and freedom and how society forces the
individual to be part of the established group following certain rules. Those individuals can be excluded, as mentioned previously, by class (Divergent and The Cook,
the Thief, his Wife and her Lover), by color (The Cook, the Thief, his Wife and her Lover) and by gender (Boys don´t cry). The aim is to query the actual system by
analyzing these three films.
The three of them treat an exlusion point of the actual society and the film directors have the help of fashion and the body to express it. “Fashion embraces not only the
desire to imitate others and to express commonality, but to express individuality” (Entwistle.J, 2000, p 114). Dress will also be seen as a protection layer used by these
individuals to become part of an established group.
These three examples of films produce an image of society in different areas and times. Divergent (2014) is the future and the metropolis. The film presents how the
society will be developed and separated by groups and factions. The Cook, the Thief, his Wife and her Lover (1989) shows an unequel class society in a more artistic
portrayal of the world using color to split feelings and class. And finally The Boys Don´t Cry (1999) offers a cruel story of how a transgender individual is excluded
from the big “understandable” group by gender and stereotypes.
With different times, spaces and differential elements these films are studying the same problems of exclusion, identity and freedom in contemporary society.
This document provides an overview of key concepts in representation theory, including Marxism, feminism, postmodernism, and stereotypes. It discusses how representations encode ideologies and can reinforce power structures. Representations are never neutral and involve selective portrayals of reality. Media texts use stereotypes, myths and other techniques to represent social groups and ideologies in simplistic ways for audiences.
The Future of the Image week 3: Radical Alterity DeborahJ
This document discusses the concept of alterity, or otherness, from an art historical perspective. It begins by defining alterity as how Western culture historically viewed the self in contrast to others. It then explores how postmodernism emphasizes relationships between self and other through figures defined by terms like alterity, absence, and uncertainty. The document examines how anthropology and feminist discourses have discussed gendered and racialized others. It also analyzes how artworks have addressed themes of doubles, doppelgängers, virtual worlds, and technologies in relation to notions of self and alterity.
The document discusses several key concepts related to media and collective identity representation in film, including:
1) Binary oppositions examined by structuralism and modernism theories such as self/other, producer/consumer, and media/reality that can be applied to analyze films.
2) Films serve both as commercial products and cultural documents that represent issues of class, gender, race, and ideology.
3) Representation in films, particularly of marginalized groups, raises issues about invisibility, authenticity, and "the burden of representation".
4) Ideology and false consciousness shape how media interpellates or constitutes viewers as subjects through mechanisms like the male gaze and white gaze.
Week 6 subjectivity and identity self awarenessDeborahJ
1. Postmodernism questions the notions of a fixed identity and self, seeing them as social constructions influenced by images and cultural forces.
2. Artists like Cindy Sherman and Barbara Kruger explore how identity is shaped by media and consumer culture through their photographs that depict the artificiality of images and constructed nature of the self.
3. Postmodernism celebrates fragmentation and incoherence, seeing the self as multiple and unstable in a world dominated by superficial images and cultural commodification over authentic experience.
This paper discusses Pierre Bourdieu's theory of symbolic violence and how it relates to the domination of women. Symbolic violence refers to the subtle, often unconscious ways that dominant social groups impose their values and worldviews onto subordinate groups through everyday cultural practices and norms. The paper provides an overview of Bourdieu's constructs of different types of capital (economic, cultural, social, symbolic) that contribute to symbolic violence. It then reviews several previous studies that have applied the theory of symbolic violence and discusses how symbolic violence against women is reproduced through everyday narratives in media like television which normalize the domination of women. Finally, the paper considers applications of this theory for understanding information behaviors and the role of libraries in either challenging or perpetuating symbolic
Media plays a complex role in constructing and reinforcing gender identities. It provides models of masculinity and femininity that promote narrow ideals of attractiveness. While media influences understandings of gender, audiences can also interpret messages differently or resist dominant portrayals. Overcoming restrictive gender norms in media requires recognizing their existence and developing a critical perspective to see beyond traditional representations.
This document provides an outline and overview of a chapter analyzing gender in the media. It discusses how media constructs and constrains gender through representations that exert power and influence social norms. While media depictions of femininity and masculinity can perpetuate stereotypes, media also allows for more communication between genders and depicts increasing gender diversity. The document examines topics like the male gaze and how media depicts women, as well as similarities in media portrayals of masculinity.
This document provides an overview of the concept of "the gaze" in visual media such as television and advertising. It discusses how the gaze refers to how viewers look at images of people, as well as how people are depicted looking in visual texts. Key forms of gaze are identified, such as the spectator's gaze, intra-diegetic gaze, direct address to the viewer, and the look of the camera. Direction of gaze and mutual versus non-mutual gaze are also examined.
This document provides an overview of key concepts in representation theory, including Marxism, feminism, postmodernism, and stereotypes. It discusses how representations encode ideologies and can reinforce power structures. Representations are never neutral and involve selective portrayals of reality. Media texts use stereotypes, myths and other techniques to represent social groups and ideologies in simplistic ways for audiences.
The Future of the Image week 3: Radical Alterity DeborahJ
This document discusses the concept of alterity, or otherness, from an art historical perspective. It begins by defining alterity as how Western culture historically viewed the self in contrast to others. It then explores how postmodernism emphasizes relationships between self and other through figures defined by terms like alterity, absence, and uncertainty. The document examines how anthropology and feminist discourses have discussed gendered and racialized others. It also analyzes how artworks have addressed themes of doubles, doppelgängers, virtual worlds, and technologies in relation to notions of self and alterity.
The document discusses several key concepts related to media and collective identity representation in film, including:
1) Binary oppositions examined by structuralism and modernism theories such as self/other, producer/consumer, and media/reality that can be applied to analyze films.
2) Films serve both as commercial products and cultural documents that represent issues of class, gender, race, and ideology.
3) Representation in films, particularly of marginalized groups, raises issues about invisibility, authenticity, and "the burden of representation".
4) Ideology and false consciousness shape how media interpellates or constitutes viewers as subjects through mechanisms like the male gaze and white gaze.
Week 6 subjectivity and identity self awarenessDeborahJ
1. Postmodernism questions the notions of a fixed identity and self, seeing them as social constructions influenced by images and cultural forces.
2. Artists like Cindy Sherman and Barbara Kruger explore how identity is shaped by media and consumer culture through their photographs that depict the artificiality of images and constructed nature of the self.
3. Postmodernism celebrates fragmentation and incoherence, seeing the self as multiple and unstable in a world dominated by superficial images and cultural commodification over authentic experience.
This paper discusses Pierre Bourdieu's theory of symbolic violence and how it relates to the domination of women. Symbolic violence refers to the subtle, often unconscious ways that dominant social groups impose their values and worldviews onto subordinate groups through everyday cultural practices and norms. The paper provides an overview of Bourdieu's constructs of different types of capital (economic, cultural, social, symbolic) that contribute to symbolic violence. It then reviews several previous studies that have applied the theory of symbolic violence and discusses how symbolic violence against women is reproduced through everyday narratives in media like television which normalize the domination of women. Finally, the paper considers applications of this theory for understanding information behaviors and the role of libraries in either challenging or perpetuating symbolic
Media plays a complex role in constructing and reinforcing gender identities. It provides models of masculinity and femininity that promote narrow ideals of attractiveness. While media influences understandings of gender, audiences can also interpret messages differently or resist dominant portrayals. Overcoming restrictive gender norms in media requires recognizing their existence and developing a critical perspective to see beyond traditional representations.
