Radical?
Considering the Radical romance theme, I would say Knocked up is somewhat in between the lines of traditional and radical for a couple of reasons. As far as the plot of the movie, it follows the narrative pattern of the romantic comedy sequence: boy meets girl, boy loses girl, boy regains girl. Yet, the circumstances in which this plot took place provided some different aspects. For example, it was almost as though these two were not meant for each other, yet they were just stuck together… I suppose this was the comedy aspect. Typically, it seems like romantic comedies have characters that are in some way meant for each other (not a perfect relationship of course), more so than being stuck together because of a baby.
The movie did touch of a several different topics, some of which it could be argued that the film seems to take a position on by how they portrayed the topic… Examples:
Abortion – ambiguity in their language, failing to even say the word show awareness to the subject’s sensitivity. It was hardly a debated decision by Katherine Heigl’s character. The opinions which supported the idea of an abortion had a negative bias (from the characters who gave the suggestion).
Single parent pregnancy – By telling the children that they have to be in love in order to have a baby, by the sister saying we have to help her (as if she could not do it on her own), and by the mom suggesting there was a right way to have a baby, by the couple ending up together in the end… all signs of a position against single parent pregnancies
Economic status- showed different views and lifestyles of classes… particularly on where their values stood in regards to work ethics, societal concerns, and to some degree family planning.
Saturday, November 27, 2010
Wednesday, October 20, 2010
The Sexual Revolution
The discourse of sexuality has evolved with changing times, and therefore governed social relationships accordingly. This discourse of sexuality has changed dramatically from once being strictly confined to marriage and having various monitoring agents that acted to control the conduct of individuals. There have been numerous factors that lead to the change we now know as the normal discourse of sexuality. Socioeconomic changes, politics, explorations in knowledge/technology, and media/entertainment are some of the aspects that contributed to the sexual revolution. For example, women became more politically involved and increasingly active in the work force. Therefore, women were less reliant on men then in previous times. These were major stepping stones to women’s right to equality. In addition, other advancements of knowledge, such as the development of ‘the pill’ enabled women to have more control over their future by being able to prevent unplanned pregnancies. Other political aspects, such as the strong oppositions to governmental policies and foreign affairs contributed to the wide spread rebellion and aversion of authority, particularly by the generation’s youth. Traditional institutions of authority were challenged heavily during this time. Consequently, the revolution of sexuality was a product of many changes in American society in the nineteenth century. One proof of this change is shown in how media works endured a great relaxation of censorship. Even in the past 10 years, the discourse of sexuality shows evidence of continual evolution in this respect.
Thursday, October 14, 2010
Media’s Influence on the Femininity Paradigm
It is evident that femininity paradigms are cultural products. Throughout history, western cultural has characterized feminine women as overly emotional, weak, submissive, inadequate, and inferior; essentially traits contrary to that of a man. Although contemporary cultural has made progress in shifting this paradigm, there are still flaws in the way our cultural views femininity. Butler, philosopher and feminist thinker, claims ‘sex’ is an ideal construct which is forcibly materialized by regulatory norms over time, such materialization is achieved through a powerful reiteration of those norms (Butler, 1993). While some characterizations of femininity have faded with progression, such as inadequacy, others seem to be protruding more and more in our modern age. Specifically, the sexual appeal of women has an overbearing influence on our conceptions of femininity in western culture. This idea is reflected in how media representations of women predominantly portray sexual appeal as a defining element of femininity. To say further, media influences the femininity paradigm through defining what is beautiful, instigating what is desirable, and constructs a discipline.
