Sociological Images

Google Bombing: That Frothy Mixture of Power and Discourse

William Yagatich on March 2, 2011

On the February 21, 2011 edition of The Colbert Report, there was a humorous but still telling segment (watch) about former Congressional Senator and Representative Rick Santorum (R-PA). The segment detailed the effects of Dan Savage’s appeal to readers and followers to “Google bomb” then U.S. Senator Santorum in 2003 as a response to some of Santorum’s comments about homosexuality. In April of 2003, the Senator made several controversial statements that essentially compared homosexual acts to bestiality and incest, and stated he believed such acts to be a threat to society and the institution of the family (read excerpts from the interview). Savage, author of the sex advice column “Savage Love,” appealed to his readers to come up with a definition of “Santorum” to memorialize the Senator’s comments as an act of protest.

After settling on a definition, Savage created the website Santorum to promote the newly coined sexual neologism that meant a “frothy mixture of lube and fecal matter that is sometimes the byproduct of anal sex.” Over time, and many searches later, Savage’s website is to this day at the top of the results list when you Google “Santorum.” [In a nutshell, in order to Google bomb, or to inflate the ranking of a site under a particular query, you rely on people clicking on a specific link in the search results list and you rely upon other websites linking to a particular page using a specific anchor text. In this case, other websites linked to Savage’s site using the anchor text “Santorum” and many people clicked on his site when Googling the term.]

As funny as the story is, it raises important questions about the power over discourse given the new possibilities presented by the web. Much is to be said for a crowd-sourced means of discourse. In a very general way, it can be likened to subvertising (see AdBusters) where popular advertisements are parodied or spoofed to illustratively and critically question the meaning of the original advertisements and the discourses they are selling to the consumer. In a more specific way to Santorum’s case, using a Google bomb can be likened to muckraking. Not only did Savage make a successful attempt at a large-scale practical joke, he successfully drew attention to Santorum’s comments about homosexuality. Further, the result of the Google bomb would make it difficult for Santorum to promote his own website and the discourse he would wish to produce about himself on the web, especially should he consider running for the U.S. Presidency in 2012.

Yet, each of these strategies that combat dominant narratives are traditionally produced by the few and the privileged, and the same was true of the dominant narratives. Ultimately, what I wish to highlight with this post is that the web is fostering challenges to existing power relations over the production of discourse. The Google bomb presents an interesting case for the democratization of discourse production, and it provides evidence for possible strategies of altering what discourses become visible in the mainstream.

William Yagatich is a sociology graduate student at the University of Maryland. His post originally appeared at Cyborgology.

Male-Centric Plots and the Oscars

Gwen Sharp, PhD on February 27, 2011

Lester Andrist (of The Sociological Cinema) sent in a clip by Feminist Frequency’s Anita Sarkeesian. She looks at the way that the movies that are rewarded with Oscars tend to be highly centered around male characters and male-dominated plots. It seemed appropriate for Oscars day:

(Transcript after the jump below.)

Lester also pointed out The Girls on Film, a group that recreates male-centered scenes from movies with a female cast. They’re fun and also highlight the types of roles we do and don’t expect to see women in. Here’s Lester’s favorite, a recreation of a scene from J. J. Abrams’s Star Trek:

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Reactions to the Case of Lara Logan

Guest Blogger Matt Cornell on February 23, 2011

The sexual assault of CBS reporter Lara Logan in Tahrir Square last week has resulted in two predictable, but utterly depressing types of commentary.

Muslims are backwards

On the one hand are the anti-Islam culture warriors, eager to find in this incident proof of how degenerate Muslims (and Arabs) are. This, despite the fact that there’s no proof the assailants were Muslims, nor that they had any connection to the overwhelmingly peaceful and harassment-free demonstrations. In fact, there’s reason to believe that Logan’s attackers may have been pro-Mubarak thugs or apolitical opportunists. The right wing response to this story was inevitable, but liberal response was also problematic. Film critic and outspoken liberal Roger Ebert tweeted this today:

“The attack on Lara Logan brings Middle East attitudes toward women into sad focus.”

