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Portrayal of women in media effects
The effect of media on women's self image
Portrayal of women in media effects
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Her video installation of Semiotics of the Kitchen 1975, reflects a female subject within a parody of cooking shows that address the implications of a traditional role. Semiotics of the Kitchen, a sort of bizarrely witty six-minute black-and-white video from December 1974 (dated 1975), was one part of a large body of work in several media that she could take on the questions of women, society, and art through the medium of food and the culture of food preparation and consumption. The video is a real of anger and aggravation produced through a loud and rowdy demonstration of some hand tools in the traditional kitchen. This performance reinforces and present our sense of individuality and identify the place of what a traditional place
In the etching, most of the people are unaware of the others. At the center, a partially dressed woman raises her arms and leans forward as if to display her body; in the foreground, another woman is reaching out to the clothesline, and right above her head shows a male figure’s silhouette, facing the windows across away. “Its subject is certainly voyeurism, but who is the voyeur? The man on the roof, the artist, the picture's viewer, or all three?” ( Zurier, 281) Looking at the work, it is hard to determine who is the spectator and who is being spectated, as the relationship between them is intricate and interactive. Here, Sloan not only portrays his observation, but also critiques the action of urban watching
Originally the narrator admired her father greatly, mirroring his every move: “I walked proudly, stretching my legs to match his steps. I was overjoyed when my feet kept time with his, right, then left, then right, and we walked like a single unit”(329). The narrator’s love for her father and admiration for him was described mainly through their experiences together in the kitchen. Food was a way that the father was able to maintain Malaysian culture that he loved so dearly, while also passing some of those traits on to his daughter. It is a major theme of the story. The afternoon cooking show, “Wok with Yan” (329) provided a showed the close relationship father and daughter had because of food. Her father doing tricks with orange peels was yet another example of the power that food had in keeping them so close, in a foreign country. Rice was the feature food that was given the most attention by the narrator. The narrator’s father washed and rinsed the rice thoroughly, dealing with any imperfection to create a pure authentic dish. He used time in the kitchen as a way to teach his daughter about the culture. Although the narrator paid close attention to her father’s tendencies, she was never able to prepare the rice with the patience and care that her father
Curtis’s work represents the ideological construction of foreign cultures in the 'way of seeing' that is suitable for the audience of the photograph and the photographer. This illustrates the highly political motives of photograph, carrying multiple meanings in order to craft certain imaginations of the subject (Berger, 1972). As a result of the power that the photographer has on its subjects, certain messages and ‘way of seeing’ are depicted through photographs. For instance, expected gender roles are played out in photographs of the Indian subjects, portraying the expectation of Curtis and his audience of the masculine and feminine behaviour by the subjects conforming to such gender standards (Jackson, 1992). Indian men are captured in what Jackson (1992) describes as ‘active poses’, such as fishing or dancing, juxtaposed with the ‘passive poses’ of female subjects, photographed in more decorative postured of waiting and watching. Though it can be argued that the manipulation and selection of images by Curtis as an artist’s ‘creative manipulation’ of their work, Curtis’ photography was used as a scientific measure, and hence should be devoid of such influences (Jackson,
It was expected of women to get married, have children, buy a suburban home and do housework. The video, “A Word to the Wives” displays what Betty Friedan calls, “the feminine mystique”. The video presents the dilemma of a woman who is not happy because she does not have the newest house. Her friend has all the new “necessities” in order to successfully complete housework. Women were defined by what they had, not by who they were. Friedan’s research found that despite fulfilling the “feminine mystique”, when women were questioned they realized they were not truly satisfied with their life. The woman in the video would not of been fulfilled by buying a new house, or object. Women were deprived of the need to put their skills and talents to a purpose. The video, “Are You Popular” also shows the expectations of women.. It promotes that appearance, serving others, and rewarding men with “women” gifts such as baking is how to be popular. It condones girls for “parking in cars” but accepts men who do the same thing. Women must earn the approval of men, and men must earn women by doing thing women are “incapable” of. The repression of women in the 50’s is what eventually causes the “outbreak” of feminism in the 60’s. The idolism of the “female mystique” covered the sexism against women in the
...ighted by the director’s choices in cinematic elements. Although food and cooking are often associated with the oppression and generalization of Hispanic women, Like Water for Chocolate captivates an empowering view of women using intimate elements such editing, lighting, and setting in order to bring focus to the power of the food. The editing constantly brings attention back to the food. The setting reminds the viewer that the food impacts every aspect of the film. The lighting highlights the importance of the food over every other element. Every aspect of this film is aimed to show that the Hispanic woman, even in her typical role is a strong and central figure in the Hispanic culture. There is power in her life and everyday jobs that has a great impact on everyone around her, which is the precise thought that this film conveys and makes apparent to each viewer.