This document provides an outline and overview of a chapter analyzing gender in the media. It discusses how media constructs and constrains gender through representations that exert power and influence social norms. While media depictions of femininity and masculinity can perpetuate stereotypes, media also allows for more communication between genders and depicts increasing gender diversity. The document examines topics like the male gaze and how media depicts women, as well as similarities in media portrayals of masculinity.
This document provides an overview of the concept of "the gaze" in visual media such as television and advertising. It discusses how the gaze refers to how viewers look at images of people, as well as how people are depicted looking in visual texts. Key forms of gaze are identified, such as the spectator's gaze, intra-diegetic gaze, direct address to the viewer, and the look of the camera. Direction of gaze and mutual versus non-mutual gaze are also examined.
Subjectivity And Identity Self AwarenessJames Clegg
Focusing upon the body of art that was considered oppostional, by Hal Foster and other influential critics, we consider the possibility of critically engaging with the culture of late capitalism. Featured artists include Jenny Holzer, Barbara Kruger and Sherrie Levine.
Mass communication & media literacy 06Clive McGoun
The document discusses media representation and stereotyping. It defines key concepts like representation, archetypes, and stereotypes. It explains that media representations are selective and inform our understanding of groups. Representations encode certain ideologies and can reinforce dominant views in society. Stereotypes serve as shortcuts but can overgeneralize. New media has led to more diverse representations as video equipment has become cheaper and distribution networks expanded.
The document discusses several theorists' concepts relating to media representations of social groups and collective identity. Giroux (1997) argues that media representations of youth serve adult interests and make youth an "empty category." Acland (1995) and Cohen (1972) discuss how media representations of deviant youth reproduce social order and create moral panics. Gramsci (1971) introduces the concept of cultural hegemony. Althusser (1970) discusses ideological state apparatuses, and McRobbie (2004) and Gerbner (1986) discuss symbolic violence and cultivation theory, respectively. The document provides exam advice on answering a question about the social implications of media representations of social groups.
Nehru employs several types of myth in his "Tryst with Destiny" speech to help unite India as a new nation. He uses the myths of temporal origins to mark India's birth at midnight, ancestry to portray Indians as one people, and a heroic age to reference India's past grandeur. However, he avoids using the myth of location/migration, likely because of the violence surrounding the country's partition. While Nehru strategically employs most myths to define India's identity, the omission of location/migration reflects the difficulties in constructing a unified narrative amid the country's recent history.
This document summarizes Richard Dyer's analysis of stereotypes from his work "The Role of Stereotypes". Dyer examines Walter Lippmann's definition of stereotypes as necessary cognitive shortcuts but also notes their tendency to present order as absolute and reflect the power relations of society. Stereotypes invoke a false consensus while expressing the values and traditions of dominant social groups. They make invisible social categories visible and draw firm boundaries where in reality there are none, serving to maintain the status quo.
Fem-vertising: A feminist approach in advertingDanianese Woods
The document discusses the feminist approach to analyzing portrayals of women in advertising over time. It provides context on the waves of feminism and the goals of each wave. It also summarizes several studies that analyzed the shifting depictions of women in magazines from the 1950s to 2000s, noting that while women have more roles today, sexism and objectification still exist. The document also discusses how some feminist magazines and campaigns challenged sexist advertising and promoted alternative portrayals of women.
This document discusses Stuart Hall's circuit model of communication and culture. It explains that culture involves shared meanings that are circulated through media. Hall's circuit model shows how cultural meaning is generated and shaped at five moments: representation, identity, production, consumption, and regulation. The model also emphasizes that meaning is context-dependent and can vary between creator, text, and audience. Examples are provided to illustrate how representations can take on different meanings in different cultural contexts.
This document discusses several theories related to audience and representation. It covers key concepts from Uses and Gratifications theory, Stuart Hall's Encoding/Decoding model, Henry Jenkins' work on fans and participatory culture, and theories from Albert Bandura, George Gerbner, and Clay Shirky on media effects and the changing nature of audiences in a digital age. It also examines Stuart Hall, David Gauntlett, Liesbet van Zoonen, bell hooks, Judith Butler, and Paul Gilroy's work on representation, identity construction, gender, feminism, and postcolonial theory.
This document discusses representation in media, including how the media constructs rather than reflects reality through careful mediation. It defines representation and discusses how certain groups are commonly represented, such as through stereotypes. Several theories of representation are outlined, including how women are often objectified and gazed at from the male perspective. The document also discusses how stereotypes can both enhance realism for audiences but also reinforce dominant ideologies. It questions whether media representations are ever truly realistic or simply simulations that produce our understanding of reality.
This document discusses key aspects of postmodernism and how it challenges dominant narratives and power structures. It notes that postmodernism critiques historical narratives, myths of originality, and the grounds of difference. It discusses how feminism and representation are not neutral and examines the ways representation of gender and race are constructed and situated within relations of power. It also explores the development of identity politics and marginalized perspectives.
This document summarizes several theories of representation relating to race and gender:
1. Paul Gilroy and Stuart Hall theorized about representations of race in media, with Gilroy focusing on the "Black Atlantic" culture and Hall discussing strategies to subvert stereotypes like reversing them or making them work against themselves.
2. Liesbet van Zoonen analyzed gender representation in media through a feminist lens, noting how women are often objectified and gender is performatively constructed.
3. bell hooks' intersectional theory examined how media representations reinforce systems like white supremacist capitalist patriarchy through stereotypes based on gender, race, class and sexuality.
MEDIA & COLLECTIVE IDENTITY: How do the contemporary media represent collecti...Belinda Raji
The document discusses how black British people have been represented in media over time. Historically, films portrayed them as problems or threats to society, but music allowed both black and white people to find shared meaning. In the 1960s-70s, black culture had a large influence and created a youth subculture where race was less defined. Today, films like Adulthood and Shank and genres like UK hip hop and grime still reflect this shared culture between black and white Britons.
Media and Collective Identity: Useful quotesBelinda Raji
The documents discuss how media representations of ethnic and racial groups are shaped by dominant ideologies to control identities. Stuart Hall argued that media produces naturalized representations that construct identities like race as innate rather than politically motivated. Representations in media have power to shape popular attitudes. Research found ethnic minorities often underrepresented or stereotyped in media. Younger black respondents rejected a British identity due to feeling marginalized in society. Mixed race youth assumed a black identity due to appearance and upbringing. Accurate portrayals of communities are needed to avoid wrong impressions.
Theories of Media Representation refers to how media constructs and presents versions of reality to audiences. All representations are constructions that show one perspective, not objective reality. Key thinkers like Marx, the Birmingham School, Hall, and Lacan viewed representation as a process involving power dynamics between media producers and audiences. Representation raises questions about whose perspectives are included or excluded in media and how audiences interpret these encodings.
