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Media representation of women
The effect of the media on gender roles
Ideas of feminist criticism
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On Feminism and Postmodernism
It seems fitting that the 'marriage' of feminism and postmodernism is one fraught with both difference and argument. The fact that these disagreements occur within the realm of the intellectual undoubtedly puts a wry smile on the face of either party. While feminism and postmodernism share several characteristics, most notably the deconstruction of the masculinised western ideology, feminism chooses to place itself within the absolutism of the modernist movement. While feminism argues for the continuation of the subject/object dichotomy, aiming largely to reverse the feminine position of the latter to the former, postmodernism would have the modernist movement deconstructed in its entirety, including all such metanarratives.
Postmodernism also champions the fragmented self, the idea of a unitary 'whole' existing only within a fictitious reality. This idea is one which feminism has taken up in recent years. In this era of postfeminism, new avenues are being sought to spread the ideals of feminism and the potential of possible vehicles, such mass media, are being realised. However, when using mass media, such as television, in such a fashion, the intellectualizations of the highbrow modernist/feminist movements have been largely stripped away, leaving little but an easily digestible skeletal foundation.
The aim of such a method is to target a younger demographic than traditional critique would usually focus upon. The television program Buffy the Vampire Slayer is such a vehicle, presenting feminism in a postmodern form 'for the masses'. While this works to reveal an 'acceptable', albeit feminist, perspective of gender and identity, following such an avenue problematises both feminism and ...
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..."Vampires, Postmodernity and Postfeminism: Buffy the Vampire Slayer", Journal of Popular Film and Television, vol. 27, no. 2, Summer 1999, pp 24 - 31.
Vint, Sherryl, "'Killing us Softly?' A Feminist Search for the "Real" Buffy", Slayage, The On-line International Journey of Buffy Studies, http://www.slayage.tv/essays/vint.html, accessed 15/4/2002, 9.05 am.
Whedon, Joss, Audio Commentary: Buffy the Vampire Slayer, Season One, Welcome to the Hellmouth & The Harvest DVD, 2001.
Wilkinson, Sue ed., Feminist Social Psychologies: International Perspectives, Open Universities Press, Buckingham, 1996.
Filmography:
Smith, Charles Martin, Welcome to the Hellmouth, Buffy the Vampire Slayer, Episode 1.1, 1997.
Kretchmer, John T., The Harvest, Buffy the Vampire Slayer, Episode 1.2, 1997.
Whedon, Joss, The Gift, Buffy the Vampire Slayer, Episode 5.22, 2001.
At first glance, Joss Whedon's "Buffy the Vampire Slayer," the hour-long TV series which premiered in 1997 and is now in its third season, bears little resemblance to the book which started the vampire craze -- Bram Stoker's Dracula, published a century earlier. And yet, looks can be deceiving. Although the trendy -- and often skimpy -- clothing and bandied about pop-culture references of "Buffy" clearly mark the series as a product of a far different culture than that of the Victorian England of Dracula, the underlying tensions of the two texts are far similar than one might think. Beneath the surface differences in the treatment of their heroines, the two texts converge in similarly problematic anxieties about gender and sexuality.
Blechner believes that if we change the metaphors, change the stereotypes, the reality can be changed. So, when Angel becomes an angry and vengeful vampire, it won’t be a comparison to men and their masculinity, but instead an expression of what happens to him when he gets too excited. And Buffy will understand that she does not need to dress a certain way to please her man. She should only be pleasing herself. Brown’s theory also reflects the same idea as Blechner’s theory. Brown believes that if the stereotypes of sexual orientation are dismissed, and looked into with a much less biased view, that a new reality will form in the study of human behavior. Buffy, The Vampire Slayer is a metaphor for the beliefs and views (on gender roles and identity) of our society and culture in today’s world. But it also presents a metaphor for what the future should bring into how we (as a society) see males and females, and their behaviors with each other and within themselves, without the wall of stereotypical beliefs that are preventing both sexes as a whole from “slaying the demons and the vampires”.
A theoretical perspective or paradigm is a set of ideas that attempt to guide your thinking and explain viewpoints. Within the field of sociology, there are many paradigms. These include structural-functionalism, social conflict, feminism, symbolic interactionism, and postmodernism. As a female who appreciates a viewpoint outside of the standard male outlook, my favorite theoretical paradigm is feminist theory.
23 May 2014. http://www.npr.org/2013/02/21/172093214/karen-russells-vampires-deserve-the-raves>. The "Vampires in the Lemon Grove summary and reviews." BookBrowse.com - a great place to find books. N.p., n.d. Web.
Buffy the Vampire the television series first aired in 1997, based on its 1992 movie staring Kristy Swanson written by Joss Whedon. The Television series aired its first episode titled “Welcome to the Hellmouth” and we are introduced to a scene of misdirection, a young woman wondering the new high school with a young man who clearly has some intentions he is wanting to express. We immediately make the assumption that he is the vampire looking for blood, very quickly it is revealed that it was she, Darla, who was the danger and with this curve ball the idea of strong women and female empowerment begins. With a new high school, and new characters particularly Sarah Michelle Gellar as Buffy Summers, Nicholas Brendon as Xander Harris, Alyson Hannigan as Willow Rosenburg and Anthony Head as Rupert Giles. We are delivered the foundations for characters and story very smoothly and packed with information within the first fifteen minutes. We know at this point we are seeing a collection of themes that will become very important to popular culture and spawn an ever growing collection of fan fiction and spin-offs, cosplay, discussion and social commentary as topics for study.
