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The unrealistic media image of sexuality
History of sexuality in media
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In her essay, “Embodying Subaltern Memory: Kinesthesia and the Problematics of Gender and Race,” Cindy Patton argues that Madonna’s cultural appropriation of Afro-Caribbean drag queen kinesthetics (and said community’s restylization of extensively choreographed posing for the fashion elite, of which Vogue belongs) perpetuated and reinterpreted the “memories of resistance” (Patton …) from the civil rights revolution exploding from the Stonewall riots, although in a necessarily muted form. Patton describes Madonna’s video as an example of “cultural imperialism” (86) in which Madonna co-opted voguing from black and Latino drag queens who used the dance-form which confronts the “realities of intragroup violence among men… Vogue is a ‘challenge’ …show more content…
It opens a physical space—on the dancefloor— to facilitate kinesthetic dialogue regarding “important material for the reconstruction of histories for subalterns [in this case, Black and Latino drag queens] coming to grips with their pace in their new nation” (89). Furthermore, it exposes a dichotomy between Madonna’s plead for the ‘freedom of movement’ as she sings, “‘Just let your body free’” (94) and the ‘framed,’ “stylized movements in fashion shows” (95).
In this context, Madonna’s “Vogue” video restylizes a strict, gendered physicality into a representation of the significant nuclei of cultural change within the distinct homosexual Afro-Latin community—a community which exists as an “oppositional identity” (87) in juxtaposition with the rigid definitions of appropriate gender expression. This both redefines and reinforces the
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The audience becomes privy to everything Farrah was forced to give up to take care of her new baby, including cheerleading, friends, and a love life, to her stormy relationship with her mother, a first date and a fight with Cole—a ‘kid’ who was ‘totally cool with people having a kid,’ in Farrah’s words—after he sees another girl over the weekend (Teen Mom S. 1 Ep. 1). Amber is shown at home with her partner, Gary, taking care of their newborn daughter, going to lunch with a friend, and visiting a doctor to receive prescriptions for anti-anxiety medication and anti-depressants. Catelynn and her partner, Tyler, discuss the adoption of their daughter and the return of Tyler’s father (and Catelynn’s stepfather) from prison. Maci is shown planning her wedding to her current beau and father of her child, Ryan, as he leaves her to take care of their child on a month long business trip to Kansas. The chapters last a few minutes each, often layered with shots of the infants over the off-screen screaming matches the girls’ have with their parents, their friends, or their significant
Queen Latifah played a big role in the hip hop industry as a female MC, and still is relevant to this day. She influenced millions of people especially in the black community for equality between women and men. She’s an American song-writer, actress, fashion producer, model, female MC, feminist, television producer, record producer, and talk show hostess. The Hip-hop culture began around the 1970’s in Bronx, New York and it was mostly amongst the Black and Latino community at that time. Hip Hop emerged out of an atmosphere of disappointment, anger, hate, discrimination, and disillusionment which; made it easy for the audience to comprehend and enjoy the music not as a song, but as a public personal message for each person to understand. Hip-hop was born in numerous places: in the neighborhoods, in the parks, playgrounds, bedrooms, bathrooms, a broken home, and even on the street corners. MC-ing and DJ-ing were at the center of this emerging culture, but hip-hop was always bigger than just the music, it was also break dancing and graffiti. The hip-hop fashion was very popular back then and some materials are coming back in today’s fashion as well: kangol hats, big bright jackets, gold jewelry chains, brand name sneakers like Adidas, established sportswear, tracksuits, large eyeglasses, big waist belts, jumpsuits, and any kind of over-sized clothing. The graffiti was a new form of expression that employed spray paint as a story on walls as the canvas. The police called that vandalism; but the people of hip hop called it art: a form of self-expression. Hip hop has been largely dominated by male artists, but there have been some notable exceptions. Queen Latifah was one of the few early female exponents of the styl...
Women have spent a large amount of time throughout the 20th century fighting for liberation from a patriarchal form that told them that they must be quiet and loyal to their husbands and fathers. For the duration of this essay, I will be discussing how the “Modern Woman” image that appeared through the Art Deco style — that emulated ideas such as the femme fatale and masqueraded woman, and presented new styles to enhance women’s comfortability and freedom — is still prevalent and has grown in contemporary art and design since. Overall I will describing to you how fashion, sexuality, and the newly emerged ‘female gaze’, and how these tie in together — in both periods of time — to produce what can be described as powerful femininity.
In The Venus Hip Hop and the Pink Ghetto, Imani Perry argues that the over-sexualized, unattainable bodies of black women in popular culture will lead to the breakdown of feminism and the positive body image of the everyday black women. As hip hop music continues to become more popular, the sexist messages presented in lyrics and music videos are becoming more common to the everyday public, including young black girls developing a self-image. Instead of these girls being exposed to healthy, positive role models who encourage individuality and that there is more to a woman than her body they are given hip hop video models whose only purpose is to look sensual on screen. The strong women that do exist in the hip hop genre are pushed to sexualize themselves or their lyrics to sell records or stay relatively unknown. Although Perry’s arguments are logical, I believe that she is creating a slippery slope of logic. A genre of music cannot destroy the self-image of black women that has existed for generations.
