Tags: community, culture, discourse/language, prejudice/discrimination, race/ethnicity, social mvmts/social change/resistance, sports, politics of representation, symbolic representation, racism, subtitles/CC, 00 to 05 mins Year: 2000 Length: 1:06 Access: South Park Studios Summary: In this short clip from the animated television series South Park, Jimbo and Chef argue over whether the town flag should be changed. Keeping the flag unchanged might be seen as a noble cause for Jimbo and the other white residents of South Park, but given that the flag depicts the lynching of a black person, most viewers of the show will recognize the flag for the racist relic that it truly is. Working as satire, the racist flag controversy is clever misdirection, for the episode is really taking aim at much more polarizing issues, such as the display and celebration of confederate flags, and more pointedly, the widespread use of Native people as sports mascots. Jimbo and Chef briefly discuss the Cleveland Indians at the 45 second mark, but the controversy over the Washington "Redskins" is also relevant. Begun by the Oneida Indian Nation, there is a growing movement to end the use of the racial epithet currently used as the team's name. For the many people who have trouble understanding why Native Peoples are offended, the South Park clip suggests a useful thought experiment. Suppose the town and its flag were real. The depiction of a lynching victim would likely be offensive in its capacity to trigger public memories among Blacks of a particular form of racial violence that prevailed in the U.S. at the beginning of the twentieth century. Second, the flag would also likely be an uncomfortable reminder of the violence blacks must still face today, which in at least one form persists as racist policing, Finally, it should be obvious that the fact any community would proudly hang such a flag would be a slap in the face of the black community, who would rightfully perceive that their trauma is less important than preserving some image on a town flag. Like the fictional South Park flag, the "Redskins" name is offensive in that the slur recalls the white racism and genocidal policies imposed on Native peoples. The name triggers public memories among Native peoples regarding the U.S. government's campaign to annihilate and drive tribes from their homes. As a slur, "Redskin" seems to have fallen out of favor, but racism toward Native peoples continues and the association of the slur with the nation's capital certainly does nothing to engender hope that times have changed. Finally, as with the South Park flag, the continued use of the slur is a slap in the face of Native peoples, who rightfully perceive that their trauma is less important than preserving the name of a sports team. Symbolic representations, such as those that make their way onto flags and bumper stickers, are always born from relations of power; namely, who has the power to represent whom and what is the effect of those representations (Note that we also consider the question of who has the right to represent whom in another post). Submitted By: Lester Andrist
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Tags: children/youth, gender, marketing/brands, organizations/occupations/work, science/technology, occupational sex segregation, socialization, stem fields, subtitles/CC, 00 to 05 mins Year: 2013 Length: 2:06 Access: Slate; YouTube Summary: This new commercial from the GoldieBlox toy company has been enthusiastically shared among feminists and those who are generally frustrated by the dearth of creative toys for girls. The ad features three bored little girls watching a generic television ad of other girls dressed in princess costumes. The three girls throw on a record of a reworked Beastie Boys tune, they grab their tools, and in the next shot, we see that they have constructed an elaborate Rube Goldberg apparatus. Swinging levers beget cascading dominoes and rolling bowling balls, until at last a makeshift hammer swings toward the television and appears to change the channel. The ad is in keeping with GoldieBlox's overall mission, which is to "show the world that girls deserve more choices than dolls and princesses [and that] femininity is strong and girls will build the future." The company's concern is well placed too. In the United States, between 2000 and 2009, the percentage of women in the field of engineering has been in decline, and currently, only about 18% of all engineering degree holders are women (According to GoldieBlox, only 11% of total engineers worldwide are women). Obviously the commercial seeks to sell toys, but it might work well as a means to draw attention to this gendered imbalance in the field of engineering (i.e., occupational sex segregation), and how this imbalance is connected to the different ways boys and girls are socialized. But one can take the analysis even further. Notice that even in this fairly progressive ad, gender proves itself as a resilient basis upon which to socialize boys and girls differently. For all GoldieBlox's talk on their website about "disrupting the pink aisle," it is important not to lose sight of the fact that the company's marketing approach actually reinforces the gender binary just as well as any other company's. GoldieBlox might be disrupting pink as an innately feminine color, but it leaves unscathed the core idea that girls and women are somehow fundamentally different than boys and men. Submitted By: Lester Andrist Tags: biology, gender, lgbtq, sex/sexuality, agender, cisgender, gender expression, gender identity, genderqueer, queer, subtitles/CC, 00 to 05 mins Year: 2012 Length: 4:37 Access: YouTube Summary: Peer sex educator and YouTube sensation Laci Green breaks down the gender binary in this four minute video. Green proposes that the binary is kind of like two different suitcases packed with distinct expectations and beliefs, and which are arbitrarily imposed on people based on their genitalia. What this means is that the gender identity people adopt for themselves is sometimes different than the gender identity parents and medical professionals assign people at birth. As Green explains, Cis or Cisgender refers people