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Portrayal of gays in media
Stereotypes in characters
Stereotypes in characters
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Let us journey back to two years ago as I stroll down the crowded hallways of my high school. Accompanying me to my next class is my best friend of four years, whom I have spent nearly every waking minute with since the day our paths crossed. Arriving just as the bell begins to scream ferociously, he pats me on the back and smiles, “Have fun, man! Love ya!” and we hug. One of our peers walks past us and snickers to my teacher, “Give them a minute; they’re bromancing.” The significance behind my interest in this topic stems from not only years of ridicule and rumors over my assumed affair with my best friend, but also from intensive observation regarding these particular bonds in the media. While various renowned aspects of popular culture are keen in their attempts to glorify male bonding and heterosexual “bromances,” the representation of these relationships ultimately comes off as slightly ludicrous, derisive, and usually has homophobic – and, at times, even misogynistic – nuances.
First off, “bromance” is, in itself, an entirely derogatory term. Many individuals have come to understand this phrase to “describe the complicated love and affection shared by two straight males” (“Bromance” def. 1.) As one would expect, the operative word in this exclusive definition is “straight,” which must be accentuated, because the very idea of having two men platonically profess their love for one another is obviously too futuristic and unconventional, right? It is for this very reason that this underscores the “phenomenon of straight panic” (Chen 2012), a decades-old heteronormative discomfort with the thought of being associated with the LGBT community. These concocted notions of relationships not only revolve around subtle – and, often, not...
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...rustration and the audience has no other choice but to root even more for Jason Segel and Paul Rudd’s relationship, which, in all of its heteronormative glory, has taken precedence over everything else.
Pop culture’s demonstration of “bromances” typically mirrors society’s backward views, in that males with extremely close relationships are constantly put into situations permeated with instances of derisive homosexual undertones for comedic effect. These portrayals and the manner in which the characters handle such situations actually blight the importance of male bonding that these various media try to uphold and ultimately further male heterosexism, homophobia, and purposefully exclude women from the equation entirely. It is time to squash the overly complicated notions surrounding bromances and represent male friendships in a respectful, non-discriminatory manner.
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.
In Kimmel’s essay “’Bros Before Hos’: The Guy Code” he argues that the influence of society on masculinity is equal to or greater than biological influences on masculinity. In the essay, Kimmel uses various surveys and interviews to validate his argument. He points to peers, coaches, and family members as the people most likely to influence the development of a man’s masculinity. When a man has his manliness questioned, he immediately makes the decision never to say or do whatever caused him to be called a wimp, or unmanly. Kimmel’s argument is somewhat effective because the readers get firsthand accounts from the interviewees but the author does not provide any statistics to support his argument.
‘Lad flicks’ or ‘lad movies’ is a type of film genre that emerged in the late 1990s. They are defined as a “‘hybrid of “buddy movies”, romantic comedies and “chick flicks”, which centre on the trials and tribulations of a young man as he grows up to become a ‘real man’. ‘Lad flicks’ respond in part to the much-debated ‘crisis in masculinity’” (Benjamin A. Brabon 116). This genre of film explored what it meant to be a ‘real man’ in the twentieth century and in order to do so, they would have to grow up and leave their juvenile ways behind to enter the heterosexual world. Gender relations in ‘lad flicks’ portray masculinity as a troubled, anxious cultural category hiding behind a humorous façade and also rely greatly on a knowing gaze and irony. The two ‘lad flicks’ that will be analyzed are The 40-Year-Old Virgin (Judd Apatow 2005) and Role Models (David Wain 2008).
