_Tags: commodification, emotion/desire, goffman, theory, arlie hochschild, back stage, dramaturgy, emotional labor, front stage, impression management, presentation of self, 00 to 05 mins Year: 2005 Length: 2:03 Access: YouTube Summary: [Trigger warning: this clip includes explicit language] Waiting is a movie about a day in the life of workers at a casual dining restaurant. This clip can be used to highlight a number of concepts related to Erving Goffman's dramaturgical perspective. For example, in order to avoid disruption and with hopes of getting a bigger tip, the wait staff go to great lengths to manage the impressions that customers have of them. These "front stage" performances are, however, quite different from the "back stage" interactions between the wait staff and cooks. In a separate vein, the clip also highlights Arlie Hochschild's concept of "emotional labor," a concept which she develops in her book The Managed Heart: Commercialization of Feeling. One can see in the clip how the wait staff must go to great lengths to maintain pleasant appearances in the face of rude and unruly customers. Submitted By: Derek Evans (@Dee_Wreck)
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_Tags: emotion/desire, gender, lgbtq, sex/sexuality, audre lorde, homoeroticism, manhood, masculinity, othering, performativity, subtitles/CC, 00 to 05 mins Year: 2007 Length: 2:29 Access: YouTube Summary: In her article “Performing Gender Identity” (in Language and Gender: A Reader), Cameron argues that men are under constant pressure to constitute themselves as masculine. This pressure, at times, quickly turns into outright anxiety and terror, especially when it becomes more and more difficult to stabilize heterosexual masculinity in the absence of an object that can safely be identified as the target of desire proper. I use this nonthreatening clip from “Scrubs” to introduce students to the idea that the line between homosociality and homoerotics is very thin, blurred, and quite arbitrary. The ever-presence of the possibility of a homoerotic relationality between men, who, in this instance, cannot find an other through whom they can safely express their desire for each other, exposes the absurdity of manhood as not only a performance that is always already lost, but also as a performance of loss and as a mode of subjecthood which actively forbids itself an unpredictable and undefined range of intersubjective experiences. When hegemonic heterosexual masculinity attempts to “face the facts about me and you, a love unspecified,” as J.D. says, the homoerotic components of the intersubjective experience (where Audre Lorde finds the “chaos of our strongest feelings” —“The Uses of the Erotic”) are instantly alienated and turned into fear, uncertainty, and doubt. Their song is performative: it is a painful and quasi-conscious play that creates and sustains the kind of masculinity they assume and expect to already have, by constructing, bit by bit, the contours of intolerable desire, gaze, and touch... In Cameron's article, this gesture (of separating and dichotomizing homosociality and homoerotics) turns out to be potentially violent. There, in order to desperately preclude the possibility of homoerotic desire exposing itself, men produce an absent other, where they displace their own desires, project their own fears and terror, regulate their own anxieties, and externalize the unpredictable and subversive elements of intersubjectivity. This mythical monstrous absent other, constructed through a cooperative effort of sustained conversation about it, and alienated and terrorized as “the anti-thesis of man,” then serves as the basis of a kind of masculinity that was expected to already be safely present. Submitted By: Mehmet Atif Ergun Tags: bodies, emotion/desire, gender, marketing/brands, media, race/ethnicity, violence, hegemonic masculinity, ideal beauty, rape, representation, sexual violence, 06 to 10 mins Year: 1999 Length: 7:03 Access: YouTube Summary: This clip, featuring Jackson Katz, examines popular media representations of men and masculinity in the United States. The excerpt is only the first 7 minutes of an 84 minute documentary (find more information about the film at mediaed.org). In it, Katz explores the harmful consequences associated with contemporary masculinity. Some students might perceive the examples used in "Tough Guise" to be outdated, but Katz's recent book, "The Macho Paradox," can be used effectively to update and supplement the film. Note that instructors might find this clip useful for introducing Connell's concept of hegemonic masculinity. Submitted By: Lester Andrist Tags: consumption/consumerism, emotion/desire, gender, media, culture, feminism, gender stereotype, representation, sexual liberation, subtitles/CC, 00 to 05 mins Year: 2010 Length: 5:15 Access: YouTube Summary: Sociologist Tracy L. Scott, from Emory University, explains what effect Sex and the City has had on culture and society. She attempts to answer whether the program had a positive impact in promoting gender equality and whether the show was truly as ground breaking as people believed. She concludes that while the show initially explored sexual liberation among women, it gradually moved toward a traditional story about women being preoccupied with romantic relationships. In this sense, the show resembled other programs of the 1970s and did not necessarily challenge gender stereotypes. A good point is made about the way this show promotes a particular kind of consumerism among women. This clip