‘Facework’, Flow and the City: Simmel,Goffman, and Mobility in the Contemporary City

This paper contains a re‐reading of Simmel and Goffman with an eye to the mobility practices of the contemporary city. The paper offers a ‘new’ perspective on mobility in the contemporary city by re‐reading two sociological ‘classics’ as there is a need to conceptualise the everyday level of flow and mobility in the midst of an intellectual climate dominated by grand theories of networks and globalisation. In the re‐reading of Simmel and Goffman, the aim is to reach an understanding of how contemporary material mobility flows and symbolic orders and meanings are produced and re‐produced. You may argue that other academic disciplines such as anthropology and human geography have made important contributions to this understanding. What has not been done, however, is to show how these two sociological thinkers can move beyond mere application to this field of study. With their sociological sensitivity, they rather carry important insights that will benefit the sociology of mobility. Arguably Simmel and Goffman offer the opportunity to connect the global flows to the everyday level of social practice, as well as linking more basic/classic sociological theory to contemporary issues of mobility. The reason to ‘look back’ is therefore to capture some of the past's ‘sociological imagination’ and relate it to an important social phenomenon of the present.     

Visibility patterns of gendered ageism in the media buzz: a study of the representation of gender and age over three decades

Abstract

The mainstream media provides a constant flow of visual images of men and women, whether it is via newscasts, billboards, magazines, or television. In media research, these different media types are usually investigated separately. The aim of this study is to analyse the accumulated gender representation of all images that we passively or actively take part in, here defined as “the media buzz.” To capture the representation of gender and age in the media buzz, this study focuses on images from one day in the most circulated media within Sweden: news, feature stories, fiction, and advertising. The empirical data is drawn from three different decades—1994, 2004, and 2014. Overall, the study indicates there to be a general male/female balance in terms of numbers. However, when turning older, both men and women become almost invisible, even though older men are more visible than older women. Older persons rarely reach the news and they are more likely to be found in advertising and feature material. The work presented here suggests that the structures of visibility and the clusters of gender-age representation in the media foster stereotyping. The media buzz not only contributes to ageism, but is also still distinctly gendered.     

Culture,Cohort, and Cosmetic Surgery

ABSTRACT

This paper theorizes a parallel between idealized images of women in the media and the mainstreaming of cosmetic surgery as commonplace in our culture. The paper tracks images of women in film, television, and advertising from 1940 to the present and uses them as guides to understanding and interpreting appraisals contemporary women make of their bodies. Data are presented from 24 women, ages 29 to 75, who participated in a pilot study examining social, psychological, and developmental factors that precipitated cosmetic surgery. Women's self-evaluations were consistent with media depictions of women during subjects' adolescent and early-adult years. Age, or more specifically, cohort membership, determined assessments of body-image. The fact that body-satisfaction decreased proportionately with age in the women sampled is credited to the progressive license taken by the media in depicting female nudity, graphic sex, and violence against women.     

Gender trouble in the workplace: applying Judith Butler’s theory of performativity to news organizations

Judith Butler’s theory of performativity, introduced in her 1990 book Gender Trouble, has significantly shaped individual and collective understandings of gender. This essay examines performativity as a framework for critically assessing gender performances in patriarchal workplace environments, including the institutional rules and norms that shape behaviors and interactions. Specifically, we suggest that performativity offers a valuable lens for critiquing women’s experiences in newsrooms, spaces where expectations for gender can significantly shape professional experiences and success. We provide an overview and evaluation of the development and existing applications of Butler’s performativity theory, including its use in organizational contexts. We also propose methodological and topical approaches through which performativity can be used to study newsrooms and the experiences of female journalists in particular.     

Marketing,media, and misogyny: interactive advertising critique in a Huffington Post forum

This paper examines 3,144 comments in a March 2012 Huffington Post forum about an online Belvedere vodka advertisement that was widely interpreted to depict sexualized violence. The study applies critical textual analysis, relating discourse to context to illuminate recurring themes and clues to the strategies and resources influencing how comments were constructed. Four major recurring themes emerge from within a wide range of topics: (1) speculations on advertising strategy; (2) contested perceptions of sexual assault; (3) links between gender politics and party politics; and (4) media literacy lessons. Cutting across themes is an apparent awareness of context, including the site’s reward system, its predominantly left-leaning politics, and the potential consequences of participant commentary being exploited by Belvedere to increase brand recognition. Comments often invoke personal or professional authority by articulating qualifications presumed relevant to the advertisement’s deconstruction. The study suggests that forum participants can be understood as members of productive communities, who construct responses structured by shared contextual constraints and/or relevant common experience. The study also suggests that online forum participation offers mixed prospects for lay critics of media misogyny in that their commentary vies for attention alongside missives calculated to be provocative.     

