AMC’s award-winning zombie apocalypse drama The Walking Dead is currently in its third season of undead annihilation. The show’s protagonists are a motley crew of survivors, led by Sheriff Rick Grimes, who have beat the odds to stay alive in the Georgia wilderness. In this post, Ami Stearns pits the human group as communists employing classic Marxist tenets to avoid being eaten by the cold-blooded symbols of capitalism.
“Society suddenly finds itself put back into a state of momentary barbarism; it appears as if a famine, a universal war of devastation, had cut off the supply of every means of subsistence; industry and commerce seem to be destroyed…”
Karl Marx, The Communist Manifesto
The Face of Capitalism?
That sound of a twig snapping in the forest? For the small band of survivors on The Walking Dead
lead by Sheriff Rick Grimes, it’s much more likely a zombie staggering along in search of a fresh human snack than it is a deer or a squirrel. Zombies, called “walkers” in this high-adrenaline drama, can only be stopped with a bullet to the head or a swift decapitation. In this world, letting down your guard or relaxing your weapon means you might be the next item on the walker’s lunch menu. With episode after episode featuring an exponentially increasing zombie population, it’s a miracle that any humans are able to survive at all. Or is it a miracle?
I’m a sociologist, so I did what sociologists do; I analyzed the zombiepocalypse
The survival tactics of Grimes’ warm-blooded group in The Walking Dead
can be viewed through the lens of Marxist theory. Without complete cooperation, shared responsibility, and equal allocation of assets, the entire fate of the human race would be doomed. The zombies embody the classic Marxist critiques of capitalism. The heartless creatures mindlessly devour resources (i.e. human brains) in the same way that capitalism pursues profit for its own sake. In case you’ve been holed up in the woods preparing for the next pandemic (hint…it’ll be zombies!), here’s a quick overview of Marx’s Communist Manifesto
In the mid-1800s, Karl Marx wrote The Communist Manifesto
within the context of the Industrial Revolution. The epic struggle of zombies versus humans in The Walking Dead
can help illustrate the principles of each orientation. Capitalism, according to Marx, reached into the far corners of the globe to dominate markets, exploit workers, and destroy local culture. The zombies in The Walking Dead
have completely overtaken urban Atlanta, and it’s not long before hoards of walkers begin pillaging the surrounding small towns and countryside as well. The zombies symbolize capitalism’s insatiable need to constantly expand, exploiting (or feeding on, more appropriately) people to reach its end goal, which is merely to sustain itself.
The main idea of Marx’s Communist Manifesto
is the elimination of private property. Grimes and the survivalists must keep on the move to stay a step ahead of the zombies, so claiming any property as private would be futile. They inhabit campgrounds, a farmhouse, and a prison as shared, communal property, abandoning shelter and moving on when threatened.
Marx also advocates abolition of the family as another principle in The Communist Manifesto
. Although a few family units are represented on the show, the members of the group care for one another communally. One character recently stated that the survivors are his family. A communist society, Marx says, will cause differences and antagonisms to diminish. We see this is true among Grimes’ community of survivors. The characters who have shown intolerance toward one another due to race or gender present a danger for the group’s safety and have been eaten by (or left to be eaten by) zombies. The desire for profit is absent among the group, as it would be absent among a communist society. Instead, survivors rely on one another to meet basic needs. Finally, not only does money never change hands, but it has become completely obsolete in this society. The Walking Dead’s
human survivors versus zombie dynamic illustrates some of the basic principles in Marx’s The Communist Manifesto
. Theory can sometimes seem dry and undead, but viewing a popular show through a sociological lens can help bring theory to life.Dig Deeper:
Ami StearnsAmi Stearns is a graduate student at the University of Oklahoma and is interested in the sociology of literature, sociological and feminist theory, female deviance, and women's reproductive rights.
- Could the zombies and human survivalists in The Walking Dead be interpreted with a different sociological theory?
- How have communist or socialist groups been presented in the past in American society?
- Can the communal survival tactics used by the survivors on The Walking Dead be as successful in a larger scale context?
- Zombie themes have been prevalent lately in pop culture. Have you seen the movies Zombieland or Warm Bodies? Can these movies also be interpreted with Marxist theory?
Glamorized violence, as part of hegemonic hypermasculinity is evident throughout popular music videos. It is portrayed both as male dominance and female submission across almost every mainstream genre of music in the U.S. While socializing men into positions of dominance, these images simultaneously socialize women into being passive, weak, and subordinated victims of aggression.
This violent male gaze is a part of the system of patriarchy that has been well-documented by scholar Sut Jhally in Dreamworlds 3: Sex, Desire, and Power in Music Videos.
Sut Jhally argues that one of the primary factors contributing to men carrying out violence against women, as well as other men, is the repetition of stories or narratives that masculinity involves an emphasis on dominance through attaining exaggerated muscles, physical strength, aggression, and control over women’s bodies. This specific brand of commercial masculinity, which he terms hypermasculinity, defines a man’s self-worth and success in how he does his gender. Jhally argues that one technique frequently used to gain the viewer’s attention in music videos is to produce videos shot with women backup dancers and lead vocalists in clothing and with camera angles that draw the focus away from seeing them as people or artists and more towards the emphasis and exploitation of their individual body parts.
The costumes and slow-motion shots of dismembered body parts reflect and reinforce women's sexual objectification and the male gaze.
