Sociological Images

From Our Archives: Christmas

Lisa Wade, PhD on December 20, 2015

Movie Reviews

Rudolph the Red Nosed Reindeer (pictured)

The History of Christmas

Christmas Across Cultures

Befana, the Christmas Witch
Santa’s Evil Side Kick
Black Pete (NSFW; trigger warning for images of blackface)
Protestantizing Christmas Gift Giving: The ChristKind
Snegurochka: Santa’s Granddaughter
Culture and Coordinating Human Action
Jewish Christmas — The Chinese Connection

The Economics of Christmas

Racializing Christmas

Racism and Xenophobia in “War on Christmas” Rhetoric
White Privilege and the Snow White Santa
New York Times Gift Guide for People of Color
Black Pete (NSFW; trigger warning for images of blackface)
Holiday in the Hood
The Hazards of Historical Amnesia

Christmas and Gender

Gift Guides and the Social Construction of Gender

Sexifiying Christmas

Christmas Marketing

On Discourse:

Just for Fun

From Our Archives: Thanksgiving

Lisa Wade, PhD on November 26, 2015

Thanksgiving Mythology

Theorizing Thanksgiving:

Emile Durkheim on the Macy’s Thanksgiving Day Parade (pictured)

Some Fun History:

Cigarette Advertising, on this Holiday:

Thanksgiving, Race, and Gender:

Barbie has never exactly been a feminist icon, but last week Mattel was celebrated for a new advertising campaign that some say empowers young girls. In the “Imagine the Possibilities” commercial, the viewer sees young girls in professional settings — a science museum, a veterinary office, a soccer field — where they lead adults as if they are the ones in charge. At the end of the ad, the scene shifts to a girl acting out her role as a college professor with Barbie dolls in her bedroom. Across the screen flashes, “When a girl plays with Barbie, she imagines everything she can become.”

But does the Barbie commercial really send an affirmative message about women in male-dominated occupations? And how does it stack up against actual Barbie products?

To answer the first question, I invite you to watch the commercial with a special focus on how the adult observers treat the young girls who are acting out their career fantasies. From the very first scene, everyone the girls encounter has the same reaction: laughter. The idea that these girls can fill the roles they’re imagining strikes the adults as so silly that the only complete sentence any of the adults says to these girls is, “You’re kidding.”

The girls are cute or funny, but never a force to be taken seriously. While the storyline may seem to encourage women’s participation in the labor force, the laughter throughout the commercial suggests that the girls’ aspirations are seen as adorable or silly.

Is it just because they’re kids? I don’t think so. Compare the Barbie ad to toy commercials that target boys. The clearest example I found was the commercial for the i-Que Robot. Like in the Barbie commercial, children take the central speaking roles as adults react to them. Unlike the Barbie commercial, these adults appear captivated and impressed by the boys’ pitches about their toy. By the end of the commercial, it’s easy to imagine these boys as successful salesmen or engineers, everyone has already treated them as such.

Does Barbie back up their message, though, with actual opportunities for play? My quick search on Amazon for the phrase “Barbie office” was pretty disappointing. The commercial, in other words, is disingenuous; it’s out of line with the actual Barbie products available for purchase. After limiting the results to only those produced by Mattel or Barbie, the only office settings I found were a pediatrician’s office and a bright pink veterinary office — which are both associated with stereotypically feminine careers — and a post office that was discontinued in 1995.

There was also a computer and desk intended to be placed in a home setting. From my search for “Barbie office,” I more commonly found career sets for Ken than viable work-oriented play sets for Barbie. Given the options, I find it hard to image how Mattel sees girls playing with Barbie the way the newest ad suggests they might.

As it turns out, Barbie’s new advertising campaign is just the latest in a long string of commercials that try to go viral by appealing to feminist audiences. I would be more impressed if the ad made girls aspiring to male-dominated occupations seem like forces to be reckoned with or, at least, made products that reflected their appropriation of feminist ideals.

Cross-posted at Pacific Standard.

Nicole Bedera is a PhD student in sociology at the University of Maryland, College Park. She is currently studying college sexual assault and construction of young men’s sexualities.

Dads in Ads: Are Times Changing?

Nicole Bedera on February 19, 2015

Sociologists have known for a while now that even though women are more integrated in the workplace, men are not as integrated at home. This disparity places extra constraints on women’s time, which Arlie Hochschild calls the “second shift.” During the second shift, women have an obligation to spend their time off caring for their houses and their children without equivalent effort from men.