Playmates and Polygamists

This paper explores the feminine reclamation of polygamy seen in female-oriented American television shows Big Love, The Girls Next Door, and Sister Wives in terms of their commentary on contemporary gender roles in neoliberal society. Reception discourses suggest these programs respond to feminine frustrations with the burdens of work and domesticity and the isolation associated with hyper-individualist late capitalist society. Using textual strategies associated with feminine media forms and contemporary feminine culture, such as the investment in the female group, the female gaze at the female body, and the reclamation of feminine history, these shows demonstrate femininity's capacity to critique as well as support mainstream society. Still, femininity's tendency to merge escapism and cultural critique, seen in all three shows, points to the difficulty of considering it progressive or regressive, instead suggesting that it should be considered as a different conceptual and social space, as a varied set of structures, practices, reading protocols, and an ethics of self that patriarchal cultures cannot easily co-opt.     

Politics of Sex Appeal in Advertising

This article is an ethnographic exploration of how gender ideologies were negotiated in the South Korea of the 2000s, in advertising texts and in advertising workplaces. Advertising has been criticized for reproducing gender stereotypes, and it is easy to assume that it is men within advertising agencies who are responsible for the objectifying and sexualizing portrayals of women. Yet behind some of the raciest South Korean advertising campaigns were ambitious women, who not only eagerly repeated the marketing adage that “sex sells” but also, provocatively, attempted to obliterate the lingering patriarchal norms and double sexual standards—with sexualized advertising. This article examines the politics of sex appeal in contemporary South Korean advertising by drawing on participant observation at an advertising agency, interviews, and public discourse analysis. Having situated the women's interventions within the cultural–historical context of South Korea, I, first, show how women's embrace of the sex-appeal aesthetic was a strategy to succeed in a male-dominated work environment and, second, detail how fighting gender discrimination with sex-appeal advertising was a profoundly contradictory project. I suggest that the politics of sex appeal in advertising was symptomatic of how women's struggles for equality were collapsing into neoliberal post-feminist sensibility.     

Performing Gender on YouTube

The contemporary online environment is often touted as a democratic space, open to perspectives that might regularly be excluded from professionally-controlled media platforms. However, females are underrepresented on YouTube, a popular video-sharing internet social media platform. This underrepresentation of women suggests that gender matters on YouTube. In order to contribute to research on gender dynamics on YouTube, this study focuses on the most-subscribed female YouTuber, Jenna Mourey. The first part investigates the degree to which Mourey's YouTube reception could be understood as misogynistic and hostile. To this end, comments on Mourey's top-ten videos were compared to viewer comments on the top-ten videos of a male counterpart: Ryan Higa. The second part of the study focuses on the content and style of Mourey's video oeuvre in order to contribute to research on YouTubers who successfully negotiate a hostile environment. Mourey's tendency to perform gender extremes—both masculine and feminine roles—is an ongoing feature of her videos, allowing her to simultaneously critique and benefit from traditional gender roles. This two-part study of gender on YouTube thus both supports research describing harsh responses to women on video-sharing sites and offers one YouTube performer's strategy for achieving success in this environment.     

Creating a Monster

The United States Democratic primary campaign of 2007–8 witnessed widespread misogynistic and anti-feminist portrayals of Senator Hillary Clinton across all types of media. In particular, Clinton was regularly depicted as monstrous and/or cyborgian, collapsing the boundaries between male and female, human and animal, and organism and machine. Such portrayals indicate a gender crisis in contemporary American culture which intensifies when women attempt to enter positions of power in the public arena. Research has shown that television, radio and print media coverage of American political candidates has consistently relied on gender stereotypes that undermine the campaigns of women politicians. However, portrayals of female candidates in online media remain largely unexplored. This paper discusses the implications of online media for women's political campaigns and for the democratic process itself. Through an analysis of digital imagery, I argue that simulations of Clinton circulating on the Internet during the primaries sought to produce a political reality in which Clinton's bid for the White House could be rendered improper and unnatural. In so doing, I suggest the continuing potential of online media to produce detrimental representations of female politicians.     