An excellent example of this physical dismemberment and sexual objectification of female musicians’ bodies can be found in the recently popular music video “Pound the Alarm”
by Trinidad artist Nicki Minaj, which has had over 70,000,000 views and 328,000 likes on You Tube alone in the past 6 months. “Pound the Alarm,” which is set in the artist’s country of birth, Trinidad, tells a story of the celebration of the native Trinidad holiday Carnival from a sexually objectifying Western male gaze. The narrative is told in fast-paced, images of racially diverse female back up performers and Nicki Minaj dancing through the streets and beaches of Port of Spain, Trinidad. The moments where the story slows down and freezes primarily features shots of these women’s bodies that cut off their heads, focus on their shaking, dismembered breasts, stomachs, and buttocks, which have been mostly exposed in bikinis, and are accompanied by lyrics from Nicki Minaj
such as “What do I have to do to show these girls that I own them?,” and involve the smiling and laughing back up dancers silently complying to Nicki’s commands to be “turned out” on the streets. The stilling of the images of the girl’s body parts removed from their faces, which are covered at an angle from the floor up close, or in a grinding mess, is combined with the repeated image of men dressed in blue costumes cracking whips and breathing fire. This happens while Nicki Minaj and the other girls submit images to them of their body parts, which sends a message that female subordination through sexual objectification and aggressive acts is normal, glamorous, and even enjoyed by both men and women.
In light of the heated discourse in the news media on the growing trend of violence committed against large groups of people in public spaces such as schools and movie theaters (i.e. the December 14th, 2012 school shooting committed by Adam Lanza in Newtown, Connecticut, the recent homicide at a movie theater in Aurora, Colorado on July 2012 and the April 2007 mass killing at Virgina Tech State University), some psychologists and mental health experts propose that these tragedies could have been prevented if the mental health system had more resources from the government to make sure that individuals with signs of mental illness are not overlooked. While this is certainly true and some commentators have pointed out that another contributing factor might be the amount of violence in television, video games, and movies that children are normalized to, there has not been any extensive discussion of violence and aggression in the mainstream news as an issue resulting from the way that boys are taught to assert their masculinity. There has been no mention of a crisis in relation to male gender socialization, even though for the past 30 years the perpetrators of these mass shootings have been entirely male.
The men are portrayed as aggressive, demonic blue creatures who set fire to and whip Nicki Minaj and the female dancers.
From a sociological perspective, one preventative measure to mass homicides may be to consider the extent that violent images of masculinity have become so accepted in society. We are not sensitized to how males with aggressive behavior tendencies may act when in psychological distress. While we may perceive these actions as that of ‘real’ men, we would not interpret their aggression as a pathological disturbance in the same way that we would if that person was a woman. Sensitization by the mental health system to aggressive behavior in boys as a symptom of the unhealthy psychological effects of gender socialization could prevent future mass killings by men, many of whom probably had some aggressive tendencies or plans of action that went overlooked prior to the actual violence. This prevention may only work once we are able to first stop sending the message to males with mental health issues, as well as their male peer groups, that violence is what it takes to be successful, powerful, and ‘real’ men.
Elizabeth Dickson is a student at Ohio Wesleyan University, where she is double-majoring in Psychology and Sociology.
In this essay Jason Eastman, Editor-in-Chief of SociologySounds, explores the value-added by music videos when instructors use song to teach sociological concepts.
SociologySounds is a website that helps educators find sociological music to play in their classes.
Fittingly, The Buggle’s "Video Killed the Radio Star
" was the first video played on MTV. While the song lyrics explain how the beginning of television marked the end of radio’s golden age, its more general, Frankfurt School-like critique about how technology inevitably changes aesthetic expression was symbolically perfect for this milestone in popular culture. Theodor W. Adorno
, the leading musicologists of the first generation Frankfurt School and almost every punk rocker since thought new technologies that diffuse culture undermined the ability of music (and art more generally) to achieve its essential social function: inspiring audiences to critically assess and hopefully better understand themselves and their social reality—oftentimes by connecting our emotional and rational selves to the larger social and institutional processes we experience collectively.
"Video Killed the Radio Star" (painting, 2010) by #_# ARGADOL (Artist)
Both the critical theorist and the punk rocker in me will always be a little leery of the nexus between music and economics. Also, the musician in me also knows no technology will ever surpass the collective experience of hearing music at a live performance—when an audience watches and hears a musician create an emotive expression that only you and the limited people around you will ever experience as an interconnected, harmonious group when all the sounds, beats, melodies, tones, and timbers come together and then disappear just as fast as they were created (although I do write on SociologySounds
that Billy Joel’s video and song for “Piano Man
” comes close).
On the one hand, fears that technology will undermine the expressive ability of music are not entirely misplaced—especially because, as the Frankfurt School pointed out, the economic or political control of communication technology often equates to control of expression (and I recognize there is a lot of problematic tripe finding its way to listeners’ ears these days). Yet on the other hand, throughout the last century every new technology that musicians and music scholars originally feared—from records, to radio, to video, to Napster, to whatever is created today—some pioneering artist is able to effectively incorporate in their musical expressions.
So while the goal of SociologySounds
is to coordinate the sociological community’s effort to extract songs’ capacity to inspire critical assessment of social reality, we regularly come across musicians who enhance their recorded musical messages with video. In fact, as a collection of audience-submitted music that sociology instructors can use in their classrooms, the site is not only of songs but also of music videos that undermine the Frankfurt School’s fear that technology denigrates cultural expression. In fact, many of these videos help songs communicate these critical theorists’ more general argument that capitalism is not only alienating, but modern economics fetters our progress toward achieving an enlightened modernity.
