In 1991 writer and cultural critic Katha Pollitt coined the phrase “The Smurfette Principle” to draw attention to the tendency for movies, TV shows, and other cultural products to include one, and just one female (source). For the unfamiliar, The Smurfs was a children’s television show, airing from 1981 to 1989, populated by a whole world of little blue men and one (sexy) blue woman:

(source)

In her latest in the series Tropes vs. Women, Feminist Frequency’s Anita Sarkeesian applies The Smurfette Principle to today’s movies and shows.  How far have we come?

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For more tropes, see Sarkeesian on The Manic Pixie DreamGirl and Women in Refrigerators.

Transcript after the jump:

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Dolores sent us a link to a post at Feministing about Klondike’s new “5 Seconds to Glory” ad campaign for their ice cream bars. The ads revolve around men trying to endure 5 full seconds of unimaginable horror; if they succeed, they are rewarded with Klondike bars (provided by hot chicks).

For instance, in this particularly brutal segment, a man must listen to his wife speak:

A man must listen to his wife talk out loud for 5 whole seconds, about fixing up the house, no less.

In a second video, found ad AdWeek (the embedded clip at Feministing isn’t working), two bikers must hold hands:

So guys, don’t ever forget: wives are annoying burdens you should try to avoid interacting with (much less listening to), and touching or being even superficially intimate with other guys is gross. If, through super-human effort, you are able to bear doing one of these things, you deserve a reward. Brought by women in mini dresses.

A recent Soc Images post on cultural appropriation highlighted issues of control over the production and representation of images of Indigenous peoples. On a related note, an image I captured during a recent visit to the Canadian Museum of Civilization (or as one of my professors has called it, the “Canadian Museum of Colonization”) highlights similar issues regarding the representation of Indigenous knowledges. This poster was displayed in the “First Peoples’ Hall” of the museum in a section dedicated to “Ways of Knowing”:

Two points are particularly striking. Firstly, the poster portrays the “preservation” of Indigenous knowledges as a project of colonizers and non-Indigenous anthropologists. Rather than attributing control over the production and representation of Indigenous knowledges to Indigenous peoples themselves, the poster depicts colonial “explorers” and anthropologists as the primary agents in these endeavors. Indigenous peoples themselves are merely portrayed as informants, leaving interpretation and presentation to colonizers and anthropologists. In recent years, numerous Indigenous scholars have written about the oppressive nature of this type of approach to Indigenous peoples and knowledges, pointing out how academic disciplines such as anthropology have been essential tools in the study and subjugation of Indigenous peoples as “primitive Others.”

Secondly, the poster presents Indigenous knowledges as static and unchanging, ignoring their dynamic nature and the ongoing experiences of Canada’s Indigenous communities. Canadian Indigenous scholar Andrea Smith* has argued that in settler societies such as Canada, false notions of the disappearance or threat of extinction of Indigenous peoples and their knowledges are at the foundation of cultural imaginations and serve as justifications for the appropriation of Indigenous lands and cultures. In this case, the threat of extinction is implied in the need for Indigenous knowledges to be “preserved in writing.”

This poster provides an entry point for questioning power relations inherent in the production and presentation of knowledge at the Canadian Museum of Civilization and similar institutions. This example demonstrates how the museum portrays a particular view of Canada and its relationship with Indigenous communities, one which ignores the historical and continuing reality of colonialism and its implications.

* Smith, A. (2006). Heteropatriarchy and the three pillars of white supremacy: Rethinking women of color organizing. In A. Smith (Ed.), Color of Violence: The Incite! Anthology (66-73). Cambridge, MA: South End Press.

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Hayley Price has a background in sociology, international development studies, and education. She recently completed her Masters degree in Sociology and Equity Studies in Education at the University of Toronto with a thesis on Indigenous knowledges in development studies.

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

Photographer Peter Menzel has a habit of displaying people’s lives in illuminating ways.  Previously we highlighted a project in which he went around the world asking families to pose in front of their house with all of their stuff.  He now has a book, Hungry Planet, featuring photographs of families posting with a week’s worth of food.  It tells a fascinating qualitative and quantitative story of cultural gastronomical difference.

Go to Menzel’s website for more information.

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.

Sometimes you just have to laugh.  Sex is used to sell the most ridiculous things, like organ donation.  It’s like marketers think we’ve Pavlov’s dogs.  Show a sexy woman (’cause sexy women = sex) and, rumor has it, people will buy.

When Renée sent in this photograph of a storefront display aiming at selling ovens, I felt compelled to share its ridiculousness with you.  Begin snark:

Ovens are hot.  Get it.  They’re “hot.”  LOL.  Put her in lingerie, sit her ass on the oven door, add a fire-red wig, and surround her with thermometers.  Add the words, “HOT! HOT! HOT!”  Maybe if we really overdo it with the metaphor, no one will notice how stupid this is.

Enjoy:

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.

NEWS:

Gwen and I are finishing up our semesters and looking back at a wonderful year with all of you!

Some highlights:

We were granted an innovation in teaching award from the Pacific Sociological Association and have been nominated for awards from the American Sociological Association and the Pop Culture / American Culture Association.  Plus David Mayeda was kind enough to review us for Teaching Sociology.

We started accepting proposals for guest posts.

We broke the 10,000 friend barrier on Facebook.  (And we think over 3,500 on Twitter is nothing to shake a stick at.)

We just barely almost didn’t quite reach 750,000 visits in one month.  But darn were we close!

We entered a partial syndication agreement with the historic Ms. magazine.

We broke a story that ended with Abercrombie Kids pulling their push-up bikini top for kids.  Read the original post and our summary.

We managed to fool a few of you on April Fool’s Day (scroll to bottom).

And we let you all in on the mystery that is Dmitriy T.M.

Sociologists, Gwen and I will be at ASA, SWS, and SSSP this August. So please say “hello” if you see us or look us up in the programs. We’ll be giving a talk or two.

KUDOS:

Special thanks to Jon Smadja, Velanie Williams, Norma Morella for all their hard work on the blog.  We couldn’t do it without you.

And thanks for reading everyone!  We’re looking forward to a productive summer and another record-breaking year!

We’ve featured posts before on how chocolate is often marketed by linking it to sexual pleasure or presenting it as a substitute for love and romance, especially for women. And we’ve written about ejaculation imagery in ads.

John from Facile Gestures and YetAnotherGirl sent us an Australian commercial for Zokoko chocolates that dispenses with any subtlety when connecting their product to sex and ejaculation. It’s…something:

From Copyranter, via Gawker.

Andrew Slater sent in an interesting example of the mocking of rap music.  The mocking occurs in a re-make of Rebecca Black’s “Friday,” about the excitement of going on out Friday night.  Black’s low-budget music video went viral, shooting her into stardom, or at least celebrity.  The song is a standard teeny-bop pop song, complete with rap interlude.

The re-make, produced by the Community Christian Church, features a so-called “Sadie Black” singing about “Sunday” instead of Friday, and extolling the pleasures of worship. Slater noticed, however, that the entire re-make is more-or-less truthful to the original, except for the rap section. In the re-make, “BP” and “Master E” appear to make fun of rappers.  It’s a very different effect when compared to the straightforward mimickry of Sadie B.

Screen shots (original and re-make respectively):

Videos (rap sections starts at 2:30 and, um, 2:30 respectively):

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.