“L” is for Looking Again

This paper focuses on an important aspect of the Showtime television series The L Word: its exploration of the representation of gender and sexuality in contemporary visual art. The program presents a sophisticated feminist perspective on the histories of female and lesbian representation, and it uses the work of particular contemporary artists, who are known for their engagement with questions of female, lesbian, and/or queer representation, to advance its critique of a long history of erasure, misrepresentation, and objectification. Simultaneously, while foregrounding its awareness of the contradictions of trying to create new forms of representation in a thoroughly commercial and commodified context, the program uses works of art to present the possibility of inventing alternative images or of redefining existing ones. The show's consistent attention to innovative art constitutes a formal device that offers a counter-discourse to those conventions of representation required by the show's need to appeal to a broad audience. In this way, The L Word offers attentive viewers new ways to look at and think about apparently familiar images and narratives.     

Critical feminist hope: the encounter of neoliberalism and popular feminism in WWE 24: Women’s Evolution

Scholarship has pointed to contemporary feminism’s popularity and cultural “luminosity.” While this research has highlighted the limitations of feminist politics in a context of neoliberal individualism, this paper seeks to ask what possibilities for critiques and transformation of gender inequalities might be enabled by feminism’s visibility in neoliberalism. Using a framework of critical feminist hope, we highlight that capitalism’s embrace of feminism inarguably limits its political scope, but it may also open up opportunities for new forms of representation. To illustrate this, the paper analyses WWE 24: Women’s Evolution, a “brandcasting” documentary made to mark the rebrand of the sport entertainment promotion’s women’s division in 2016. While never naming it directly, the documentary draws heavily upon the signifiers of popular feminism. Although this mobilisation is often highly limited, a critically hopeful feminist reading allows us to move beyond dismissing this text as an example of feminism’s “co-optation” by neoliberalism. We highlight the documentary’s scathing critique of past failings in the representation and treatment of women performers, and, more importantly, the way feminism is used to make the case for corporate re-structure and change.     

Are You the One? China's TV Dating Shows and the Sheng Nü's Predicament

This study looks into TV dating shows in post-millennial China. These widespread shows, exemplified by Fei Cheng Wu Rao (translated, by both local and global media, as If You Are the One), open up an ongoing social forum, which, to varying extents, enables self-articulations and renegotiations of class and gender identities and gives voice to selected female participants of the media. Through the lens of critical discourse analysis, the paper focuses on analyzing the stage arrangements and hidden rules of Fei Cheng Wu Rao, female participants' self-introductions, both male and female participants' depictions of their “ideal” spouse, and the remarks of the host and the two expert commentators. The study argues that these dating shows play upon the predicament of Chinese single women, especially those labeled as “sheng nü” (“leftover women”), who strive for upward social mobility, yet are constrained within the new gender mandate of a market economy. Stigmatizing single womanhood, the dating shows also grant a glimpse of the varied ways the media and women participants play a complicit role in reducing women's potential to resist new forms of male privilege in post-socialist China.     

Cyberbullying,conflict management or just messing? Teenage girls’ understandings and experiences of gender,friendship, and conflict on Facebook in an Irish second-level school

In recent years, there have been growing concerns worldwide about young people’s safety online, much of which focuses on social media sites such as Facebook and Instagram. Moral panics about sexting and cyberbullying have constructed public discourses about social media as dangerous to adolescents’ safety and relationships. In the academic literature, there are conflicting perspectives on the nature of online relationships, behaviour, and risks, and on the causes and nature of cyberbullying. Less attention is paid—in both public and academic debates—to the role played by gender in online aggression, in spite of the fact that existing scholarship demonstrates that it is an important factor in the dynamics of young people’s online friendships and conflicts. This article presents the findings of an empirical, qualitative and quantitative study of teenage girls’ experiences and understandings of online friendship, conflict, and bullying in an Irish, single-sex secondary school. Questionnaires (n=116), individual in-depth interviews with students (n=26), and a focus group with teachers were used. Our study indicates that significant communicative phenomena within girls’ everyday lives remain unreported and frequently misunderstood.     

Discriminating taste: maintaining gendered social hierarchy in a cross-demographic fandom

To explore the role of hierarchical taste culture discourses in cross-gender media fandoms, this article considers “Bronies,” the adult, largely male fandom of girls’ animated series My Little Pony: Friendship Is Magic. This fandom’s presence has often been identified as a significant gender taste norm violation with positive feminist implications. The authors’ open-ended qualitative survey of 2915 Bronies reveals this fandom extensively uses discourses of “quality” and hierarchical value to legitimate their interest in the series, and that in articulating its value, the fan culture reinscribes taste and gender hierarchies. Our findings show that by deploying masculinized taste norms, Bronies maintain traditional taste hierarchies within their gender-atypical fandom and marginalize the very audience and viewing culture from which My Little Pony: Friendship Is Magic originated. Rather than indicating an open-minded, stereotype-defying attitude toward girls’ media culture more broadly, fans often articulate the series’ value by denigrating other girls’ media texts. While unexpected fandoms may support cross-demographic viewing, we argue that these fandoms can nonetheless maintain gendered taste hierarchies that have marginalized women and are not as feminist as they appear at first glance.     