Oy.

I’d like to call Roger Ebert’s attention to the case of Roman Polanski, who has enjoyed a long and celebrated movie career, in spite of his status as a fugitive child rapist. When Polanski was arrested in September of 2009, while attempting to accept an award at a film festival in Switzerland, supporters circulated a petition on his behalf. Over a hundred people in the film industry signed that petition which gratuitously called Polanski’s crime “a case of morals.” Some weeks later, Gore Vidal went so far as to smear Polanski’s 13 year old victim as “a young hooker.”

Has Ebert ever decried the Polanski case for the way it “brings Hollywood’s attitudes towards women into sad focus?” Has he ever criticized Polanski, Vidal, David Lynch, Wong Kar Wai, Harvey Weinstein or any of the dozens of cinematic luminaries who signed off on this petition? Nope. On the contrary, he gave a big thumbs up to a documentary which argued Polanski should be given a pass for his crime.

I hardly expected Russ Meyers’ former writing pal to be an exemplar of feminist discourse, but his tweet yesterday was especially myopic. Does he really believe that the West is so much more enlightened about rape and sexual violence than those primitive, backwards Middle Easterners?

The opportunistic use of feminism is a common feature of the “liberal” discourse in the culture war against Islam. Just look at how Ayaan Hirsi Ali is trotted out by the media (especially Bill Maher and Steven Colbert) to justify imperialist wars and burqa bans, all in the name of protecting Arab and Muslim women from their own cultures. Meanwhile, many of these same commentators ignore the fact that rape and misogyny are also endemic to our own culture. (And that includes our movies, Roger.)

Rape is sexy

The other type of response to Logan’s assault was the usual victim blaming, made extra creepy by the focus on Logan’s good looks and alleged sexual history. The worst offender was LA Weekly blogger Simone Wilson, who, in an extraordinarily trashy piece of writing had this to say:

Logan was in Tahrir Square with her “60 Minutes” news team when Mubarak’s announcement broke. Then, in a rush of frenzied excitement, some Egyptian protesters apparently consummated their newfound independence by sexually assaulting the blonde reporter.

Wilson conflates the historic Egyptian revolution with gang rape. Classy stuff. But she’s not through. In addition to “blonde reporter” we’re also treated to these descriptors of Logan:

“it girl”
“firecracker”
“shocking good looks”
“Hollywood good looks”
“gutsy stunner”
“homewrecker” (this courtesy of a NY Post article from 2008)

As has already been noted, focusing on a sexual assault victim’s good looks and allegedly dubious sexual character amounts to victim blaming. But it also does something even more insidious. It makes rape sexy.

This is par for the course at the LA Weekly, where almost anything can be sexed up. LA Weekly‘s cover art department in the last couple of years has managed to make nearly every topic sexy, from murder to toxic mold and overpopulation.

Murder is sexy:

Toxic mold is sexy:

Overpopulation is sexy:

Rarely do the sexy women adorning the covers of the LA Weekly figure as the subjects of these stories. They’re splayed on the cover to boost circulation, because sex sells and, after all, “what’s wrong with being sexy?” (This isn’t even to mention the content of the Weekly– its abundance of ads for plastic surgery, or its routine back page ads from American Apparel– subjects for a longer post.)

Given this particular aesthetic, it is not at all surprising that an LA Weekly blogger would choose to play up the sexy side of the Logan assault story, taking extra pains to emphasize her “Hollywood good looks.” Even an “alternative” newspaper upholds the local value system. Arab Muslim rapists are bad. Sexy women make great victims. And cinematic geniuses should get a pass.

UPDATE, after the jump:

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Are We Born Gay? And If We Were, How Would We Know?

Lisa Wade, PhD on February 21, 2011

Cross-posted at Jezebel.

Carey Faulkner, a visiting Assistant Professor at Franklin & Marshall, asked us to post about a blog that has recently gotten quite a bit of attention: Born this Way. The site posts photographs of gay-identified adults as children. Submitters argue that the photographs are proof that they were born gay.