Fittingly, before I became Editor-in-Chief of SociologySounds
, the very first song I submitted was Bad Religion's “American Jesus
,” which I use to teach Max Weber’s Protestant Ethic
because not only do the lyrics describe the entanglement of religious morality and capitalism, but also because the video is sociologically insightful by depicting people going about their daily lives, seemingly unaware they are carrying large crosses (e.g., the Christian-based American Individualism) on their backs. Strangely, when the song "American Jesus" first came out in 1993, I was hesitant to buy it as, like most 15-year-old punkers at that time, I was angered my musician-heroes (one of whom is lead singer Greg Graffin who inspired me to my own Ph.D. with his graduate work at Cornell) signed with a major label and started making videos. Yet now, this song and video better explains both the social-psychological and the cultural aspects of American individualism to my undergraduate students than any passage I can read from the Dialectic of Enlightenment
"So while the goal of SociologySounds is to coordinate the sociological community’s effort to extract songs’ capacity to inspire critical assessment of social reality, we regularly come across musicians who enhance their recorded musical messages with video."
Once I became Editor-in-Chief, the first song submission we received also has a video that exposes the alienation in capitalism that was the foremost concern of the Frankfurt School. While “Cats in the Cradle
” is primarily about socialization and the family, it captures one of the most consequential aspects of alienation given how many people sacrifice time with their children to pursue economic success. When preparing this anonymous submission, I was listening to this song for the first time as a father—and I remember thinking how strange at that very moment I was ignoring my infant daughter in order to post a song warning people to be careful about balancing work and families. Perhaps because of what I was feeling at this time, instead of incorporating Harry Chapin’s original song, I linked to Ugly Kid Joe’s version because the accompanying video includes powerful images that look like home movies which actually show, as opposed to just lyrically describing, the mistakes a father made throughout his life.
Scene from Pink Floyd's "Another Brick in the Wall"
We’ve received other song submissions that have video accompaniments centered on alienation and capitalism. Just recently Bob Holman noticed we were missing a classic song about socialization and education that has an especially insightful music video from their more expansive rock opera: Pink Floyd’s “Another Brick in the Wall
.” While the solid and repetitive bass line of the song effectively instills the power of the enforced conformity described by the lyrics, the video also depicts the suppression of free thinking and individuality by showing students uniformly marching into industrial machines and coming out sitting at desks with their faces removed—becoming the nameless, faceless, and mindless robots that first Marx, and then the Frankfurt School, cautioned us not to become.
Of course, since the Frankfurt School assumed all of popular culture was little more than clever propaganda that suppresses consciousness, they would likely be surprised by the amount of songs and videos on SociologySounds
that not only critique but also challenge social convention—especially the ways race, class, and gender influence our lives. Since I am from the northern Appalachians, personally I am drawn to Steve Earle’s “Copperhead Road
,” which incorporates historic-looking film to describe how three generations of men were forced to live outside the law because their social class limited opportunity. Nazlı Ökten submitted “Luka
” by Susanne Vega, which highlights how symbolic violence against women perpetuates actual violence by overlapping close-up videos of people with panoramic shots of the city. Dan Hoyt submitted “Double Burger with Cheese
,” a song where Lupe Fiasco incorporates movie scenes to reinforce the lyrics of his song about the construction of Black men via media.
"Of course, since the Frankfurt School assumed all of popular culture was little more than clever propaganda that suppresses consciousness, they would likely be surprised by the amount of songs and videos on SociologySounds that not only critique but also challenge social convention..."
Fiasco’s video is also interesting because modern technologies enable almost anyone to mimic this style of videography by adding their own imagery to songs, thereby self-creating original videos that can be shared world-wide with a brief upload. This means that while SociologySounds
is full of official artist videos, the vast majority of links provided are fans’ uploads of their favorite artists via YouTube videos. A few of these self-created videos are especially insightful, like zelja tebrex’s video interpretation of Rage Against the Machine’s “Ghost of Tom Joad
” which incorporates an immense collection of video from both movies and documentaries that help put this Dust Bowl refugee into the context of our own times. While this practice is far removed from a live musical performance, it does mirror a basic process in which an individual emotional resonance with a song is shared collectively with others—and it is only possible because of new technologies.
In fact, tracing the lineage of this video illustrates how new medias and technologies can enhance rather than undermine the communicative power of art to collectively diffuse a message that is also individually meaningful. Tom Joad was first a character in Steinbeck’s “Grapes of Wrath,” which inspired the Woody Guthrie song “The Ballad of Tom Joad,” which became the basis of both John Ford’s film adaptation of the novel, and Bruce Springsteen’s song “Ghost of Tom Joad,” which was then covered by Rage Against the Machine, which was put to images by zelja tebrex on YouTube before it was passed along to SociologySounds
by Josh Greenberg. With each (re)interpretation, an audience-artist critically engaged the expression of their predecessors to make sense of their own contemporary reality, which was uniquely translated into another expression that was then passed along to others.
This sharing of an evolving artistic expression shows that while artists and sociologists often fear new technologies, and that the forms of expression they make possible will undermine the creation of insightful art, nearly the opposite seems to happen. Also, perhaps the most effective way sociology instructors can play a role in diffusing music’s especially powerful critiques of the social world that are both individually meaningful but also communally uniting is simply by exposing students to meaningful songs—and that’s why we at SociologySounds
are quietly exuberated yet also apologetic because we can never seem to keep up with all the great song suggestions passed along to us. Still, if you know of song that can be used to teach sociological ideas, please consider submitting
it to SociologySounds
. We also have a comment section where you can add tips about how the songs already posted can be used in the classroom. Endnote: SociologySounds
was started by Nathan Palmer of SociologySource.org
. In July 2012, Jason Eastman became Editor-in-Chief of SociologySounds
Jason Eastman is Editor-in-Chief at SociologySounds and an Associate Professor at Coastal Carolina University. He researches how inequality is perpetuated through culture, often by focusing on the construction of identities through rock and country music, including specific bands like The Rolling Stones and an entire subgenre of country devoted to truck drivers.