For the most part, advertising has reflected that (see over 150 examples here). Ads directed at women often tie the product to a smiling, laughing, or hugging child. But until recently, dads have been largely absent from the picture—unless it’s conveniently close to Father’s Day. When dads have made an appearance in an ad, they have been accompanied by an explanation for why their unique take on parenting can be manly, implying that childcare is still women’s work.

Recently, dads have found their way into the ads and they’re starting to look more comfortable there. Swiffer has a father taking care of his son by himself, Dove connects masculinity to caring for kids of all ages, and NyQuil even has two ads with the same plot about the constant demands of parenting for a mother and father.

But is active fatherhood the new norm?

Not quite. While some ads casually use competent dads to sell laundry detergent, others use themes that reflect a more troubled transition into a hands-on fathering style. For example, the Nissan Superbowl commercial tells the story father with a risky profession that keeps him on the road and away from home. The ad ends with the dad physically being in the same space as his teenage son. This is cast as a huge victory, but in reality, it’s a pretty low bar. Still, the ad got a lot of attention for being a tearjerker for its emphasis on fatherhood.

When considered as a group, these ads imply not that we’ve arrived at gender equality in the home, but instead that we’re in a stage of transition. We can appreciate active fatherhood, but we’re not entirely sure what it should look like. With the recent popularity of dadvertising, we can expect to see the commercial conversation around fatherhood continue, giving us the chance to watch as Americans learn #HowToDad.

Nicole Bedera is a PhD student in sociology at the University of Maryland, College Park. She is currently studying college sexual assault and construction of young men’s sexualities.

Dog Movies Powerfully Influence Dog Ownership

Lisa Wade, PhD on January 21, 2015

Most Americans, when asked if they are affected by advertising, will say “not really.” They think other people are influenced by cultural messages, but that they are somehow immune.

Whether people are shaped by the media they consume seems to be a perpetual question. The fact that billions of dollars are spent every year attempting to influence us is probably a sign that advertisers know it works. Scientists get in on the action, asking pressing questions like: Do violent video games increase violence in real life? Do sexy, thin models hurt girls’ self-esteem? We do the studies and the answers are often inconclusive, probably because of how complicated the relationships are.

Psychologist Stefano Ghirlanda and his colleagues asked a slightly simpler question: Do celebrity dogs influence the popularity of dog breeds? They looked at 100 movies with prominent dog characters from 1939 to 2003 and compared the release date to breed registrations. The answer seems to be: with the exception of box office flops, yes.

Given that many dog movies are made for kids, I’d be interested in the mediating role of parenthood. Companies that make children’s products like sugary cereal know that they can get the parent to buy their product if the kid is annoying enough about it. So, they market to children directly. I’d love to see if people with and without small children were equally affected by the breed of dog in this year’s movie.

The researchers method of popularity, moreover, was registration with the American Kennel Club. Pure bred dogs are expensive. So, I wonder if the power of these trends varies by social class. If a family can’t afford a “Beethoven,” they may be more likely to just adopt a mutt from a neighbor’s litter.

In any case, though, this seems like incontrovertible evidence that we’re influenced by mass media. But you already knew everyone else was, didn’t you?

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.

#InstagrammingAfrica: The Narcissism of Global Voluntourism

Lauren Kascak with Sayantani DasGupta MD MPH on December 29, 2014

An article in The Onion mocks voluntourism, joking that a 6-day visit to a rural African village can “completely change a woman’s facebook profile picture.” The article quotes “22-year old Angela Fisher” who says:

I don’t think my profile photo will ever be the same, not after the experience of taking such incredible pictures with my arms around those small African children’s shoulders.

It goes on to say that Fisher “has been encouraging every one of her friends to visit Africa, promising that it would change their Facebook profile photos as well.”

I was once Angela Fisher. But I’m not any more.

***

I have participated in not one but three separate, and increasingly disillusioning, international health brigades, short-term visits to developing countries that involve bringing health care to struggling populations.

Such trips – critically called voluntourism — are a booming business, even though they do very little advertising and charge people thousands of dollars to participate.

How do they attract so many paying volunteers?

Photography is a big part of the answer. Voluntourism organizations don’t have to advertise, because they can crowdsource. Photography – particularly the habit of taking and posting selfies with local children – is a central component of the voluntourism experience. Hashtags like #InstagrammingAfrica are popular with students on international health brigades, as are #medicalbrigades, #globalhealth, and of course the nostalgic-for-the-good-days hashtag #takemeback.

It was the photographs posted by other students that inspired me to go on my first overseas medical mission. When classmates uploaded the experience of themselves wearing scrubs beside adorable children in developing countries, I believed I was missing out on a pivotal pre-med experience. I took over 200 photos on my first international volunteer mission. I modeled those I had seen on Facebook and even premeditated photo opportunities to acquire the “perfect” image that would receive the most “likes.”