Perusing the photographs tells an interesting story: being gay — that is, being ~~sexually~~ sexually or romantically attracted to members of the same sex — is conflated with being gender non-conformist — adopting the mannerisms and interests of the other sex. This is the argument made in the vast majority of posts: it’s obvious I was gay because I broke rules of masculinity/femininity by doing things like sniffing flowers, posing jauntily, liking Snow White, and playing with Barbie.

It is a specifically American belief that gay men act feminine and lesbians act masculine. But, in fact, gay men and lesbians have a wide range of gender performances, as do straight and bisexual people. In fact, most of us could probably find a picture or two in our histories showing gender non-conformity. Meanwhile, most gay men and lesbians could probably find pictures of themselves conforming. That gender performance is associated with sexual orientation in our society is a belief in U.S. culture, but it’s not somehow inevitable or biological.

Nevertheless, the site perpetuates this conflation in an effort to support the notion that being gay is biological. In contrast to this assertion, however, excellent research has shown that there is no trans-cultural, trans-historical gay identity and interpretations of same-sex sexual behavior vary wildly (see, for example, Herdt’s Same Sex, Different Cultures, DeEmilio’s Capitalism and Gay Identity, and Katz’s The Invention of Heterosexuality). And genetic, hormonal, and neurological research has thus far failed to show conclusively that being gay is biological, let alone that it is biologically determined or that it manifests in gender non-conformity.

Still, many gay men, lesbians, and their allies desperately want to prove that being gay is biological on the assumption that showing so will mean that intolerant people will be forced to accept them. But this simply isn’t true. People who are against homosexuality will likely just re-define their opposition. Instead of saying that being gay is a sinful choice, they could simply argue that it is a disease, like cancer, or a deformity, like a cleft palate. They say so already:

When an individual is not drawn to a member of the opposite sex, in biology that’s called an error.

– Dr. Laura Schlessinger

Homosexuality is a disability and if people wish to have it eliminated before they have children—because they wish to have grandchildren or for other reasons—I do not see any moral objection for using genetic engineering to limit this particular trend. It would be like correcting many other conditions such as infertility or multiple sclerosis.

– Former Chief Rabbi of the United Kingdom, Lord Jakobovits

I appreciate what Born This Way is trying to accomplish, but I don’t think that convincing people that homosexuality is biological will have the effect many hope for. In the meantime, they’re doing everyone a disservice by perpetuating the stereotype of sissy gay men and butchy lesbians.

Lisa Wade, PhD is an Associate Professor at Tulane University. She is the author of American Hookup, a book about college sexual culture; a textbook about gender; and a forthcoming introductory text: Terrible Magnificent Sociology. You can follow her on Twitter and Instagram.

Possibilities and Limitations of Subversion through Fa(t)shion

Catherine Connell PhD on February 20, 2011

When Jessie Dress of Austin, Texas started the project Fa(t)shion February for Femmes and Friends, she was responding to what she perceived as a gap in the online community celebrating “fatshion,” or fashion for fat-identified people. She explains, “I don’t feel like the fatshion blogs I see really represent the kind of radical queer fashion that I’m into and that feels like my community.” Jessie committed to posting “outfits of the day” (OOTD) every day in February. Her intention was to celebrate and draw attention to three kinds of politicized fashion projects – first, fatshion; second, the fashion of femme-identified queers; and finally, the fashion of allies of both fat and femme-identified people.

The result was Fa(t)shion February for Femmes & Friends – an inclusive space for posting OOTD for those who find themselves outside the mainstream fashion ideal. What started as her small personal project with a close group of friends has since exploded, with over 350 people participating in some way – a number that grows by the day:

Fa(t)shion February participant Gazel (of Gazelma)

The aim of the project is to “queer” fashion in a number of ways – to celebrate the subversive possibility of fashion. What’s exciting about how the Fa(t)shion February project has developed is the many different ways this aim has been realized. For example, an amazing conversation has emerged through the project regarding the “fat experience.” Fa(t)shion February was created to be explicitly inclusive of those who are often missing from the fatshion dialogue – that is, individuals on the fattest end of the fat spectrum. This privileging of “bigger fats” is an attempt to further radicalize the fatshion phenomenon, but it has come with its own set of dilemmas. Some users expressed fear of participation because they aren’t “fat enough” or aren’t fat-identified. In response to a conversation on The Rotund, Jessie wrote on her tumblr,

The kinds of difficult – but incredibly important – dialogues that are happening in and around the project are part of what makes it succeed in its mission to use fashion as a tool of social activism and community building.