Week 4 New Voices: Postmodernism’s focus on the marginalised DeborahJ
1. Postmodern art explores how meaning is constructed and questions traditional narratives of art history.
2. Artists examine issues of representation, gender, sexuality, race, and marginalized groups who have been excluded from dominant historical narratives.
3. Postmodernism includes a critique of originality, universal histories, and the grounds of difference that have been used to privilege certain groups over others.
This document provides an introduction to genre theory and discusses some of the key challenges in defining genres. It notes that while genres are commonly used to categorize different types of texts, there is no consensus on how to define genres or determine their boundaries. Generically classifying texts involves theoretical difficulties as genres often overlap and individual texts can belong to multiple genres. The document examines debates around whether genres exist objectively or are social constructions, and if they are defined by shared content, form, or both. It also explores how genres are not fixed but change over time as new hybrid genres emerge.
Contemporary British Cinema and the Representation of British YouthZoe Lorenz
The document discusses the representation of youth in contemporary British cinema. It analyzes films like "Harry Brown," "Eden Lake," and "Attack the Block" which portray young people, often depicted by the media as "hoodies," as monsters that threaten normality. The document discusses how these films relate to concepts like cultivating fear of working class youth and reproducing social order. It also examines how "Attack the Block" subverts expectations by initially showing the youth as monsters but then transforming them into heroes who battle actual aliens.
The document discusses several key concepts in Marxism and media theory, including representation of Karl Marx and his ideas, traditional and neo-Marxism, Marxism and ideology, Stuart Hall's perspective on media constructing reality rather than reflecting it, the concepts of pluralism and hegemony in media representation, capitalism, Louis Althusser's focus on the role of ideology, repression and its effects, theorists Laura Mulvey, Gaye Tuchman on symbolic annihilation, David Gauntlett's perspective on media and identity, Noam Chomsky's propaganda model, and the definition of ideology.
No, Emmeline Pankhurst would not be considered an archetypal representation of femininity. Some key reasons:
- She was a political activist and leader who fought aggressively for women's suffrage through militant tactics like hunger strikes, which went against traditional expectations of feminine behavior.
- Her activism and leadership role disrupted traditional gender roles that relegated women to the private sphere of home and family. She took on a very public role advocating for women's rights.
- Images and descriptions of her from the time period often emphasized her defiance of femininity through her strong public speaking, willingness to be arrested and imprisoned for her cause, and other assertive tactics.
- She challenged patriarchal power structures and norms
This document summarizes key concepts in anthropological representations and ethnography from the 1960s to the present. It discusses early structuralist approaches that viewed cultures as static systems and the later critiques of these approaches for being androcentric, Eurocentric and for not accounting for change. It also summarizes debates around the problem of representation, reflexive ethnography, and issues of power, gender, race and the politics of representation.
This document provides an overview of key concepts in representation theory, including how representations in media texts can reinforce dominant ideologies and stereotypes. It discusses approaches such as Marxism, feminism, and postmodernism for analyzing representations. Stereotypes are addressed as simplifying representations that provide shortcuts for meaning-making. The document aims to give students a basic understanding of evaluating representations in their coursework against these theoretical frameworks.
The document discusses media representations of collective identity, using Black British collective identity as a case study. It addresses key questions around how media represent various groups, how representations have changed over time, and the social implications of different representations. The document discusses identity as something that is socially constructed through relationships and media portrayals, and how media shapes concepts of identity through the representations it chooses. Specifically, it suggests media often relies on stereotypical portrayals of ethnic minorities that reinforce dominant ideological views and help maintain social hierarchies.
Subjectivity And Identity Self AwarenessJames Clegg
Focusing upon the body of art that was considered oppostional, by Hal Foster and other influential critics, we consider the possibility of critically engaging with the culture of late capitalism. Featured artists include Jenny Holzer, Barbara Kruger and Sherrie Levine.
Mass communication & media literacy 06Clive McGoun
The document discusses media representation and stereotyping. It defines key concepts like representation, archetypes, and stereotypes. It explains that media representations are selective and inform our understanding of groups. Representations encode certain ideologies and can reinforce dominant views in society. Stereotypes serve as shortcuts but can overgeneralize. New media has led to more diverse representations as video equipment has become cheaper and distribution networks expanded.
The document discusses several theorists' concepts relating to media representations of social groups and collective identity. Giroux (1997) argues that media representations of youth serve adult interests and make youth an "empty category." Acland (1995) and Cohen (1972) discuss how media representations of deviant youth reproduce social order and create moral panics. Gramsci (1971) introduces the concept of cultural hegemony. Althusser (1970) discusses ideological state apparatuses, and McRobbie (2004) and Gerbner (1986) discuss symbolic violence and cultivation theory, respectively. The document provides exam advice on answering a question about the social implications of media representations of social groups.
Nehru employs several types of myth in his "Tryst with Destiny" speech to help unite India as a new nation. He uses the myths of temporal origins to mark India's birth at midnight, ancestry to portray Indians as one people, and a heroic age to reference India's past grandeur. However, he avoids using the myth of location/migration, likely because of the violence surrounding the country's partition. While Nehru strategically employs most myths to define India's identity, the omission of location/migration reflects the difficulties in constructing a unified narrative amid the country's recent history.
This document summarizes Richard Dyer's analysis of stereotypes from his work "The Role of Stereotypes". Dyer examines Walter Lippmann's definition of stereotypes as necessary cognitive shortcuts but also notes their tendency to present order as absolute and reflect the power relations of society. Stereotypes invoke a false consensus while expressing the values and traditions of dominant social groups. They make invisible social categories visible and draw firm boundaries where in reality there are none, serving to maintain the status quo.
Fem-vertising: A feminist approach in advertingDanianese Woods
The document discusses the feminist approach to analyzing portrayals of women in advertising over time. It provides context on the waves of feminism and the goals of each wave. It also summarizes several studies that analyzed the shifting depictions of women in magazines from the 1950s to 2000s, noting that while women have more roles today, sexism and objectification still exist. The document also discusses how some feminist magazines and campaigns challenged sexist advertising and promoted alternative portrayals of women.
This document discusses Stuart Hall's circuit model of communication and culture. It explains that culture involves shared meanings that are circulated through media. Hall's circuit model shows how cultural meaning is generated and shaped at five moments: representation, identity, production, consumption, and regulation. The model also emphasizes that meaning is context-dependent and can vary between creator, text, and audience. Examples are provided to illustrate how representations can take on different meanings in different cultural contexts.
This document discusses several theories related to audience and representation. It covers key concepts from Uses and Gratifications theory, Stuart Hall's Encoding/Decoding model, Henry Jenkins' work on fans and participatory culture, and theories from Albert Bandura, George Gerbner, and Clay Shirky on media effects and the changing nature of audiences in a digital age. It also examines Stuart Hall, David Gauntlett, Liesbet van Zoonen, bell hooks, Judith Butler, and Paul Gilroy's work on representation, identity construction, gender, feminism, and postcolonial theory.
