Gender Stereotyping In The Media Essay Example for Free

Gender Stereotyping In The Media Essay It has been strongly evident that the media has played a large role in gender stereotyping for decades. Since the very beginning of film, movies and television shows have depicted men and especially women as lower or lesser beings. This â€Å"tradition† of sexism has of course, decreased since the 50’s but still lingers on in many of today’s television programs. In the early 50’s, with television shows such as â€Å"I Dream of Jeanie† and â€Å"I Love Lucy, women were portrayed quite openly as being the server to their husbands, the men. They were considered to be lower than men or in other words of less importance. Many of the shows from this era showed a substantial amount of gender stereotyping. For example, the women were to do what they were told, they were the only ones who cooked and cleaned, and they were the primary caregiver for the children. Of course, things have changed since the 50’s. Women have proven to be powerful and just as competent as men, thus, making it harder for television shows to portray them as lesser individuals. However, although the gender stereotyping has decreased, it is certainly still evident in the media. There are several television shows being broadcasted today that do, in fact, show some form of gender stereotyping, particularly towards women. However, it is less out in the open and blunt than it use to be in the early 50’s and 60’s. One must read between the lines and pay attention to notice the stereotypic behavior being portrayed. While this behavior may be subtle, it does, in fact still exist. There is a very well known show on MTV known as â€Å"The Real World,† which comes on every Wednesday. It is a reality based show which places seven strangers into one house for several weeks where they are to live together for the duration of the program. As many of us know, reality shows are not what they appear to be. The directors and producers of such shows have the ability to crop and edit which specific clips of the film that they want to be premiered. Inevitably, they are able to portray the individuals on their show in any way that they want. For example, they may choose to only show clips of certain individuals where they are crying, fighting, or as â€Å"The Real World† often does, being promiscuous. This is a vital key in how this show can stereotype a specific gender. In episode three of the new and current season of â€Å"The Real World,† it can be concluded that women are overall depicted as foolish, whiney, selfish, rude, childish, and promiscuous. The men of the serious, however, are showed in a softer, lighter side. They are portrayed as caring individuals who would rather stay away from most of the women and stray from any drama or arguments going on inside of the house. In one segment of the show, two of the women of the house are running around the house screaming and yelling, playing a game which appears to be cowboys and Indians. The next scene shows the men of the house calmly sitting outside having adult conversations. This is clearly in effort to make the females look childish. In another segment of the show, the women are basically all fighting with one another while the men sit quietly in the background. One of the females sarcastically asks another cast member if it is fun living with a bunch of girls. The other cast member quickly responds with a no. It should be understood that not everything that the women in the house on this show have done have been childish or in anyway degrading. It is impossible to fit everything that has been recorded of these people when producing the show. So, everything that viewers are allowed to see has been carefully selected for various reasons such as higher ratings. The more dramatic events that happen, the more likely it will be for the show to attract audiences. However, why is it that there are no dramatic sequences shown where the men are degrading themselves? In conclusion, gender stereotyping in the media, although lessened since the 50’s, does still exist on television programs today. Whether women are portrayed as inferior to men or simply more ignorant or immature, the fact is that gender stereotyping is an all too sad reality in the world that we live in today. Perhaps one day we can come to an understanding that all men AND women and created equally. Works Cited www. mtv. com www. realworld. com www. people. unt. edu/jw0109/misc/stereotype. htm

