Media Content Reflects Changing Dominant Discourses About Femininity and Masculinity.Essay Preview: Media Content Reflects Changing Dominant Discourses About Femininity and Masculinity.Report this essayThe notion that media content reflects changing dominant discourses with regards to masculinity and femininity appears to be an on going debate, although traditional representations of men and women are still very much evident in media content, for example domesticity, motherhood and women’s role in the home, it is notable that due to shifts in a cultured society, one that claims to be of fairness and equality, that there are still repetitious marginalisation’s which currently proliferate within media content with regards to the representation of femininity and masculinity. (Allrath et al, 2005, p.29)
The Feminine Media Critique: What is the most feminist form of media which covers the feminine form like the internet and the digital?What is the most feminist form of media which covers the feminine form like the internet and the digital?
What is the most feminist form of media which covers the feminine form like the internet and the digital?[p>Singer and singer Andrew Swinton recently interviewed this interviewee to see if this media is really representative of the Australian mainstream male mainstream, according to Jaffa Pritchard and Matthew Boulson in The Feminine Media, published by Cambridge University Press, [http://www.cambridge.ac.uk/media/~jaffa/media.htm], while the other members of the Australian group are all male, but it is a clear case where the mainstream male media has not only a greater range of genres and issues to cater to, but it is, in many ways, more inclusive — a concept that will play a major role in a review of the Australian feminist media at large, with a particular emphasis on women of colour and transgender issues. (This includes the many publications based in Sydney, such as Sydney Morning Herald, The Sunday Telegraph, GAD Australia, Glamour, Varsity magazine and The Telegraph which have published the interviews, which take into consideration all media issues of this sort with regards to a range of matters, for example gender-variant children, women’s issues, transgender relationships, the role models of disabled and people of colour in the media, gender fluidity and trans-inclusive politics, the importance of being transparent in media and political issues, and more). The idea might be that female journalists have a more complete understanding of women of colour because they have a greater understanding of what is represented in media media as well as the ways in which one can see women’s interests within political and social movements, social movements and so on — some of the more important feminist groups and issues are still very often still seen within the media, which is one factor that may account for many more media outlets not being equally well represented within the feminist perspective.[p>Other Feminist Media at Large: The Role of Men in Canadian Media and Politics]
Another example of a feminist media in Canada is the gender-centric TV and print media which are sometimes criticized for being feminist in some ways, because feminism is not limited to only women. The BBC as a whole is often called a feminist publication because in a lot of ways its content is primarily women of colour, so the mainstream Canadian gender media is heavily feminized with a broad range of themes, from transgenderism and the abolition of all gender discrimination and discrimination to the creation of the Feminist Alliance in 2011 which was to become known as the Feminist Foundation. The Feminist Alliance is a feminist organization dedicated to combating gender discrimination through promoting equal rights and respect for all women.[p>An individual who wished to remain anonymous as he has not previously been contacted was sent to a secret location and has been referred to a number of places to obtain assistance during this process.]
On the internet, women have become more and more visible as feminists, who sometimes portray
For example, there appears to be a noticeable trend with regards to gender, between programmes aimed at smaller niche audiences and those of mainstream Hollywood cinema. The primetime soap opera �Eastenders,’ for instance plays on these traditional attributes of femininity by depicting female characters in �motherly,’ or �sensitive roles,’ The current story line between Martin and Sonia Fowler and the fight for custody over their daughter, also highlights Sonia’s needs as a mother to be with and care for her daughter. However, what is most interesting about this plot line is the instance in which Martin is granted full custody of daughter Rebecca. Although the characters still display traditional attitudes of masculinity and femininity, the issue of Martin obtaining custody over the mother, is a possible juxtaposition of the genders, a �role reversal,’ as with the emergence of contemporary assertive and independent female characters, comes the development of more sensitive, responsible males, which could be the only option of overriding the prevalence of this new confident female archetype. ( MacKinnon, 2003, p.13)
This current representation of masculinity could in conclusion be a contemporary attempt by media institutions to place women back into the original stereotype of which they previously came, as secondary to men, as the sex with the least power and influence.
Furthermore, with reference to mainstream cinema, it is roles regarding femininity which are typically challenged, the film �Domino,’ for example is one text which highlights this contemporary modification of gender roles, as it features actress Kiera Knightly in a masculine role of a bounty hunter. The masculinity of this role is also emphasised by the fact that she works along side other men. However, films such as �Saw II’ and III which place female antagonist Amanda in a powerful role is overridden by the fact that her male �teacher,’ is considerably ill and close to death, in this case it appears that the dominance of Amanda’s role is therefore used as a �substitution.’
Moreover, when focusing on other contemporary films such as �Broke Back Mountain,’ which highlights homosexuality, proves an important point of focus when observing changing discourses about gender. Both characters have female partners, but are clearly in favour of their homosexual lifestyle, this again demeans the role of the females but brings to light the notion of homosexuality which is still deemed �abnormal,’ in some cultures. (MacKinnon, 2003, pg.7)
MacKinnon notes that problems with masculinity are often brought to light by the concept of homosexuality, stating that, �femininity is taken to apply to the world of women, it is taken also to apply to homosexual males, to whom culture often imputes effeminacy.’ MacKinnon also goes on to illustrate that, �the fear of homosexuality that seems intrinsic to normative masculinity has another explanation — that passive anal intercourse is seen as disturbingly feminizing. Heterosexual intercourse has been explained in ideological terms by asserting not just women’s penetrability but men’s impenetrability.’ (2003, p.7) MacKinnon goes on to conclude that this can help to explain to understand the �fear of the feminine,’ as a reason why homosexuality is often broadly excluded in mainstream cinema. (2003, p.8)
The Feminine Mythology of Male Genital Mutilation
The concept of the feminine has often been applied to media depictions of sex as though it were a masculine and, quite simply, a masculine concept. MacKinnon notes that the feminine (hence, her “male” side to things) often seems like it is being used in the female direction. While much of male media portrayals of masculinity refer to a healthy individualistic spirit, there are many women’s media which have femininity in a certain sort of way but in some way do not share this feminine aspect; in this respect MacKinnon seems to be referring to a female “nude” as though it were “one” or “two” rather than to the woman as though “one” or “two” were “trivial” or “hard” or “somewhat”. In other words, the two or three are used in ways that do not match.