When arriving at the dating age, I remember asking friends and relatives how I should act while on this date and common responses were usually “don’t hold back,” and/or “just be yourself,” “act natural.” But I already knew better than to literally take them at their word—particularly when it came down to expressing vital bodily functions. In the top clip from Sex and the City, Carrie lets one accidentally slip while in bed with Big during the early stages of their relationship, and her embarrassment, much to his delight, is palpable and lasting. In the bottom clip, the young woman is at first put-off when her boyfriend shamelessly farts. However, following his suggestion, she then comes to “act natural,” and indeed, to repetitively embrace the act—much to his chagrin.
Taken together, the clips provide a springboard to discuss the fact that many social norms are clearly gendered in the sense of their unequal application to the sexes. In terms of public displays of flatulence, many males seem to think nothing of engaging in it—sometimes even making it a high-sport for masculine amusement. Females, on the other hand, are supposed to hide their need for release, holding it in for all their worth. At a deeper level, gendered norms about flatulence suggest differential power between the sexes, and perhaps even contempt among men for women. As Weinberg and Williams (2005) note: “...bodily grossness may be valued for its opposition to the manners that femininity is thought to imply. The delight taken in physical behaviors like burping can indicate men’s disdain for what they perceive as feminine. Some men may adopt this form of embodiment as an expression of their power over women as they deliberately breach the habitus.”
"..the clips provide a springboard to discuss the fact that many social norms are clearly gendered in the sense of their unequal application to the sexes."
While the bottom clip humorously indicates the normative double-standard, it can also function as an illustration of a breaching experiment. Harold Garfinkel’s ethnomethodological perspective emphasizes understanding social reality as humanly constructed and hinged on unspoken social norms. The significant power of such norms is revealed by first deliberately violating or “breaching” them and then observing how others react in turn (see Garfinkel, 1967
Kim BryantKim Bryant is a graduate student at the University of Texas, San Antonio and is currently majoring in Sociology. Besides going to school full-time, she works as a teacher's assistant and in the United States Air Force Reserve Corps.
- Garfinkel, Harold. 1967. Studies in Ethnomethodology. Prentice-Hall, Inc.: New Jersey.
- Weinberg, Martin S. and Colin J. Williams. 2005. "Fecal Matters: Habitus, Embodiments, and Deviance." Social Problems, 52(3): 315-336
- Worsfold, Adrian. Harold Garfinkel (breaching experiment)
Over the years of integrating multimedia into my sociology courses, I’ve developed a number of rules of thumb to guide the use of video and video clips in the classroom. Any criticisms, suggestions, and/or additions would be most welcomed.
1. Determine general relevance of video: does it advance learning? Consider such questions as: Does it stimulate students to think about the topic, perhaps in a novel way? Does it appropriately illustrate or amplify? Worst case: it diminishes learning (e.g., might it confuse, frustrate, or talk down to?). Is it appropriate to course, level of learning, and student population?
2. Evaluate video relative to student, university, and community standards. Might students see it as offensive, disparaging, or otherwise objectionable? Note: your point in using it may be exactly to challenge or provoke. However, be aware of possible fall-out. If potential is high that students will be disturbed, it’s crucial to provide meaningful pre-showing discussion, placing the video in learning context.
3. In what venue will students watch video? Will it be in or out of class? (Note: clips integrated into class presentation also can be linked to syllabus for online viewing). This decision might be guided by: a) importance that students see it, in combination with b) length of class time you can reasonably devote to it (if longer than 5 minutes or so, I’ll usually place it online, unless it is critical to share in class).
4. How will it fit into the course relative to evaluation? If viewed out of class, will it be required or optional? If required, will you in some way provide test questions relating to it? If optional, might you attach some kind of extra-credit to motivate students to view it? Note: if video is not indicated on syllabus at beginning of semester will you require viewing? (Some colleges stipulate that the syllabus is a contract. Therefore, extra requirements cannot be imposed after the semester begins. If this is the case, you might list as optional.)
5. If video is to be viewed out of class, how will you orient students to it? Will you provide a set of questions for students to address while viewing? (Note: without such guides, students may not see what you want them to be sure to see.)
Infographic by Edudemic.com
6. If the video is to be viewed out of class, also consider the total length of viewing time you are imposing in relation to the time constraints facing students. Obviously this will vary by student population. You might assign shorter viewing lengths where they are likely to be working at outside jobs.
7. Determine also if there may be difficulties or hardships imposed on students relative to outside viewing. For example, to what extent do students have access to high-speed Internet service?
8. Note that a video may not be available at the time you want to show it (e.g., YouTube clips are particularly vulnerable to removal). Consider either downloading or have in mind an alternative, back-up video.
9. Inform students about technical considerations in using video. For example, at the beginning of the semester, warn about pop-up blockers and also indicate on syllabus necessary software downloads for their computers. Provide links on syllabus to downloads. Tell students importance of infoming you if they’re having troubles with videos. Remind students that links often break and that videos may be taken off Web. Ask them to let you know if video is not available.
10. Review the particular version of the video to be used beforehand. This cannot necessarily be determined by title. If you’ve seen it before, note the version you now have access to may not be same (e.g., YouTube clips are often extensively edited by contributors).Michael V. MillerMichael V. Miller is a sociologist at the University of Texas at San Antonio. His current research in this area focuses on how academic disciplines can best incorporate online multimedia and freeware media-authoring tools into instruction. For further reading, see: “A system for integrating online multimedia into college curriculum” and “Integrating online multimedia into college course and classroom.”
