Tags: culture, discourse/language, inequality, knowledge, media, race/ethnicity, colonialism, neocolonialism, postcolonialism, privilege, rule of colonial difference, white savior industrial complex, subtitles/CC, 00 to 05 mins
Year: 2012
Length: 3:45
Access: YouTube

Summary: The broad claim that certain groups have power over others—that racism, sexism, and classism exist—is hardly controversial. Yet mention privilege and tempers flare. But privilege is simply the other side of the power coin. Just as some racial groups are systematically oppressed and marginalized, other racial groups are systematically privileged, and just as forms of oppression vary, so too do forms of privilege. For instance, a white privilege might simply be living in a world where one can count on being paid more on average than Blacks or Latinos. While pay gaps may be easily quantified, forms of privilege that are less amenable to statistical analysis exist as well. Consider the male privilege of being immersed in a media environment that consistently depicts men as important and powerful. Or consider the white privilege of living in a media environment that assures audiences that white heroes are nearly always capable of transcending adversity. The above clip is from "Africa for Norway" and parodies the narrative typically deployed by Western charity organizations in their campaigns to secure funds and drum up support. It draws attention to a kind of Western privilege, a privilege both forged from and bound up with the experience of colonialism, the application of the rule of colonial difference (i.e., representing the 'other' as inferior and radically different), and Western racism. Whether it is the Kony 2012 campaign or the 1985 song "We Are the World," the story being peddled to publics is of a compassionate West saving the 'other' from unbearable poverty or some other grave injustice. Author Teju Cole famously named this dominant cultural narrative and the practices it calls forth the white savior industrial complex. While the components of the narrative can be spotted in the viral videos of these NGOs, Cole points out that it can also be found in countless Hollywood films, such as Out of Africa and The Constant Gardener. Time and again, moviegoers and YouTubers are asked to consider a rather narrowly defined hero. He's a compassionate white westerner, who stands apart in his uncommon ability to recognize the basic humanity of the many black and brown foreigners he has encountered while on his journey through an unfamiliar land; and against the advice of civilization, he heroically commits himself to the mission of saving these people from their plight. Although the perception that it is a criticism against charity will likely be a point of contention with viewers, the real critique, which is aimed at neocolonialism and the privileges it supports is incisive. It is a peculiar kind of Western privilege to be able to wade through the media pool each day, soaked by the various incarnations of this narrative, a day full of subtle reminders of one's intrinsic goodness and extraordinary abilities.

Submitted By: Lester Andrist

Tags: bodies, culture, emotion/desire, gender, multiculturalism, sex/sexuality, social construction, cultural relativity, ideal beauty, 06 to 10 mins
Year: 1997
Length: 9:56
Access: YouTube

Summary: What is beauty? Is beauty an objective feature or is it in the "eye of the beholder"? According to a 2012 competition hosted by Lorraine Cosmetics, the most "natural" and "objectively" beautiful woman was determined "scientifically" through such measures as facial symmetry. While the incident ignited a public debate about the ability to "scientifically" measure beauty, a review of the research shows that people's sense of beauty varies across time and culture. In this video, famous anthropologist Desmond Morris notes that while there is a "biological language of sex" in which people are attracted to others through physical characteristics, this process is mediated through a "complex cultural adventure." Throughout cultures across the world, people exaggerate the features of beauty that their culture deems attractive. A study looking at beauty across 200 different cultures found hardly any qualities that existed across all cultures. The video documents several of these physical features on women, including neck length, foot size, and lip size. It illustrates the cultural evaluation of beauty and the (often painful) techniques used to achieve the unnaturally extreme forms of beauty. What notions of female beauty in your culture might be similar to or different from conceptions of beauty found in the video? Viewers may also note the heteronormativity of the video, in which beauty is explicitly stated to attract members of the opposite sex.

Submitted By: omowbray

Tags: class, consumption/consumerism, culture, economic sociology, knowledge, social construction, theory, aesthetic, bourdieu, elite, seinfeld, taste, 00 to 05 mins 
Year: 1994
Length: 2:11
Access: YouTube

Summary: In his often densely worded prose, Bourdieu discusses how those in power define aesthetic concepts such as taste. Referring to surveys of French citizens from different economic and educational backgrounds, he shows how social class tends to determine a person's likes and interests, and how distinctions based on social class get reinforced in daily life. He observes that even when the subordinate classes may seem to have their own particular idea of good taste, "the working-class 'aesthetic' is a dominated 'aesthetic' which is constantly obliged to define itself in terms of the dominant aesthetics..." In this clip, a wealthy businessman (Elain's boss) is observed eating a candy bar using a knife and fork. Elaine tells her friends about this unusual behavior, but George sees it as being "proper" or culturally polished. He later eats his candy bar the same way in a public place. As more people see this behavior, more people begin practicing the behavior. This spreading cultural practice illustrates how the society, and conceptions of proper behaviors, are shaped and dominated by the social elite.

Submitted By: Julie C.