whose gender identity aligns with the gender they were assigned at birth, while trans* or transgender typically designates people who identify as a gender, which is different than the one they were assigned at birth. In contrast, people who identify as agender do not subscribe to being either a man or a woman, and genderqueer is more of an umbrella term that similarly denotes people who refuse to identify with being either a man or a woman, but also includes people who simultaneously identify with aspects of both genders. The video works nicely as a short introduction to the gender binary, and the flurry of terms that emerge as a result of the fact that no single gender identity or expression perfectly corresponds to biological features, such as genitalia, chromosomes, or even the capacity to birth children. Laci Green does a good job of revealing that the gender binary is a rather unstable proposition and far more fluid than what is often pretended. Perhaps this inherent instability is why people so often seek to moor gender to biology, which they imagine to be more stable (e.g., "Getting pregnant made me feel like a woman," "Men are naturally more aggressive than women."). Yet instructors can push students to consider the way biology itself also fails to conform to a binary system of categorization. Contrary to popular belief, men have estrogen, women produce testosterone, chromosomes do not reliably determine sex, and the intersex community reminds us that despite the longstanding efforts of surgeons there is often more to genitalia than penises and vaginas. Submitted By: Lester Andrist Tags: class, economic sociology, emotion/desire, gender, globalization, immigration/citizenship, inequality, organizations/occupations/work, care deficit, motherhood, subtitles/CC, 00 to 05 mins Year: 2006 Length: 4:50 Access: YouTube Summary: The anthology film Paris, je t'aime (2006) features 18 short films set in different neighborhoods—or, "arrondissements"—across Paris. The fifth segment, entitled Loin du 16e (which translates into "Far from the 16th"), takes place in the 16th arrondissement; it was written and directed by Walter Salles and Daniela Thomas, and stars Catalina Sandino Moreno. The film tells the story of a young immigrant mother who leaves her baby in daycare so she can travel far across town to care for the baby of her wealthy employer; she sings the same Spanish lullaby ("Qué Linda Manita") to stop both babies from crying. Despite being short in length and dialogue, the film offers multiple avenues of inquiry for teaching about many core sociological concepts, including gender, motherhood, immigration, class, globalization, and transnational labor markets. In their edited anthology Global Woman: Nannies, Maids, and Sex Workers in the New Economy, Barbara Ehrenreich and Arlie Hochschild highlight the various dimensions—both positive and negative—of immigrant women's entry into "First World" labor markets, which include immigrant women's ability to send money back to home countries, First World women's ability to pursue upwardly mobile paid careers, and emotional hardships and physical strains associated with leaving family and loved ones behind. Ehrenreich and Hochschild argue that this transnational economic process results in a care deficit, in which transnational women's labor supplies much needed care in rich countries, at the expense of creating a deficit of care in home countries. Instructors can focus on the following features of the film to facilitate discussion and analysis: (1) The significance of distance and space. What are the different environments the woman must travel through for her commute to work? Have students read about the 16th arrondissement and then ask: What is the meaning of the film's title, "Far from the 16th"? (2) The significance of power relations. What do we know about the relationship between the woman and her employer (whose face we never see)? What is the significance of the employer's request that the woman work late? Should the woman receive overtime pay for this extra work? Do you think she'll receive it? Why or why not? (3) The significance of the lullaby. Although she sings the same lullaby with the same purpose (to calm a crying baby), how do the two scenes differ? Focus on the environment in which the lullaby is sung, the recipient of the lullaby, the woman's relationship to each of these recipients, and how these factors shape the emotions attached to the lullaby. To view Loin du 16e in French, click here; to view it with Spanish subtitles, click here. For another clip that examines social inequality by interrogating ideas about distance, space, and lullaby, click here. Submitted By: Valerie Chepp Tags: crime/law/deviance, knowledge, media, psychology/social psychology, violence, cultivation theory, terrorism, tsa, subtitles/CC, 00 to 05 mins Year: 2013 Length: 4:45 Access: The Colbert Report Summary: Neuroscientist Steven Pinker shares his book, The Better Angels of Our Nature: Why Violence Has Declined. This video explains (without mentioning it) cultivation theory, which is the idea that the more you watch the news, the more you have a tendency to overestimate the crime rate. Specifically, the video discusses terrorism, and Americans' fixation on it as a source of danger, when more mundane sources like flammable pajamas and peanut allergies cause far more deaths. This video works well as a means of introducing cultivation theory, but it is also a good starting point for a more general conversation about how the media misleads the public about how dangerous the world is and from where dangers come. Note that The Sociological Cinema has previously explored the way media is used as a tool for dispersing propaganda in a democratic political system (here), and also as a supplicant to the demands of corporate power (here). Submitted By: Nickie Michaud Wild
Susana Almanza recounts her work for environmental justice
