Activist Carol Adams has famously argued that the common phenomenon of sexualizing meat productsis designed to make us feel better about eating animals. One of the ways it does this is by making it funny. She explains:
Uneasiness becomes sexual energy… and everybody knows what to do about sexual energy. You can laugh at it, you can talk about it, it reduces whoever is presented to an object. And so it makes it okay again.
Sexualizing meat also turns the object of consumption, the animal, into a willing participant. Sex takes two and, even when one partner is objectified, there is a desire. If not “want,” it’s a “want to be wanted.”
If the meat wants you to want it, then you don’t have to feel bad about eating it. As I’ve written before, “this works best alongside feminization, as it is women who are typically presented as objects of a lustful male gaze.”
This ad, in which roosters flock to Carl’s Jr to ogle and lust over chicken “breasts,” is a disturbing example.
At the end of last year, Robin Thicke took a lot of heat for both the lyrics of his song, Blurred Lines, and the accompanying video. The latter is a transparent instance of a very common strategy for making men look cool: surround them with beautiful and preferably naked women.
It seems especially effective if the men in question act unimpressed and unaffected by, or even disinterested in, the women around them. It’s as if they are trying to say, “I am so accustomed to having access to beautiful, naked women, I don’t even notice that they’re there anymore.” Or, to be more vulgar about it, “I get so much pussy, I’ve become immune.”
This is all to introduce a satirical series of photographs featuring performance artist Nate Hill who, on the mission page of his “trophy scarves” website (NSFW), writes: “I wear white women for status and power.” And, so, he does. Here are some maybe safe-for-work-ish examples:
There are more, definitely NSFW examples, at his site (and thanks to German C. for sending the link).
Hill brilliantly combines a tradition of conspicuous consumption – think mink stoles – with a contemporary matrix of domination in which white women are status symbols for men of all races. It’s not irrelevant that he’s African-American and the women he chooses are white and, yes, it is about power. We know it is because women do it too and, when they do, they use women below them in the racial hierarchy. Remember Gwen Stefani’s harajuku girls? And consider this FHM Philippines cover:
I’m amazed at the ubiquitousness of this type of imagery and our willingness to take it for granted that this is just what our visual landscape looks like. It’s social inequality unapologetically laid bare. We’re used to it.
Somebody — lots of somebodies, I guess — sat around the room and thought, “Yeah, there’s nothing pathetic or problematic about a music video in which absolutely nothing happens except naked women are used to prop up our singer’s masculinity.” The optimist in me wants to think that it’s far too obvious, so much so that the producers and participants would be embarrassed by it. Or, at least, there’d be a modicum of sensitivity to the decades of feminist activism around the sexual objectification of women.
The cynic in me recognizes that white supremacy and the dehumanization of women are alive and well. I’m glad Hill is here to help me laugh about it, even if nervously. Gallows humor, y’all. Sometimes it’s all we got.
In the wake of Elliot Rodger’s misogynistic killing spree, the media’s role in male entitlement and violence against women has brought commentators to virtual blows. One right hook came from Ann Hornaday, who argues in the Washington Post that male entitlement fantasies are part of a climate in which women are displayed as objects for the sexual fulfillment of men. This post is about how full frontal nudity in True Blood, Hung, and Game of Thrones contributes to this climate.
While there are dozens of examples of full frontal female nudity in True Blood’s six-season run, from lead actors to extras, there are only two instances of full frontal male nudity.
A striking example of the exploitation of women as sex objects is in the appearance and figure of Lillith, a vampire goddess who is featured rising from a pool of blood, walking around fully nude for extended scenes. Her minions do the same and are also shown full frontal.
When a male character drinks Lillith’s blood and effectively becomes her, he too rises out of the pool of blood. But unlike the actresses associated with Lilith before, the camera cuts away before reaching his waist.
In another stark example, vampires hold several dozen humans captive. While all the humans are naked, men in one cage and women in another, it is only the women who are displayed fully frontally nude.
When the werewolf packs in True Blood disrobe to turn into wolves, again it is only the females who are demonstrated fully frontal.
Hung is a program about a down-on-his-luck teacher who, because of his large penis, became a prostitute. Though the entire show is about Ray Drecker’s member, we only get one brief glimpse of it — and not even the whole — yet his clients and sexual partners are often shown fully frontal.
Even when a show is about the sexual objectification of a man and his sexual organ, it’s still women who are the default sex objects.
Game of Thrones.
Game of Thrones has come under fire for its sexism, misogyny, gratuitous nudity, and violence against women. As usual, women are portrayed fully frontally nude in most Game of Thrones episodes, even when their male sexual partners are not. This is especially striking in the many brothel scenes (unnecessarily) scattered about the seasons; even when there are both male and female prostitutes, only the women are shown full monty.
To date there has been only one full frontal male on Game of Thrones: Theon Greyjoy. Through a horrific series of events, Theon is tortured and castrated. In episode six of season four — “The Laws of Gods and Men” — we are offered once again a gratuitous display of naked women in a bathhouse. In the same episode Theon is also offered a bath and while his full frontal, for once, would have actually been part of the plot, we do not see it.
In episode eight — “The Mountain and the Viper” — we are given another bathing scene in which members of the Unsullied, an army of castrated men, bathe in the vicinity of women in the same convoy. Surprise, surprise, the women are fully frontal and the men are not. Even sans one particular physical marker of male sexuality, these castrated men are deemed unseeable.