Tags: knowledge, social construction, theory, allegory of the cave, karl mannheim, peter berger, plato, social construction of reality, thomas luckmann, 00 to 05 mins 
Year: 2007
Length: 3:11
Access: YouTube

Summary: This award-winning short claymation film is an adaptation of Plato's Allegory of the Cave and can be used to teach core concepts from the sociology of knowledge, including the social construction of reality. The Allegory of the Cave, presented in Plato's Republic, tells the story of prisoners trapped in a cave who can only see shadows casted on the wall in front of them. Plato's story is a commentary on the human condition, in which he suggests that humans are trapped in a material world, interpreting illusions and shadows to be reality. Plato's theory shares similarities with ideas presented in Berger and Luckmann's (1966) The Social Construction of Reality, specifically that our perception of reality is shaped by our social and physical location. In this way, reality is not absolute, and what we understand to be "real" is actually a social construct. To deepen the discussion, instructors might also screen or assign the following two instructional videos: the first provides details about Plato's Allegory of the Cave and the second explains Plato's Theory of Forms. As shown in the first video, when one of the prisoners is exposed to the sun of the outside world, Plato believes he no longer inhabits a world of illusions and shadows. Similar to the abilities of the philosopher, the prisoner can now see the world for what it is. Instructors can distinguish this feature of Plato's Allegory from Berger and Luckmann's theory, highlighting that Berger and Luckmann would contest this point, as there is no one reality. Similar to the relativist critique of Plato's Theory of Forms (discussed here at minute mark 2:09), a social constructionist perspective argues that reality is based on social agreement, and does not exist outside of the mind. These clips can be used to teach other ideas from the sociology of knowledge, such as Mannheim's (1929) argument about the role of intellectuals in society, presented in Ideology and Utopia. Instructors can compare and contrast Mannheim's arguments to Plato's claim that, because of their privileged ability to see the world for what it "really" is, philosophers are best positioned to rule society (discussed here at minute mark 6:55). To learn more about this clay animation film, how it was made, and the awards it has won, click here.

Submitted By: Murali Shanmugavelan

Tags: art/music, bodies, gender, sex/sexuality, social construction, dance, masculinity, performance, subtitles/CC, 06 to 10 mins
Year: 2009
Length: 9:11
Access: YouTube 

Summary: This video features a dance piece entitled "The One & The Other," and is part of the graduate thesis of choreographer Juan Carlos Claudio (performing here with Graham Brown). In the piece, Claudio explores issues of masculinity and male-male friendships. He writes in his thesis: "The One & The Other came from a desire to portray the process of developing a healthy male relationship in which traits of masculinity and femininity are fully realized and expressed without fear or judgment. In presenting an example of this relationship I hoped to: 1) Challenge the old-fashioned rules of masculinity and the assumptions of male superiority, so that men could live happier and more fulfilled lives; 2) Expand men’s personal and emotional selves by helping them expose and realize their fears of close affection toward other men; and 3) Understand how men can create more genuine friendships by overcoming competitiveness, inexpressiveness, and other aspects of traditional masculine roles." This piece is not set to music. If you turn the volume up high you can hear the sounds of breathing and bodies in motion. After showing this performance in class, I ask students to discuss their emotional or visceral responses; they often say that it made them feel uncomfortable. This sets up a discussion of our social expectations of performances of masculinity, and can segue into a discussion of how we connect gender performance to ideas about sexuality. I ask the students to honestly assess whether they made assumptions about the sexuality of the performers based on their movements and interactions, and what led them to these assumptions. The video can also be used as an introduction to why bodies matter—I often ask students if they would feel more comfortable if it were two women dancers, or a male-female couple, and how their interpretations of certain movement sequences might be altered.

Submitted By: Michelle Sandhoff

Tags: abortion/reproduction, aging/life course, biology, bodies, gender, health/medicine, lgbtq, marriage/family, science/technology, sex/sexuality, social construction, fatherhood, motherhood, parenting, pregnancy, stigma, transgender, subtitles/CC, 06 to 10 mins
Year: 2012
Length: 10:33
Access: Vimeo

Summary: This video portrays the experiences and voices of various transgender parents and their families, which includes their decisions to become parents, reflections on what it means to be a parent, experiences of being a child of a transgender parent, the social stigma attached to being a transgender parent (and transgenderism in general), and experiences with various reproductive technology options. The video is excellent for illustrating the diversity of family structures and alternative gender arrangements, and would be useful in a class on sociology of the family, reproduction, gender, or sex and sexuality. People in the video highlight the hyper-gendered experience of pregnancy and parenting, thereby illustrating the social construction of these core features of the life course; this social constructivist perspective stands in contrast to common biological understandings of pregnancy and parenting. This video would pair well with Laura Mamo's Queering Reproduction: Achieving Pregnancy in the Age of Technoscience, as well as with GLAD's recently released book, Transgender Family Law: A Guide to Effective Advocacy, which can offer a nice framework for discussing some of the legal issues and advocacy strategies that transgender people encounter in a family law context. The video is also available with Spanish subtitles.