Tags: environment, health/medicine, inequality, race/ethnicity, social mvmts/social change/resistance, environmental justice, environmental racism, subtitles/CC, 00 to 05 mins Year: 2012 Length: 4:03 Access: YouTube Summary: In this video Susana Almanza explains how, historically, communities of color, Latinos, African-Americans, Asian-Americans and Native-Americans, have been disproportionately affected by industrial pollution. At the same time, these communities have not benefited equitably from these industries. She describes East Austin, Texas, where a power plant, fuel storage tank farms, refineries, lumber companies, and high tech industries regularly emit their pollutants into the air and water. In the video she goes on to describe the efforts of social movement activists, which led to the relocation of a gas tank farm that had been emitting toxic chemicals in the community for over 35 years and causing chronic illnesses for neighborhood residents. This short video could be used as an example of a successful social movement. The video might also serve as a platform for launching into much deeper discussions about environmental justice and environmental racism. Submitted By: Erika Giesen
Mike Rugnetta explains the three waves of feminism
Tags: gender, inequality, media, social mvmts/social change/resistance, sex/sexuality, adventure time, bmo, feminism, first wave feminism, gender binary, popular culture, pronouns, second wave feminism, third wave feminism, subtitles/CC, 06 to 10 mins Year: 2013 Length: 8:10 Access: YouTube Summary: This quirky little clip comes from the Idea Channel, which describes itself as "a weekly web series that examines the evolving relationship between modern technology and art." In it, bearded host Mike Rugnetta explores a connection between feminist theory and the animated television show Adventure Time. Fans of the animated series will recall that one of the minor characters is a sentient video console named BMO. Rugnetta argues that since this walking and talking gadget generally skirts the strictures of the gender binary system in a number of creative ways, the character can be read as expressive of Third Wave Feminism. On that point, Rugnetta breaks into a useful discussion of the three waves of feminism. The first wave emerged from the 19th century, and as Rugnetta surmises, it was concerned with "institutionalized inequalities, like women gaining the right to vote, executing contracts, or owning property." Another way of thinking about the first wave is that it sought to remove obstacles that prevented women from fully participating in public life and spheres of formal power. The right to vote is one such obstacle, but first wavers were also concerned with securing the right to attend such organizations as medical schools and labor unions. The second wave, by contrast, is most associated with the 1960s and 1970s. Rugnetta explains that the second wave "broadened its focus to cultural inequalities." It should also be noted that the second wave expanded the struggle for equality back into the private sphere, and cast a spotlight on such issues as domestic violence. Finally, the third wave, which is typically associated with the present moment, has broadened its focus even more by recognizing the way people are intersected by such dimensions as gender, race, class, and sexuality. As the BMO character exemplifies, Third Wave Feminism is also critical of the gender binary, or the cultural and social structures that divide people, roles, behaviors, occupations, and objects of consumption into strictly masculine and feminine spheres. Submitted By: Lester Andrist
An Asian woman gets asked, "Where are you really from?"
Tags: discourse/language, immigration/citizenship, inequality, nationalism, prejudice/discrimination, race/ethnicity, microaggression, perpetual foreigner syndrome, racism, substantive citizenship, white privilege, subtitles/CC, 00 to 05 mins Year: 2013 Length: 2:20 Access: YouTube Summary: In the U.S. people are often asked where they are from, but Asians, Latinos and other people of color often share the distinction of being confronted with a follow up question: "No, I mean where are you really from?" It is useful to examine what this common exchange reveals about how whites draw on race as a means of navigating and reasserting symbolic boundaries between insiders and outsiders, or between substantive citizens and non-citizens. This ridiculous scenario is humorously reenacted in the above comedy sketch, which features an Asian woman sharing a casual conversation with a white man. The man asks her where she is from, but after the woman explains she is from San Diego, the man becomes confused and attempts to clarify, "No, I mean, where are you really from?" His awkward questioning about the woman's "true" origin is a symptom of what law professor Frank H. Wu refers to as the "the perpetual foreigner syndrome." As Wu points out, when a person asks, "why aren't you married?" they are clearly signaling a measure of disapproval, and similarly, the question, "Where are you really from?" communicates something more than a curiosity about one's place of birth (see also, "My, you speak English so well!"). The question constitutes an effort to catalog a person on the basis of a perceived racial difference, but the effect of asking the question is exclusion, and as such, it can be understood as a microaggression, a term that refers to the “brief and commonplace daily verbal, behavioral, or environmental indignities, whether intentional or unintentional, that communicate hostile, derogatory, or negative racial slights and insults toward people of color” (Sue, et. al. 2007). The comedy sketch also serves as a means of broaching an important discussion about how this type of symbolic exclusion is part and parcel of a much broader historical pattern. To name just one particularly vulgar example, during the Second World War, Japanese Americans living on the U.S. West Coast were forced from their homes and relocated to concentration camps. Irrespective of whether they immigrated or were born in the United States, high ranking military officials and state representatives joined media columnists in amplifying the viewpoint that Japanese Americans were perpetual foreigners who could not be trusted. Despite living in the United States their entire lives, many assumed Japanese Americans were not really Americans. Submitted By: Lester Andrist
This scene emphasizes the importance of consent.
