Search results for fat halloween

Click here for a nice gender and race analysis of a range of Halloween costumes for adults and kids by our blogger, Wendy.  We’ve also highlighted two costumes in particular: the Sexy Scholar and Anna-Rexia.  And, of course, just a few days ago, we posted about the Halloween display that includes a lynched Sarah Palin and a screenshot of an Obama mask found by searching for “terrorist costume.”  And don’t miss our jack-o’-lantern tribute to Max Weber.  See also, if you like, my Huffington Post about the race, class, and gender politics of Halloween.

To our newest Halloween material:

Andrea G. scanned in an entire Halloween costume catalog and offers some global observations about the breadth of costumes made available.  You can check out her flickr account here or scroll down for the images and some of Andrea’s commentary.

The Cover and Back:

Boys’ costumes:

Boys’ costumes (continued) and girls’ costumes:

Girls’ costumes (continued):

Women’s costumes:

Plus women’s costumes:

 

Plus women’s costumes (continued) and adult men’s costumes:

Plus men’s costumes:

First, Andrea notes how gendered the costumes are.  Women overwhelmingly are supposed to look sexy, while men are supposed to look funny or scary.  Note that this doesn’t vary much by age.  The costumes for adults and children are strikingly similar.

Second, Andrea points to how often men’s faces are covered by masks and how infrequently women’s are.  She writes that “5 out of the 198 costumes categorized under “female” or “girls” were masked (2.5%)” and “96 of the 180 costumes categorized under “male” or “boys” were masked  (53.3%).”  Andrea thinks: “I think this touches on the double standard American society holds for females/girls to be attractive and beautiful, while males/boys do not have to cater to this social rule, for the most part.”

Third, Andrea notes that there are costumes designed to make men look fat, but not women.  For example, this “Freshman 15” costume:

Thanks Andrea!

Sociology reveals the invisible in our world. Sociologists explore the parts of our society that remain “in the dark,” and this has a lot in common with the horror genre. Both sociologists and horror fans find value in delving into the qualities and behaviors of people that others would rather not address. Both focus on things we don’t want to confront. More than many other genres, horror films are rife with sociological implications.

We are sociologists who host the Collective Nightmares podcast. Our podcast examines horror films from a sociological perspective. We focus on issues such as the representation of individuals of different genders, sexualities, and racial/ethnic backgrounds as well as the ideological messages of the film narratives.

Horror movies are a great teaching tool for undergraduate classes. For example, two recent films, Summer of ’84 and The First Purge, are a good fit for sociology courses focusing on gender, sexuality, deviance, and social problems. We’ve used discussion of horror films in our classes with great success – and what better time than Halloween to inspire students to think sociologically about horror?!

Summer of ’84 (2018)

Summer of ’84 models itself on popular media of the 1980s in look, tone, and story (The Goonies (1985), Explorers (1985), Stand By Me (1986), etc.). Our lead protagonist, an upper-middle class, white, heterosexual, boy, Davey, played by Graham Verchere, suspects his neighbor of being a serial killer. He convinces his friends to help him spy and investigate. Hijinks and horror ensue.

A Reagan Bush ’84 campaign sign in a neighborhood yard, signaling the political era of the film.

In our discussion of Summer of ‘84, we examine the representation of young women in adolescent boy-centric summer adventure movies. We also discuss the ubiquity of troublesome, but “oh so palatable” tropes. These include the representation of women, people of color, and political ideology that, when couched in a nostalgic 1980’s setting (which we both grew up smack in the middle of) can feel homey. The cultural climate of our youth seems to have clouded our ability to see the way Summer of ’84 depicted first and foremost women, but also racial inequity and the political climate of the 1980’s.

To address these ideas in your classroom, consider a discussion centered on the following argument, which we make in the podcast: Summer of ‘84 presented women largely as sexual currency for young men’s bonding.

Davey and his friends in their clubhouse discussing women while looking at an adult magazine.

