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Racism in media essays
Third wave feminism issues
Racism in the media
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A Third Wave Feminist Textual Analysis of “Grace and Frankie”: The Intersection of Age, Gender, Race and Class
This paper utilizes a third-wave feminist lens applied through a textual analysis of the first season of Netflix original series: “Grace and Frankie”. The show’s two older protagonists provide a narrative of marginalized women, based on the intersection of multiple identities and their social positions, also known as intersectionality (Carastathis 2014). The paper will review the character’s multiple identities as thematic focuses contributing to the larger construction of each character. In the context of third-wave feminism, “individual narratives” and “intersectionality” are prioritized as third wave theory attempts “...to account
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However, intersectionality originates separately from its current application. As a development from Black feminist thought, intersectionality originates from Kimberlé Williams Crenshaw, a Black feminist legal scholar (Carastathis 2014, p 304-305). Yet, the notion of multiple oppressions was not created with intersectionality or even third-wave feminism but in the 1970’s as Frances Beal’s “double jeopardy” as well as several other iterations of the concept through Black feminist thought, as explained by Carastathis (2014, p 305). The application of intersectionality in cases of age, sexuality, and class is an extrapolation of “double jeopardy” which was originally created to address the experiences of black women. In current scholarship, intersectionality is utilized as a theory, methodology, or tool to discuss how identities are never independent, monolithic experiences (Carastathis 2014, p 307). Rebecca Ann Lind writes in an introduction for Race/Gender/Media: “The variety of social groups noted above raises an important issue: Each of us is a product of a combination of experiences and identities, rooted in a variety of socially constructed classifications” (2004, 5). Applying double jeopardy and intersectional concepts to the protagonists of Grace and Frankie without acknowledging its origins to measure race exhibits poor scholarship and erasure of Black …show more content…
Diane Gibson discusses how the generally negative examples of older women in media is due to the reflection of actual societal values that disenfranchises women in the real world, further reinforcing these negative images (Gibson 1996). Jodi Brooks acknowledges the marginal roles that are relegated to older women who not only carry their physical age but their social age, burdened to represent themselves in their prime while trying to inhabit the present (Brooks 1999). Some of these negative media representations commonly include: the invisibility of older women, the sexual ineligibility of older women, the aversion to older women, and the tendency to turn these older women into villains (Dolan 2003). The invisibility of older actresses can be understood as Josephine Dolan describes: “...the pattern of refusing to cast older female stars in significant roles, or casting them as marginal characters or as pathological figures,” (Dolan 2003, p 343), Dolan explains the exclusion of older women in lead roles as the combination of male gaze and youthful gaze, expecting both mainstream femininity and “natural” youthfulness. Older actresses often seek surgery and procedures that alter their appearances to preserve youth and flaunt a “successful aging” by defining what it means to age (Dolan
She illuminates the hidden causes of the harsh sexism in rap music lyrics and argues that one needs to look deeper to understand why the misogyny exists and how women in her culture need to respond and also start taking responsibility for its existence in order for changes to begin to take place. In the article “ From Fly -Girls to Bitches and Hos “ the dysfunction of our black men is evident, but somehow it’s seen and admired manliness and success. For example the life of Notorious BIG was one of the rap kings that live a life of jail, sex , drugs and murder that “ the seeming impenetrable wall of sexism in rap music is really the complex mask of American often wear both to hide “ . Joan Morgan was vivid as to show the pain men must be feeling so badly that they had to use disrespectful slurs and hateful comment says their music lyrics. I agree with the fact that in today’s society the "bitches and hos" have become the norm. From my perspective that many guys often believe that is how all women act and that they are all pimps and
In many contemporary spaces, intersectionality is taught and consumed as a static concept of merely listing identities carried by one person simultaneously. It’s used more often as a checklist than a place of analysis or resistance. However, the use of intersectionality as just an apolitical tool, rather than a theory born from the knowledge of Black women experiencing a “triple jeopardy” of oppression and seeking liberation by deconstructing the institutions that bind them, is reductionist at best. In “Intersectionality is Not Neutral”May communicates that intersectionality pushes us to question and challenge the relatively mundane or acceptable norms in society that lend themselves to a continuous legacy of systemic inequality.