A privilege is a special entitlement or right granted to certain people or groups, but not to others. The notion of privilege in regards to race was made famous in Peggy McIntosh's now classic "White Privilege: Unpacking the Invisible Knapsack
," where she identified list of everyday privileges she experienced from being white. This focus on privilege represents a way of understanding race by focusing not only on the disadvantages of racial minorities but also on the advantages systematically conferred upon whites. While a white person may not have done anything to get the privilege, and may not have asked for it, they still benefit from the (often invisible) privilege in everyday life.
In addition to the privileges conferred on whites in the labor market
, in shopping and financial transactions
, in the housing market, and many other social situations, whites also receive privileges in politics. In borrowing from McIntosh, I have
developed a list of privileges given to Mitt Romney in the 2012 presidential race. Feel free to comment and add more.
1. Mitt Romney is able to talk to and over a moderator of his own race about his plan for the economy during the 2012 Presidential Debate. His reaction will not be interpreted as being from "the angry
white guy." He is also able to appeal to both a live and broadcast audience largely of his own race.
2. Mitt Romney’s citizenship and birth certificate have not yet been scrutinized in the media. He does not have to spend time and resources on his campaign to convince voters he is American.
Donald Trump insisted Obama was not born in the US.
Anti-Obama sentiment swelled at false allegations of being born in Kenya.
3. Mitt Romney is not regularly portrayed in political cartoons as a monkey or native to another country. 4.
Mitt Romney’s family does not have to constantly worry about how "white" or "normal" they appear to the public.
5. When Mitt Romney seeks to appeal to low-income voters, he does not have to fear being associated with negative stereotypes of welfare. A recent study
found that, compared to the broader population, people with "racial resentments" were much more responsive to negative ads linking Obama to welfare.
6. Mitt Romney does not have to worry about whether or not the public disproves of his dog because of racial resentment. Researchers
examined what would happen when they "showed respondents a picture of a Portuguese Water Dog and told half it was Ted Kennedy’s dog and the other half it was Obama’s dog." They found that "when respondents with higher levels of racial resentment heard it was Obama’s dog, they were more likely to disapprove of it.”
7. Mitt Romney does not have to speak eloquently or intelligently at all times to be taken seriously.8.
Mitt Romney does not have to constantly worry that every political move he makes will be attributed to his race.9.
Mitt Romney is not setting the precedent for the image of his entire race in a position of political power while simultaneously taking the heat for and trying to fix the mistakes of his successive white oppressors.
10. Mitt Romney can afford to speak about or avoid the topic of race if it is brought up in a debate without drawing attention to himself.
Disapproval of Obama's dog increased among respondents with "racial resentment."
Elizabeth Dickson is a student at Ohio Wesleyan University, where she is double-majoring in Psychology and Sociology.
In this post, Samir Goswami considers the impact that the recently announced NCAA sanctions will have on changing a culture of sexual abuse on U.S. college campuses. Rooted in a tradition of public sociology, Samir’s post would serve as an excellent complement to this classroom assignment in that he broadens the scope of the current debate, drawing out key sociological connections that are missing in the dominant media coverage of this story.
| |In a somber press conference the NCAA
announced sanctions against Penn State to address the gross inaction on its part in tolerating the continued abuse of young boys perpetrated by former assistant football coach Jerry Sandusky. Sandusky has been convicted of 45 counts of child sexual abuse, including during his tenure as assistant coach at the University. In the official investigations that ensued, Penn State was found liable of a massive cover-up of the crimes, including by the late Penn State football coach Joe Patterno, Sandusky’s boss who could have acted to stop his assistant’s crimes and prevent other children from being victimized. "Football will never again be placed ahead of educating, nurturing and protecting young people…The sanctions needed to reflect our goals of providing cultural change," NCAA President Mark Emmert stated as he announced the penalties that include vacating 14 season’s worth of victories for its football team and the creation of a $60 million endowment by the University to fund programs that prevent child abuse. Ed Ray, chair of the NCAA Executive Committee added
, “The corrective and punitive measures the executive committee and Division 1 board of directors have authorized should serve as a stark wake-up call to every individual in college sports that our first responsibility as outlined in our constitution is to adhere to the fundamental values of respect, fairness, civility, honesty and responsibility.”
The NCAA should be commended for this awakening of responsibility, in the wake of unquestionable evidence of institutionally tolerated harm perpetrated by an acclaimed member of the university. It is now owning up to its responsibility to punish Penn State for knowingly tolerating sexual abuse while also attempting to promote “cultural changes” throughout the intercollegiate system that prioritize the safety of children and students above all else. The authority to do so comes from the governing by-laws of an athletic association that recognizes its paramount duty to ensure well-being. Cultural change, however, will not be easy.
Any measures to promote “cultural change” to prevent the future toleration of sexual abuse, however, will only succeed if on-campus sexual assault is addressed as well. The American Association of University Women
reports that, “During the course of their college careers, between 20 and 25 percent of women will be sexually assaulted or experience attempted sexual assault.” This pervasive violence perpetrated against female university students, primarily by their peers, is an epidemic and must also be honestly exposed and addressed.
| || |
Any measures to promote “cultural change” to prevent the future toleration of sexual abuse, however, will only succeed if on-campus sexual assault is addressed as well.
A Center for Public Integrity survey
found a frighteningly low conviction rate for on-campus sexual assault and that university-based justice systems are woefully ill prepared to handle student sexual assault cases. Furthermore, according to research conducted by USA Today in 2003
, perpetrators who are college athletes are less likely to be held accountable, “of 168 sexual assault allegations against athletes in the past dozen years suggests sports figures fare better at trial than defendants from the general population.” The abuse experienced by up to one-fourth of all women who go to college is perpetrated and tolerated in silence.