Tags: children/youth, foucault, gender, sex/sexuality, theory, violence, rape, sexual consent, sexual violence, subtitles/CC, 11 to 20 mins Year: 2011 Length: 20:00 Access: Fáðu já (English subtitles available) Summary: [Trigger Warning: This film includes scenes depicting and discussing rape and sexual violence.] Fáðu Já! (“Get a Yes!”) is an educational film from Iceland on sexual consent. The film functions on two levels: 1) it analyzes, and is a good way to initiate discussions on, sexual relationships and violence; and 2) it offers an illustration about cultural differences in the public discourse about sex education and sexual violence. First, sometimes with humor and sometimes with sobering seriousness, the film addresses a number of issues about sexual relationships and is aimed at teenagers. Topics include: the dangers of learning about sex from porn or music videos; the fundamental importance of getting consent from one's sexual partner; acknowledgement of the positive dimensions and frequent awkwardness of sexual activity; knowing sexual boundaries; the definition of rape; and the prevalence and dangers of sexual violence. Second, the film is an interesting illustration of cultural differences around public discourses of sex. Many viewers (especially American viewers) may be surprised to know that this film was shown to teenagers in all schools across Iceland on January 30th, 2013. As noted in this review, the film "is part of a government-sponsored awareness initiative that is focused on violent crimes of a sexual nature against children." It had the support of Iceland's Ministry of Education, Ministry of Welfare, and the Ministry Internal Affairs, with the purpose of developing "preventative material regarding sexual violence." According to an interview with one of the film's creators, "The response was overwhelming. The project got a whole lot of media attention and was featured on pretty much every talk show in the country. The reporters and journalists ... all interviewed us, more or less. The reviews were extremely positive and I barely heard any negative feedback. Some of the older, ‘cooler’ teenagers said that it was obviously made for the younger kids – but we think the film is for everyone who has ever reached puberty." Finally, the video is theoretically interesting from the perspective of Foucault, who in The History of Sexuality (1978), links discourses of sexuality to power. On the one hand, the video was shaped by official ministries and is tied to expert knowledge, and it clearly links positive sexual activity to relationships of love. On the other hand, and contrary to discourses that shame adolescent sexuality or characterize it as unnatural (Foucault 1978: 104), the video acknowledges its positive dimensions. The video also does not explicitly define acceptable forms of sexuality (at least not beyond consensual sex associated with love), thereby partially decentering this conversation by encouraging viewers to know and create their own boundaries. Furthermore, from a feminist perspective, the film can be seen as empowering victims of sexual assault. (Note: when showing this video in the US, instructors may want to provide the National Sexual Assault Hotline, 1.800.656.HOPE) Submitted By: Anonymous
Film explores cultural history & nutrition of a U.S. culinary tradition.
Tags: class, culture, food/agriculture, health/medicine, race/ethnicity, African Americans, American South, culinary traditions, soul food, subtitles/CC, 61+ mins Year: 2012 Length: 64:00 Access: iTunes or Amazon (online purchase; trailer here) Summary: In the documentary Soul Food Junkies, filmmaker Byron Hurt "sets out on a historical and culinary journey to learn more about the soul food tradition and its relevance to black cultural identity. Through candid interviews with soul food cooks, historians, and scholars, as well as with doctors, family members, and everyday people, the film puts this culinary tradition under the microscope to examine both its positive and negative consequences. Hurt also explores the socioeconomic conditions in predominantly black neighborhoods, where it can be difficult to find healthy options, and meets some pioneers in the emerging food justice movement who are challenging the food industry, encouraging communities to 'go back to the land' by creating sustainable and eco-friendly gardens, advocating for healthier options in local supermarkets, supporting local farmers' markets, avoiding highly processed fast foods, and cooking healthier versions of traditional soul food." (This excerpt is from the film's website; additional educational materials can be found here; eight healthy soul-food-inspired recipes can be found here.) Submitted By: Valerie Chepp |
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