On Being Young-A Woman-and Colored an essay by Marita Bonner addresses what it means to be black women in a world of white privilege. Bonner reflects about a time when she was younger, how simple her life was, but as she grows older she is forced to work hard to live a life better than those around her. Ultimately, she is a woman living with the roles that women of all colors have been constrained to. Critics, within the last 20 years, believe that Marita Bonners’ essay primarily focuses on the double consciousness ; while others believe that she is focusing on gender , class , “economic hardships, and discrimination” . I argue that Bonner is writing her essay about the historical context of oppression forcing women into intersectional oppression by explaining the naturality of racial discrimination between black and white, how time and money equate to the American Dream, and lastly how gender discrimination silences women, specifically black women.
In the world of sociology and the studies of human interaction, the term intersectionality has been defined as, “the idea that various biological, social, and cultural categories – including gender, race, class, and ethnicity – interact and contribute towards systematic social inequality” (“Definition of Intersectionality – Sociology”). However, as Dr. White defined the term on the Spring 2014 Final Writing Assignment sheet, these categories that make up one’s identity can “intersect or interact in ways that can either advantage or disadvantage the person’s well-being and development” (White). In regards to the text, David M. Newman’s Identities & Inequalities: Exploring the Intersections of Race, Class, Gender, and Sexuality, Newman progressively explores the concept of intersectionality throughout the entirety of the text, but he does not ever actually define the term itself. Although an exact, clear-cut definition of the term “intersectionality” has not been officially established, the concept of the term is fairly simple to understand. Every person has different social identities that they carry to their name. Intersectionality is simply an analysis of how those different identities play off of each other and how they affect the person they are describing.
Beale, Frances. "Double Jeopardy: To Be Black and Female." An Anthology of African-American Feminist Thought. New York: New, 1995. 146. Print.
Often identity is only thought of as a collection of individual characteristics that are independent such as sex, gender, race, class, sexuality, etc. Intersectionality is when these characteristics are transformed by one another and “tend to collapse into one another in the context of everyday life”. Dorothy Allison wrote Two of Three Things I Know for Sure where she explains aspects of her life through chronological stories revealing details and providing the reader with lessons she learned throughout her experiences. This book can be read with an intersectionality lens focusing on the moments or stories where gendered poverty shapes people’s experience of sex and sexuality as well as how gender, sexuality, and class transforms whiteness into a stigmatizing attribute rather than it’s usual power given attribute. Allison’s scene with her Aunt Maudy and the scene with her girlfriend both show intersectionality in different aspects and times of Allison’s life.
“…it is said that there are inevitable associations of white with light and therefore safety, and black with dark and therefore danger…’(hooks 49). This is a quote from an article called ‘Representing Whiteness in the Black Imagination’ written by bell hooks an outstanding black female author. Racism has been a big issue ever since slavery and this paper will examine this article in particular to argue that whiteness has become a symbol of terror of the black imagination. To begin this essay I will summarize the article ‘Representing Whiteness in the Black Imagination’ and discuss the main argument of the article. Furthermore we will also look at how bell hooks uses intersectionality in her work. Intersectionality is looking at one topic and
These movies allowed female characters to embody all the contradictions that could make them a woman. They were portrayed as the “femme fatale” and also “mother,” the “seductress” and at the same time the “saint,” (Newsom, 2011). Female characters were multi-faceted during this time and had much more complexity and interesting qualities than in the movies we watch today. Today, only 16% of protagonists in movies are female, and the portrayal of these women is one of sexualization and dependence rather than complexity (Newsom, 2011).
The Depression Era was chaotic and detrimental to most Americans, but it was also a time of growth in some ways. Women playing major roles in movies during this time period was becoming more and more common. Women were viewed in many different ways though. In “Room Service”, women were viewed as hard-working, influential individuals, but they were also very invested and dependent on love. In “The Public Enemy”, women were viewed as something that could be thrown away when they were of no more use, and finally in “Gold Diggers of 1937”, women were viewed as sneaky, smart people who would to whatever they had to do to accomplish their goals. These conflicting views of women show depth and diversity in a dark, dreary time period.