In stark contrast to the unprecedented taking of institutional responsibility by the NCAA to prevent such crimes and cover ups from happening again on a college campus, many continue to be unapologetic vocal supporters of Joe Patterno, because the roots of a culture of rape run deep
If “culture” is faulted for allowing the sexual abuse of boys to continue, then that culture will only be changed if all forms of pervasive sexual abuse on campus are addressed. The Sandusky case painfully exposed the tremendous harm that bystander silence can perpetrate. The inclination towards taking responsibility by those who should and can impact change is a tremendous opportunity to implement, or try to implement, measures toward real cultural change that will root out all forms of abuse and assault perpetrated in a college setting. The NCAA and Penn State also have to address an overall culture of rape tolerated on college campuses and we all have to commit to not being silent bystanders, but vocal opponents of the continuation of harm.
to read another post by Samir Goswami featured on The Sociological Cinema
. For another post on Jerry Sandusky and the Penn State scandal, click here
. Samir GoswamiSamir Goswami is a DC-based writer from India. Samir spent the last fifteen years working towards policy reform for the issues of homelessness and housing, workforce development, human rights, violence against women and human trafficking, specifically working with survivors to have a direct say in their governance. His work has been recognized by Business and Professional People for the Public Interest, the Chicago Community Trust, and the Chicago Foundation for Women, which honored him with the 2010 Impact Award. He is currently focusing on promoting authentic corporate social responsibility.
A stereotype is a an exaggerated or distorted generalization about an entire category of people that does not acknowledge individual variation. Stereotypes form the basis for prejudice and discrimination. They generally involve members of one group that deny access to opportunities and rewards that are available to that group. This is a fundamental concept in introductory sociology classes and is an important way to challenge students to address inequality and discrimination.
However, when discussing stereotypes in a classroom, students may be reluctant to discuss their own stereotypes. Videos can be a highly effective way to engage commonly held stereotypes without students feeling singled out. For example, consider the litany of stereotypes (both positive and negative) identified by George Clooney's character in Up in the Air:
In this clip
, Clooney rattles off several stereotypes of people in an airport (including Asians, people with infants, and the elderly). When his co-star (Anna Kendrick) replies "That's racist," Clooney responds with "I'm like my mother. I stereotype. It's faster." This short clip demonstrates stereotyping, which is used to simplify and control judgments about everyday situations. The media is filled with all kinds of stereotypes, such as distorted depictions of working class people
, racist cartoons
, mother's work
, and Muslims
. But what are the effects of stereotypes?
Using a famous quote known as the Thomas theorem
, we can begin to understand the potentially damaging effects of stereoptypes: "if [people] define situations as real, they are real in their consequences." In other words, when people accept stereotypes as true, then they are likely to act on these beliefs, and these subjective beliefs can lead to objective results. For example, think about some common stereotypes
When men (and women) adopt such stereotypical views of feminism, and misperceptions of gender inequality, then they are less likely to support laws and policies that promote gender equality. They are less likely to consider themselves as feminists and join the struggle. Accordingly, these distorted views of women and of feminists can reproduce the objective reality of gendered inequality. People define these situations as real, and the consequences are therefore real.
But how can we challenge students in overcoming stereotypes? One technique comes from our friend, Michael Miller. He commented on Black Folk Don't
, a website that analyzes stereotypes of black people. For example, consider this clip
about stereotypes of black people not tipping:
While the clip only offers anecdotal views, Michael suggested it might serve as "research stimulators" by challenging students to locate data or studies that would support or refute the stereotypical claims. By evaluating stereotypical claims through data, students not only come to refute stereotypes that reinforce social inequality; they can also develop essential research skills, critical thinking skills, and appreciation for data-driven research.
A second way to challenge stereotypes is through comedy. While some comedians reinforce stereotypes
, the good comedians have a great ability to disarm viewers by playing on their stereotypes. Consider this video from In Living Color
| || |
This "Hey Mon" comedy skit
features the hardest working Jamaican family vs. the hardest working Korean family in their battle to outdo each other. The skit highlights and makes fun of the model minority stereotype often applied to West Indian Americans and Asian Americans. It also makes fun of the ways in which each group is stereotyped regarding speech and dress. Viewers may be encouraged to reflect on why the clip is funny and how it draws upon our stereotypes at the same time it challenges them.For other examples of comedians that attack stereotypes, consider examples of ageism in Betty White's show Off their Rockers, a
stand-up performance on Mexican Stereotypes
, and this Daily Show clip
about code speak and the new racism.
Finally, viewers may be encouraged to reflect on stereotypes by hearing from the stereotyped subjects themselves. For example, Sociological Images
shared a video that features 4 African men discussing stereotypes of them in Hollywood movies:
The young African men in this video (oddly, the video does not refer to their home countries but places them together as "African men") discuss how Hollywood movies depict them as evil men with machine guns delivering one-liners, etc. The men continue stating: "We are more than a stereotype. Let's change the perception." We then learn that the men are in college studying clinical medicine and human resource management, that their likes and interests are much like those of young men in the US and around the world. Thus, this media is used to counter more stereotypical portrayals of the men themselves.Paul Dean
I remember walking to class one morning as a 10-year-old boy, and for no particular reason, my gaze drifted to my right, just in time to catch a classmate exiting the girls restroom. It was a split second glance into the forbidden zone, and I was suddenly guilty. Did anyone see me? The girls restroom didn't look anything like the boys restroom, I thought. More pointedly, what was the nature and purpose of that large white box bolted to the side of the bathroom wall?