An illustrated example of this idea is shown is the film Miss Congeniality (2002). Gracie Hart, played by Sandra Bullock, is initially represented as rugged, tough, and severely uninterested in her appearance. The female FBI agent was considered to be one of the guys, which was reaffirmed through her participation in a wrestling match with her male FBI partner (and winning), the furthest thing from what we consider to be feminine. Gracie Hart then is forced to get all dolled up for her undercover assignment. After her make-over she is all of a sudden attractive and sexually appealing, and needless to say grabs the attention of her FBI partner Eric Matthews. Yet, this romance was merely due to her new sexual appeal that transformed her into a more feminine woman. The film took Gracie’s same body, the same face, the same hair, the same personality which were initially undesirable to Eric and altered her appearance to fit into what is deemed beautiful. Miss Congeniality strongly correlates physical beauty with the concept of femininity.
Desirability in women has been explicitly instigated by media representations. These attributes are governed by what heterosexual males find to be attractive, which provide visual differentiating from masculinity, in particular a sexual appeal. In order to be desired as a woman, there are certain standards set by ideological imagery. Beyond the possession of beauty, media femininity also puts reliance on attributes of desirability. An enhancement of feminine features often incorporates certain commodities that assist women in presenting themselves as more sexually desirable; such commodities include make-up to enhance facial features, push-up bras to enhance bust size, spanks to define a slimmer figure, high heels to enhance long legs. Again, drawing from Miss Congeniality, it was not until Eric Matthews saw Gracie in high heels, a tight red dress, push up bra, and make-up that he saw her for anything more than just one of the guys. Therefore, by partaking is such behavior a Gracie was looked at as feminine, yet the basis is mainly centered on this idea of sexual appeal.
Through media’s depiction of beauty and desirability, women are conditioned to view these ideal standards as normal. Going back to Butler's claims,‘sex’ is not a simple fact or static condition of a body, but a process whereby regulatory norms materialize it (Barker 298). Many women contribute extensive efforts into their appearance in order to achieved satisfaction towards this goal of normalization. Therefore, women are then disciplined by the standards of cultural media. Elaborated on this idea, Susan Bordo, author of Material Girl suggests that this disciplinary reality is effaced in the construction of all self-transformations as equally arbitrary, all variants of the same trivial game, without differing culture valence. The general tyranny of fashion – perpetual, elusive, and instructing the female body in a pedagogy of personal inadequacy and lack – is a powerful discipline for the normalization of all women in this culture. The femininity paradigm is largely influenced by this discipline.
There are apparent differences between how the media portrays femininity and realistic cultural views. Yet, it is quite apparent that media’s tendencies have created somewhat of a disciplinary function as to how women portray themselves has feminine. The element of sexual appeal has been predominantly been used in media works more so than traditional characteristics associated with femininity.
Work Cited
Barker, Chris. Cultural Studies: Theory and Practice. London: Sage, 2008. Print
Butler, Judith. Bodies that Matter. London and New York: Routledge, 1993. Print
Bordo,Susan. "Material Girl: The Effacements of Postmodern Culture." Michigan Quarterly Review (Fall/Winter 1990).
Miss Congeniality. Dir. Donald Petrie. 2000. Film
An illustrated example of this idea is shown is the film Miss Congeniality (2002). Gracie Hart, played by Sandra Bullock, is initially represented as rugged, tough, and severely uninterested in her appearance. The female FBI agent was considered to be one of the guys, which was reaffirmed through her participation in a wrestling match with her male FBI partner (and winning), the furthest thing from what we consider to be feminine. Gracie Hart then is forced to get all dolled up for her undercover assignment. After her make-over she is all of a sudden attractive and sexually appealing, and needless to say grabs the attention of her FBI partner Eric Matthews. Yet, this romance was merely due to her new sexual appeal that transformed her into a more feminine woman. The film took Gracie’s same body, the same face, the same hair, the same personality which were initially undesirable to Eric and altered her appearance to fit into what is deemed beautiful. Miss Congeniality strongly correlates physical beauty with the concept of femininity.
