Tags: crime/law/deviance, discourse/language, gender, inequality, media, sports, violence, assault, blaming the victim, domestic abuse, intimate partner violence, nfl, 00 to 05 mins
Year: 2014 Length: 2:15 Access: YouTube Summary: [Trigger warning for a discussion of domestic abuse and intimate partner violence] An important news story has once again put the spotlight on America's problem with domestic abuse and gender-based violence, and it involves (former) Baltimore Ravens running back Ray Rice assaulting then fiancée, Janay Palmer, in an elevator of an Atlantic City casino. Video footage of the incident confirms the couple got into a heated argument, and then somewhere during the course of the elevator's descent toward the lobby, Rice delivered a blow with enough force to seemingly render Palmer unconscious. A security camera from the lobby captures Rice dragging his fiancée's limp body out of the elevator and onto the lobby floor. Isn't this just an isolated incident of a man losing his temper? Since most men and women agree that physically assaulting another person is wrong, what is left to discuss? Here's something to consider: women are victims of rape and assault at the hands of men far more than the reverse. According to the Department of Justice, about 1 in 4 women have been victimized by an intimate partner, and this asymmetry suggests Americans still have much to discuss in terms of gendered patterns of violence. The same is true for only about 7% of all men. To be sure, there are certainly interpersonal details that led Rice and Palmer to quarrel that day, but it is no less true that Ray Rice assaulted Janay Palmer because Ray Rice lives in a society where it is sometimes permissible, and even expected, for men to enact physical violence against women. Sure, in the abstract, people agree it's wrong, but if one listens to how people actually make sense of instances of assault, it becomes clear that assault against women is only wrong with qualifications. For instance, the above video features commentator Stephen A. Smith on ESPN's "First Take" imploring viewers to "make sure we [sic] don’t do anything to provoke wrong actions.” As a sociologist, I can appreciate the importance of contextualizing social phenomena, but understanding the causal chain of events that lead to a given conflict is something different than excusing violence or saying the violence is understandable (i.e., morally acceptable). Rather than using his media platform to simply denounce Rice's behavior as wrong, Smith appears to ask his audience to consider the ways in which Janay Palmer was asking to be hit. In the spirit of truly contextualizing the abuse, Smith would do well to ask viewers to consider how a discourse of blaming the victim (also discussed here) perpetuates a state of affairs where women are the overwhelming victims of physical abuse (Note that Smith later offered an apology for his comments). Submitted by: Lester Andrist
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Tags: bodies, children/youth, commodification, consumption/consumerism, gender, health/medicine, marketing/brands, sex/sexuality, commercial, humor, menstruation, 00 to 05 mins Year: 2014 Length: 2:20 Access: YouTube Summary: The company HelloFlo has distinguished itself with its innovative marketing of feminine hygiene products, as well as a lively blog and the informative “Ask Dr. Flo” column. This advertisement portrays an adolescent girl who is impatient for the arrival of her first period. At the start, we see her decorating a clean pad with red nail polish. Her mother discovers the pad and pretends that she has been duped. The mother then concocts an extravagant revenge plot in the form of a “First Moon Party,” even though she knows the daughter has yet to have a period. While the advertisement enlists humor to defuse discomfort and embarrassment, the resulting comedy treats male and female characters inequitably and relies upon familiar tropes of conniving girls and devious women. For example, the mother deceives her daughter and exposes her to unwanted attention from men and boys. Grown men do imbecilic things and inspire eye-rolling, while the girl, the supposed protagonist, does something adolescent—after all, she is an adolescent—and suffers punishment. While in the past, a girl might have been daunted by the secrecy and shame surrounding menstruation, here she is discomfited by a denial of privacy, as others take over her rite of passage (one she herself has yet to undergo). The narrative closure comes when the girl admits to her lie and asks whether she will be grounded. Her mother reveals that she has already punished her with the party and then gives her a “period starter kit” as a gift. The advertisement concludes by giving the punchline to a male partygoer who awaits the flow from a sluggish ketchup bottle; he advises another young girl, “Sometimes you just gotta wait.” The ad is framed as a parody, but given the delicate and gendered subject matter, questions arise. How and when can humor dismantle