Whatever goodies that glorious white box dispensed, I decided that the facilities, and indeed the experience of using the girls restroom were irrefutably better than could be had in the boys. Some time later, I pieced together enough information to conclude that the box held a supply of tampons or menstrual pads, which had something to do with women and their periods. As to how often girls used these soft cotton marvels of technological innovation was a complete mystery, and I knew even less about how they used them.
That fleeting glance of the white box that day stirred my curiosity, but somehow I intuitively understood that to broach the topic of women’s menstruation was to risk embarrassment, so I never brought it up. I eventually learned the basic mechanics of an average menstrual cycle, but it wasn’t until after high school that I developed some very close relationships with women, and through our conversations, I was finally able to name this bizarre mystique surrounding the topic of menstruation.
I’ve always been a curious guy, so it’s fitting that I became a sociologist. I’ve been thinking about just how pervasive this fear of menstruation is in American society, and I’m wondering why it exists at all. One could look at Hollywood movies as a rough gauge of the ubiquity of the fear. The kinds of stories we transform into blockbuster movies, and even the jokes we tell in those movies, say a lot about our society. Take, for instance, the popular 2007 film, Superbad
, starring Jonah Hill as Seth. In one memorable scene, Seth finds himself dancing close to a woman at a party and accidentally winds up with her menstrual blood on his pant leg. A group of boys at the party spot the blood, deduce the source, and one by one, they buckle in laughter. Seth is humiliated by what is supposed to be an awkward adolescent moment, but he’s also gagging uncontrollably from his own disgust.
In contrast, consider the well known menstrual imagery that runs throughout the 1976 horror film Carrie
, which is based on a popular Stephen King novel of the same name. Those who have seen the film will likely remember that Carrie, who is a sheltered high school outcast, gets her first period while taking a shower after gym class. Her peers seize the moment as an opportunity to shame and ridicule her, and yet it is Carrie who lands in the principal's office
. While the principal awkwardly contemplates how to manage the situation, students point and laugh at Carrie as they walk past the office.
Menstrual blood, in its capacity to stir discomfort and uneasiness, is used as a vehicle for comedy in Superbad
, but in the Stephen King film, it serves a different purpose. In Carrie, King's depiction of Carrie's first period is used to layer in tension, and it is not until the concluding scene, when a spiteful classmate pours a brimming bucket of pseudo-menstrual blood over Carrie's head in front of the entire student body, that Carrie finally resolves the tension by using her telekinetic powers to bar all exits and set her tormenters ablaze.
These two films are from entirely different genres and are separated by over 30 years; yet they rely on the same cultural taboos and anxieties surrounding menstruation (as do many, many other
films I haven't mentioned). Both films have been commercially successful, suggesting they contain themes and characters that resonate with a broad swath of the American public. The menstrual scenes from Carrie
are as unsettling as the scene from Superbad
is hilarious because both films successfully
capitalized on the collective sense of shame surrounding menstruation.
Long before me, feminists have noted that the all-too-common fear of menstrual contamination and the shame of failing to manage the menstrual flow are deeply held ideas rooted in patriarchy. That some men involuntarily gag at the mere thought of menstrual blood is evidence that the natural human experience of menstruation has been successfully re-imagined in American society as a kind of pathology. But I think it is important to remember, that women bear the brunt of this ideology. After all, women’s bodies are pathologized, not men’s.
It’s also important not to lose sight of the fact that this pervasive fear of menstruation also fuels a multi-billion dollar industry, which produces and markets hundreds of products designed to manage and even suppress menstruation (e.g., Lybrel and Seasonique
), and it is this relationship between menstrual shame and corporate profit that needs to be exposed and disentangled.
In an interview
about her recent book
, New Blood: Third Wave Feminism and the Politics of Menstruation
, sociologist Chris Bobel
nicely articulates the connection between menstrual anxiety and corporate profit: The prohibition against talking about menstruation—shh…that’s dirty; that’s gross; pretend it’s not going on; just clean it up—breeds a climate where corporations, like femcare companies and pharmaceutical companies, like the makers of Lybrel and Seasonique, can develop and market products of questionable safety. They can conveniently exploit women’s body shame and self-hatred. And we see this, by the way, when it comes to birthing, breastfeeding, birth control and health care in general. The medical industrial complex depends on our ignorance and discomfort with our bodies.
Bobel’s analysis helps make sense of why I felt so certain at the ripe old age of 10 that I couldn’t ask anyone about the tampon dispenser on the wall. By then, I had already internalized the patriarchal notion that women’s menstruation is a potential source of shame, or at least that my interest in it would be shameful. Nearly three decades later, when discussing the topic with my students in the introduction to sociology class I teach, I invariably get asked why—given all we know about the natural, reproductive purpose of the menstrual cycle—do we persist in attaching shame and embarrassment to this experience? In order to understand why, I think we need to critically examine the way patriarchy is entangled with capitalism. As Bobel also notes, it is profitable to peddle the patriarchal idea that women’s bodies are potentially dangerous well springs of shame. Femcare companies and the advertising firms they hire devote enormous resources toward replenishing this well of menstrual anxiety, thereby ensuring women continue to purchase a host of products all designed with the intent of managing their menstrual flow or even stopping it all together.
Unfortunately, quelling the persistence of these very problematic ideas about women and menstruation is a tall order. If my argument is that it is untenable for advertisers to effectively tell women they must use femcare products to avoid shame, then it is equally untenable for me—especially as a man—to tell women to do something else. Instead, I'll conclude with what feels to be an embarrassing compromise with a system I'd rather just discard. My hope is that both women and men can become critically-minded consumers of media and the representations it deploys about women and their bodies. The American public, and many other publics, currently confront a number of anxiety-inducing challenges, menstruation isn't one of them.Lester Andrist
YouTube officially launched in December 2005 as a simple way for people to easily share videos with each other. By July 2006, 100,000,000 videos were being viewed and 65,000 were being uploaded per day. On October 26, 2006, Google bought the company for $1.65 billion. Now the site reports over 2 billion videos are being viewed per day, and needless to say, it dramatically altered the way celebrities are created and information is transmitted via the internet.