Desirability in women has been explicitly instigated by media representations. These attributes are governed by what heterosexual males find to be attractive, which provide visual differentiating from masculinity, in particular a sexual appeal. In order to be desired as a woman, there are certain standards set by ideological imagery. Beyond the possession of beauty, media femininity also puts reliance on attributes of desirability. An enhancement of feminine features often incorporates certain commodities that assist women in presenting themselves as more sexually desirable; such commodities include make-up to enhance facial features, push-up bras to enhance bust size, spanks to define a slimmer figure, high heels to enhance long legs. Again, drawing from Miss Congeniality, it was not until Eric Matthews saw Gracie in high heels, a tight red dress, push up bra, and make-up that he saw her for anything more than just one of the guys. Therefore, by partaking is such behavior a Gracie was looked at as feminine, yet the basis is mainly centered on this idea of sexual appeal.
Through media’s depiction of beauty and desirability, women are conditioned to view these ideal standards as normal. Going back to Butler's claims,‘sex’ is not a simple fact or static condition of a body, but a process whereby regulatory norms materialize it (Barker 298). Many women contribute extensive efforts into their appearance in order to achieved satisfaction towards this goal of normalization. Therefore, women are then disciplined by the standards of cultural media. Elaborated on this idea, Susan Bordo, author of Material Girl suggests that this disciplinary reality is effaced in the construction of all self-transformations as equally arbitrary, all variants of the same trivial game, without differing culture valence. The general tyranny of fashion – perpetual, elusive, and instructing the female body in a pedagogy of personal inadequacy and lack – is a powerful discipline for the normalization of all women in this culture. The femininity paradigm is largely influenced by this discipline.
There are apparent differences between how the media portrays femininity and realistic cultural views. Yet, it is quite apparent that media’s tendencies have created somewhat of a disciplinary function as to how women portray themselves has feminine. The element of sexual appeal has been predominantly been used in media works more so than traditional characteristics associated with femininity.
Work Cited
Barker, Chris. Cultural Studies: Theory and Practice. London: Sage, 2008. Print
Butler, Judith. Bodies that Matter. London and New York: Routledge, 1993. Print
Bordo,Susan. "Material Girl: The Effacements of Postmodern Culture." Michigan Quarterly Review (Fall/Winter 1990).
Miss Congeniality. Dir. Donald Petrie. 2000. Film
Saturday, October 2, 2010
Raunch Culture… Empowering or Oppressive?
Like many topics of discussion, raunch culture provides another controversy over interpretation. There are two opposing view of this so called raunch culture. Is sexual provocativeness and promiscuousness by women an advancement in the fight for equality or merely another means by which woman are objectified by men?
Starting with the view postfeminism, raunch culture is looked at as a means empowerment for women. The postfeminist wants to escape the sense that women are passive victims of patriarchy, rather women are now entitled to enjoy cultural live as they choose (Baker, 284). Therefore, raunch culture can be viewed as a representation of female liberty to embrace sexuality “like a man” in a sense. In accordance to these views, women are destabilizing the norms of sexuality and presenting behavioral tendencies previously common to men.
On the contrary, traditional feminist find sexually explicit material dehumanizing and demeaning. Raunch culture is just another means of objectifying women. Just because women are choosing to openly display their sexuality is not resulting in equality with men. A very popular voice on this issue of raunch culture is Ariel Levy, author of Female Chauvinist Pigs: Women and the Rise of Raunch Culture. Levy proposes that the goal of raunch culture is not enhancing or enabling female pleasure, but instead encourages an imitation or performance of that pleasure. Who is being served? Men. This behavior is seeking male approval and attention, Levi notes “attention’s not the same thing as power”.
Starting with the view postfeminism, raunch culture is looked at as a means empowerment for women. The postfeminist wants to escape the sense that women are passive victims of patriarchy, rather women are now entitled to enjoy cultural live as they choose (Baker, 284). Therefore, raunch culture can be viewed as a representation of female liberty to embrace sexuality “like a man” in a sense. In accordance to these views, women are destabilizing the norms of sexuality and presenting behavioral tendencies previously common to men.
