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Media and gender ideologies
Women in a patriarchal society
Female in mass media
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Recommended: Media and gender ideologies
The Transformation of Women in a Male Dominated World
An Analysis of “Mr. Robot” and “Game of Thrones”
It can be argued that the consequences of patriarchal ideologies on society forces women to change the way they interact in positions of power. “Mr. Robot” is a drama about hackers, written in a time when producers are notorious for taking liberties to make the mundane, time-consuming work of hacking appealing and attractive to a jaded audience. However, since its debut, “Mr. Robot” has earned much praise for its creator Sam Esmail’s devotion to accuracy and his dedication to its realistic handling of technology, but one underappreciated aspect of the show is how “Mr. Robot” treats its female characters, as well as how it analyzes the kind
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of traditional masculinity often valorized in antihero dramas.
In a radically different world, “Game of Thrones” takes place in a medieval land, where kings, queens, lords, ladies, warriors, knights, servants, priests, priestesses and prostitutes all play a role in a political battle of wills, but its hard to ignore the harsh reality of life for women in Westeros. Both shows depict the struggle of women navigating their way through a male dominated world and the lose of their morals and virtues along the way. (Thomas)
In “Mr. Robot” one of the lead female protagonists is Angela Moss. She is Elliot’s best friend, working alongside him as a cyber security worker at one of the largest businesses in America. She is a tall and beautiful blonde and her physical appearance sways the audience’s first perception of her. She is not only cunning, but defiantly resilient. She endures intense sexism at her workplace. When Angela discovers a scandal at her job, she meets
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with the top of the company. When she tries to figure out a deal with the boss, she is brutally degraded and even sexually harassed. True realization for Angela sets in. She knows she can never make it as a woman in this job unless she starts playing dirty. Her only option now is to become ruthless, becoming an anti-hero, beating the men at their own game. Angela eventually ends up getting offered a reputable upper-level job at the company because of her new fierce identity. Because Angela’s morals have been compromised, she commits very questionable acts to gain status and power. A woman who is completely complex and represented in a tv show is not the tv norm. Angela’s character exposes how sexism and patriarchy in the workplace ultimately force women to decide between two extremes: giving up their dignity or throwing away their morality. The show argues that a patriarch forces many women to give into the system or become inhuman and evil. This system offers no true victory for any woman. Mr. Robot is a feminist work because it represents Angela as a complicated character who is not always likeable, yet the audience is still always rooting for her. Mr. Robot also uncovers a much larger truth about the detrimental and toxic effects sexism has on women. (Cruz) Similarly, Cersei from “Game of Thrones” struggles with sexism in a medieval fantasy world with dragons and the undead. Cersei is far from a feminist character. However, she is a compelling character to examine from a feminist perspective, because her entire life and even much of her personality is a reflection of the misogynistic ways of Westerosi society. She's an aggressively ambitious woman who has had to fight against preset limitations her whole life, and who has been made bitter and cruel as a result. She is the only Lannister child with ambition, unlike her brothers. She is the only one who wants success and power, the only one after the throne, and yet she is the one that the world is least likely to taken seriously. Cersei is used as a political pawn by her father throughout her whole life. Though she considers herself to be almost the same person as her twin brother, she has been treated differently since birth. Much like Sansa, she dreamt of marrying Rhaegar and being queen and mother to his princes, of being loved and respected, but her dreams are destroyed by the harsh reality of life for women. She is sold like cattle to a man who does not want her, who beats her, who wants nothing do with her, and all for her father's political gain. Although she is determined to make the best of her situation and play her way to the top, she is incredibly bitter and full of wounded pride, and it feeds into every aspect of her character. Another note to make is the same shared attitude that both Angela and Cersei have towards other women.