Within the internet, various forms of media like pictures, videos, websites, and news stories are known to go viral. This is defined as "process which gives any information item (picture, video, text, or any other audio–visual–textual artifact) the maximum exposure, relative to the potential audience, over a short duration, distributed by many nodes" (Nahon et al. 2011: 1
). There are websites dedicated to highlighting viral content such as The Daily What
, and Cute Overload
(my personal favorite). Social networking platforms like Twitter and Facebook making sharing viral content easier than ever as well.
YouTube's Trend Manager Kevin Alloca says there are three reasons why videos go viral: 1. Tastemakers 2. Participation and 3. Unexpectedness. Tastemakers are those of significant importance who promote a video to a larger audience, be it through a Tweet, blog posting, or link on Facebook. In this video from the TED Talks series
, he shows how a simple Tweet from comedian and late night talk show host Jimmy Kimmel made the infamous "Double Rainbow
" video a phenomenon. Participation involves users spreading the videos to others and usually at a very rapid rate. Unexpectedness refers to the nature of the video. For example, your friend might share with you the video "The Sneezing Baby Panda
". What at first looks like a mother panda chomping on some bamboo ultimately surprises the viewer by featuring a tiny baby panda sneezing and startling the mother -- it's the unexpectedness that makes you want to share the video. Keep in mind this video has been viewed over 135 million times since November of 2006.
While many viral and YouTube videos involves kittens, puppies, babies, and Justin Bieber, there are also a great deal showcasing social inequalities, thus offering opportunities for social commentary. A few popular ones are featured in the video above. With the opportunity to comment on said videos and share via Facebook, it is easy to create a dialogue and discuss the bigger issues at hand.
Serious videos of poignant Senate hearings, personal confessions, and documentary-type shorts showcase current and debatable issues and are easily accessible to a large audience over the internet and through mobile devices and tablets. A perfect example of such a video and the impact it can create is the It Gets Better Project
. After a string of suicides brought on by bullying of LGBTQ or perceived to be youth, syndicated sex columnist Dan Savage and his husband Terry Miller posted a simple and inspiring video
on YouTube on September 21, 2010. They shared their own experiences with middle and high school bullying, but also recalled how much better their lives got after they graduated. They talked about growing up, coming out, and experiencing life in much more positive and accepting places. Dan and Terry retold the story of how they met and created a family with the adoption of their son. They also talked about how their families, who were initially resistant to their coming out, came around to loving them just the way they are. Dan and Terry wanted to provide hope to LGBTQ kids and teenagers all over the world who were scared and suffering so that they would not resort to taking their own lives.
Within a matter of what seemed like days, the It Gets Better Project exploded and a movement began. More than 40,000 videos have been posted and viewed more than 40 million times
. Prominent celebrities such as Stephen Colbert
, television show casts
, everyday normal people, politicians
, and even President Obama
posted videos assuring kids that it does get better. Since the project's launch, it has developed into a fully-functioning non-profit and advocacy organization, joined forces with The Trevor Project
, published a book
, and created an MTV special.
However, not all socially-aware viral videos deal with topics in such a serious matter. The parody song "Chow Down (At Chick-Fil-A)
" features three drag queens singing about anti-gay sentiments behind the delicious fast-food chain Chick-fil-A. Sung to the tune of "Hold On" by Wilson Phillips, the drag queens lament on how "someday somebody’s gonna make you wanna gobble up a waffle fry" even though Chick-Fil-A says the gays "make the baby Jesus cry". Videos like these showcase social inequalities in a fun and catchy way (find more on the Chick-Fil-A video here
YouTube user and comedienne Francesca Ramsey's "Shit White Girls Say...to Black Girls
" tackles race and cultural sensitivities in a light-hearted and funny way as well. The video is a response to the popular series "Shit Girls Say
." In an editorial
for the Huffington Post, Ramsey writes, "Over the years I've found that dealing with white people faux pas can be tricky. If I get upset, I could quickly be labeled the 'angry black girl.' But if I don't say anything or react too passively, I risk giving friends and acquaintances permission to continue crossing the line. So I decided to create my own parody." In a way, her video acts as a "cultural guide" and how-to on sensitively dealing with cultural differences.
While I do enjoy and admit to sharing these videos, it is hard to tell if they really do result in change. I still believe they are beneficial. The ability to comment on such videos through various websites like Facebook and YouTube also create an easy way for users to start a dialogue and discuss the video's content. Hopefully valiant efforts like these really are making a difference. Videos featured in the above clip: Kevin Allocca: Why videos go viral Shit White Girls Say...to Black Girls Kony 2012 It Gets Better: Dan and Terry Telling My Dad I'm Gay-LIVE Chow Down (At Chick-Fil-A) Other favorite videos of mine that I could not include in my own video: 5-year-old needs a job before getting married The Gay Rights Movement It Gets Better: BD Wong Joel Burns tells gay teens "it gets better" Republican Chokes Up At Gay Marriage Debate In Washington Sesame Street: Grover discusses What Is Marriage? Zach Wahls Speaks About Family References
1. YouTube 2. Fifteen Minutes of Fame: The Power of Blogs in the Lifecycle of Viral Political Information3. It Gets Better Project4. From Meme to Social Commentary