It is often found that the stereotypical “butch” and “femme” pairing are more visible than other lesbian relationships. However, this does not mean that they do not exist. The ever-growing popularity of the lesbian social sphere has symbolized both difficulties and effects of identifying with such a label. The label or identity itself, though distinctly separating lesbians from “normal” heterosexuals begins to exhibit pre-existing conflict experienced by gay males: “there’s always been something wrong (Aldrich, 38).” This quote implies the conditioned and ingrained belief that homosexuality’s “taboo” existence was more than just wrong, but distasteful and something that society should look down upon for being an “abnormality.” Sometimes, this social reality for lesbians made it hard for them to “come out the closet” and be visible. This experience is exemplified as “The repressed lesbian has a harder time of it, for she is less aware of her abnormality (Aldrich, 41).” Additionally, to be able to clearly and accurately identify “the lesbian is to meet the many women she is at close range; to see her against her various backgrounds, hear her sundry voices, and familiarize yourself with the diverse facades of her several lives (Aldrich, 42).” Here, the presence of the “double life” is demonstrated to further analyze the lack of privileges that the lesbian community had, including the social aspect of their
1. In Riseman and Seale’s chapter Betwixt and Be Tween, they focus on how sexual identity can be used to police a male’s masculinity. It can start with something as innocent as a shy, quiet boy who starts to be picked on because he is no assertive or aggressive like the other males. The way he is picked on can be the other boy’s called him a: faggot, gay, homo, or boy lover. This means at a young age boys start to think they have to be a certain way to seem manly: assertive, enjoy sports, and be better than girls in all aspects; these are just a few ways boys try to prove their masculinity. One example that proves this was discussed in this chapter. Some students, both male and female, are given a hypothetical situation about a boy, Marcus,
Author Steven Seidman writes that “it is the power of the closet to shape the core of an individual's life that has made homosexuality into a significant personal, social, and political drama in twentieth-century America “(38). Those that are homosexual tends to tell lies and play deceitful silly games just to appease family, coworkers and a few dear old friends. They feed into the prejudices and fears about homosexuality. In Angels in America, many of the characters are homosexual, and the truth about their sexual preferences comes out. Kushner shows us the difficult struggle that often precedes a gay person’s acceptance of her or his identity, and the ways in which one’s ability to enact this identity is dependent on the acceptance of others.
The average America watches more than 150 hours of television every month, or about five hours each day (“Americans,” 2009). Of the 25 top-rated shows for the week of February 8-14, 2010, six were sitcoms, averaging 5.84 million live viewers each (Seidman, 2010), to say nothing for the millions more who watched later on the Internet or their Digital Video Recorders. The modern sitcom is an undeniable force in America, and its influence extends beyond giving viewers new jokes to repeat at the water cooler the next day: whether Americans realize it or not, the media continues to socialize them, even as adults. It may appear at first glance that sitcoms are a relatively benign force in entertainment. However, the modern sitcom is more than just a compilation of one-liners and running gags. It is an agent of gender socialization, reinforcing age-old stereotypes and sending concrete messages about how, and who, to be. While in reality, people of both sexes have myriad personality traits that do not fall neatly along gender lines, the sitcom spurns this diversity in favor of representing the same characters again and again: sex-crazed, domestically incompetent single men enjoying their lives as wild bachelors, and neurotic, lonely, and insecure single women pining desperately to settle down with Prince Charming and have babies. Sitcoms reinforce our ideas about what it is “normal” to be, and perhaps more importantly feed us inaccurate ideas about the opposite sex: that women are marriage-crazed, high-maintenance, and obsessed with the ticking of their biological clocks, while men are hapless sex addicts whose motives can’t be trusted. The way that singles are portrayed in sitcoms is harmful to viewers’ understanding of themselves...
Homosexuality has existed since the beginning of recorded human history and yet, attitudes towards gay and lesbian individuals vary extensively. Some societies tolerate them; others openly welcome and encourage them; and most blatantly condemn them (Bates, 46). Throughout our country’s history, homosexuals have been misunderstood and discriminated against, leading many to acquire an irrational fear of gays and lesbians. Known as homophobia, this fear has prompted heterosexual individuals with a feeling a superiority and authority when using the word “homosexual” interchangeably with the words pervert, faggot, sodomite, and so on. Homophobes typically perceive homosexuality as a threat to society. Nonetheless, the Gay Rights Movement has achieved impressive progress since 1973 when the American Psychological Association (APA) eradi...