This document discusses representation in media, including how the media constructs rather than reflects reality through careful mediation. It defines representation and discusses how certain groups are commonly represented, such as through stereotypes. Several theories of representation are outlined, including how women are often objectified and gazed at from the male perspective. The document also discusses how stereotypes can both enhance realism for audiences but also reinforce dominant ideologies. It questions whether media representations are ever truly realistic or simply simulations that produce our understanding of reality.
This document discusses key aspects of postmodernism and how it challenges dominant narratives and power structures. It notes that postmodernism critiques historical narratives, myths of originality, and the grounds of difference. It discusses how feminism and representation are not neutral and examines the ways representation of gender and race are constructed and situated within relations of power. It also explores the development of identity politics and marginalized perspectives.
This document summarizes several theories of representation relating to race and gender:
1. Paul Gilroy and Stuart Hall theorized about representations of race in media, with Gilroy focusing on the "Black Atlantic" culture and Hall discussing strategies to subvert stereotypes like reversing them or making them work against themselves.
2. Liesbet van Zoonen analyzed gender representation in media through a feminist lens, noting how women are often objectified and gender is performatively constructed.
3. bell hooks' intersectional theory examined how media representations reinforce systems like white supremacist capitalist patriarchy through stereotypes based on gender, race, class and sexuality.
MEDIA & COLLECTIVE IDENTITY: How do the contemporary media represent collecti...Belinda Raji
The document discusses how black British people have been represented in media over time. Historically, films portrayed them as problems or threats to society, but music allowed both black and white people to find shared meaning. In the 1960s-70s, black culture had a large influence and created a youth subculture where race was less defined. Today, films like Adulthood and Shank and genres like UK hip hop and grime still reflect this shared culture between black and white Britons.
Media and Collective Identity: Useful quotesBelinda Raji
The documents discuss how media representations of ethnic and racial groups are shaped by dominant ideologies to control identities. Stuart Hall argued that media produces naturalized representations that construct identities like race as innate rather than politically motivated. Representations in media have power to shape popular attitudes. Research found ethnic minorities often underrepresented or stereotyped in media. Younger black respondents rejected a British identity due to feeling marginalized in society. Mixed race youth assumed a black identity due to appearance and upbringing. Accurate portrayals of communities are needed to avoid wrong impressions.
Theories of Media Representation refers to how media constructs and presents versions of reality to audiences. All representations are constructions that show one perspective, not objective reality. Key thinkers like Marx, the Birmingham School, Hall, and Lacan viewed representation as a process involving power dynamics between media producers and audiences. Representation raises questions about whose perspectives are included or excluded in media and how audiences interpret these encodings.
Week 4 New Voices: Postmodernism’s focus on the marginalised DeborahJ
1. Postmodern art explores how meaning is constructed and questions traditional narratives of art history.
2. Artists examine issues of representation, gender, sexuality, race, and marginalized groups who have been excluded from dominant historical narratives.
3. Postmodernism includes a critique of originality, universal histories, and the grounds of difference that have been used to privilege certain groups over others.
This document provides an introduction to genre theory and discusses some of the key challenges in defining genres. It notes that while genres are commonly used to categorize different types of texts, there is no consensus on how to define genres or determine their boundaries. Generically classifying texts involves theoretical difficulties as genres often overlap and individual texts can belong to multiple genres. The document examines debates around whether genres exist objectively or are social constructions, and if they are defined by shared content, form, or both. It also explores how genres are not fixed but change over time as new hybrid genres emerge.
Contemporary British Cinema and the Representation of British YouthZoe Lorenz
The document discusses the representation of youth in contemporary British cinema. It analyzes films like "Harry Brown," "Eden Lake," and "Attack the Block" which portray young people, often depicted by the media as "hoodies," as monsters that threaten normality. The document discusses how these films relate to concepts like cultivating fear of working class youth and reproducing social order. It also examines how "Attack the Block" subverts expectations by initially showing the youth as monsters but then transforming them into heroes who battle actual aliens.
The document discusses several key concepts in Marxism and media theory, including representation of Karl Marx and his ideas, traditional and neo-Marxism, Marxism and ideology, Stuart Hall's perspective on media constructing reality rather than reflecting it, the concepts of pluralism and hegemony in media representation, capitalism, Louis Althusser's focus on the role of ideology, repression and its effects, theorists Laura Mulvey, Gaye Tuchman on symbolic annihilation, David Gauntlett's perspective on media and identity, Noam Chomsky's propaganda model, and the definition of ideology.
No, Emmeline Pankhurst would not be considered an archetypal representation of femininity. Some key reasons:
- She was a political activist and leader who fought aggressively for women's suffrage through militant tactics like hunger strikes, which went against traditional expectations of feminine behavior.
- Her activism and leadership role disrupted traditional gender roles that relegated women to the private sphere of home and family. She took on a very public role advocating for women's rights.
- Images and descriptions of her from the time period often emphasized her defiance of femininity through her strong public speaking, willingness to be arrested and imprisoned for her cause, and other assertive tactics.
- She challenged patriarchal power structures and norms
This document summarizes key concepts in anthropological representations and ethnography from the 1960s to the present. It discusses early structuralist approaches that viewed cultures as static systems and the later critiques of these approaches for being androcentric, Eurocentric and for not accounting for change. It also summarizes debates around the problem of representation, reflexive ethnography, and issues of power, gender, race and the politics of representation.
This document provides an overview of key concepts in representation theory, including how representations in media texts can reinforce dominant ideologies and stereotypes. It discusses approaches such as Marxism, feminism, and postmodernism for analyzing representations. Stereotypes are addressed as simplifying representations that provide shortcuts for meaning-making. The document aims to give students a basic understanding of evaluating representations in their coursework against these theoretical frameworks.
The document discusses media representations of collective identity, using Black British collective identity as a case study. It addresses key questions around how media represent various groups, how representations have changed over time, and the social implications of different representations. The document discusses identity as something that is socially constructed through relationships and media portrayals, and how media shapes concepts of identity through the representations it chooses. Specifically, it suggests media often relies on stereotypical portrayals of ethnic minorities that reinforce dominant ideological views and help maintain social hierarchies.
This document provides an overview of key concepts in representation theory for analyzing media texts, including how representations can reinforce ideologies, be evaluated using feminist theory and postmodern approaches, and rely on stereotypes. It discusses representations in terms of Marxism, feminism, postmodernism, and stereotypes. The aims are to understand how to evaluate coursework against representation theory and recognize how media shows societal aspects through careful mediation of representations.
This document discusses key concepts in media representation and identity. It covers how collective identity forms part of personal identity and is shaped by communities and shared attributes. Representation is defined as how reality is mediated or re-presented to audiences. Theories of identity negotiation from Sheldon Stryker are mentioned, explaining how identity develops through social interaction and expectations. The document also provides guidance on examining gender representation and analyzing contemporary portrayals compared to historical periods.