would work well in a class that seeks to introduce the concept of gender stereotypes and the way they are reinforced in popular media, particularly in shows which claim to be modern and progressive. Submitted By: Lester Andrist Tags: children/youth, discourse/language, emotion/desire, foucault, gender, lgbtq, marriage/family, religion, sex/sexuality, social construction, discipline, heteronormative, femininity, masculinity, norms, socialization, purity ball, virginity pledge, 00 to 05 mins Year: 2008 Length: 1:23 Access: YouTube Summary: This clip describes and visually portrays an example of a purity ball, a formal ritual/party in which girls take a purity pledge (a.k.a. "virginity pledge") in front of their family and friends and, most prominently, they make this pledge to their fathers. I use this clip when introducing Foucault to my students, and I ask them how Foucault might make sense of purity balls and virginity pledges as a social and cultural phenomenon. Submitted By: Valerie Chepp Isaiah Mustafa Tags: bodies, emotion/desire, gender, marketing/brands, media, social construction, hypermasculine, ideal beauty, sexism, hegemonic masculinity, manliness, subtitles/CC, 00 to 05 mins Year: 2010 Length: 0:33 Access: YouTube Summary: The caption below this YouTube ad reads "We're not saying this body wash will make your man smell into a romantic millionaire jet fighter pilot, but we are insinuating it." In the span of about 30 seconds, the Old Spice model triumphs as a hypermasculine male. He has the body, the sexy voice, the self-confidence, the money, and the romance. Although the commercial appears to be poking fun at hypermasculinity, it is important to note that the commercial works because consumers broadly share a set of relatively narrow ideas about masculinity. In particular, the clip is useful for introducing R. W. Connell's concept of hegemonic masculinity, which draws attention to the way masculinity is constructed in relation to other subordinated masculinities and in relation to women. For Connell, the concept is "a social ascendancy achieved in a play of social forces that extends beyond contests of brute power into the organization of private life and cultural processes." In other words, Isaiah Mustafa embodies a masculinity in the ad that is hegemonic because it is favored and promoted throughout major social institutions, and among other places, it can be readily found mass media content. A point of discussion is whether the ad uses satire to challenge this hegemonic form of masculinity, or does it only succeed in reinforcing it? Note that the clip can also be analyzed for playing a role in the construction of feminine desire. While the audience is laughing about this tongue-in-cheek form of masculinity, they are likely taking it as a given that all women want this kind of man and the diamonds he holds. Submitted By: Lester Andrist Tags: emotion/desire, gender, media, politics/election/voting, hillary clinton, john edwards, 00 to 05 mins Year: 2008 Length: 0:47 Access: YouTube Summary: In this clip, we see John Edwards respond to accusations that he criticized Hillary Clinton for getting emotional during the 2008 Presidential Primary (view a clip of Clinton). What's interesting is when the interviewer asks Edwards whether he's ever "teared up" on the campaign trail. Edwards staunchly claims to never have cried on the campaign trail, despite acknowledging the grueling, tough nature of the work. In making this claim, Edwards not only reinforces an ideal of hegemonic masculinity (i.e., the stoic man), but also uses this appeal to hegemonic masculinity as an indication of his ability to "handle" the tough world of politics, thereby distancing himself from anything feminine and making an implicit claim about the incompatibility of femininity (i.e., women and specifically Clinton) and politics. Submitted By: Valerie Chepp Tags: emotion/desire, gender, intersectionality, media, race/ethnicity, representation, sexism, 00 to 05 mins Year: 2007 Length: 1:00 Access: YouTube Summary: Featured in this clip is a public service announcement from the U.S.-based National Center for Missing & Exploited Children's "Don't Believe the Type Campaign." The short clip warns young people to be careful of what they post online. This clip is a good example of how women, and young white women in particular, are represented as vulnerable in popular media. One could argue that the creators of this ad have intuited how to communicate this cautionary message with maximum effectiveness by positioning a young, white women as a vulnerable body. The clip is also promoting a complimentary message about the predatory lust and desire of heterosexual men. This clip might be useful for demonstrating gendered media representations. Submitted By: Lester Andrist Tags: gender, emotion/desire, marketing/brands, masculinity, representation, sexism, 00 to 05 mins Year: 2010 Length: 1:03 Access: YouTube Summary: This car commercial was shown during the 2010 Superbowl. The commercial pokes fun at the idea of women emasculating men. Women are depicted as nagging relatively powerless men. In the clip, men are redeemed through driving a sports car. The ad makes a clear connection between masculinity and driving fast but also represents the desires of men as antithetical to the desires of women. Therefore, this clip might be useful for demonstrating the social construction of desire as a process that works within a gender binary. Submitted By: Lester Andrist |
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