Horror is a genre that relies on stigmatized topics and transgressing boundaries, and it therefore has unique potential to challenge or reinforce common conceptions of normalcy. One of the ways the core group of boys are cast as normal, good, and moral, in contrast to the suspicious neighbor, is via their hegemonic heterosexuality. This is largely done by showing them discussing women as potential sexual trophies, engaging the male gaze toward adult magazines, and taking advantage of Davey’s vantage point to watch his neighbor Nikki, played by Tiera Skovbye, undressing.

Nikki is relegated to the role of  “love interest” as a willing participant in these exchanges. She takes pride in her ability to give the boys status through her flirtations, exalting them as her only true friends. She finds their covert attempts to see her naked as flattering, rather than a stark invasion of privacy. For a deeper discussion, we take this argument a step further and ask ourselves why we, both trained sociologists (one of whom specializes in gender) found the film enjoyable in spite of these deeply problematic behaviors. What does that say about the pervasiveness of these gender ideologies in our society?

The First Purge (2018)

The annual purge announcement from The Purge: Election Year (2016)
Staten Island residents rallying against the proposal to enact The Purge in their neighborhood.

The concept of The Purge (2013) film and now TV series is that once a year in the U.S. for 12 hours, all crime, including murder, is legal. The most recent film in the series, The First Purge, arrived in theaters this summer. In the film, the right-wing New Founding Fathers of America political party conducts an experiment on Staten Island, a borough of primarily poor people of color. This experiment is a trial run of the Purge concept that is rolled out nationally in the other films.

This premise offers director Gerard McMurray an allegory to explore a host of sociological issues relevant to current U.S. society. The film works as a basis for a discussion of class inequality, racial injustices, gendered violence, and social control. In our discussion of the film, we address deviance, racial stereotypes, anomie, solidarity, and the social psychological influences on behavior, especially the internalization of norms.

Though the horror genre is notorious for being particularly white-dominated, The First Purge is directed by a Black man (Gerard McMurray) and the primary stars of the film are people of color (Y’lan NoelLex Scott DavisJoivan Wade). While critical and thought-provoking in many ways, the film is also disappointing when it comes to portrayals of gender and sexuality. Questions for class discussion could include how social structure influences individual agency within the film’s narrative. How does the film perpetuate and challenge race, gender, and racial stereotypes? What is the role of intersectionality in these stereotypes?

In preparation for Halloween, we will soon have a follow-up post detailing which of our prior podcasts are relevant to different sociology courses. We will also have an example assignment to share that instructors can adapt to their own needs/classes to help you discuss horror films with your students.

Marshall Smith earned his PhD in sociology from the University of Colorado at Boulder in 2011 focusing on gender, sexuality, youth, and media. He currently teaches sociology classes at CU Boulder for the Farrand Residential Academic Program. 

Laura Patterson earned her PhD from the University of Colorado at Boulder in 2011, focusing on environmental issues and the impacts of HIV/AIDS in rural South Africa.  She’s currently a research consultant with a Colorado-based pregnancy prevention program and other federally-funded evaluation efforts, in addition to teaching at CU Boulder and Adams State University.

Originally posted at Montclair Socioblog.

“Freedom of opinion does not exist in America,” said DeTocqueville 250 years ago. He might have held the same view today.

But how could a society that so values freedom and individualism be so demanding of conformity?  I had blogged about this in 2010 with references to old sitcoms, but for my class this semester I needed something more recent. Besides, Cosby now carries too much other baggage. ABC’s “black-ish”* came to the rescue.

The idea I was offering in class was, first, that our most cherished American values can conflict with one another. For example, our desire for family-like community can clash with our value on independence and freedom. Second, the American solution to this conflict between individual and group is often what Claude Fischer calls “voluntarism.”  We have freedom – you can voluntarily choose which groups to belong to. But once you choose to be a member, you have to conform.  The book I had assigned my class (My Freshman Year by Rebekah Nathan*) uses the phrase “voluntary conformism.”