American commercial cinema currently fuels many aspects of society. In the twenty-first century it has become available, active force in the perception of gender relations in the United States. In the earlier part of this century filmmakers, as well as the public, did not necessarily view the female“media image” as an infrastructure of sex inequality. Today, contemporary audiences and critics have become preoccupied with the role the cinema plays in shaping social values, institutions, and attitudes. American cinema has become narrowly focused on images of violent women, female sexuality, the portrayal of the “weaker sex” and subversively portraying women negatively in film. “Double Indemnity can be read in two ways. It is either a misogynist film about a terrifying, destroying woman, or it is a film that liberates the female character from the restrictive and oppressed melodramatic situation that render her helpless” (Kolker 124). There are arguably two extreme portrayals of the character of Phyllis Dietrichson in Double Indemnity; neither one is an accurate or fare portrayal.
Women’s roles in movies have changed dramatically throughout the years. As a result of the changing societal norms, women have experienced more transition in their roles than any other class. During the period of classical Hollywood cinema, both society and the film industry preached that women should be dependent on men and remain in home in order to guarantee stability in the community and the family. Women did not have predominated roles in movies such as being the heroin. The 1940’s film Gilda wasn’t an exception. In Gilda, the female character mainly had two different stereotypes. The female character was first stereotyped as a sex object and the second stereotyped as a scorned woman who has to be punished.
Today, love, sex and romance are three main topics that presented in media as main themes discuss in contemporary popular culture. Social media is important in shaping audience value about feminism through the framework of contemporary media like films, magazines, plays, advertisements, TV shows, graphic novels, etc. The television show “Sex and the City” incorporates “pop feminism” that influences many lives of women. Sex and the City is originally talking about four single thirty-something women living in Manhattan. They are coming to New York in order to seek “love and labels” (Sex and the City). The main theme of Sex and the City is concentrating on contemporary American woman’s conception of sex, love, and romance. As we learned from lecture, sex, love, and romance have a history; they are different in different cultures; they are shaped by gender, class, race, ethnicity, nation, ability, and other differences (Lecture Notes). Sex and the City is focusing on modern American woman’s experiences and their thinks with sex, love, and romance. The four main women characters in Sex and the City represent diversity of gender, class, race, ethnicity, religion, age, able-bodiedness through their different experience and expectations of their life (Lecture Notes). Sex and the City represents that the feminism notions of sex, love, and romance are socially constructed, and this social construction of sex, love and romance are featured in these female characters’ personalities.
Gay suggests another way characters within pop culture are portrayed as unlikable or at least not powerful, is by being a person of color. As stated earlier, there exists a narrow conceptualization of womanhood and femininity, which primarily mirrors the privileged class, which dominates pop culture in terms of the books we read, television we watch, ads we consume, heroines we aspire to be, and music we listen to. However there does exist different identities of what it means to be a woman. In Punks, Bulldaggers, and Welfare Queens. Cathy J. Cohen imagines the contemporary view and power of women to be in relation to their homogenized identity. This meaning, to be a woman also depends on other factors of identity; to be a woman in relation to if you are poor or rich, black or white, gay or straight, queer or fall into the dominant class. Luckily, this understanding of womanhood has somewhat expanded. The scope of racial expansion somewhat increases by moving to include Gay’s idolized Black Miss America. Unfortunately, this expansion follows the privilege trend where only a certain type of green girl is able to satisfy the role of Black Miss America. A large issue that Gay has with representation of women of color is that they are tokenized, they are stereotyped, and they are grossly generalized. Instead of this poor misrepresentation of women of color, both Gay and Cohen seek, “a new political direction and agenda, one that does not focus on integration into dominant structures but instead seeks to transform the basic fabric and hierarchies that allow systems of oppression to persist and operate efficiently” (Cohen 165). Gay concludes that inclusion of women of color in pop culture fails to portray them as more than one dimensional characters. This lack of depth is attributed to the lack of respect that women of color face in real life as well. While the
HBO's Sex and the City has become a cultural icon in its 6 seasons of running. Based on Candace Bushnell's racy book Sex and the City, the show exhibits an unprecedented example of the sexual prowess of women over the age of 35. The result is an immense viewing audience and an evolving view on the "old maid" stigma that a woman's chances of finding love are significantly reduced after thirty-five. In this paper, we will closely analyze the characters and themes of Sex and the City to explain the significance of what the show represents in American culture.
Noted in Yvonne Tasker’s Working Girls: Gender and Sexuality in Popular Cinema, Goldie Hawn says this about women's role in the film business “There are only thee ages for women in Hollywood: Babe, District Attorney and Driving Miss Daisy” (1998, p. 3). While Haw...