convention? Who is the protagonist? Toward whom is this spot directed? Who is relieved of embarrassment? And to what end? Note that The Sociological Cinema has previously explored how the topic of how menstruation gets handled by the media here and here. Submitted By: Rose Marie McSweeney Tags: children/youth, culture, discourse/language, gender, intersectionality, prejudice/discrimination, race/ethnicity, colorism, racism, self-esteem, 61+ mins Year: 2011 Length: 68:00 Access: YouTube Summary: As stated on the film's website, "Dark Girls is a fascinating and controversial documentary film that goes underneath the surface to explore the prejudices that dark-skinned women face throughout the world. It explores the roots of classism, racism and the lack of self-esteem within a segment of cultures that span from America to the most remote corners of the globe. Women share their personal stories, touching on deeply ingrained beliefs and attitudes of society, while allowing generations to heal as they learn to love themselves for who they are." Filmmakers D. Channsin Berry and Bill Duke spoke about their own motivations for making the film, citing their own experiences with colorism or, discrimination based on skin color. Specifically, Duke cites a famous social psychological study design in which young black children are presented with two dolls--one black and one white--and are asked to point to the doll that is not pretty, not smart, bad, etc (this study is explored in more detail in the short film A Girl Like Me). Repeatedly, the children selected the black doll. Duke points to CNN's reproduction of this test decades later, which had similar results. This film would be useful to screen in any course that examines race, the intersection of race with gender and class, racism, and various dimensions of the self. Similar themes about discrimination and skin color are explored in the short film Shadeism. Submitted By: Denae Johnson and Valerie Chepp Tags: discourse/language, emotion/desire, gender, intersectionality, media, prejudice/discrimination, race/ethnicity, sports, American football, racialized masculinity, racism, 06 to 10 mins Year: 2014 Length: 6:39 Access: msnbc Summary: On January 19, 2014, the Seattle Seahawks defeated the San Francisco 49ers in a game thrilling victory that secured their spot in Super Bowl XLVIII (which they went on to win). Immediately following the Seahawks' defeat over the 49ers, Seattle cornerback Richard Sherman gave an emotional, on-field post-game interview with FOX Sports reporter Erin Andrews. In the interview, Sherman portrayed a loud and brash display of aggression, in which he “trash talked” San Francisco receiver Michael Crabtree. In this clip, political commentator and TV host Chris Hayes highlights how the media framed Sherman--a black football player--as a “thug” after the interview. Hayes discusses the framing of black men and athletes as violent and hypermasculine with Dr. Jelani Cobb from the University Connecticut. This clip would be useful to guide discussions on the intersections of race and gender, racialized masculinity, and perceptions of threat and violence. Submitted By: Denae Johnson Tags: children/youth, culture, emotion/desire, gender, sex/sexuality, violence, masculinity, rape, sexual assault, 00 to 05 mins Year: 2014 Length: 2:16 Access: YouTube Summary: [Trigger warning for frank talk about rape] In this clip, Andrew Bailey performs a character who awkwardly explains his view that rape is hilarious when it happens to men. The monologue plays as the character's thinly veiled attempt to convince himself that the rape he experienced at the hands of his teacher was something other than a traumatic instance of physical and sexual abuse. At first, he seems to breathlessly struggle to convince viewers that rape is hilarious, then as his face reddens and his defenses appear to be eroding, he attempts to reframe his rape as an experience he actually wanted. After all, in his words he "was a horny 13-year-old boy, and [he] totally wanted to have sex, and now [he] totally had had sex with an adult he trusted." By the end of monologue the character's defenses have fallen away, and the audience is left with his raw testimony. He reveals a more thoughtful side to the character, who explains that he self-consciously chooses to see rape as funny because it is one of the few defenses he has for dealing with the experience. The video works well to underscore a number of ideas about patriarchy. For instance, in contrast to the premises behind many of the arguments posed by so-called men's rights activists, patriarchy very often does not operate as a zero-sum game. In other words, the idea that there is a war between the sexes, where a "loss" for women is simultaneously a "gain" for men is not always a useful idiom, and in fact, as feminists have long noted, patriarchy hurts men too (see for example, these posts featuring Michael Kimmel, Tony Porter, and check out this paper from R. W. Connell, who argues that under patriarchy men orient themselves