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More handpicked essays just for you.
The media and racial stereotypes
Media impact on social stereotypes
Media impact on social stereotypes
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This class has brought excellent discussions about Asian American masculinity/femininity. I as an Asian American, want to archive and explore more about the dichotomy of what it means to be masculine and feminine in the United States. As the West views Asians as “submissive” figures, it also makes me think about how that is portrayed through media, such as music videos, advertisements, and the news. Through this, I had the internal conversation of androgyny, and what that means; if a person is androgynous are they masculine or feminine? Or are they both? This is evident in the pop culture today with Korean and Japanese pop bands. My focus for this project is to explore, research, and archive specifically on how identity is portrayed for the
For 20 years, Asian Americans have been portrayed by the press and the media as a successful minority. Asian Americans are believed to benefit from astounding achievements in education, rising occupational statuses, increasing income, and are problem-fee in mental health and crime. The idea of Asian Americans as a model minority has become the central theme in media portrayal of Asian Americans since the middle 1960s. The term model minority is given to a minority group that exhibits middle class characteristics, and attains some measure of success on its own without special programs or welfare. Asian Americans are seen as a model minority because even though they have faced prejudice and discrimination by other racial groups, they have succeeded socially, economically, and educationally without resorting to political or violent disagreements with the majority race. The “success” of the minority is offered as proof that the American dream of equal opportunity is capable to those who conform and who are willing to work hard. Therefore, the term ...
In modern day society, popular culture has gained equal status to world issues and politics. Music, movies, and literature have started cultural revolutions and challenged the straight-forward thinking many individuals have accepted in the past. But while popular culture can advance new ideas and create movements, it also has the ability to challenge advancements society has made. Imani Perry’s essay, The Venus Hip Hop and the Pink Ghetto, focuses on hip hop and its negative impact on women and body image.
Asian Americans only make up a small percent of the American population. Even more significant is that this percentage live mostly on the west and east coasts of mainland United States and Hawaii; leaving the rest of the American population to most likely get their exposures to Asians through television and movies. However the exposure they have receive throughout the history of cinematography has been hardly flattering. Throughout the course of history Asians in film have been portrayed as evil or the "yellow peril" as described by others. If Asians are not being classified as evil in this picture then they are most likely the comic relief, with their lack of coordination or grasp of the English language. With these common stereotypes in place, it gives a white American viewer a sense or need to destroy this Asian villain or superiority over the comedic character portrayed in the film.
I think every man between 20 and 40 needs to read Elizabeth Gilbert's "The Last American Man". Without going into details (like I said, you should read the book), this is a biography/profile of Eustace Conway - a man who is, among other things, capable of and prefers to (or would prefer to) live the kind of frontier lifestyle we have read about: hunting and gathering his food, living in a house he built using his own hands, making his own clothes from the skins of animals he captured, etc. I suspect that for many people the story, at least initially, will arouse the sort of Romantic feelings that tend to come with fantasies of a "simple life" of rugged self-sufficiency. However, even for those who are quite certain that they prefer their modern urban lifestyle (air conditioning, direct deposit, grocery stores, ebay, cable TV, &c.), I think this book raises fundamental questions about what it means to be a man at the dawn of the twenty-first century.
Masculinity is described as possession of attributes considered typical of a man. Hegemonic masculinity is a form of masculine character with cultural idealism and emphasis that connects masculinity to competitiveness, toughness, and women subordination. Masculinity hegemonic is the enforcement of male dominion over a society. Masculine ideology dates back to the time of agrarian and the industrial revolution in Europe when survival compelled men to leave their homesteads to work in industries to earn a living for their families while women remained at home to take care of family affairs (Good and Sherrod 210). Women did not work in industries then because industrial labor was considered too physical beyond their capacity. This led to definition of roles which placated the position of men in a society while condemning women as mere subordinates who cannot do without men. The critics of gender stereotypes in America describe the following five hegemonic features of masculinity: frontiersman ship, heterosexuality, occupational achievement, familial patriarchy, and physical force and control (Trujillo 4). The advent of the 20th century led to sweeping changes in American masculinity.
“Boys will be boys, and girls will be girls”: few of our cultural mythologies seem as natural as this one. But in this exploration of the gender signals that traditionally tell what a “boy” or “girl” is supposed to look and act like, Aaron Devor shows how these signals are not “natural” at all but instead are cultural constructs. While the classic cues of masculinity—aggressive posture, self-confidence, a tough appearance—and the traditional signs of femininity—gentleness, passivity, strong nurturing instincts—are often considered “normal,” Devor explains that they are by no means biological or psychological necessities. Indeed, he suggests, they can be richly mixed and varied, or to paraphrase the old Kinks song “Lola,” “Boys can be girls and girls can be boys.” Devor is dean of social sciences at the University of Victoria and author of Gender Blending: Confronting the Limits of Duality (1989), from which this selection is excerpted, and FTM: Female-to-Male Transsexuals in Society (1997).
In this paper I will be sharing information I had gathered involving two students that were interviewed regarding education and their racial status of being an Asian-American. I will examine these subjects’ experiences as an Asian-American through the education they had experienced throughout their entire lives. I will also be relating and analyzing their experiences through the various concepts we had learned and discussed in class so far. Both of these individuals have experiences regarding their education that have similarities and differences.