On the contrary, traditional feminist find sexually explicit material dehumanizing and demeaning. Raunch culture is just another means of objectifying women. Just because women are choosing to openly display their sexuality is not resulting in equality with men. A very popular voice on this issue of raunch culture is Ariel Levy, author of Female Chauvinist Pigs: Women and the Rise of Raunch Culture. Levy proposes that the goal of raunch culture is not enhancing or enabling female pleasure, but instead encourages an imitation or performance of that pleasure. Who is being served? Men. This behavior is seeking male approval and attention, Levi notes “attention’s not the same thing as power”.
Images of Women
The scene in Jerry Macquire is a depiction of two different types of women. Jerry’s fiancé, Avery, is presented as straight to the point, business like, and lacking sensitivity. Dorothy on the other hand, the woman who worked with Jerry, was presented as understanding, supportive, and sacrificing. This significant contrast leads me to the concept of “images of women” and how these concepts relate to culture and gender representation.
The “images of women” is predominately dictated by stereotypes. I think this is where the media maintains a strong influence on determining and emphasizing the “images of women”. In a study done by Diana Meehan (1983), it was suggested that representations on television cast ‘good’ women as submissive, sensitive, and domesticated. Women who posses dominate, decisive, rational, and independent characteristics are commonly portrayed as ‘bad’. Yet, when these characteristics in themselves are not necessary portrayed as ‘bad’, just when displayed in women. The two women in Jerry Macquire show this imagery perfectly. For example, Jerry’s fiancé was displayed as the ‘bad’ woman merely through her characteristics and not necessarily any wrongful acts.
The “images of women” is predominately dictated by stereotypes. I think this is where the media maintains a strong influence on determining and emphasizing the “images of women”. In a study done by Diana Meehan (1983), it was suggested that representations on television cast ‘good’ women as submissive, sensitive, and domesticated. Women who posses dominate, decisive, rational, and independent characteristics are commonly portrayed as ‘bad’. Yet, when these characteristics in themselves are not necessary portrayed as ‘bad’, just when displayed in women. The two women in Jerry Macquire show this imagery perfectly. For example, Jerry’s fiancé was displayed as the ‘bad’ woman merely through her characteristics and not necessarily any wrongful acts.
Tuesday, September 21, 2010
Ethnography
The Observation
My observation took place September 18th 2010 at Schooners, a bar and grill in Lancaster, California. The environment was lively; walking in the location four men were involved in a game of beer pong about five feet from the front entrance and the tables that ran parallel to the bar on both sides were full of patrons. The clusters of patrons were diverse in age, yet the employees on the other hand all appeared to be under the age of 40. The employees consisted of at least four female waitresses and three bartenders, two male and one female. One table to the right of the bar consisted of four older adults, most likely above the age of 50, three male and one female. The table shared a pitcher of beer and ate food while they socialized at their table for over an hour. On the back end right corner of the bar, one man sat solitary while he drank a beer and watched the television. Another single man on the other side of the bar conducted very similar actions. There were at least four large flat screen televisions in the bar. One displayed a baseball game, another a football game, and two other televisions were on the SPIKE television show, “MANswers”. There was a couple, man and woman, that occupied two seat to the center right of the bar. The pair had their barstools faced slightly inward towards each other while they conversed amongst each other. Across at the other end of the bar, stood a cluster of younger adults, two female (X and Y) and one male. The male subject was goofing around and attempting to put his arm around female X. In response, the female X casually dismissed his actions by pushing his arm away and continued to talk to female Y. Another female Z walked up to the group, whom female X excitedly greeted and quickly divulged her attention to. The male then walked over to female Y, and began to make conversation and joke around. Many of the women at the bar, but not all, had clearly put effort into prepping themselves for the outing, for example many were wearing heals and/or flattering attire. Many of the men, on the other hand, were dressed in very casual attire such as a t-shirt and jeans.