Neoliberalism,Soul Food,and the Weight of Black Women

This article examines the representation of Black women's weight in contemporary diet advertising and African American film. It positions socioeconomic class as a significant factor that distinguishes between “good” weight and “bad” weight. I argue that there is a distinction to be made between representations of poor and working-class fat Black women and middle-class fat Black women. The increased presence of Black women as diet spokeswomen is also questioned. The social construction and filmic representation of the African American cuisine “Soul Food” and the political economic notion of neoliberalism are used as frameworks to deconstruct how notions of self-discipline, personal responsibility, and citizenship impact upon Black women's bodies. As a case study, I examine the careers of Oprah Winfrey and Gabourey Sidibe and the ways in which their weight has been differently coded based on class, the neoliberal rhetoric of “personal responsibility,” and food. I ultimately critique how contemporary media has helped to shape contemporary discourses on Black women's weight.     

Barbie princesses and Star Wars clones: gender stereotypes in the representation of children’s favourite heroes—a participant study in urban and rural contexts,among Hungarians from Romania

Cartoon heroes play an important role in constructing gender narratives in children’s lives. According to previous studies, these narratives are often based on stereotypes, but they reflect new gender tendencies as well. This research analyses hero representations in Romanian children’s everyday lives. In East European countries, media consumption habits show remarkable differences between urban and rural environments; thus, in the present study, these gender narratives are discussed in a social context. Based on 80 interviews and group activities in 4 group sessions, this article presents the commercial and social aspects of the most popular cartoon heroes represented in various media. The findings of the study suggest that gendered heroes have a greater impact than genderless characters; however, several factors influence the process of children’s identifying with their favourite characters, such as social background, parents’ education, and the effect of the larger community.     

Unfolding female quiet in wargames: gender bias in Metal Gear Solid V: The Phantom Pain from representation to gameplay

This article investigates the cultural mediatization of the relationship between gender and war by looking at the representation and agency of female presence in one of the most popular sagas in video games: Metal Gear Solid. We have specifically focused on the last chapter of the series, Metal Gear Solid V (MGS5) by putting under scrutiny the character of Quiet. The analysis draws upon the rich theoretical corpus of feminist film studies, with reference to two main concepts: the “visual pleasure” by Laura Mulvey and the “female voice” by Kaja Silverman. These analytic tools are employed in order to scrutinize both the visual representation and the design of the game. We argue that MGS5 is a relevant instance of a large part of gaming production that develops a war imagery characterized by (a) the exploitation of women and (b) an employment of female body as a tool to fulfill the visual pleasure of the male gaze. The figure of Quiet, with the oversexualization of her body and the deprivation of her voice, is particularly telling in this respect. Our analysis aims to identify effective solutions in order to think about more inclusive digital games able to address conflictual issues without surrendering to sexism.     

There’s a cream for that: A textual analysis of beauty and body-related advertisements aimed at middle-aged women

This article explores the magazine advertising strategies and tactics used by health and beauty products to target middle-aged women. Advertisements found in the April 2013 issues of Shape, Fitness, and Women’s Health were analyzed using intersectionality to determine how these advertisements are presenting messages pertaining to age, gender, and sexuality and how these messages can “other” and marginalize certain identities. The findings suggest that advertisement strategies implement pseudoscience, heteronormativity, hegemonic beauty, and body ideals to establish an idealized version of middle-aged womanhood.     

On not really being there: trans* presence/absence in Dallas Buyers Club

Recently more trans characters, even as main protagonists, star in film and media representations, perhaps in tandem with an increased recognition of trans rights globally. In this article we argue that the visual and aural grammars of cinema perform a double movement of inclusion and elision, making for a fascinating if utterly frustrating uptake of trans presence that is at once, perforce, also an absence. Our case study of the Rayon character in Dallas Buyers Club is an example of a recent sexualized representation of trans femininity. Our textual analysis will deconstruct this character’s presence and absence on the level of the film’s aesthetical and technical aspects demonstrating how cinematic grammar implicates cisgenderism.