The document discusses theories of identity and selfhood. It argues that traditionally Western thought viewed identity as something internal and self-contained within individuals. However, more recent perspectives see identity as socially constructed through interactions with others from birth. Mead's theory of the "dialogical self" proposed that the self is formed through social interaction and internalizing the perspectives of others. Symbolic interactionism also views identity and meaning as derived from social relationships and interactions rather than existing independently within individuals.
The document discusses several theories related to media representations of youth and identity formation:
1. Dick Hebdige's theory from 1979 analyzed British youth subcultures and how they used style to challenge dominant ideology. Media representations of youth were limited to portrayals as troublemakers or sources of fun.
2. David Gauntlett's 2002 theory examined how media texts influence self-identity and expression. He argued people shift from passive consumers to active producers through new media like Web 2.0.
3. Tajfel and Turner's 1979 social identity theory proposed that people categorize themselves into in-groups to build identity, creating boundaries with out-groups. Youths often divide into subcultures based on
The document discusses marketing communication strategies for reaching young people in Europe. It notes that young people have become more demanding consumers and value individualism. Marketers must carefully craft their messages to appeal to the unique sensibilities of younger generations. Specifically, ads should emphasize themes of freedom of choice and being unique rather than conforming to norms. As young people are sensitive to failure, marketing should make them feel fearless in being themselves. Overall, the document argues that marketers need nuanced strategies that align with the changing internal values of young consumers.
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 ...
The document discusses the origins and goals of social theory. It explains that social theory emerged in Europe during the Enlightenment period to understand societal changes like the loss of religion and industrialization. The founders of sociology like Weber, Durkheim, and Marx produced early social theories. In America, theories focused on democracy and race relations, with W.E.B. Du Bois being influential. Additional sources of theory include fields like anthropology, economics, and various area studies. The goal of studying social theory is to understand society and improve lives by translating theorists' explanations into our own words.
This document discusses various concepts related to representation of gender in media texts. It first defines representation and key aspects of identity that are represented, such as gender. It then discusses Laura Mulvey's concept of the "Male Gaze" and how film and media can access a viewer's subconscious desires through representations that entice the male audience. Finally, it discusses how all representations are constructed rather than objective reality and how gender is often represented through stereotypical portrayals of women in dresses and men in suits throughout media texts.
"If we cannot now end our differences, at least we can help make the world safe for diversity", said John F. Kennedy. Presenting one's cultural identity reinforces recognition of the sheer diversity of individuals and their groups. Strikingly, even where cultural identity structures are similar, cultural identity mapping can—and usually does—reveal different individual interpretations of where, how, and to what degree a group's culture is represented in the self. Awareness raising and more effort can build intergroup understanding in organizations.
The essay discusses T.S. Eliot's modernist poem "The Waste Land" and how it challenges conventional understandings of language and meaning. The fragmented text seems to leave something absent that readers try to find. Critics have looked outside the text for clues to its meaning. The poem depicts a barren landscape where language consists of a disordered pile of broken images, calling into question language's ability to represent reality in a meaningful way.
The media's portrayal of beauty has negatively impacted society by promoting unrealistic standards. Studies show this causes body dissatisfaction, especially in young people, and can lead to bullying. Both men and women now feel pressure to attain the idealized versions of beauty promoted by social media, television, movies and magazines. This paper will explore how the media influences perceptions of beauty and how some feel compelled to change their appearance to avoid social stigma.
A Modest Proposal. - A-Level English - Marked by Teachers.com. "A Modest Proposal" - GCSE English - Marked by Teachers.com. a modest proposal 2018 | Essays. Modest Proposal Essay | Irony | Fiction & Literature. A_Modest_Proposal_word文档在线阅读与下载_文档网. Modest proposal essay ideas - Dental Vantage - Dinh Vo DDS. Is a modest proposal an essay. Condition in Ireland in A Modest Proposal Essay Example | Topics and .... Modest Proposal” | Modest proposal, Teaching literature, Teaching writing. Your Own Modest Proposal Essay Assignment. A Modest Proposal Essay | Essay on A Modest Proposal Essay for Students .... FREE 11+ Sample Proposal Templates in MS Word | PDF | Excel. Free Proposal Essays - Analysis of A Modest Proposal by Jonathan Swift .... A Modest Proposal. The modest proposal essay ideas research | Modest proposal, Research .... Essay about A Modest Proposal (300 Words) - PHDessay.com. “A Modest Proposal” and the Persuasive Essay. Your Own Modest Proposal: Writing Jobs, Writing Help, Writing Services .... Critique Review: A Modest Proposal: [Essay Example], 1029 words | EssayPay.
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.
The document discusses issues of identity, representation, and culture through multiple perspectives and sources. It explores how identity is shaped by collective identities and media representations that are ideologically constructed. Several theorists are cited discussing how the media has power to influence attitudes and beliefs through the representations it transmits. The document also examines youth subcultures, music genres like grime, and the evolution of black British culture over time. It suggests identities are fluid and continually shaped by external influences like the mass media.
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factors as influencing factors (cognitive, psychology, and emotion) and external factors as social factors (instructor,
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the study helped teacher understand relationship of motivation change and its influential factors. Furthermore, the
findings also inspired next research about motivation development in learning English process.
KEY WORDS: language learning motivation, motivation change, motivation patterns, influential factors, students’
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2. anxiety”(Fromm,1942,p.24).
Societygivesanexcludingtreattothosebraveindividualswho challengethesys-
tem and in some ways feel different from the overall troop.AsVivienne Forrester
mentions in her book The Economic Horror (in her case about economic situa-
tion and job emptiness) “the jobless, victims of its disappearance, are treated and
judged by same criteria as when Jobs were abundant. They are therefore made to
feelguiltyfor beingjobless”(Forrester, 1999, p.5).
Fashion, the body and identity play a defining role in the society. Fashion and
dress have the strengh and power to find identities without other means, just by
physical appearance. According to Wilson (1985), dress is a “technique of sur-
vival”inametropolisthatbringsoneintocontactwithstrangers.
Withthiscientificarticlewe willseehow Cinemaasamodelmeansofmass com-
munication, according to what Barthes said (Barthes, 1998 in Calefato.P, 2004,
p.91) , play also a distinctive role next to costume and how they function as lin-
guistic units that are often more important that script or sound track (Calefato.P,
2004).
METHODOLOGY
In order to answer our main hypothesis and the five research questions, we have
applied the content analysis. This methodological tool let us analyze the content
of the communicative content with the aim of producing inferences
(Krippendorff, 1990). Content analysis can only be applied on manifest content;
that is, the words, sentences, or texts themselves, rather than their meanings.Yet,
through mixed methodologies often common in content analysis, a research is
abletoanalysisdata,aswellasitsmeaning.
Tablesand Graphs
But within the framework of qualitative approaches it would be of central inter-
est, to develop the aspects of interpretation, the categories, as near as possible to
the material, to formulate them in terms of the material. For that scope qualitative
content analysis has developed procedures of inductive category development,
which are oriented to the reductive processes formulated within the psychology
of text processing (cf. Ballstaedt, Mandl, Schnotz & Tergan 1981; van Dijk
1980).[10]
Choosingthesethreefilmsthisdissertationwillhavetheopportunitytoshow sev-
eral ways of making troops and subsequently banned individuals. This disserta-
tion will explore the role of fashion and dress as differential values that separate
groups by class, colour and gender in three different films: Divergent, The Cook,
theThief,hisWifeandher Loverand Boysdon´tcry.