to a hegemonic masculinity). Bailey's monologue can be used to remind viewers that men and boys are also victims of rape, but because patriarchy constructs the aspirational ideal of a man as someone who cannot be raped and always desires sex, men very often have trouble admitting their experiences, even to themselves. Submitted By: Lester Andrist Tags: biology, bodies, gender, lgbtq, science/technology, sex/sexuality, bisexuality, intersex, sexual expression, sexual identity, sexual orientation, 61+ mins Year: 2005 Length: 86:20 Access: Vimeo Summary: [Trigger warning for those who might be traumatized by depictions of the sex reassignment surgery many intersex people experience as children] People often want to know how many people are born intersex? Unless one is specific about the many physical features that often get named "intersex," the question is difficult to answer. For instance, based on research from Blackless et. al. (and reported here), in the medicalizing language of late onset adrenal hyperplasia, 1 in 66 people are intersex; however, only 1 in about 150,000 are intersex if you restrict the label to include only those who have what medical doctors refer to as complete gonadal dysgenesis. The frequency of people receiving surgery to "normalize" the appearance of their genitals is about 1 or 2 people in 1,000. Frequencies are perhaps an interesting place to start a discussion on intersex, but in themselves, numbers do little to give voice to those who are born intersex within a culture and society that upholds a strictly dimorphic understanding of sex. The above film, Both, is a compelling drama, based on the experiences of many intersex adults, and the film tells a story of an issue that has been widely silenced through shame and secrecy. In the film, Rebeca Duarte, played by Jackie Parker, works as a stunt double for indie action films in San Francisco. From rolling out of cars to setting herself on fire, she puts her life at risk on a daily basis. Work, lovers and friends take up most of her time, but deep inside, she feels something is missing. Rebeca feels strangely disconnected from her own body and can’t figure out why. One day she mysteriously receives a photo album from someone in Peru, where she had spent her childhood. The album contains pictures of her parents and her brother who had supposedly died, but no images of herself. Feeling unsettled, Rebeca sets out to discover the mystery and unravel the web of lies that both the doctors and her parents have spun her whole life. Through her fight to uncover the truth, Rebeca discovers her own identity and a renewed passion for life. Both works by posing compelling questions about gender and sexuality through the experiences of its intersex protagonist. For those considering showing the film in class, note that nudity, masturbation, and sexual intercourse are depicted at 17:50 mins, 21:30 mins, and 53:20 mins. Submitted By: Leslie Jaye Tags: emotion/desire, gender, politics/election/voting, prejudice/discrimination, leadership, subtitles/CC, 06 to 10 mins Year: 2014 Length: 10:52 Access: The Daily Show: Part 1, Part 2 Summary: Men and women are often judged in opposite ways even when engaging in nearly identical behaviors, and authors such as Kathleen Hall Jamieson point out how these social judgments are especially problematic for women in leadership positions, as masculine authority supposedly contradicts feminine social expectations. This contradiction and the social judgments of men and women is highlighted in a recent segment from The Daily Show, titled "The Broads Must be Crazy." Jon Stewart first points out that the speculation about whether Hillary Clinton’s recently ascribed grandmother status will affect her electability has “never, ever” been an issue with any grandfather candidate who has sought the presidency. The segment then outlines numerous instances where male and female politicians were framed in entirely different ways when engaging in similar, if not identical, behaviors. The end of the clip even illustrates how the supposedly feminine emotions are thought to be strengths when expressed by men; while a nearly identical emotive expression is seen as problematic for female leaders. Submitted By: Jason T. Eastman Tags: biology, bodies, gender, marketing/brands, sex/sexuality, biological determinism, dress negotiation, gender blame, sexism, sexual objectification, 00 to 05 mins Year: 2013 Length: 0:30 Access: YouTube Summary: This commercial from Duluth Trading Company is an accurate example of the ways in which women are subtlety encouraged to participate in forms of security from men’s seemingly-natural demeanor. Indeed, through the purchase and use of a Duluth Trading Company "Longtail" t-shirt, women are promised the security from the "gawking gopher," a character that stares as the fictional female character bends to perform a task. The blame, in this case, is placed on women for not covering up, perhaps framed as a feminine task to help men sooth their "inherent" tendencies to be hypersexual. From