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Stereotypes in comedy
Representation of women in comedy sitcoms
Representation of women in comedy sitcoms
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Dating and romance are nebulous, universal concepts, and are therefore very common subjects for dialogue. This makes them perfect themes for comedy, as they provide the opportunity to highlight humorous differences apparent in men and women. In recent years, however, one popular attitude towards relationships has emerged, namely the “the friend zone.” This refers to the situation a person (typically male) finds himself in when a friend rebuffs his attempts at sex or romance. The label of “the friend zone” is a frame for this predicament, which is only humorous from the perspective of the “friend-zoned,” when it is actually a very narrow-minded and demeaning concept. When a television show, film, or comedian presents a similar relationship, and categorizes it as “friend-zoning,” women are portrayed in a negative light, and the relationships between men and women are grossly skewed. The comedic concept of “the friend zone” only promotes sexist and degrading gender roles.
Before analyzing the comedic content in question, it is important when drawing on a variety of sentiments from comedians to understand that many performers use a character or parody for their humor. Others choose to voice opinions and views contrary to their own, in the hopes of receiving a certain reaction from a specific audience. In referring to the material of writers and comedians, one must respond to the beliefs they promote (which can be known), rather than those they espouse, which cannot.
The concept of difficulties arising in opposite sex friendships has long-standing roots in comedy. Take for example, in 1974, Richard Pryor broke ground in comedy, by discussing taboo topics (including women’s sexuality) extremely bluntly. The divisions drawn by Pryor t...
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...stand-up formula, “men are like this, women are like this.” It seems that there are certain unchangeable and permanent systems in place. Just as comedy has the power to solidify these assumptions, it also has the opportunity to force an audience to reconsider the reasoning behind the concepts we apply to dating. This is the central reasoning behind my creative piece, which seeks to make an audience realize how backwards this way of thinking can be.
I chose to present my creative piece in the form of a stand-up, as that is the format in which the issue was popularized. If discussing the sexual differences of men and women leads to successful comedy, why shouldn’t lampooning the sexist attitudes of men be just as effective? The first part of the stand-up routine is mostly making fun of comedians (and people in general) who complain about being in “the friend zone.”
Klumas, Amy L., and Thomas Marchant. “Images of Men in Popular Sitcoms”. Journal of Men’s Studies 2.3 (1994): 269. ProQuest. Web. 27 Jan. 2014.
The world enjoys pigeonholing both men and women. It can be exhausting living in our judgmental society, where there is an expectation for each gender to fit into a rigid box of stereotypes. That is why, when Dave Barry is given the negative stereotypical question, “‘Why do men open a drawer and say, ‘Where is the spatula?’ Instead of, you know, looking for it?’” (1), he goes into a ranting frenzy. Barry responds and challenges this negative question in his column, on February 4, 1999, by writing the essay, “From here on, let women kill their own spiders”. Dave Barry utilizes the rhetorical devices of sarcasm, anaphora, and hyperbole to prove that is is pointless and ludicrous to create platitudes and stereotypes about each gender.
Comedy often allows for a subversion of the status quo that is not tolerated in more serious genres. Beginning in the 1930s, the subgenre of screwball comedy presented female characters who were active and desiring, without evoking negative characterizations as "unfeminine" or "trampish." Screwball comedies represent a specific form of romantic comedy that features a complicated situation--or more often a series of complications--centered around a strong-willed, unpredictable female. The comedy is generally physical as well as verbal. Screwball and other forms of romantic comedy do not just reverse the masculine/active, feminine/passive paradigm--which as E. Ann Kaplan notes accomplishes little in terms of change--but instead strengthens the female and weakens the male just enough to put them on more equal footing.