Symbolism is carried out through the pages of Yasmin Crowther’s novel The Saffron Kitchen. Crowther’s novel is about a women named Maryam, her daughter Sara along and her husband Edward who live in England; one day a tragic incident happens in Maryam’s family that leads her to feel guilty enough to leave to her hometown in Mazareh, Iran. Throughout this story secrets and childhood memories come forth. One unique symbol that is brought up throughout the novel is the red book, which contains poems in English. The red book was given to Maryam when she was younger by a boy named Ali; Ali was a young boy who was working for Maryam’s family. Throughout this story we are shown that this red book is very important to Maryam and one can see that it symbolizes relationships, memories, and a connection with the outside world.
Marge Piercy is an American novelist, essayist, and poet best known for writing with a trademark feminist slant. In "What's That Smell in the Kitchen?" Marge Piercy explores the way women are sometimes held in low esteem by men through the eyes of a tired housewife who has had it with her monotonous day- to-day duties. In this poem, it is not stated that the speaker is a homemaker, but the reader is told about one woman in particular who is meant to express the feelings of women as a whole. The author conveys this central idea through imagery, figurative language, and devices of sound.
In conclusion, Julia Child’s experiences display all that can be done when people do not give up. Although she was often excluded in her cooking classes, she did not quit. Creating a French cookbook for Americans was not an easy task either, but she did not back down. Trying to publish her cookbook and having to deny requests from their original publisher was definitely painful. But, her thick skin, endurance, and principle all payed off when the first edition of Mastering the Art of French Cooking finally hit the shelves.
Woman qua meat is a reiterated conceit”. There is a great deal of truth to Cornyetz’s criticism of women being metaphors for meat and vice versa. Jane herself pitched the “Wife of the Week” featured in the show as “appetizing…the Meat Made Manifest: ample, robust, yet never hard to digest” (Ozeki, 8.2). The show’s goal is to promote masculine American beef to female Japanese consumers (Chiu). In My American Wife, women are relentlessly being linked to meat and Cornyetz also goes further to suggest that they are being linked to “capital – as objects for (male) sexual consumption”. This expansion of Cornyetz’s argument is important since it highlights the depiction of both meat and women in a pornographic light and represents the insinuation of a fractured America (Chiu, 112.1); as “appetizing” (Ozeki, 8.2).
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).
Glaspell authored this feminist short story, now considered a classic and studied in many institutions of higher education, in 1917, a story that underwent reawakening in the 1970s (Hedges). As the investigation of Mr. Wright’s murder takes the sheriff of Dickson County, neighbor Mr. Hale, and their wives to the Wright farm, the story “confines itself to the narrow space of Minnie’s kitchen--- the limited and limiting space of her female sphere. Within that small space are revealed all of the dimensions of the loneliness that is her mute message” (Hedges). It is evident through Glaspell’s writing that Minnie Wright feels distress from being trapped in the confines of her kitchen with no telephone and no outreach to the world outside her husband’s farm. Mrs. Wright being quarantined to her own home every day--- a common occurrence in housewives of ...
Julia Child tried to keep herself occupied in France but couldn’t find anything she loved to do. Finally she decided to take a class at Le Cordon Bleu for cooking. She did not like the treatment she was getting in the women’s only class. ...
Visually, this translates into some specific structural rules that the film makers have implemented in the dressing of the Ratatouille kitchen and technically the kitchen becomes organized spatially as to what occurs in each location (like in the soup area, meat grill, fish grill and etc.) which creates a sense of visual understanding in the audience while watching the
Using bright colors and subjective mood, Robert Grilley’s 1967 oil painting, the Pink Lady, depicts a man and a woman casually standing before an intensely colored background. Now exhibited at the Chazen Museum in Madison, WI, this stylized work of art conveys a fantastical, almost trippy quality of a 1960’s cocktail party and gives the viewer a sense of unease and glamour. This painting highlights two figures standing close to one another while adverting their eyes and gazing somberly away from one another. While both smoking, the two people play into their gender stereotypes as the man is dressed in a bright blue suit, and the woman in a vibrant pink cocktail dress. During the 1960’s when the painting was created, gender roles were both simultaneously being held to their traditional standards, as well as starting to push against the predetermined boundaries. Grilley’s characteristic color palette, the adverted gaze, and placement of the hands serve as symbols that deal with the complexity of gender norms and sexuality. By decoding these symbols, the painting promotes voyeurism, and encourages the viewer to dissect the role of women and their bodies. Because of its use of iconography, this painting when examined under gender theory, comments on the stereotypical gender roles and how
Works of Sophie Calle has appeared in several media across the US and Europe (Yve-Alain Bois, 1). Her works have been described to leverage on the use of constraints which is reminiscent of the French literary cult Oulipo of which she was a member. Sphie’s works are are a reflection of her personal life, where she tries to create a link between her intimate moments and her art (www.egs.edu). Sophie employs a unique and unconventional form of photography that has made her standout in the art circles. Her natural tendency to be contentious has made her works what they are. From mode of execution to exhibition Sophie marks a different role for her kind of work.