In a recent episode of “black-ish,” the oldest daughter, Zoey, must choose which college to go to. She has been accepted at NYU, Miami, Vanderbilt, and Southern Cal. She leans heavily towards NYU, but her family, especially her father Dre, want her to stay close to home. The conflict is between Family – family togetherness, community – and Independence. If Zoey goes to NYU, she’ll be off on her own; if she stays in LA, she’ll be just a short drive from her family. New York also suggests values on Achievement, Success, even Risk-taking (“If I can make it there” etc.)

Zoey decides on NYU, and her father immediately tries to undermine that choice, reminding her of how cold and dangerous it will be. It’s typical sitcom-dad buffonery, and his childishness tips us off that this position, imposing his will, is the wrong one. Zoey, acting more mature, simply goes out and buys a bright red winter coat.

The argument for Independence, Individual Choice, and Success is most clearly expressed by Pops (Dre’s father, who lives with them), and it’s the turning point in the show. Dre and his wife are complaining about the kids growing up too fast. Pops says, “Isn’t this what you wanted? Isn’t this why you both worked so hard — movin’ to this White-ass neighborhood, sendin’ her to that White-ass school so she could have all these White-ass opportunities? Let. Her. Go.”

That should be the end of it. The final scene should be the family bidding a tearful goodbye to Zoey at LAX. But a few moments later, we see Zoey talking to her two younger siblings (8-year old twins – Jack and Diane). They remind her of how much family fun they have at holidays. Zoey has to tell them that New York is far, so she won’t be coming back till Christmas – no Thanksgiving, no Halloween.

Jack reminds her about the baby that will arrive soon. “He won’t even know you.”

In the next scene, Zoey walks into her parents room carrying the red winter coat. “I need to return this.”

“Wrong size?” asks her father.

“Wrong state.”

She’s going to stay in LA and go to USC.

Over a half-century ago, David McClelland wrote that a basic but unstated tenet of American culture is: “I want to freely choose to do what others expect me to do.” Zoey has chosen to do what others want her to do – but she has made that individual choice independently. It’s “voluntary conformism,” and it’s the perfect American solution (or at least the perfect American sitcom solution).

* For those totally unfamiliar with the show, the premise is this: Dre Johnson, a Black man who grew up in a working-class Black neighborhood of LA, has become a well-off advertising man, married a doctor (her name is Rainbow, or usually Bow), and moved to a big house in an upscale neighborhood. They have four children, and the wife is pregnant with a fifth.

Jay Livingston is the chair of the Sociology Department at Montclair State University. You can follow him at Montclair SocioBlog or on Twitter.

SocImages News:

I’m so happy to announce a new partnership with Mental Floss! They will be featuring select posts from SocImages and bringing the sociological imagination to an even wider audience! Fabulous! Our first post is here.

Talks!

I’m excited to have been invited to speak about Sociological Images and public sociology in the upcoming months. I’ll be at the University of Nebraska, Omaha on November 13 and Witchita State University on March 4. (And thanks to Marshall University and Shawnee State for having me this month!) If anyone is in Omaha, Witchita, or Syracuse, let’s get in touch! More details here.

You like!  Here are our most appreciated posts this month:

Thanks everybody!

Editor’s pick:

Top post on Tumblr this month:

Social Media ‘n’ Stuff:

Your monthly reminder that SocImages is on TwitterFacebookTumblrGoogle+, and Pinterest.  I’m on Facebook and Instagram and most of the team is on Twitter: @lisawade@gwensharpnv@familyunequal, and @jaylivingston.

Finally…

Happy Halloween everyone! Here’s some scary characters riding the goblin float in the Krewe of Boo Halloween parade in New Orleans this year. Watch out or your might get some beads!

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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.

SocImages news!

Our top post on Tumblr this month, with over 45,000 likes and re-blogs, discusses a brain imaging study that suggests that social justice is linked to logic, not emotion.

We earned some major nerd cred this month when Wil Wheaton tumbled it! Here is the awesome evidence of that fabulous day:

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Seriously, folks. My inner 14-year-old girl downright squealed.

You like!  Here are our most appreciated posts this month:

Why do witches ride brooms was the clear winner with 9,300+ likes. And it’ll be obvious why if you click through to find out.

Other winners:

Thanks everybody!