Their experiences do not make them sympathetic to women, with the mentality that if they survived and manipulated and came out on top, then other women must as well. The more power Cersei gains, the more vulnerable she feels, and she sees enemies in every shadow. She has been playing the game of manipulation her entire life, and she knows that everyone is waiting for the chance to beat her. The truth is she has been playing the game, and become so paranoid, because she is a woman. Not because women are naturally more inclined towards manipulation and other sneaky means, or any such nonsense like that, but because these are the only paths to power she has available to her. She must use her brains, and beauty, and her manipulative schemes and puppeteering to fulfil her pursuit for power, because if she ever went for the direct approach she would be shoved aside. (William
Clapton) This is the way a woman has to play the game to be competitive, yet this is not considered proper behavior for a “good kind of woman”. No good path is available to either Angela or Cersei, so they make the best of what they have, dwelling on their pride and vindictiveness to survive. A great example was given at the end of “A Dance with Dragons”, where Cersei is punished for her crimes. (Thomas) Accused of crimes against the gods, her punishment by humiliation had her stripped naked and made to walk through the streets to show her weakness. It is a very gender specific punishment, designed to punish her for the fact that she is a defiant woman. The punishment is less about delivering justice and more about putting her in her place and making her see that she has no power compared to other male forces. Despite her struggles and her triumphs, she is always a woman first, and that is always something people will find a reason to hate her for. It is a harsh but realistic reflection of the struggle women face in today’s society, having to play dirty to win a cheated game, coping with the horror and frustration of being seen as less than human by our male counterparts, and the paranoia that goes along with being put in your place at every turn we make towards equal rights. It may seem like a picture made for television but perhaps it is more real than some people are ready to believe.
During the medieval ages, women were described as evil creatures that would destroy anyone standing in their way to get what they want. People claimed that women's malicious intentions clouded their judgment from doing the right thing forcing them to be selfish. In Chaucer's The Canterbury Tales and Malory’s The Death of King Arthur, both focus on women’s behavioral impulses through their dishonesty, manipulation, and their promiscuity.
Traditional female characteristics and female unrest are underscored in literary works of the Middle Ages. Although patriarchal views were firmly established back then, traces of female contempt for such beliefs could be found in several popular literary works. Female characters’ opposition to societal norms serves to create humor and wish- fulfillment for female and male audiences to enjoy. “Lanval” by Marie De France and “The Wife of Bath’s Tale” by Geoffrey Chaucer both show subversion of patriarchal attitudes by displaying the women in the text as superior or equal to the men. However, “The Wife of Bath’s Tale” also incorporates conventional societal ideas by including degradation of women and mistreatment of a wife by her husband.
Over the course of time, the roles of men and women have changed dramatically. As women have increasingly gained more social recognition, they have also earned more significant roles in society. This change is clearly reflected in many works of literature, one of the most representative of which is Plautus's 191 B.C. drama Pseudolus, in which we meet the prostitute Phoenicium. Although the motivation behind nearly every action in the play, she is glimpsed only briefly, never speaks directly, and earns little respect from the male characters surrounding her, a situation that roughly parallels a woman's role in Roman society of that period. Women of the time, in other words, were to be seen and not heard. Their sole purpose was to please or to benefit men. As time passed, though, women earned more responsibility, allowing them to become stronger and hold more influence. The women who inspired Lope de Vega's early seventeenth-century drama Fuente Ovejuna, for instance, rose up against not only the male officials of their tiny village, but the cruel (male) dictator busy oppressing so much of Spain as a whole. The roles women play in literature have evolved correspondingly, and, by comparing The Epic of Gilgamesh, Sir Gawain and the Green Knight, and The Wife of Bath's Prologue, we can see that fictional women have just as increasingly as their real-word counterparts used gender differences as weapons against men.
...that so much of the discourse is centered on women within fictional workplace sitcoms like The Mary Tyler Moore Show, Murphy Brown, 30 Rock, and Parks and Recreation, I will examine how gender stratification in the fictional realm is a reflection of the real life gender stratification that continues today. I will examine case studies by reputable scholars that reflect gender preference of the people in positions of power at work as well as the reasons why. I will also review scholarly journals that discuss the expectations of gender roles, and how women are shamed or stigmatized for succeeding at tasks that are generally assumed to me masculine. This section will offer an explanation as to why successful, career oriented; females in positions of power are still preferred to stay within traditional gender roles, whether it is in real life or reflected on television.