VariablesSheet
Source:SelfMade
Then it would show how artistic and main stream films have common similari-
tiesrepresentingseparationthroughdress.
Research Sample
Unit 1
DIVERGENT(2014)
Divergentis thefirstnovelinVeronicaRoth's debuttrilogyof thesamename,fol-
lowedbyInsurgentandAllegiant.
Divergent tells us the story of a girl trying to escape and find her way, her dreams,
her freedom. The entire story takes place in a futuristic Chicago, the society is
organized into five different groups or troops, in the novel called Factions. Each
faction is known for a specific virtue. They are: Abnegation (selflessness), Eru-
dite(knowledge),Amity(peace),Candor(honesty)andDauntless(bravery).
Each individual of the society is member of one of the factions when they are
born, the same one as their parents, and once they turn sixteen they have the
option to choose for themselves which faction is the most similar to their behav-
iour.
Beatrice plays the main role of the novel. She and her family are part ofAbnega-
tion. Beatrice must take the aptitude test on her sixteen birthday and on the test
she shows aptitude for three different factions, Abnegation, Erudite and Daunt-
less, which means she is suitable for many of the values each group has. She will
be then called Divergent. Being Divergent in a society where everything is
structured, organized, and really strict is really a dangerous obstacle, so she will
bewarnedtoneversay thetruth.
From the early years of her life she is really impressed by Dauntless members,
who do not have any fears, are brave, strong and “free”. Next to her family
Beatrice has never seen a mirror, so she does not know what she looks like but
deep inside she is completely sure who she is. She is Trice, the name she will
choosewhensheswitchestoDauntless.
Dauntless is about to pass stages before becoming a real Dauntless member.
They must complete all the objectives in order not to be excluded and become
factionless,forcedtoliveonthestreetsofthecityinpoverty.
Trice fights to become the first one and she will have the help of “Four”, whose
real name is Tobias Eaton, the son of abusiveAbnegation council representative.
Thanks to him Trice will discover the realness of everything. Erudite is planning
to fight againstAbnegation, where her parents are. Everything is going wrong in
the eyes of Trice, when she discovers that the Dauntless leaders are injecting a
serum to all Dauntless members to force them to fight againstAbnegation, which
is called tracking device. This serum does not work on Trice, since she can resist
thesimulationbecauseshe is Divergent.TobiasandTricearebothDivergent.
TheywillfighttogethertosaveAbnegation.
TheAnalysi of the Results
Behind the story there is a strong message of freedom, fears, societal classes,
secretsandlies,valuesandpower.Allthesetopicsareconnectedthroughthecos-
tumes, each faction wearing several kinds of clothes that make the difference
between trops and give them an identity (see Fig 1). The factions have differ-
ences in colors, signs (tatoos) (see Fig 2) and shapes. According to Joanne
Entwistle (2000), fashion and dress have a complex relationship to identity; on
the one hand the clothes we choose to wear can be expressive of identity, and on
the other hand, our clothes cannot always be “read”, since they do not straight-
forwardly“speak”andcanthereforebeopentomisinterpretation.
Even though the novel is telling the story of a futuristic story, the separation
through dress (see Fig.3) is even more accentuated than nowadays and still this
futuristic society is having the same problems of fears, confidence and freedom.
Each group is separated by a value and the individual can be excluded and sent
into the poverty just because they are factionless or in Trice´s case Divergent.As
in our system, those “free” individuals are banned for being jobless, homeless or
even culturaless. Vivianne Forrester in her book The Economic Horror she men-
tions the idea of the jobless person, where victims of the dissappearance of jobs
are treated and judged by the same criteria as when jobs where abundant. They
are made to feel guilty for being jobless. They accuse themselves of what they
arevictimsof.(Forrester, 1999)
Original Research Paper Volume : 2 ¦ Issue : 1 ¦ Jan 2017 ¦ e-ISSN : 2456-5040
6 International Educational Applied Scientific Research Journal (IEASRJ)
FILM
TÍTLE
DIRECTOR
THEMA
URBAN TRIBES/ SOCIAL CLASSES
CHARACTERS
GENDER
ROLES
CULTURAL CODES
FASHION
DRESS COLORS
DRESS SHAPE
SIGNS/TATOOS
FREEDOM AND IDENTITY MARCS
3. Original Research Paper Volume : 2 ¦ Issue : 1 ¦ Jan 2017 ¦ e-ISSN : 2456-5040
7International Educational Applied Scientific Research Journal (IEASRJ)
In relation to dress, this divergent character can be linked to the way society
dresses nowadays for the principal task of our life, dress for others and for not to
be removed from the big mass. “Abody that does not conform, that transgresses
such cultural codes, is likely to cause offence and outrage and be met with scorn
of incredulity” (Entwistle. J , 2000, p.8 ). As Joanne Entwistle mentions also the
clothes we choose to wear represent a compromise between the demands of the
socialworldandourindividualdesires.
Those troops represents the different cultural ideas or the several structured
groups existing in our society and they force that fixed system for their own
safety and harmonious life. In the film Trice is given advice about how to hidden
his Divergent character just for her safety and future life. Dress will help Trice to
be invisible. “Dress signals our membership to particular communities and
expresses shared values, at the same time we do not want to be “clones” dressed
inidenticalfashiontoour friends”(Entwistle.J ,2000,p114).
Throughdress thenovelalsostudiesthesocietalclasses,dependingonwhichfac-
tion you were born in you are dressed in some way or another. Factions like Eru-
dite(as theintellectualones)arewearingdark,sharpandcleansuits,while Abne-
gation (the selflessness ones) are wearing pale, wrinky and grey pieces repre-
senting the careless vision of the body and clothes their members are represent-
ing.However, thesetoacertainpointarepartofafaction,butthefactionless peo-
plearetranslatedintoour world as thehomelesspeople.
The novel is the best example to see how our society is organized and how it will
be developed shortly if we do not break those boundaries of fears, confidence
and freedom. What the goverment sells is a free society but the reality of it is that
the society is controlled by their rules (how to dress, how to work, how to talk,
how to live) and Is it really where we are going to end up? Is society going to be
safe thanks to those rules or is the goverment the only one who is going to be safe
andcomfortablewatchingpeoplefollowingtheirlaws?
Unit 2
THECOOK,THETHIEF,HISWIFEAND HERLOVER (1989)
This chapter analyses the film The Cook, The Thief, his Wife and her Lover
(Greenaway, 1989). The film is a great illustration of the division of classes.The
main characters of the films are an English ganster calledAlbert Spica, owner of
one of the high-class restaurants in London and his wife Georgina,
characterisized as the dominated wife who is secretly in love with Michael, an
usual client of the restaurant. The story dramatizes the actual hidden social sepa-
ration of classes. The scenes make clear messages about classes through fashion
and colour. It is a complex film divergent on its themes. The film explores the
idea of power, social classes, masculinity and femininity, sexuality and the seven
deadly sins all of them through colour and represented byAlbert, his wife and her
lover.