According to Human Sexuality in a World of Diversity 's gender role is a “learned role by observing behaviors of their parents, peers and media” (Rathus, Nevid, & Fichner-Rathus, 2014, p. 25). Research shows how gender roles in America have evolved and have changed over the last centuries, although there could be many reasons for this change I will examine some causes for the change in gender stereotypes. The following topics were studied during my research: Increased technology and access to internet, violence and explicit content in video games, movies and television shows resulting in gender stereotypes. In addition, the media can have a large influence on societies perception on how women and men are should look like which are sometimes
In our world today every country has their own set of avowed and ascribed identities for it's population. An avowed identity is one a person gives to themselves, a woman might say she’s a sister or a wife. The opposite of that is an ascribed identity, or how society sees someone. For example, a rich person could be perceived as a snob. To ascribe someone with an identity is to judge them based on societal norms. The entertainment industry in America is no different then it's parent culture. Both men and women in this industry have identities placed on them, and they change based on their career. Women are given more negative ascriptions than men in the media. That is how Americans identify people they read about, with the identities the media gives them. Women are more negatively perceived that men in the music and fashion industry because of their ascribed identities in the media, and gender roles in our nation.
According to Kimmel, the earliest embodiments of American manhood were landowners, independent artisans, shopkeepers, and farmers. During the first decade of the nineteenth century, the industrial revolution started to influence the way, American men thought of themselves. Manhood was now defined as through the man’s economic success. This was the origin of the “Self-Made Man” ideology and the new concept of manhood that was more exciting, and potentially more rewarding for men themselves. The image of the Self-Made Man has far reaching effects on the notion of masculinity in America. Thus, the emergence of the Self-Made Man put men under pressure. As Kimmel states,
power and the ability to lead. In American culture women must act like men to gain positions of
Common expectations seem to indicate gender roles on every individual. The males will play their part in being masculine while the females act an as object. There are several ways one can see how gender roles are played. A way is through hip-hop and rap music in the black community. Joan Morgan, an African American feminist and hip-hop and rap music fan, shows us how gender roles are being played in her community through music. Since Morgan is a feminist, she voices her opinion on the way black men treat black women in her article, “From Fly-Girls to Bitches and Hos.” Morgan states her argument that black men write lyrics ranting about black women to give a self-reflection. The males feel oppressed and express it through music. There are many reasons a male can feel oppressed, whereas one reason is becoming masculine. Michael Kimmel, a sociologist professor at Stony Brook University and the author of “‘Bros Before Hos’: The Guy Code” states that guys tries their best to show that they are manly. To clarify on how the men portray their oppression is to sing of misogyny and self-hatred in disguised hatred toward women. Men expressing their oppression through music tie the guy code of acting masculine and Morgan’s view of men feeling oppressed. Morgan describes black men express their oppression by objectifying black women sexually in music. Jean Kilbourne, the author of “‘Two Ways a Woman Can Get Hurt’: Advertising and Violence” and an activist on advertisement based on public health problems and violence against women agrees with Morgan on women being sexually identified. Kilbourne and Morgan connect to Kimmel by showing how males are seen to be masculine and females are soft and emotional. Morgan’s claims, in “From Fly-Girls to Bi...
Transnational influences for Korean soft masculinity include Japanese colonialism and metrosexual masculinity. The colonialism from 1910 to 1945 was seen as a crisis for masculinity. Following World War II, Japanese products like music, film and manga were banned in Korea. After President Kim Dae Jung took the office in 1998 the bans relaxed and later abolished. The introduction of Japanese manga has influenced the idealized male character with its kind and gentle leads. Boys over Flowers is a perfect example because it was originally a Japanese manga. The popularity of the beautiful actors was originally based on Japanese beauty. The contemporary metrosexual man focuses more on his appearance. This man is generally well-groomed, well-dressed and well-mannered and he does not feel as if he needs to repress his feminine side.
Gender has been around throughout history; however, within recent years, gender has separated itself from the traditional view of sex, e.i., male or female, and has become centered on ones masculinity or femininity. Of course gender is more than just ones masculinity or femininity, gender has become a way for one to describe, he or she, in a way in which they are different from everyone else. Gender has turned into a sense of identity, a way for one to feel different and fulfilled among all of those around them. Of course gender’s sense of freedom would seem outside of structure and only affected by one’s own agency, however, structure is a key component in establishing gender. We can look into both ethnic Mexican’s culture practices regarding sexuality, children songs and games, and see that cultural traditions still heavily influence gender, creating what is masculine and what is feminine and what is the role of each gender, as well as challenging the notions that gender is solely based on agency.
Masculinity and femininity are two terms, which have been interpreted differently throughout history. Both the males and the females have responsibilities and duties but these duties differ based on one’s gender. Gender has played a prodigious role in the economy, politics, and the society. Everyone starts making interpretations of the strengths and weaknesses based on one’s gender. These interpretations are not always based on his or her ability but is usually based on his or her gender. Males tend to be judged as extremely strong and unfashionable in terms of appearance. Whereas, females are judged as expensive and very fashionable. Males and females both differ in their abilities and their enjoyments. Fashion, entertainment, and strength are three topics, which are used to define masculinity and femininity in the 21st century.