Don Draper, the protagonist of the show, is emotionally isolated yet narcissistic, trapped in a suffocation of his own ego. Yet he seems to be the most liberal when it comes to serious female contribution in the workplace, although continues to sexualise those who haven’t proved their worthy capabilities to him. He is able to view Peggy and Joan as women who have alternative purposes than to please his sexual desires. Despite this modernist ‘transition’ of observing woman in a new light, he is still the one who gets to make the decision of what use each female character is to him. The male characters expectantly possess the dominating role within the show, as they did in 1960s society. In Mad Men, everyone chain-smokes, every executive starts drinking before lunch, every man is a chauvinistic pig, every male employee viciously competitive and jealous of his colleagues, with the endless succession of leering junior execs and crude jokes and abusive behaviour. (Mendelsohn, 2011, 5) The men are consumed within the competitive environment of the advertisement agency, adultery, drinking and smoking just accessories to the life-style of the alpha male. The female characters are ultimately more complex because they have less freedom.
Game of Thrones is a fantasy piece, set during the medieval times, which takes place in a country called Westeros. Although it is set in a different time and place than where we are today, the show still has the same constructs, and built by the same fabrics that define our gender roles here in America. This show is a great example of gender roles, and what happens when people follow these rules or stray from them. Taking an in depth view of the season one opener, “Winter is Coming” helps reveal many of the social constructs not typically thought of that build our daily lives. This episode also portrays that gender roles are not just dependent on sex, but on social class, and physical characteristics.
In the Middle Ages, the roles of women became less restricted and confined and women became more opinionated and vocal. Sir Gawain and The Green Knight presents Lady Bertilak, the wife of Sir Bertilak, as a woman who seems to possess some supernatural powers who seduces Sir Gawain, and Geoffrey Chaucer’s The Wife of Bath Prologue and Tale, present women who are determined to have power and gain sovereignty over the men in their lives. The female characters are very openly sensual and honest about their wants and desires. It is true that it is Morgan the Fay who is pulling the strings in Sir Gawain and the Green Knight; nevertheless the Gawain poet still gives her a role that empowers her. Alison in The Wife if Bath Prologue represents the voice of feminism and paves the way for a discourse in the relationships between husbands and wives and the role of the woman in society.
This essay explores the role of women in Homer's Odyssey, James Joyce's Ulysses (1922) and Derrick Walcott's Omeros (1990), epics written in very different historical periods. Common to all three epics are women as the transforming figure in a man's life, both in the capacity of a harlot and as wife.
While neither Machiavelli’s The Prince nor Shakespeare’s Henry V focus explicitly on gender roles, they both make assumptions and implications sufficient to illustrate their opinions about the nature and place of women in relation to men. In Machiavelli’s The Prince, men and women are depicted in traditional gender roles with women as tricky and unreliable, but ultimately yielding to men who are portrayed as tough and immovable. Shakespeare’s Henry V acknowledges these ideas, but also portrays women as able to influence events within the small domain they are given.