TheAnalysi of the Results
Colour
The characters are moving from one room to another where the colour is differ-
ent. Each room represents something in particular, the colour is quite symbolic
on each segment. The author has found through colour the possibility to influ-
encedirectlythecharactersandthestory.
Kenneth. R Fehrman and Cherie Fehrman (2004) made a point about what col-
our represents for us. According to them, colour is an illusion. Our enviroment
onlyappearscolouredtous.Theworld iscompletelycolourless.
Taking this quote as a reference we can analyze colour with our eyes and see how
colouraffectsourlifesandallthemeaningsandsociologicalaspectsthatareinit.
The colour Red in the film is the strongest one. “Red derives primarily from
blood and fire. In Chinese the word for blood-red is older than the word for red.
Red has strong associations with lust, murder, rage”. (Fehrman, K.R &
Fehrman.C,2004,p.66).
The atmosphere of each area informs us what it is going to happend, the scene at
the restaurant is heavy and the scenography and the costumes will inform the
viewer where all the intense passions are going to take place: love, hate and
revenge. The restaurant is the colour Red. “The red of blood is an integral part of
the human being, but whenever it appears it is a sign of trauma: a wound, birth, an
th th
intense event. Between the 16 and 17 centuries, people were urged to witness
torture and capital punishment to see with their own eyes the effect of spurting
blood” (Zuffi. S, 2001, p.55). On the restaurant stage we will see all fights and
radical scenes generally done by the owner of the restaurant, the figure who rep-
resentsthetortureandthepushishment,AlbertSpica.
The author plays with the change of colour also with clothes and the characters
will be blended with their enviroment. Outside the restaurant the colour is Blue,
where all the cruelty is happening and the lack of feelings. Green is the color of
the kitchen, the colour of hope, where the lovers are dreaming to escape and have
their sexual encounters. It is a colour associated also with fertility (Garnett. O,
2000) .And finally White, with a pure and biblical view. “White has been always
been a symbol of wealth, because white clothes show the dirt quickest and so
need cleaning most often”. (Garnett.O, 2000, p.22). The toilet represented as a
white area where the characters filter and clean their acts and a peace illusion of
freedomfromtheredroom.
Through colour the film represents the feelings the individuals have when they
are inside one group or another and how they feel in each of them. From red to
white they have several meanings. These colours represents the differences the
individuals suffer in our society when they try to Escape from the stereotypes
and fixed norms. Colour works as a protection layer for the characters and trans-
lated into the individuals in the big city, colour is also a layer of individuality or
membership to a community. Coloured hair, coloured skins, coloured clothes are
used to articulate a clear identity to members within the groups as well as to those
outside.
SocialClasses
Greenaway is an artist and his films reflect all his education in art at the begin-
ning of his career. The film can be related to the Medieval art on its
sceneography, the act of the characters, and how all the set is made to be the focus
onthecenterofthescene.
Albert Spica is an abusive, rude, male supremacist, a horrible nightmare to all of
hisstaffandeventohis thugs.
His character represents the Medieval power concentrated on the courts, which
sought to tame and co-ordinate territorial domination (Entwistle, 2000). In our
case the restaurant is his territory where he finds himself comfortable and able to
execute his actions. He is representing the Coercive power, based on threats of
punishment, rejection, or disapproval. (Eicher.J.B, 1999, p.104). Karl Marx´s
([1867] 1990) seminal argument that class was at the heart of a relationship made
of the material or economic exploitation of one group by another ([1867] 1990 in
Sullivan, 2015, p 182)it is perfectly the illustration of class Greenaway is pre-
senting in his film. The higher class is abusive and gives a derogatory treatment
toitsservants.
The costumes remind us of some of the great art of the s XVII, The Banquet of the
Officers of the St George Militia Company (see Fig 7) is one of the main refer-
ences for the author and is also the big painting hanging on the principal wall of
the big red room. The scene is a reunion of members of the army wearing red
bands having a conversation and eating seated around a table, exactly the same
situation the viewer will discover in the film. Red in Christian art is considered
the color of Lust, one of the Seven Deadly Sins (Zuffi.S, 2012). This army uni-
form, the same as Spica´s group is wearing represents the coercive power, as they
have the force to humiliate their workers and make them feel as a lower class.
The uniforms in Red and Black show the two main two colours of elegance, class
and style until the 15th century (Zuffi. S, 2012).As well the imperial power was
indentifiedaswellwithredon thepeakof thesocialpyramid(Zuffi.S, 2012).
In relation to fashion it it necessary to mention that fashion was not understood
during the s XVII as how we know it today because the key to the emergence and
development of fashion seems to be related to social change: fashion emerges in
societies which have some social mobility rather than a fixed and stable class
structure (Entwistle, 2000, p.82). The society was inmersed in an hierarchical
order and the lower class group of the society (the waiters and cookers in the
film) were not able to express themselves through fashion. All the change of
color is happening to the main characters of the film: the owner, his wife and his
thugs.Thehighclass.
It is a point of study the red bands the owner and his group of thugs are wearing.
Thesebands symbolizethemembershipof apower group, as thecoatof armssol-
diers wore in battle during the S VII, compared today with the logos footballers
have on their equipment because of their sponsors (Garnett.O, 2000). This band
givesthemthepowerofbeingpartof thehighclass.
Colours and costumes give the characters the separation of classes and power.
Thepower theowner is usingtogiveanabusivetreatmenttohisworkers.
By the mid-twentieh century, developments in the mass production of fashion ,
along with the increasing affluence of the working class, had led to fashion being
extended to a greater number of people than before, blurring the boundary
betweentheclassesintermsofstyle(Entwistle,2000).
Nowadays Fashion is just used to differentiates groups by the quality of the fab-
rics used. However, these quality sign need to be known in order to me
meaninful.(Entwistle,2000).
Different ways of separation by class but still an exclusive way of making
groups. Severaltimesandplacesbutstillsamesystemofclasses.
Unit 3
BOYS DON´TCRY(1999)
This chapter is focusing on gender and specifically on transgender through the
film Boys Don´t Cry (Pierce, K. 1999. United States) and how fashion is helping
those gender dysphoria people to express who they really are. As Entwistle and
Wilson suggest on Body Dressing that fashion is always obssesed with gender
andhow fashioncanhelptopush, defineandredifinethegenderboundary.Fash-
4. Original Research Paper Volume : 2 ¦ Issue : 1 ¦ Jan 2017 ¦ e-ISSN : 2456-5040
8 International Educational Applied Scientific Research Journal (IEASRJ)
ion and the body are able to help people to change their image and fight what the
society expects men or women to “look like” men and women as Entwistle men-
tions.Theycanfighttobecomeindividualsandnotpartof agroup.