Throughout much of recorded human history, people have written tales of the dead returning to life, usually to trouble the living in some way. These traditional myths have progressed from ancient superstitions, to campfire ghost stories, to television shows such as Joss Whedon's Buffy the Vampire Slayer. In the series, vampires are created from the dead victims of other vampires (as long as a certain rite is performed during the victim's death). After a time they rise from their graves and immediately seek to kill and drink the blood of the living. Creatures such as these are, as Lacan [give first name when you first mention someone] describes them, "between the two deaths" and live again only to fulfill insistent, mechanical drive. This drive, often centered on killing, vengeance, or some other quest for closure, is distinct from desire in that it is not "caught up in dialectical trickery" (Zizek 21). According to Zizek [ditto], normal desires are not always what they seem, for when we desire something, we may be seeking something else entirely (21). Most of the vampires in Buffy the Vampire Slayer fit Lacan's profile of between the two deaths, and, as one might expect, they are antagonists to the protector of the living, Buffy. However, in the musical episode "Once More, with Feeling," Whedon explores two protagonists who are also between the two deaths, each struggling to revert back to their prior state of being, but both in a different situation. One of these characters, Spike, once fit the archetype of the vampire, but now faces difficulty as he is forced to cope with normal dialectical desire in order to exist in the civilized, symbolic world. The other, Buffy, fulfilled the death drive when she sa...
How would you like to go over 100 mph and make a living doing it? The event I am researching is NASCAR. NASCAR is which a multibillion dollar industry they race 1500 races a year in 39 states and 100 tracks. NASCAR is the 2nd most watched sport in the United States. The major race series they are the sprint cup series, nationwide series, and the camping world truck series. NASCAR is the largest sanctioning body of stock car racing in the United States. NASCAR headquarters are located in Daytona Beach Florida.
Blasingame, James, Kathleen Deakin, and Laura Walsh. Stephenie Meyer: In the Twilight. Lanham: Scarecrow Press, 2012. Print.
Not to confuse a cult from that of religion because they are different. Religion is an organization of people who are there for a purpose of serving something, however, they are free to have an opinion and thought, free to information, family is encouraged, and clergy are expected to be leading the group as their mentor. In a cult families are broken apart, the members are limited to the information available, and they are expected to not have a voice or opinion other than that of the leader. (Cult Hotline and Clinic)
The word “feminist” has caused turmoil wherever it is uttered. It has gained a negative connotation, and is often mistaken with misandry. While these claims may be true for a minimal number of feminists, the truth is that in order to get an accurate representation on what feminists actually believe one would have to go to the source. The two main problems with that, are that first of all, it is “not rigidly structured or led by a single figure or group”, and most importantly there is not just one kind of feminism, there are hundreds in each aspect of our life (Tavaana, 2014). The most under represented group within feminism is the kind that is in the government. Not all have the same theories, and therefore, do not have the same beliefs. However what we do know is that, whatever theory they have, or agenda they follow, they are all fierce promoters of gender equality.
The report consists of five parts. The first part is feminism by analyzing the story of “A good man is hard to find”, this part will mainly focus on the characters’ features and their behaviors as well as their change to support my points. The second part is about Existentialism, through analyzing the symbols and the theme of the story “A perfect day for bananafish” to find their underlying meaning. The third part is analyzing “A good man is hard to find” as well, and it’s mood to support the theory of Post-colonialism. And the next is conclusion and reference.
William Shakespeare's tragic play, Macbeth shows the gradual descent of the character Macbeth into the moral abyss. Macbeth's yearning for power draws him to the murder of King Duncan, Banquo, and Macduff's family. It is difficult to understand how a courageous, gentle man such as Macbeth, could be involved in such villainous activities. In truth, it was the witches and Lady Macbeth that transformed into evil Macbeth's natural desire for control and authority. The play, Macbeth clearly illustrates that wicked intention must, in the end, produce wicked action.
Parpart, Jane and Marchand M. (1995) “Part one: Exploding the canon: an Introduction/Conclusion”, in Marchand, Marianne and Parpart, Jane (eds) Feminism Postmodernism Devlopment, London; New York: Routledge: 1-23.
The first studies relating to gender portrayal in the media developed in the 1950s with the introduction of Second Wave Feminism (Boyle, 2005). Mass media was a main concern for Second Wave feminists due to its oppressive illustrations of women in different genres. The subject of gender misrepresentations is still relevant in contemporary media studies. In 2011, a documentary dealing with the stereotypical r...
Feminism is a movement that supports women equality within society. In relation to film, feminism is what pushes the equal representation of females in mainstream films. Laura Mulvey is a feminist theorist that is famous for touching on this particular issue of how men and women are represented in movies. Through her studies, she discovered that many films were portraying men and women very differently from reality. She came up with a theory that best described why there is such as huge misrepresentation of the social status quos of male and female characters. She believed that mainstream film is used to maintain the status quo and prevent the realization of gender equality. This is why films are continuously following the old tradition that males are dominant and females are submissive. This is the ideology that is always present when we watch a movie. This is evident in the films from the past but also currently. It is as if the film industry is still catering to the male viewers of each generation in the same way. Laura Mulvey points out that women are constantly being seen as sexual objects, whether it is the outfits they wear or do not wear or the way they behave, or secondary characters with no symbolic cause. She states that, “in traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote it-be-looked-at-ness.”(Mulvey pg. 715). Thus, women are nevertheless displayed as nothing more than passive objects for the viewing pleasure of the audience. Mulvey also points out through her research that in every mainstream movie, there is ...