As young men grow up, they would generally learn and integrate within a box of codes which shows them how to be a man, known as the Guy Code. The Guy Code is a set of rules prevalently applied among men groups about how a man behaves with other men and his girlfriend. It mainly teaches guys to be dominant, aggressive and fearless. In Michael Kimmel’s “ Bros Before Hos: The Guy Code”, he indicates that men disguise their emotions and inner beings to be like a man, particularly among their peers. It imposes a consciousness that timidity is not a characteristic that men should have.
Sexism can have many negative impacts on the way women view themselves, research was conducted and it showed that when exposed to modern sexism, women expressed negative self-directed emotions. Modern sexism exposure also resulted in stereotypical self-presentation, where in contrast, women who were exposed to old-fashioned sexism displayed less self-defeating behavior. This research concluded that women were more likely to stand up and defend themselves against the old-fashioned gender stereotypes, but let the modern day expectations defeat them (Ellemers & Barreto, 2009).
Many critics have attempted definitions of Black Humor, none of them entirely successfully. The most significant recurring features of these definitions are that Black Humor works with: absurdity, ironic detachment4; opposing moral views held in equipoise, humanity's lack of a sense of purpose in the unpredictable nuclear age, the realization of the complexity of moral and aesthetic experience which affects the individual's ability to choose a course of action5; and a playing with the reader's ideas of reality6.
...ve begins generating rumors for male peers who do not qualify as a stereotypical male. For instance, Olive pretends to have sex with a male peer during a popular house party (Gluck, 2010). This imaginary hook-up benefits the male peer’s bullying dilemma. Again, gender policing occurs between men when masculinity is questioned (Kimmel, 2008). “One survey found that most Americans boys would be rather be punched in the face than called gay” (Kimmel, 2000, p.77). The gender police govern Olive’s and the male peer’s status in social standings. America’s obsession with sex disregards if a girl truly sleeps around.
Communication is a vital component of everyday relationships in all of mankind. In plays, there are many usual staging and dialogue techniques that directors use to achieve the attention of the audience. However, in the play, “Post-its (Notes on a Marriage)”, the authors Paul Dooley and Winnie Holzman use both staging and conversation in order to convey the struggles of modern relationships. The play is unconventional in how it attempts to have the audience react in a unique way. The authors use staging and conversation to portray to the audience that there are complex problems with communication in modern relationships.
The Bro Code: How Contemporary Culture Creates Sexist Men. Dir. Thomas Keith. Media Education Foundation, 2011.
Kimmel, Michael. “ “Bros Before Hos”: The Guy Code.” Rereading America: Cultural Contexts for Critical Thinking and Writing. Colombo, Gary, Robert Cullen, and Bonnie Lisle. 9th ed. Boston: Bedford of St. Martin's, 2013. 464. Print.
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.
Comedy differs in the mood it approaches and addresses life. It presents situations which deal with common ground of man’s social experience rather than limits of his behaviour – it is not life in the tragic mode, lived at the difficult and perilous limits of the human condition.
Sproull, L. and Kiesler, S. (1986). Reducing social context cues: Electronic mail in organizational communication. Management Science, 32, 1492-1512.
We decided long ago that the Male Chauvinist Pig was an unenlightened rube, but the Female Chauvinist Pig has risen to a kind of exalted status. She is post feminist. She is funny. She gets it. She doesn’t mind cartoonish stereotypes of female sexuality, and she doesn’t mind a cartoonish macho response to them. The FCP asks: Why throw your boyfriend’s Playboy in a freedom trash can when you could be partying at the mansion? Why worry about disgusting or degrading when you could be giving – or getting – a lap dance yourself? Why try to beat them when you can join them? (267).
Ferrell’s films and his comic fame certainly raise stimulating thoughts within a grander discussion of contemporary masculinity, sexuality, and social politics. The majority of his films, present idiotically archaic varieties of “normative” masculine conduct and in nearly every case, Ferrell’s humor develops completely on devaluing and growing these gender norms. He instills both earlier and existing representations of manliness with both a juvenile approach and comedic tendency to go over the top, thus discrediting these stereotypes and opening them up for ridicule.