Husband Battering Essay -- essays research papers

Husband Battering: A Serious Problem Billboards, radio, and TVads across the country proclaim that â€Å"every fifteen seconds a women is beatenby a man.† Violence against women is clearly a problem of national importance,but has anyone ever asked how often men are beaten by women? The unfortunatefact is that men are the victims of domestic violence at least as often aswomen are. While the very idea of men being beaten by their wives runs contraryto many of our deeply ingrained beliefs about men and women, female violenceagainst men is a well-documented phenomenon almost completely ignored by boththe media and society. The first reaction uponhearing about the topic of battered men, for many people, is that of incredulity.Battered husbands are almost a topic for jokes - such as the cartoon image of awoman chasing her husband with a rolling pin. One researcher noted that wiveswere the perpetrators in 73% of the depiction of domestic violence in newspapercomics (Gelles 1974). Battered husbands have historically been eitherignored or subjected to ridicule and abuse. In 18th-century France, a batteredhusband "was made to wear an outlandish outfit and ride backwards aroundthe village on a donkey" (Langley & Levy 1977). Even those of us wholike to consider ourselves liberated and open-minded often have a difficulttime even imagining that husband battering could take place. Although feminismhas opened many of our eyes about the existence of domestic violence, and newspaperreports often include incidents of abuse of wives, the abuse of husbands is ararely discussed phenomenon. One reason researchers andothers had not chosen to investigate husband battering is because it wasthought to be a fairly rare occurrence. Police reports seemed to bear this out,with in some cases a ratio of 12 to 14.5 female victims to every one malevictim. But another reason is that because women were seen as weaker and morehelpless than men due to sex roles, and men on the other hand were seen as moresturdy and self-reliant, the study of abused husbands seemed relativelyunimportant (Steinmetz 1978). In 1974, a study was done which compared male andfemale domestic violence. In that study, it was found that 47% of husbands hadused physical violence on their wives, and 33% of wives had used violence ontheir husbands (Gelles 1974). Half of the respondents in... ...involves denying thatwomen are victims. Women’s groups that help battered women could also helpbattered men, while men’s groups that counsel abusive men could make theirexpertise available to violent women as well. Continuing to portrayspousal violence solely as a women’s issue is not only wrong – it’s alsocounterproductive. And encouraging such unnecessary fragmentation anddivisiveness will ultimately do more harm than good. No one has, or shouldhave, a control on pain and suffering. But until society as a whole confrontsit’s deeply embedded stereotypes and recognizes all the victims of domesticviolence, we will never be able to solve the problem. Domestic violence is aneither a male or a female issue – it’s simply a human issue. References Farrell, W. (1986). Why men are the way they are.New York: McGraw-Hill. Gelles, R. (1974). The violent home: a study ofphysical aggression between husbands and wives. Beverly Hills: Sage. Langley, R., Levy, R. (1977). Wife beating: thesilent crisis. New York: Pocket Books. Mercy, J., Saltzman, L. (1989, May) â€Å"Fatal violenceamong spouses in the United States, 1976-85† American Journal of Public Health,79, 595-599.