[The rest of the post is after the jump just because it’s somewhat long.]

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Bollywood for Beginners

Guest Blogger Filmi Girl on February 19, 2011

“What’s the deal with all those songs in Bollywood?”

I’ve found that the most consistently misunderstood aspect of Bollywood (and, indeed, all popular Indian cinema) is the way lip-synced songs are used within the narrative of the film. American viewers in particular tend to find this an almost insurmountable obstacle to appreciating Bollywood films on their own merits. Why might Bollywood be ignored by the Western film community even as mass entertainment from places like China (kung fuand wuxia films) and Japan (anime) have been embraced?

I think the problem may lie in an association of Bollywood with Broadway-style American musicals and their sugar happy appropriate-for-all-ages content (due to heavy censorship during the heyday of the American musical). Bollywood films are not appropriate-for-all-ages. While they do have to pass through a Censor Board and explicit references to things like sex are going to be snipped if a film is to have an all-ages certificate, films can and do discuss a wide variety of serious issues using lip-synced songs. For example, the film Roti Kapada aur Makaan (Food, Clothes, and Shelter, 1974) is, among other things, a tough look at how the drive to stay out of poverty can lead a person to an immoral life. It has songs in which the actors lip sync and it also has a really disturbing rape scene and a bittersweet ending. Dil Se (From the Heart, 2000) is an intense film about terrorism. It has songs where the actors lip sync; it also has explosions and tough social commentary.

This clip from Dil Se, for example, shows how Amar is romanticizing the war zone he has been sent to cover as a reporter. We see his inner thoughts expressed through song in a way that couldn’t be easily duplicated in a Hollywood film (please forgive the advertisement):

So, Bollywood films are not all cheerful or what we might consider ‘family-friendly’ and the endings to the films are sometimes really unpleasant. Still, I still hear Western film buffs argue that lip-synced songs somehow make a film unrealistic. Let’s get one thing straight — the use of music in Western films is no more realistic than in Bollywood films.

Bollywood songs usually function like a soliloquy out of a Shakespeare play. The songs are designed to express a character’s inner feelings in a metaphorical way. A couple, for example, might be shown singing a duet in a lush meadow in Europe. Indian audiences implicitly understand that the couple has not actually been teleported to Switzerland or The Netherlands. The fantasy location and the song are designed to show how that first blush of love feels to the people involved. In another examples of a fantasy teleport song, in Kabhi Kushi Kabhie Gham (2001) you clearly see Rahul in a shop in India and then suddenly he and Anjali are cavorting around the pyramids in Egypt:

This, however, is no less realistic than your classic Hollywood movie song montage that features a couple falling in love using a series of different scenes set to “I Can’t Help Falling in Love With You.” Likewise, previously recorded songs used as part of a background score are an accepted convention in Western film. We don’t walk around hearing music matched to our mood in real life, but Westerners accept the fantasy in movies because it’s familiar.

Soundtracks and falling-in-love montages do not happen in real life but we have learned to ignore the artifice of the tools to appreciate the stories told. The only difference between those things and Bollywood songs is that is that Western viewers have no experience with the Bollywood song form.

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About 15 years ago, a friend gave Filmi Girl a cassette tape with the soundtrack from the 1980s hit Bollywood film Maine Pyaar Kiye and she was hooked. A few years later, she began watching the films the songs were centered around, and after realizing that her real life friends were uninterested in hearing her gush about Aamir, Preity and Rani, she started a blog. The 31-year-old librarian now spends her limited free time reading about her latest interest and watching large amounts of deliciously, over-the-top Indian films. Read more Bollywood for Beginner posts at Filmi Girl.