Neil Marshall, who directed the Blackwater Bay siege episode in Game of Thrones‘ 2nd season, recently spoke about how he was urged by a producer to include more full frontal female nudity. The producer explained that he was “not on the drama side of things,” meaning that he didn’t care about the story. Instead, he said, he was on the “perv side of the audience.” This is concrete evidence that orders for the systematic sexual objectification of women comes from upper management.
Ultimately, nudity is rarely necessary to further a storyline. Women’s nudity isn’t about plot, it’s about treating women as objects and men as human beings. The problem is systemic. Women’s bodies exist in many of HBO’s varied worlds to serve men, circling us back to a culture of male entitlement that, in the case of Rodgers at least, led directly to violence.
Earlier this year, Barbie posed for Sports Illustrated, triggering a round of eye-rolling and exasperation among those who care about the self-esteem and overall mental health of girls and women.
Barbie replied with the hashtag #unapologetic, arguing in an — I’m gonna guess, ghostwritten — essay that posing in the notoriously sexist swimsuit issue was her way of proving that girls could do anything they wanted to do. It was a bizarre appropriation of feminist logic alongside a skewering of a feminist strawwoman that went something along the lines of “don’t hate me ’cause I’m beautiful.”
Barbie is so often condemned as the problem and Mattel, perhaps tired of playing her endless defender, finally just went with: “How dare you judge her.” It was a bold and bizarre marketing move. The company had her embrace her villain persona, while simultaneously shaming the feminists who judged her. It gave us all a little bit of whiplash and I thought it quite obnoxious.
But then I came across Tiffany Gholar’s new illustrated book, The Doll Project. Gholar’s work suggests that perhaps we’ve been too quick to portray Barbie as simply a source of young women’s self-esteem issues and disordered eating. We imagine, after all, that she gleefully flaunts her physical perfection in the face of us lesser women. In this way, Mattel may be onto something; it isn’t just her appearance, but her seemingly endless confidence and, yes, failure to apologize, that sets us off.
But, maybe we’re wrong about Barbie?
What if Barbie is just as insecure as the rest of us? This is the possibility explored in The Doll Project. Using a mini diet book and scale actually sold by Mattel in the 1960s, Gholar re-imagines fashion dolls as victims of the media imperative to be thin. What if Barbie is a victim, too?
Excerpted with permission:
Forgive me for joining Mattel and Gholar in personifying this doll, but I enjoyed thinking through this reimagining of Barbie. It reminded me that even those among us who are privileged to be able to conform to conventions of attractiveness are often suffering. Sometimes even the most “perfect” of us look in the mirror and see nothing but imperfection. We’re all in this together.
Writer and director Elena Rossini has released the first four minutes of The Illusionists. I’m really excited to see the rest. The documentary is a critique of a high standard of beauty but, unlike some that focus exclusively on the impacts of Western women, Rossini’s film looks as though it will do a great job of illustrating how Western capitalist impulses are increasingly bringing men, children, and the entire world into their destructive fold.
The first few minutes address globalization and Western white supremacy, specifically. As one interviewee says, the message that many members of non-Western societies receive is that you “join Western culture… by taking a Western body.” The body becomes a gendered, raced, national project — something that separates modern individuals from traditional ones — and corporations are all too ready to exploit these ideas.
If whiteness is the neutral category — meaning that people of color are commonly understood to be raced while white people are not — then to be non-white is to be different in some way. The “bad” difference is the deviant (for example, the “welfare queen,” the “thug”), while the “good” difference is the exotic, the interesting, the hip, the cool… the hot or spicy. Whiteness, in contrast, is boring, bland, or “vanilla.”
This two-page advertisement for Crystal Light beautifully illustrates these cultural ideas. Notice the way the ad goes from black-and-white to color, from a white model to a model of color (but not too dark-skinned), from straight to curly (but not too curly) hair, from a rather plain dress to one that looks vaguely ethnic, and from awkward standing to dancing (of course). In the ad, whiteness is, quite literally, bland and being of color is framed as more flavorful.
Lisa Wade is a professor of sociology at Occidental College and the co-author of Gender: Ideas, Interactions, Institutions. You can follow her on Twitter and Facebook.
This is one of the most demoralizing ads I’ve seen in a long time. It’s an Australian ad for Snickers in which construction workers on a busy city street yell pro-feminist comments at women, like “I’d like to show you the respect you deserve” and “You want to hear a filthy word? Gender bias” and “You know what I’d like to see? A society in which the objectification of women makes way for gender neutral interaction free from assumptions and expectations.”
The construction workers are actors, but the women on the street are (or appear to be) real and their reactions authentic. The first thing women do is get uncomfortable, revealing how a lifetime of experience makes them cringe at the prospect of a man yelling at them. But, as women realize what’s going on, they’re obviously delighted. They love the idea of getting support and respect instead of harassment from strange men.
This last woman actually places her hand on her heart and mouths “thank you” to the guys.
And then the commercial ends and it’s all yanked back in the most disgusting way. It ends by claiming that pro-feminist men are clearly unnatural. Men don’t respect women — at least, not this kind of man — they’re just so hungry they can’t think straight.
The twist ending is a genuine “fuck you” to the actual women who happened to walk by and become a part of the commercial. I wonder, when the producers approached them to get their permission to be used on film, did they tell them how the commercial would end? I suspect not. And, if not, I bet seeing the commercial would feel like a betrayal. These women were (likely) given the impression that it was about respecting women, but instead it was about making fun of the idea that women deserve respect.
What a dick move, Snickers. I hope you’re happy with your misogynist consumer base, because I don’t think I can ever buy a Snickers bar again. What else does your parent company sell? I’ll make a note.