Claude Cahun: Boy & Girl Together

Claude Cahun: Boy & Girl Together For this discussion I found an interest in the gender bending â€Å"self-portraiture† of Claude Cahun. An added interest I later found about Cahun and her work came after googling her name; I found some articles about feminism in art that not only speak about Cahun and her feminist work, but also about Cindy Sherman’s art as well (Imagine that to my surprise).Cahun was one of first the 20th century (female) artists to dress herself up in an array of gender bending disguises and photographed herself in the name of art, from the time she was 16 with the collaborative assistance of her life partner (and step sister), Marcel Moore. Cahun had preferred to present herself as both object and subject for her own sexual fascinations, rather than a passive object (Claude Cahun, Self-Portrait, 1928, The Guerilla Girls’ Beside Companion to the History of Western Art, page 62) o be consumed by the â€Å"male gaze. † Claude’s wor k was scandalous to everyone including the homophobic, surrealist men she hung out with, as she paved her own path towards liberation; could Cahun and Moore have been the first two Guerilla Girls’ of the 20th century? Yes, I do feel that woman’s artwork is read in a gender-based way, while men’s is mainly looked at in terms of its content and statement. Claude Cahun’s artwork is looked at as scandalous and pornographic; the surrealists wrote her out of their history.On the contrary the surrealists could appreciate that of Rrose Selavy, the avant-garde alter ego of Marcel Duchamp; a male artist disguised as a woman for art’s sake. Claude Cahun’s gender most definitely comes into play when interpreting and studying her work, as well as her sexual identity. Cahun disrupts restrictive ideas about gender, social prescriptions and femininity. The fact that has surprised me throughout the study of art history is that only the art of white, European affiliated men held any merit. Meaning, the art itself was not looked at by what it was or how well it was created, but y who created it as to whether it was to be consider museum worthy or not. â€Å"What do women want? They want the human to be neither man nor woman. † – Jean-Francois Lyotard (The Guerilla Girls’ Beside Companion to the History of Western Art, page 59) I found this to be supportive of how artwork should be studied, interpreted and of its success of not. The art should be the topic and the content and message be heard over the fact of whether it is created by a man, a woman or someone in-between. References: * The Guerrilla Girls' bedside companion to the history of Western art. New York: Penguin Books, 1998. Print. page 62-63. * â€Å"Claude Cahun. Guerrillagirlsbroadband. N. p. , n. d. Web. 2 Apr. 2012. http://ggbb. org/meet-the-broads/claude-cahun/. Claude Cahun – radical, Jewish, lesbian, writer, resistance fighter, political activ ist, Surrealist, photographer strangely prescient in their concern with sexual politics and gender identity. Her self-portraits represent such a diverse range of sexual selves Although Cahun did not become closely associated with Andre Breton’s Surrealists util the early 1930s, she later declared herself to have â€Å"always been a surrealiste†. The Surrealists organized in response to the rise of Hitler and the spread of fascism in France.Her political commitment extended throughout her life, and though she might best be described as a libertarian anarchist, her politics had an explicitly feminist subtext In examining issues of female self-identity and subjectivity, before they were really formulated as such, Cahun was moving toward her own liberation. Jersey was occupied by the Germans during World War II, and the two women mounted resistance activities such as writing and distributing anti-Nazi leaflets. Cahun was nearly executed for this act, but was given a reprie ve at the last minute.German soldiers moved into Cahun and Moore’s home, destroying much of their art work, including original photographs, photo-plates and negatives. The two women were subsequently incarcerated. The ignorance about Cahun is such that there are source books on Surrealism that refer to her as a man. Cahun’s boyish image was, in fact, shocking in the context of mainstream French Surrealism. The male Surrealists not only advocated heterosexuality, but tended to be homophobic. Claude was a lesbian, A Jew, and a Marxist, three no-nos to the Nazis, who invaded France in 1940.

Music of Indonesia - 3188 Words

------------------------------------------------- Music of Indonesia The music of Indonesia demonstrates its cultural diversity, the local musical creativity, as well as subsequent foreign musical influences that shaped contemporary music scenes of Indonesia. Nearly thousands of Indonesian islands having its own cultural and artistic history and character.[1] This results in hundreds of different forms of music, which often accompanies dance and theater. The musics of Java, Sumatra, Bali, Flores and other islands have been documented and recorded, and research by Indonesian and international scholars is ongoing. The music in Indonesia predates historical records, various Native Indonesian tribes often incorporate chants and songs†¦show more content†¦In Indonesia it is particularly associated withMinahasa people of North Sulawesi, however it also popular in Maluku and Timor. [edit]Sasando Main article: Sasando Sasando is a plucked string instrument native of Rote island of East Nusa Tenggara. The parts of sasando are a bamboo cylinder surrounded by several wedges where the strings are stretched, surrounded by a bag-like fan of dried lontar or palmyra leafs (Borassus flabellifer), functioned as the resonator of the instrument. [edit]Tapanuli ogong Musical performance from Tapanuli area of Batak of North Sumatra. Tapanuli ogong is a form of dance music played with a type of lute, trumpet and flute. ------------------------------------------------- [edit]Genres The diverse world of Indonesian music genres was the result of the musical creativity of its people, and also the subsequent cultural encounters with foreign musical influences into the archipelago. Next to distinctive native form of musics, several genres can traces its origin to foreign influences; such as gambus and qasidah from Middle Eastern Islamic music, keroncong from Portuguese influences, and dangdut with notable Hindi music influence. [edit]Folk musics Indonesian regional folk pop musics reflects the diversity of Indonesian culture and Indonesian ethnicity, mostly use local languages and a mix of western and regional styleShow MoreRelatedPromoting Natural Beauty and Cultures of Indonesia to The World Promoting Natural Beauty and Cultures of Indonesia to The World 1145 Words   |  5 PagesCultures of Indonesia to The World The Republic of Indonesia is known as the largest archipelago in the world comprising more than 17,000 tropical islands, located between the Pacific and Indian Oceans and the biggest islands are: Sumatra, Java, Kalimantan (Borneo), Sulawesi, and Papua. 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