Over time, I felt increasingly uncomfortable with the ethics of those photographs, and ultimately left my camera at home. Now, as an insider, I see three common types of photographs voluntourists share through social media: The Suffering Other, The Self-Directed Samaritan, and The Overseas Selfie.

The Suffering Other

In a photograph taken by a fellow voluntourist in Ghana (not shown), a child stands isolated with her bare feet digging in the dirt. Her hands pull up her shirt to expose an umbilical hernia, distended belly, and a pair of too-big underwear. Her face is uncertain and her scalp shows evidence of dermatological pathology or a nutritional deficiency—maybe both. Behind her, only weeds grow.

Anthropologists Arthur and Joan Kleinman note that images of distant, suffering women and children suggest there are communities incapable of or uninterested in caring for its own people. These photographs justify colonialist, paternalistic attitudes and policies, suggesting that the individual in the photograph…

…must be protected, as well as represented, by others. The image of the subaltern conjures up an almost neocolonial ideology of failure, inadequacy, passivity, fatalism, and inevitability. Something must be done, and it must be done soon, but from outside the local setting. The authorization of action through an appeal for foreign aid, even foreign intervention, begins with an evocation of indigenous absence, an erasure of local voices and acts.

The Self-directed Samaritan

Here we have a smiling young white girl with a French braid, medical scrubs, and a well-intentioned smile. This young lady is the centerpiece of the photo; she is its protagonist. Her scrubs suggest that she is doing important work among those who are so poor, so vulnerable, and so Other.

The girl is me. And the photograph was taken on my first trip to Ghana during a 10 day medical brigade. I’m beaming in the photograph, half towering and half hovering over these children. I do not know their names, they do not know my name, but I directed a friend to capture this moment with my own camera. Why?

This photograph is less about doing actual work and more about retrospectively appearing to have had a positive impact overseas. Photographs like these represent the overseas experience in accordance with what writer Teju Cole calls the “White Savior Industrial Complex.”

Moreover, in directing, capturing, and performing in photos such as these, voluntourists prevent themselves from actually engaging with the others in the photo. In On Photography, Susan Sontag reminds us:

Photography has become almost as widely practiced an amusement as sex and dancing – which means that…it is mainly a social rite, a defense against anxiety, and a tool of power.

On these trips, we hide behind the lens, consuming the world around us with our powerful gazes and the clicking of camera shutters. When I directed this photo opportunity and starred in it, I used my privilege to capture a photograph that made me feel as though I was engaging with the community. Only now do I realize that what I was actually doing was making myself the hero/star in a story about “suffering Africa.”

The Overseas Selfie

[Photo removed in response to a request from Global Brigades.]

In his New York Times Op-Ed, that modern champion of the selfie James Franco wrote:

Selfies are avatars: Mini-Me’s that we send out to give others a sense of who we are … In our age of social networking, the selfie is the new way to look someone right in the eye and say, “Hello, this is me.”

Although related to the Self-Directed Samaritan shot, there’s something extra-insidious about this type of super-close range photo. “Hello, this is me” takes on new meaning – there is only one subject in this photo, the white subject. Capturing this image and posting it on the internet is to understand the Other not as a separate person who exists in the context of their own family or community but rather, as a prop, an extra, someone only intelligible in relation to the Western volunteer.

***

Voluntourism is ultimately about the fulfillment of the volunteers themselves, not necessarily what they bring to the communities they visit. In fact, medical volunteerism often breaks down existing local health systems. In Ghana, I realized that that local people weren’t purchasing health insurance, since they knew there would be free foreign health care and medications available every few months. This left them vulnerable in the intervening times, not to mention when the organization would leave the community.

In the end, the Africa we voluntourists photograph isn’t a real place at all. It is an imaginary geography whose landscapes are forged by colonialism, as well as a good deal of narcissism. I hope my fellow students think critically about what they are doing and why before they sign up for a short-term global volunteer experience. And if they do go, it is my hope that they might think with some degree of narrative humility about how to de-center themselves from the Western savior narrative. Most importantly, I hope they leave their iphones at home.

Cross-posted at Pacific Standard and at Mondiaal Nieuws in Dutch.

Lauren Kascak is a graduate of the Masters Program in Narrative Medicine at Columbia University, where Sayantani DasGupta is a faculty member. DasGupta is the editor of Stories of Illness and Healing and the author of The Demon Slayers and Other Stories and Her Own Medicine.