Analysis
Concluding the observation, although I didn’t observe much romance, my analysis seemingly gravitated to the issues of social behavioral differences between men and women. What dictates this behavioral separation among men and women? The prospective expectation we hold towards behavior traits displayed by men and women are undoubtedly set at different standards. Consequently, there is a prone tendency to evaluate behaviors on the basis of perceived social norms which are governed by cultural constructions. According to feminist influenced by the poststructuralist, it argued that sex and gender are not terms of biology, but rather social and cultural constructions. Within cultural constructions, femininity and masculinity are ways of describing and disciplining human subjects (Baker, 283). In the observation for example, there were two separate men that remained unaccompanied at the bar, yet there was not one woman to display this behavior. In this particular environment, for a man to display such behavior is view to be rather common. Yet, I think if a woman happened to do the same it would stand out more, perhaps even seem obscure. To what degree are female behaviors dictated by this concept of femininity and social norms? For instance, consider how women display themselves, particularly in a setting such as a bar. The majority of the women I observed were dressed to impress, they all had makeup on, and their hair done. Attractiveness is a main focal point for how women are perceived. Therefore, in response to this, women mold themselves like putty into what men consider desirable. The television show that was on at the bar, Manswers, in itself reaffirms this idea. From the reading The Second Sex by Simone de Beauvior:
“…She cannot think of herself without man.’ And she is simply what man decrees; thus she is called ‘the sex’, by which is meant that she appears essentially to the male as a sexual being. For him she is sex – absolute sex, no less. She is defined and differentiated with reference to man and not he with reference to her; she is the incidental, the inessential as opposed to the essential. He is the Subject, he is the Absolute – she is the Other” (Beauvior).
The impression of femininity itself suppresses women to submit to men’s desires. Therefore, I think these social norms are governing the very idea of romance through, that is, what is desired.
Work Cited
Barker, Chris. Cultural Studies: Theory and Practice. London: SAGE Publications Ltd., 2009. Print.
Beauvoir, Simone De. The Second Sex: Woman as Other. New York: Knopf, 1953. Print.
My observation took place September 18th 2010 at Schooners, a bar and grill in Lancaster, California. The environment was lively; walking in the location four men were involved in a game of beer pong about five feet from the front entrance and the tables that ran parallel to the bar on both sides were full of patrons. The clusters of patrons were diverse in age, yet the employees on the other hand all appeared to be under the age of 40. The employees consisted of at least four female waitresses and three bartenders, two male and one female. One table to the right of the bar consisted of four older adults, most likely above the age of 50, three male and one female. The table shared a pitcher of beer and ate food while they socialized at their table for over an hour. On the back end right corner of the bar, one man sat solitary while he drank a beer and watched the television. Another single man on the other side of the bar conducted very similar actions. There were at least four large flat screen televisions in the bar. One displayed a baseball game, another a football game, and two other televisions were on the SPIKE television show, “MANswers”. There was a couple, man and woman, that occupied two seat to the center right of the bar. The pair had their barstools faced slightly inward towards each other while they conversed amongst each other. Across at the other end of the bar, stood a cluster of younger adults, two female (X and Y) and one male. The male subject was goofing around and attempting to put his arm around female X. In response, the female X casually dismissed his actions by pushing his arm away and continued to talk to female Y. Another female Z walked up to the group, whom female X excitedly greeted and quickly divulged her attention to. The male then walked over to female Y, and began to make conversation and joke around. Many of the women at the bar, but not all, had clearly put effort into prepping themselves for the outing, for example many were wearing heals and/or flattering attire. Many of the men, on the other hand, were dressed in very casual attire such as a t-shirt and jeans.