Aquite recent “Voice article” inThe Independent by Katie Glove (2016) reflects
perfectly the not yet acceptable idea of individual identity by a vast group of the
society. The article is based on the last Louis Vuitton campaign and how Jaden
Smith, son of theAmerican actor Will Smith, takes part in the campaign wearing
“womens” clothes. Glover mentions that “people like Jaden are starting to wear
the trans uniform without actually stating that they are transgender”. For the
author “Jade is on the transgender territory”. Glover´s idea of a male or female
uniformto“telltheworld whatyour genderis”questionstheneutral-fashioncon-
cept saying that now “ the danger for trans women is that if wearing what are tra-
ditionally women´s clothes becomes the norm for men too, then trans women
will no loger be able to rely on these props to help them display a female gender
identity,andthatcouldbeaserious problem”.
This article written in one of the main newspapers in the United Kingdom shows
the incomprehensible point by our society of how the gender-neutral fashion can
helppeopletobecomethemselvesandtobeindividuals.
Returning back to the film, the real-life story of Brandon Teena born as Teena
Renae Brandon, an American trans man is questioning gender in an hermetic
societyandstructuredmindmembers.
The main scenes of the film take place in Falls City, Nebraska, where all the
action and troubles began. Arural NorthAmerica is portrayed and its drawn the
hidden codes of the small towns in the Midwest. Judith Halberstam (2005) in her
book In a Queer Time and Place gives several ideas of how geographical deci-
sions can make the life of a transgender individual easier. Halberstam pointed
out the topic of life in a small, mostly white, midwestern towns, and suggested
that many of these places where the breeding grounds for cultures of hate and
meanness and had both homophobic and racist dimensions. Angela R. Wilson
observes in an essay about “Gay and Lesbian Life in Rural America” that “un-
known outsidersareneverwellcomedinsmalltowns” (Wilson,2000, p 208).
TheAnalysi of the Results
In connection to the main argument of this investigation the society is divided
intogroups andthesegroups areruledbyestablishedcodesof culture,trustor tra-
ditions. Transgender individuals suffer critical and violent reacctions in those
small towns like Fall City in Nebraska mainly because of these tight codes.
Halberstam mentions the necessity of these individuals to be placed in a specific
category as a particular form of recognition. “Transgender may indeed be con-
sidered a term of relationality; it describes not simply an indentity but a relation
between people, within a community, or simply within intimate bonds”
(Halberstam.J, 2005, p.28).At the end even these individual are looking for their
own groups tobepartofsomethingandnotbeexcluded.
Fashion and dress gives the principal character of the film the hope to be free and
be right from birth he was, a boy. However, It also include sociological and cul-
tural extensions and problems with the surrounding enviroment. “If dress says
something about our personal identities, surely it also expresses aspects of our
identitiesasmenandwomen”(Brush.C&Steele.V, 1989, p.8).
The lead role of the film, Brandon, is experiencing all the difficulties he has to
encounter and all the boundaries he has to fight with essentially because of the
hermetic and tight society he lives in. In one of the scenes of the movie Brandon
is forced to show his vagina to his two male friends to prove that Brandon was a
woman. Carol Siegel (2005) mentions this scene in her book Goth´s Dark
Empire and points out that these two male figures were just looking to reaffirm
themselves as men and motivated by their desire to restore a biologically deter-
mined coding of gender they find comfortable they must abuse Brandon sexu-
ally. The scene shows how it is necessary to undress Brandon to see his
biologicall area and how dress is protecting the individual in this situation. (see
fig.8)
The stereotypes of gender are conditioned by what society has been thinking and
understanding through the years, aspects like rounded women and rectangular
men, small waists and rounded hips are more feminine and broad shoulders and
narrowhipsmoremasculine(Brush. C &Steele.V,1989, p7).
As a transexual individual Brandon has to dress up in a way to cover all those
rounded shapes women are known for and use masculine stereotypes like trou-
sers and wide shirts. “It would be difficult for a woman to achieve a totally male
look.Afew years ago, a female journalist deliberately tried to pass as a man. She
had to bind her breast, cut her hair, wear a false mustache, lower her voice, and
change her body language, as well as put on a complete male clothing esemble”.
(Brush.C &Steele.V, 1989,p.9). (seefig.9)
The film gives us information about the process of becoming the other sex and
the difficultiesthe individualhas to pass through this way. Society was excluding
the person when the truth came out and that is why the individual was using dress
asaprotectiontobeincluded.
CONCLUSION
This investigation has been concentrated on the meaning and power of Fashion
and Dress in our recent society and how they are used by graphic media to ques-
tion the separation and exclusion of the individuals who suffer in contemporary
societies.
It has studied the role of dress in three extremely different movies, from several
times and places: Divergent (2014), The Cook, the Thief, his wife and her Lover
(1989) and Boys Don´t Cry (1999). The main argument was to prove that artistic
and main stream films have common similarities treating the exclusion process
individuals experience nowadays and how fashion and dress save them from that
separation.
Three different topics have been studied and through research on elements of
class, gender and colour this dissertation makes an overview of how contempo-
rarysocietydividespeopleinrelationtothesethreetopics.
Firstly, a differentiated class based society is shown in the first film, Divergent.
Here it is proved how a recent film from 2014 is still separating people in groups
andhow divergentindividualsaretreatedasdangerelementsinastructuredsoci-
ety. Fashion and dress, specifically tatoos, are used as elements of identity and
community membership. People, according to Veronica Roth (2014), in the
future will be marked as a sing of membership to an established group and we
willbeundertheabuseof politicalpowerofahiddenfreesystem.
Secondly, in Greenaway´s (1989) film The Cook, the Thief, his Wife and her
Lover it is shown how truthful the quotation of Karl Marx (1867) is when he
pointed out about economic expoitation marked the separation of classes. From
Albert Spica, the owner, to his servants and thugs there is a vast pyramidal seg-
mentation of power. In our recent society this segmentation is represented in a
more hidden way because according to the industralization of the class system,
there has been more equality, however, it still exists. Nowadays the split exits in
the quality or the way clothes are worn by the wearer. Dress is playing a hidden
function of separation. In Greenaway´s film, a film from 1989 it exists the frag-
mentation of people determined by class and also by colour, where the author
findsawaytoexpress thatexclusionthroughfeelings.
Finally, a gender question is asked in Boy´s Don´t Cry (1999).According to The
Independent (2016) article mentioned before it is remarcable that society is not
prepared yet to accept the gender fluid and the individualities. The film is a great
example of how hard is for a transexual individual the process and how fashion is
helping on the way to freedom. Stereotypes can be established tough codes that
societyfollowwithoutevenknow it,itcanbeunderstoodasaculturalreaction.
To sum up, these three films are aiming to open our current society about those
principal topics: gender, color and class, and make the society members see how
fashionandbodycanmodifywhatthestructuredandfittedrulesarejudging.
Fashion is a strong force to fight against stereotypes. Freedom is what the indi-
viduals are looking for and dress assists in the job of making them feel part of the
societyandnotfeelexcluded.
FIGURES
Fig.1. Divergent (2014). [film] USA: Neil Burger.
Fig.2. Divergent (2014). [film] USA: Neil Burger.