The White Male Fantasy of Total Recall After saving the planet from a ruthless dictator and barely avoiding death on the hills of Mars, Douglas Quaid (Schwarzenegger) puts a final spin on Total Recall with his final lines: "I just had a terrible thought. What if this is all a dream?" This last statement by Quaid leaves the audience pondering the question of reality, wondering what truly was 'real.' By the end of the film, one could easily argue a whole realm of possibilities: The events were all real; they were all a dream; they were the Recall implant fantasy played out; or they were the Recall fantasy gone haywire. In addition, the film seems to reject imperialism and the domination of white males, also rather postmodern in ideology.
Ramsay, B. (2000). Dance theory, sociology, and aesthetics. Dance Research Journal, 32(1), 125-131. Retrieved from http://www.jstor.org/stable/1478286
Cox’s work is exactly the type of discussion that is needed to move the discourse on black women’s bodies from being regarded as part of a stereotype to being regarded as individuals with beautiful differences. This is not a ‘re-mirroring’ of the ‘un-mirrored,’ but rather a creation of a new image, void of previous misconceptions but filled with individuality. The stereotypes concerning black women’s bodies needs to be abolished, not reinvented like Hobson suggests in “Venus in the Dark: Blackness and Beauty in Popular Culture.”
No other artist has ever made as extended or complex career of presenting herself to the camera as has Cindy Sherman. Yet, while all of her photographs are taken of Cindy Sherman, it is impossible to class call her works self-portraits. She has transformed and staged herself into as unnamed actresses in undefined B movies, make-believe television characters, pretend porn stars, undifferentiated young women in ambivalent emotional states, fashion mannequins, monsters form fairly tales and those which she has created, bodies with deformities, and numbers of grotesqueries. Her work as been praised and embraced by both feminist political groups and apolitical mainstream art. Essentially, Sherman’s photography is part of the culture and investigation of sexual and racial identity within the visual arts since the 1970’s. It has been said that, “The bulk of her work…has been constructed as a theater of femininity as it is formed and informed by mass culture…(her) pictures insist on the aporia of feminine identity tout court, represented in her pictures as a potentially limitless range of masquerades, roles, projections” (Sobieszek 229).
[6] Cohen, Selma Jeanne. International Encyclopedia of Dance: A Project of Dance Perspectives Foundation, Inc. New York: Oxford UP, 1998. Print.
Jonas, Gerald. Dancing: The Pleasure, Power, and Art of Movement. New York: Abrams, 1992. Print.
The mammalian brain contains several different memory systems, which can be divided into declarative and non-declarative memory systems. Declarative memory can be further divided into episodic and semantic memory, and non-declarative memory can be divided into priming, associative learning, and procedural memory.
To understand the concept of recovered memories and their validity, we must first understand to an extent how memory works. The Medial Temporal Lobe is the name we give to structures in our brain necessary for memory, this mainly includes the hippocampus, however the amygdala and the frontal lobe also play important roles. The hippocampus is where our long-term memories are stored in the brain, with age this becomes more dysfunctional. The amygdala and frontal lobe both work to encode our memories into our brain, however the frontal lobe also maintains agendas, refreshes and rehearses information, aids in resisting distraction, and directs our attention to certain features (2). When we think of our memory we like to think we remember everything
Although this film is a highly romanticized story of a single mother rising to the title of “Dancehall Queen,” it gives an accurate portrait of the atmosphere of a Jamaican dancehall, as well as capturing the independent, strong spirit of Jamaican women. “Too many young girls in Jamaica feel trapped by dirty old men who convince them that life offers no alternatives but a future in bed with them,” explains the film’s writer and editor Suzanne Fenn. “The sub-plot in “Dancehall Queen” might be unpalatable but it’s based on a prevalent reality.”
Channeling the depth, gloom, and misery of Lowe’s photograph, the models were washed in a haze of smoke and piercing spotlights. Toward the end of the show, some raised their fists in a symbol of defiance for black power, while West lead the performance for over an hour. He effectively contrasts two contradictory events: a high-end fashion show and a refugee camp. A juxtaposition of models parading a designer’s new line, above hundreds of black models, crowded in on the floor. To the eye, a sea of people draped in warm, distressed earth tones shockingly resembles a refugee camp.
The mistaken recollection of information or the recollection of an event that never happened is known as a false memory (Rajagopal & Montgomery, 2011). The study of false memories has been of interest to cognitive psychologists (Otagaar, Smeets & Scoboria, 2013) for many years as it implies that human memory is vulnerable to the influence of external information, it also implies that our ability to recall events may not always be accurate. One major issue that has arisen with the research on false memories is the argued validity of eyewitness testimony (Wade, Green & Nash, 2011). Eyewitness testimony is the verified report made by someone who witnessed a crime (Wade et.al., 2011). False memories can interfere with the correct recollection of criminal offences which can potentially result in inaccurate accusations of a crime (Wade et.al., 2011). Researchers have been interested in studying false memories to develop a better understanding of how false memories work, and to what extent our memories can be assumed accurate (Jou & Flores, 2013).
Sex has always been a controversial matter in American society. Before the 1980’s, those that openly articulated their views about sex were thought of as promiscuous and perverse, unless they were male. Perhaps, that is why the aura of Madonna stirred raving controversy across America. Fiske notes that her image was not a “model meaning for young girls in patriarchy, but a site of semiotic struggle between the forces of patriarchal control and feminine resistance, of capitalism and the subordinate, of the adult and the young (Fiske 282).” Never before had a woman presented herself so provocatively yet so comfortably.