this born-this-way perspective, men avoid responsibility for their objectification of women. This means that, among other things, men are also excluded as solutions to such an issue. Instead of discouraging men to “gawk” through a deconstruction of the relationship between masculinity and objectification, this commercial delicately—yet notably—places the male response to a women’s body as a natural reaction that can only be solved through the further policing of women’s bodies. Submitted By: Peter Rydzewski Tags: crime/law/deviance, culture, gender, inequality, prejudice/discrimination, violence, mircroaggression, misogyny, patriarchy, rape, rape culture, sexual violence, slut shaming, street harassment, subtitles/CC, 06 to 10 mins Year: 2014 Length: 10:59 Access: YouTube Summary: "Oppressed Majority" is a short film from Eleonore Pourriat, and it contemplates what the world would be like if men and women swapped statuses. The film's protagonist starts his day by checking the mail and politely listening to his neighbor complain about the dilapidated condition of their building. She concludes, "But I should really be talking to your wife." With this alternate French universe as her backdrop, the remark is a perfect example of the subtle brand of sexism Pourriat is able to successfully explore--what sociologists sometimes refer to as microaggressions. Later in the film, the protagonist encounters a group of young women on the street. He endures their catcalls, but when he finally stands up for himself, the women chase him into alley and rape him at knifepoint. While the obstacles confronting the protagonist as he goes about his day do not always result in physical harm, in each instance, he is the recipient of a rather vivid lesson about the place and position he and other men occupy in this fictional matriarchal society. In my view, the film works as a kind of thought experiment and confronts viewers with an unsettling question: If you're appalled by the treatment of men in this fictional society, why aren't you appalled by the ways women are treated in many real societies? For those who might object that the filmmaker is exaggerating to make her point, consider the fact that at least in the U.S. a nationally representative survey found that 87 percent of American women between the ages of 18-64 had been harassed by a male stranger; and over half of them experienced “extreme” forms of harassment including being touched, grabbed, rubbed, brushed or followed. Even more harrowing, a recent Centers for Disease Control survey calculated that 1 in 5 American women will endure a rape or attempted rape in their lifetimes. To be blunt, the film is shocking, not because it exaggerates, but because it encourages viewers to contemplate a truth. What is truly remarkable then is that people have become so numb to patriarchal aggressions; the assaults have become so normalized that it takes a work of fiction to coax people into truly seeing the society in which they live. Submitted By: Lester Andrist Tags: capitalism, children/youth, consumption/consumerism, gender, inequality, marketing/brands, gender roles, gender socialization, market economy, market segmentation, toys, 06 to 10 mins Year: 2014 Length: 7:24 Access: YouTube Summary: In this episode from the Australian television series The Checkout, gendered marketing is analyzed and, specifically, the theory of market segmentation is explored. This theory posits that dividing consumers up into smaller groups is good for business; as the video demonstrates, gender is a common criteria upon which companies segment the market and increase the sales of their products. Product elements such as "shape, texture, packaging, logos, verbiage, graphics, sounds, and names [are all used] to define the gender of a brand." For example, Lego company tripled the sales of the same product and boosted their annual global revenue by as much as 25% when they created Lego Friends for girls and building sets and action figures for boys. Similar to children’s toys, companies segment the market by gender when advertising products for adults as well. Among the many examples cited in the video, Dove Company created “For Men” soaps, which have more squared edges than its regular, ellipse-shaped soap bars, packed in grey boxes in order to give a more “macho mystique” to the product. This video can be used in classrooms for explaining the connections between capitalist market economy and gender socialization, and its implications for gender inequalities. The video highlights how gender inequality manifests in the different prices of these products, with "women's products" often costing much more than those marketed toward men. However, viewers can also consider other ways that gendered marketing contributes to gender inequality. For other examples and critiques of gendered marketing on The Sociological Cinema, click here, here, and here. For a collection of pics on gendered marketing, click here. Submitted By: Nihal Çelik |
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