Editor’s pick:

New Pinterest board!

In honor of Breast Cancer Awareness Month and its backlash, we put together a Pinterest board featuring the weirdest and most outrageous examples of pinkwashing. And we started it BEFORE the pinkwashed fracking drill bit was announced!

Social Media ‘n’ Stuff:

Finally, this is your monthly reminder that SocImages is on TwitterFacebookTumblrGoogle+, and Pinterest.  I’m on Facebook and most of the team is on Twitter: @lisawade@gwensharpnv@familyunequal, and @jaylivingston.

Finally…

Sociologist D’Lane Compton hopes you had a happy Halloween! Follow her on Twitter!

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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.

According to an article by Megan Garber at The Atlantic, they did it for the drugs.

Starting in the 1300s, Europeans developed a taste for hallucinogenic drugs. Unfortunately, ingesting them often caused nausea and vomiting. Absorbing them through the skin came with fewer side effects and delivering them through the mucous membranes of the female genitals was ideal.

A physician quoted at The Guardian says the claim is medically sound:

Ointment would have been very effective as a delivery method… Mucous membranes are particularly good at transporting drugs – that’s why cocaine is snorted… Vaginal application would be pretty efficient, and the effects of the drugs would be noticeable quite rapidly.

According to legend, then, witches would coat the handle of a broom — a convenient household item — lift their skirts and get high.

The women who trafficked in hallucinogenic substances were often accused of being witches.  Or, conversely, women accused of being witches were also accused of making magic ointments (from the fat of murdered children, no less). And witch experts in the 15th century claimed that they used these ointments not just to get high, but to get high; that is, that they literally flew using ointments.

Hence, witches on brooms.

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Flickr photo by Metro Centric; creative commons license.

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.

Course Guide for
SOCIOLOGY OF WORK
(last updated 9/2014)

Developed by Lisa Wade
Occidental College

Disclaimer: I am not a sociologist of work.  If you are, I would love to see someone take a more expert crack at this.  Please feel free to volunteer!

The Social Construction of Work

Work in Popular Culture

Unemployment, Underemployment, and the “Class War”

Unions and Unionization

Economic Change, Globalization, and the Great Recession

Gender and Work

Work and Racial, Ethnic, and National Identity

The U.S. in International Perspective

Specific Occupations

Flight Attendants

Sex Workers

Academia

Just for Fun

Course Guide for
SEXUALITY AND SOCIETY
(last updated 01/2012)


Developed by Amanda M. Jungels
Georgia State University

 

Integrating/Interrogating Biological and Social Views of Sexuality

Challenging Evolutionary Perspectives on Sex/Sexuality

Social Construction of (Biological) Sex


Social Construction: Changing Views on Sexuality

 

Sexuality and Social Categories

Social Construction of Gender

Transgender/Third Gender/Gender Queer

Social Construction of Sexual Orientation

 

Learning about Sex/Sex Education           

Sex Education

Abstinence vs. Comprehensive Sex Ed

Sexual Practices

 

The Sexual Body

The Female Body

Menstruation

 

Presenting the Female Body as Unclean: Removing Body Hair

 

Presenting the Female Body as Unclean: Douching

Bodily Modification and Female Genital Cutting

 

Social Construction of the Male Body/Male Sexuality

Presenting the Penis as a Dangerous Weapon

 

Representing Sex

Sexualization of Children’s Products

Sex in the Media

Ejaculation and Phallic Imagery

Sex and Violence

Objectification

Infantilization of Women

Forced/Coerced Sex

Sexual Script

Rape Culture

Use of Alcohol as a Tool for Coercive Sex

Sexual Assault Prevention Campaigns

 

Commercial Sex

Pornography

Contemporary Views on Prostitution

Historical Perspectives on Prostitution

Sex Trafficking

Other Forms of Sex Work

Social Control of Sex Work

 

Reproduction/Abortion

Reproduction

Abortion

 

Sterilization

 

Contemporary GLBT Issues

Gay Rights Movement

GLBT Parenting

Same-Sex Marriage

GLBT-Related Legislation