In J.R.R. Tolkien 's novel The Hobbit, male friendship is a major theme that exists throughout the text. Male individuals form special bonds with one another through loyalty and support. Even in the warlike setting through the whole of the novel, characters who otherwise couldn 't be friends find a common ground and are able to form a friendship and become dependable. In the Fandom, the importance of these male characters retaining their friendships is relevant everywhere in art, fan fiction, and blogs. However since there are a lack of female characters in the text to create a romantic connection with, fans often sexualize the relationships from the novel. Regardless of how the fandom changes the roles of the relationships, male companionship
The Bro Code breaks down the establishment and encouragement of sexism into four “steps” that society uses to form sexist men (Keith). These steps are: “1. Train Men to Womanize, 2. Immerse Men in Porn, 3. Make Rape Jokes 4. Obey the Masculinity Cops”(Keith). Thomas Keith begins by addressing the fact that he grew up in this “bro culture” and that men today are continually taught to have the same mentality that Keith had when he was younger. However, he claims that “bro culture” has changed and has become a more “dangerous sexist” (Keith). Our culture continually promotes this behavior through music, television and media, all which tell men that in order to be successful and true men they must be rich, strong and surrounded by women.
“Everybody’s journey is individual. If you fall in love with a boy, you fall in love with a boy. The fact that many Americans consider it a disease says more about them than it does about homosexuality”. -James Baldwin. In his impressionable quote Baldwin voices the prominent yet tacit unacceptance of Homosexuality. Baldwin indicates that homosexuality or queerness in America is equated to an incurable disease or illness has been a conventional theory that it reveals an attitude of intolerance within American society . This widespread notion has held an augmented presence most notably in the African American community.(Crawford et al. 2002:179-180). In a thorough yet, animated analysis of Floyd, Ayana Mathis reviews popular receptions of Homosexuality and Queerness in the African American community. The characterization of Floyd unveils the ostracization that homosexual Black men face which generates a deceptive performance of hypermasculinity. This false performance is displayed through masking emotion and unveiling an attitude of contempt for anything dearth to the ideology of masculinity while perpetuating Homophobia.
Migliaccio (2009) addresses that it is commonly believed men are less trusting and honest in a friendship, but the relationships usually examined are male and female. In male friends, the other feels that it is not just the fact they are men that need to be taken into account, but the impact of gender roles that also play a role. In the study, Migliaccio (2009) examines friendships between men in occupations typical of their gender such as military and nontraditional such as a hairdresser. Being masculine is described as “being stoic, both physically and emotionally” (Migliaccio, 2009, p.228) which impacts friendships. In male friendships, it is also explored that men avoid being perceived as feminine. Another factor, Migliaccio (2009) considers is either a man works with more females rather than males. “In short, women and men experience and define intimate friendships in different ways, and neither should be judged by the standard of the other” (Migliaccio, 2009, p.229). It is determined that gender is not as much of a factor as gender roles are in male friendships. This article will provide evidence for the impact of the male gender versus gender roles within the theme of masculinity. It examines many factors that go beyond gender as well as the lens these relationships are viewed through
The 1990s saw surge of gay characters in both television and movies. From Ellen Degeneres and her character Ellen Morgan coming out under much scrutiny on the TV show ‘Ellen,’ to Julia Roberts and Rupert Everett comedically playing off each other in the motion picture ‘My Best Friend’s Wedding.’ Sure, gays and lesbians have been around forever, especially in Hollywood. But never has there been a time to be more out. With the popularity of shows like Will and Grace, which feature leading gay characters, as well as Dawson’s Creek and it’s supporting character of teenager Jack McPhee, we are slowly seeing gay and lesbian characters creeping into the mainstream media.
Gender is a socially constructed phenomenon, and how acceptable one’s relationship is determined by society’s view of gender roles. Because the majority of the population is characterized as heterosexual, those who deviate from that path are ...
middle of paper ... ... Works Cited Adam Sharpiro, Megan Schultz, Christina Roush, Cassandra Schofar, Emily Shilling, Tawnia Simpson, Natalie Sampiller. Portrayal of Homosexuality in Media. 26 March 2014 http://www.bgsu.edu/departments/tcom103fall2004/gp16.pdf>. Huegel, Kelly.