It is very common for several TV shows or movies to reflect real life society, depending on what genre. Game of Thrones, a TV adaptation of George RR Martin’s A Song of Ice and Fire series depicts our society very well; despite the fact that it takes place in a fantasy medieval-like land, called Westeros. This show puts an emphasis on both gender and sexuality, with men being dominant in that society while women are often referred to as the inferior. It also includes several double standards for men and women and comprises compulsory heterosexuality. The show also heavily focuses on class and social stratification: the differences between two of the main classes in the
In Feminism and Fairy Tales, Karen E. Rowe asserts that “popular folktales” have “shaped our romantic expectations” and “illuminate psychic ambiguities which often confound contemporary women.” She believes that “portrayals of adolescent waiting and dreaming, patterns of double enchantment, and romanticizations of marriage contribute to the potency of fairy tales” makes “many readers discount obvious fantasy elements and fall prey to more subtle paradigms through identification with the heroine.” As a result, Karen Rowe contends “subconsciously women may transfer from fairy tales into real life cultural norms which exalt passivity, dependency, and self-sacrifice as a female’s cardinal virtues suggest that culture’s very survival depends upon a woman’s acceptance of roles which relegate her to motherhood and domesticity.” It is undeniable that numerous folk tales implant male chauvinism into women’s minds and thus convey an idea that woman should obey and depend on men. However, Rowe neglects the aspect that many other folk tales, on the contrary, disclose the evil and vulnerable sides of man and marriage and thus encourage women to rely on their own intelligence and courage other than subordinating to man. The Fairy tales “Beauty and Beast” and “Fowler’s Fowl” challenge Rowe’s thesis to some extent and exemplify that some fairy tales motivate women to be intelligent and courageous and to challenge patriarchy.
The context in which the show is set is argued to to have an influence on the depiction. It takes place in Medieval Europe, although a fantasy version. Martin detailed on how the book and series reflects the patriachal society, "The Middle Ages were not a time of sexual egalitarianism. It was very classist, dividing people into 3 classes. And they had strong ideas about the role of women." The argument in relation to sexism in Game Of Thrones is not simplistic. The show has been widely critisized for its frequent nudity and sexual violence against women. Despite the critique, some of the strongest characters on the show are female. In the sense that they are often rebelling against the systematic and hegemonic abuse of the society. Brienne of Tarth defies the typical gender roles in the society. When introduced to the series, it is not made immediately obvious what gender Brienne Of Tarth is; she is a skilled swordsmen, having bested Jamie Lannister and self admitted rapist Sendor Clegane, who perfers chainmail to silk. Arya Stark is similar in taking up an interest in sword fighting from a young age and despite later losing most of her family, she is nobodys ' victim. In addition to that, Danerys Targaryean is one of the most iconic characters on the show, who is female. She was first introduced as a victim as she was sold into a warlord 's marriage bed, but however, she ended up outliving him and conquering numerous cities that were previously involved in slave trade. Cersei Lannister is a complex character that also challenges the patriachy. She is incredibly power but being female seems to stand in her way at every turn. She tells Sansa once that she could not understand how when she and Jaime were children, he got to go off and be a knight whilst she was stuck learning how to sing, curtsey and please. It is interesting as to how she responds to this; Cersei
...present powerful characters, while females represent unimportant characters. Unaware of the influence of society’s perception of the importance of sexes, literature and culture go unchanged. Although fairytales such as Sleeping Beauty produce charming entertainment for children, their remains a didactic message that lays hidden beneath the surface; teaching future generations to be submissive to the inequalities of their gender. Feminist critic the works of former literature, highlighting sexual discriminations, and broadcasting their own versions of former works, that paints a composite image of women’s oppression (Feminist Theory and Criticism). Women of the twenty-first century serge forward investigating, and highlighting the inequalities of their race in effort to organize a better social life for women of the future (Feminist Theory and Criticism).
Oprah Winfrey, Diane Sawyer, and J.K. Rowling are some of the most influential and powerful people in America. These women are known for how they exude their confidence and independence. This is contradictory to how women were perceived during the Renaissance. The women of this time period were given no rights and had no power to do anything. In Shakespeare’s The Merchant of Venice, the female characters are presented as strong women, who are not confined to the ideal woman position of the Renaissance and serve as independent characters.
Throughout time and across many cultures, women have had the lowest status in society. In a patriarchal world, women have consistently been viewed as weaker and inferior to men. As a result, it is no surprise that men have found themselves in places of power and admiration. However, this does not mean that society completely neglects the impact of women; in Greek lore, women take on passive yet important roles, weaving the destinies and doom of many men and earning themselves a reputation as banes of manipulation and deception. Negative as that portrayal may seem, other societies have defined the roles of their women differently. Anglo-Saxons also flaunted the heroics of their men, as exemplified