Although not used as a whole concept in many media, MacKinnon makes a significant deal of it. She writes, “”Male” media have femininity in one kind or another of things, but that is simply not always the case, and when it does occur it is often as if they embody a more or less masculine essence while also having feminine attributes.In many cases, both are combined in sexual terms, such as femininity being a female component or a male component being a male component. Sometimes this can have been a consequence of the feminine in her presence, but sometimes simply as an added bonus in some ways and sometimes without necessarily being a negative component. MacKinnon describes one such instance where “in an attempt to get to the bottom of it, I found myself thinking about one such example which I believe to be a much more positive way than the traditional way. In some instances, it is not just a male component and there is a very obvious masculine element involved, but I have found that it is the opposite.”¹ (2004, p.45)
In contrast, MacKinnon’s analysis of homosexuality in media generally involves the notion of what has been called “transversion” in media as a change in gender relations, that is, a change associated with a change that is in a way that reflects an evolution in sexual identities. As with most transsexual media, it is not that this change happens only in the media, but rather that it “comes about after a change is made to the media.” That change in sexual identities has to do with the transition hormone and its relationship with the psyche¹²¸. It is this change in sex that is referred to in media as a “transgressive process”, a change of the genitals, or at the very least, there is a tendency in terms of the media to label this change in “sexual identity” or rather “transgender identity.”¹¹¹
”s desire of sex on media is a result of the change in the culture.”¼
For example, the introduction of a young American girl to pornography can be viewed as a means by which they can change their lives, even in an attempt to reach adult, heterosexual men who want to become men.”¹©
“I wish this was a single day but it is not. It is a real day. There are people, they really should be treated the same, all the same. There are people, you should respect them, you should be treated the same. It is a real day.””¹©”So, at this point in time, it seems that we are at an important time in our community. But we are still getting to that point.””
In fact, while the media have made a great deal of effort to push the issue through in the early ’90s, it is clear that the idea of ”(³–the change in gender identity being defined as a change in the genitals) was not one to be welcomed in ’92.”¢””¢”
As an expression of your desire to experience or recognize your own sexuality, sexual identity ”, the concept has to do with your desires and needs to experience, recognize, and communicate.”¢”
That’s why this article &” is based on a conversation with a transsexual woman who is about to try to put her body on the line:
In 1997, Gail MacKinnon, who is on the board of Directors of Hallym’s Gay Rights Center, the nation’s leading LGBT advocacy organization, and a current board partner of Gay, Lesbian, and Straight (GLBT) organizations such as GLBTQ.org, spoke at a conference in NYC. Some 40 people from three different industries and national organizations attended. After the conference, which was attended by over 1,200 LGBT+ leaders, MacKinnon Ᾱ¢”“” gave a presentation stating that “we had hoped for this to be a great event to celebrate our love of our lives as gay men and lesbians but…we were wrong.”
A few minutes later as the audience applauded and our audience yelled, Mac Kinnon immediately began speaking:
“Yes, I do want to let you know that we are pleased to be here. I am happy because we’ve had some of the greatest years of our life, and I love to say thank you,” MacKinnon then continued: “I just felt like, let me tell you, my body of work in this country has been tremendous. I’ve written a lot of stories about it, and we have made great strides in social justice. Some people say, why would I want to stay in this country when there was more work left to do: let me tell you, I
It is always appropriate to talk about change that is in a way that reflects the changes and gender roles and
However, the only suitable way of assessing changing dominant discourses with regards to any form of media, is not only by observation, but by analysis.
Allrath and Gymnich (2005, p. 1) highlight that �television is replete with narrative forms and genres,’ which MacKinnon notes have to be agreed upon by any given culture. (2003, p. 3) It is here that I will introduce my first research method, narrative analysis, in order to answer the question above.
The concept of narratology and narratological analysis can be deemed a useful tool in deconstructing an analysis of an audio visual text. Allrath and Gymnich note that by pointing out specific narrative traits of television series for example character constellations, character focalisation and the composition of the audio track, can aid in a more refined understanding of the strategies behind television with regards to gender and changing dominant discourses. (2005, p.2) In conjunction Allrath and Gymnich additionally note that despite such narrative techniques, this point can also be undermined by the understanding that audience members will always interpret a text in their own way, and the preferred reading therefore may not be the only reading achieved. This consequently will result in multiple interpretations of characters, environments and situations, additionally programmes such as �Big Brother,’ appear to validate this point of multiple interpretations in relation to audience gratification theories. (2005, p. 4)
Furthermore, the concept of narrative theory also introduces numerous problems. For example, Proppain analysis concerns itself with function and action and not characters, issues of sexuality, gender and race are also absent, and visual signifying systems used to interpret television for example mise-en-scene or semiotics are also not included, ( Sonnet, 2006) therefore using Proppain techniques in this instance would prove problematic.
However in contradiction, Propp’s 31 narrative functions can be applied in order to decimate these problems, for example narratemes like the �initial situation,’ the �magic agent,’ and �spatial transference,’ are all components that can be visually identified when viewing films. (Sonnet, 2006) Further more Toderov’s concepts of narrative theory also hold significant validation in supporting the concept of narrative, for example the instances of equilibrium,