Submitted By: Valerie Chepp

Image by Kristian Dowling/Getty Images for Beatie

Tags: goffman, psychology/social psychology, social construction, theory, face, impression management, interaction order, self, 00 to 05 mins
Year: 2004
Length: 2:16
Access: Comedy Central

Summary: One of the most difficult aspects of Ervin Goffman’s face to understand is the concept’s multifaceted nature. Face is both ‘something we are in’ during social interactions as we conform to social roles, identities and practices; but simultaneously face is also ‘something that can be gained and lost’ through our impression management. To overcome this difficulty, Dave Chappelle’s ‘When Keeping it Real Goes Wrong’ can be used to highlight the multifaceted nature of Goffman’s concept. In this video, Vernon Franklin feels a colleague violated the rules of the interaction order by being insensitive, thus creating a social situation where the two facets of face conflict with each other. Vernon is forced to choose between ignoring an insensitive comment and maintaining face as afforded to him by his colleagues because he abides by the rules of the interaction order; or challenging his offensive colleague and save the face he claims for himself through his personal pride and dignity. Vernon chose the former by leaving face and “keeping it real;” or he abandons the line others expect him to play to maintain a positive self-perception of his own self. Because of his own violation of interaction order, he ends up first losing face as afforded to him by others when he is fired from his high paying job and then the face he is able to claim for himself as he is relegated to the occupational role of a poorly paid car wash employee.

Submitted By: Jason T. Eastman

Tags:  gender, inequality, marketing/brands, marriage/family, media, social construction, commercial, culture, domestic labor, gender socialization, motherhood, stereotypes, unpaid work, women's work, 00 to 05 mins
Year: 2012   
Length: 2:02
Access: YouTube

Summary: In this advertisement for P&G (Proctor and Gamble) products the claim is made that a mother's job is the hardest job in the world, but also the best job. The short clip constructs a very narrow representation of motherhood throughout the world as it takes viewers through a dramatization of several Olympic athlete's upbringing. In each case, and in the various cultures, the mother is responsible for things such as: waking the child, getting the child off to school, feeding and clothing the child, dressing injuries, and taking them to extra-curricular (sporting) activities. Men are excluded from any form of domestic labor, and they are only present for the viewing of the sporting events. Throughout the dramatization, the assumption is that these are the tasks that mothers perform, and if the job is done well the child will reach success. The last few seconds of the clip show the mothers reaping the reward of their efforts while celebrating their grown child's Olympic success. This clip could would fit nicely with discussions of the social construction of familial/gender roles. This depiction is a narrow and stereotypical construction of a woman's role in the family. The media is a major socializing force in society, and they have the power to create and uphold these ideal types through the images and stories they produce. Viewing of this video could also lead to an in-depth discussion of gender inequality within the family with regard to unpaid, domestic labor. Why are women the only ones performing these duties? Do men contribute to the birth of an Olympic athlete (maybe they're saving this for Father's Day)? Furthermore, it could result in a discussion about the appropriation of holidays and other cultures to market and sell products.

Submitted By: Tracy DeHaan, University of Oregon

Tags: psychology/social psychology, social construction, theory, commuters, cooley, integrators, identity maintenance, looking-glass self, symbolic interactionism, 00 to 05 mins
Year: 1995
Length: 0:45
Access: YouTube

Summary: In this clip from the Seinfeld episode, "The Pool Guy" (Season 7, Episode 8), a panic-stricken George complains to Jerry about "worlds colliding" when "Independent George" (as single/identity presented to friends) may meet "Relationship George" (as 'boyfriend' to Susan/identity presented to potential and/or current partners) at a social event wherein both social networks are present. If such an event were to happen, then according to character George Costanza, "Independent George" would cease to exist (or visa versa). This clip serves as a great example of identity maintenance and symbolic interaction, including Cooley's looking-glass self (where George imagines his appearance differently across difference audiences). It is also an excellent illustration of Wayne Brekhus' work regarding identity commuters (or "chameleons") as explained in his book Peacocks, Chameleons and Centaurs: Gay Suburbia and the Grammar of Social Identity.

Submitted By: Aimee Koon

Tags: children/youth, gender, lgbtq, social construction, social mvmts/social change/resistance, masculinity, parenting, childhood socialization, 06 to 10 mins
Year: 2011
Length: 6:07
Access: abcNews

Summary: Dyson is a 5-year-old boy who loves to wear dresses. In this video, Dyson's mother explains Dyson's love for this culturally feminine attire, reactions of friends and teachers to Dyson's wardrobe, and how Dyson's love for dresses led her to write the children's book My Princess Boy and become a spokesperson for transgender tolerance. This video can be used to illustrate various aspects of gender identity development, and it can initiate discussions around "nature versus nurture," specifically whether gender is an innate phenomenon or a social construction. Dyson's mother also runs a blog by the same name as her book, which provides additional resources, including information about Acceptance Play Groups. See also The Sociological Cinema's post, "Policing the Parenting of Boys," which discusses the recent high profile J.Crew advertisement depicting a mother with her young son and his pink toenail polish.

Submitted By: Nihal Celik