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<p>Gender roles are learned and entrenched by media. Watch the following analysis of children’s toy commercials and gender roles by Anita Sarkeesian.</p>
<p>The statistics and findings in this video (as with most examples in this module) come from an American context, but the ideas behind them can be considered in the European realm as well.</p>
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<p dir="ltr">Media often offers a wider array of male characters than female ones, portraying a greater variety of masculinities, while limiting the representation of femininity. In her 1991 essay “The Smurfette Principle”, Katha Pollitt uses children’s cartoons, another medium shaping young people’s views on gender, as an example: Oftentimes there is only one female character as part of a group that is otherwise male.</p>
<p dir="ltr">“Boys are the norm, girls the variation; boys are central, girls peripheral; boys are individuals, girls types. Boys define the group, its story and its code of values. Girls exist only in relation to boys.”</p>
<p dir="ltr"><a href="https://www.nytimes.com/1991/04/07/magazine/hers-the-smurfette-principle.html" target="_blank">https://www.nytimes.com/1991/04/07/magazine/hers-the-smurfette-principle.html</a></p>
<p dir="ltr">This also leads to a more diverse definition of what masculinities are or what defines the individual characters, while the lone female character is often defined by her gender. As Jeffrey A. Brown argues in <em>Beyond Bombshells</em> (2015), the Smurfette Principle is not limited to children’s programming, but a lot of ensemble cast in genre film and television adhere to a similar pattern, in which a lone female character is part of a larger group that is otherwise exclusively male. Consequently, gender representations of female characters are fewer in number and often tend to be more monolithic. Oftentimes, female characters as part of ensemble casts are either defined by conforming to gender norms, e.g. when playing the seductress or the decoy for the team, or by a complete break with standard definitions of femininity, e.g. Vasquez (Genette Goldstein) in <em>Aliens</em> (1986), who is asked at one point: “Have you ever been mistaken for a man?”</p>
<p dir="ltr">In her seminal essay “Visual Pleasure and Narrative Cinema” (1973), Laura Mulvey argues that the gaze in cinema, especially mainstream cinema, is always a male one. She identifies three ‘looks’ in cinema, namely the viewers’ look at the screen, the camera’s look at the characters and the intradiegetic looks of the characters. All of these looks are connoted as male and active, so that active women characters are either punished for their activity (e.g. the femme fatales of film noir) or are fetishized and fragmented. According to Mulvey, women in the audience are forced to identify with the male gaze structuring cinema. Only subversion can change the regime of the male gaze in movies, she argues. Building on Mulvey’s theories, it can be argued that mainstream cinema usually functions from a male, heteronormative perspective regarding gender roles.</p>
<p dir="ltr">In order to better understand gender and representation on screen, it is worth looking into the foundations of gender theory. At its most basic, “gender” is a social construct as opposed to the biological aspect of “sex”. While “sex” is defined by the bodily markers of genitalia, “gender” is constructed and negotiated within society. As the examples by Sarkeesian and Pollitt show, gender roles are often learned at an early age, identifying certain looks, tastes, activities etc. as either “male/masculine” or “female/feminine”.</p>
<p><strong>Assignment:</strong> Think of things that are considered typically “male” or “female”. Then consider the ways in which films use those in order to code and summarize certain characters. Also think about why these stereotypes can be highly problematic. Take 10 minutes, write a paragraph on your thoughts and post it in the forum.</p>
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