If you would like to write a post for Sociological Images, please see our Guidelines for Guest Bloggers.

Global Alcohol Consumption

Gwen Sharp, PhD on February 16, 2011

Thelittlepecan let us know that the World Health Organization has out a new report about global alcohol consumption, as well as the consequences of that consumption. Overall consumption varies significantly, with the highest levels in Russia and much of Europe and the lowest in northern Africa through Asia (the consumption figures exclude tourists):

There are also clear differences in the most-consumed type of alcoholic drinks:

The report also looks at what proportion of all male deaths are related to alcohol consumption, broken down by region, age, and sex. Globally, alcohol-related problems are the leading cause of death for males aged 15-59. For the regions, AFR = Africa, AMR = Americas, EMR = Eastern Mediterranean, EUR = Europe, SEAR = South East Asia, and WPR = Western Pacific:

Clearly the Americas and Europe stand out, though this is likely because those regions have lower death rates from many sources that are still prevalent in many parts of the world and, thus, alcohol-related ones show up more prominently.

Differences in blood-alcohol limits for drivers:

If you’re interested in more details, you can also get profiles of individual countries in each region at the WHO website.

Gender Differences in Work Commutes

Gwen Sharp, PhD on February 15, 2011

Cross-posted at Ms.

Kelly V. suggested that I check out the book Traffic: Why We Drive the Way We Do (and What It Says about Us), by Tom Vanderbilt. The book is fascinating, covering everything from individual-level psychological and perceptual factors that affect our driving to system-level issues like why building additional roads often simply creates more traffic rather than alleviating it.

Among other things, it turns out that there are clear gender patterns in our driving; in particular, women do more driving as part of their family responsibilities. As Alan Pisarski, a traffic policy consultant, explains,

If you look at trip rates by male versus female, and look at that by size of family…the women’s trip rates vary tremendously by size of family. Men’s trip rates look as if they didn’t even know they had a family. The men’s trip rates are almost independent of family size. What it obviously says is that the mother’s the one doing all the hauling. (p. 135)

Nancy McGuckin and Yukiko Nakamoto looked at “trip chaining,” or making short stops on the way to or from work. They report that women tend to work closer to home (measured “as the crow flies,” or the great circle distance — GCD) than men in the same occupational categories (McGuckin and Nakamoto, p. 51)):

Research suggests a couple of possibilities for this pattern. Women, taking into account their family responsibilities, may look for closer jobs than men do so it will be easier to balance work and home life. It may also be that the types of jobs women are more likely to hold are more decentralized than men’s jobs and so more likely to be found closer to residential neighborhoods (although the graph above is broken down by occupational category, we see significant gender segregation in jobs within those broad categories).

Overall, men drive more total miles, and spend more time driving, per day, but women make more trips, particularly once they have children (p. 51):

Women are more likely to engage in trip chaining, and men and women differ in the types of stops they make. Men and women both stop to grab meals or coffee for themselves (in fact, the increase in these types of stops by men is so striking it earned a name, the “Starbucks effect”). However, more of the stops women make are to “serve passengers” — that is, going somewhere only because the passenger needs to, such as dropping a child off at school or childcare — or to complete shopping or family errands (p. 54):

Overall, 2.7 million men and 4.3 million women pick up or drop off (or both) a child during their work commute, according to federal data. Among households with two working parents who commute, women make 66% of the trips for drop offs/pick ups (p. 53)

This next graph isn’t related, but I’m throwing it in as a bonus. Sirkku Laapotti found that in both 1978 and 2001, men rated their own driving skills higher, on average, than women rated theirs…but both sexes thought they were way better drivers than people in 1978 did:

[Both papers are from Research on Women’s Issues in Transportation — Report of a Conference. Volume 2: Technical Papers. Conference Proceedings 35 (2005). Washington, D.C.: Transportation Research Board. The McGuckin and Nakamoto paper, “Differences in Trip Chaining by Men and Women,” is found on p. 49-56. Laapotti’s paper, “What Are Young Female Drivers Made Of? Differences in Driving Behavior and Attitudes of Young Women and Men in Finland,” is on p. 148-154.]