Analysis
Concluding the observation, although I didn’t observe much romance, my analysis seemingly gravitated to the issues of social behavioral differences between men and women. What dictates this behavioral separation among men and women? The prospective expectation we hold towards behavior traits displayed by men and women are undoubtedly set at different standards. Consequently, there is a prone tendency to evaluate behaviors on the basis of perceived social norms which are governed by cultural constructions. According to feminist influenced by the poststructuralist, it argued that sex and gender are not terms of biology, but rather social and cultural constructions. Within cultural constructions, femininity and masculinity are ways of describing and disciplining human subjects (Baker, 283). In the observation for example, there were two separate men that remained unaccompanied at the bar, yet there was not one woman to display this behavior. In this particular environment, for a man to display such behavior is view to be rather common. Yet, I think if a woman happened to do the same it would stand out more, perhaps even seem obscure. To what degree are female behaviors dictated by this concept of femininity and social norms? For instance, consider how women display themselves, particularly in a setting such as a bar. The majority of the women I observed were dressed to impress, they all had makeup on, and their hair done. Attractiveness is a main focal point for how women are perceived. Therefore, in response to this, women mold themselves like putty into what men consider desirable. The television show that was on at the bar, Manswers, in itself reaffirms this idea. From the reading The Second Sex by Simone de Beauvior:
“…She cannot think of herself without man.’ And she is simply what man decrees; thus she is called ‘the sex’, by which is meant that she appears essentially to the male as a sexual being. For him she is sex – absolute sex, no less. She is defined and differentiated with reference to man and not he with reference to her; she is the incidental, the inessential as opposed to the essential. He is the Subject, he is the Absolute – she is the Other” (Beauvior).
The impression of femininity itself suppresses women to submit to men’s desires. Therefore, I think these social norms are governing the very idea of romance through, that is, what is desired.
Work Cited
Barker, Chris. Cultural Studies: Theory and Practice. London: SAGE Publications Ltd., 2009. Print.
Beauvoir, Simone De. The Second Sex: Woman as Other. New York: Knopf, 1953. Print.
Wednesday, September 8, 2010
Identities' Unity to the 'Self'
“The subject assumes different identities at different times, identities which are not unified around a coherent ‘self’. Within us are contradictory identities, pulling in different directions, so that our identifications are continually being shifted about…” (Hall, 1992).
After considering these issues of subjectivity and identity, it leaves a lot to wrap one’s head around. Ways of conceptualizing identity has shifted from an “essential centre of the self” to identities not being fixed, rather changeable throughout time and space. While it is agreeable that self-perception can vary substantially, it is hard for me to conceive how one’s identity is not unified around a coherent ‘self’.
The outside shapes our identities through social, cultural, and political interaction. Yet, there is to some degree a threshold to how much we go in one direction or the other. Furthermore, influences carry different weight in terms of their ability to alter our identity, not everything we are subjected to is going to change our identities. I think there is something that restricts the amount or degree of change which we incur. Maybe identities are not unified, but rather gravitated to a ‘self’.
Identities are like play dough; they are moldable from outside influences and conformable to position. Yet, through regular practices, play dough doesn’t completely change its consistency. The 'self' provides subjects with a sort of consistency. And like play dough, throughout development I think we become harder to shape. I think there is some connection to self-identity and one’s ‘self’.
After considering these issues of subjectivity and identity, it leaves a lot to wrap one’s head around. Ways of conceptualizing identity has shifted from an “essential centre of the self” to identities not being fixed, rather changeable throughout time and space. While it is agreeable that self-perception can vary substantially, it is hard for me to conceive how one’s identity is not unified around a coherent ‘self’.
The outside shapes our identities through social, cultural, and political interaction. Yet, there is to some degree a threshold to how much we go in one direction or the other. Furthermore, influences carry different weight in terms of their ability to alter our identity, not everything we are subjected to is going to change our identities. I think there is something that restricts the amount or degree of change which we incur. Maybe identities are not unified, but rather gravitated to a ‘self’.
Identities are like play dough; they are moldable from outside influences and conformable to position. Yet, through regular practices, play dough doesn’t completely change its consistency. The 'self' provides subjects with a sort of consistency. And like play dough, throughout development I think we become harder to shape. I think there is some connection to self-identity and one’s ‘self’.
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