children/youth

ABC News has a segment where they recreated the famous 1940s experiment by Mamie and Kenneth Clark, in which African American children overwhelmingly preferred to play with a lighter-skinned doll than a darker-skinned one, saying the white doll was prettier. The ABC News experiment results were very different, with the vast majority of African American kids preferring the darker-skinned doll.

On the other hand, in Kiri Davis’s 2006 documentary “A Girl Like Me,” Black teen girls indicate that they still feel that “White” features (such as straight hair) are seen as more attractive and that even other African Americans reinforce the idea that lighter skin and straight hair are preferable (notice the girl talking about her mom’s comments about her hair starting at about a minute in):

[youtube]https://youtu.be/YWyI77Yh1Gg[/youtube]

This might lead to an interesting discussion about beauty standards and the idea of internalized racism–that is, that minority groups in the U.S. (as well as many other nations) are socialized into a set of cultural beauty standards that often depict their physical features as unattractive, or at least less attractive, than Whites, and that non-Whites may apply those beauty standards among themselves (for example, see this post about an African American club promoter who planned a party to which light-skinned girls would get in free).

Of course, there is also evidence that beauty standards among some U.S. racial and ethnic groups may differ from the general standard seen in fashion magazines, on TV, etc. So that brings up an interesting inconsistency: how do we explain the existence of different beauty standards (such as less emphasis on women being very thin) and internal racism? It would be a great topic to open up for discussion–how can both co-exist at the same time? Is it that different sub-groups hold each of those positions, with some groups having more varied beauty standards and others upholding mainstream standards? Or do individuals often express both positions at various times, perhaps finding a wider range of body sizes attractive but also preferring “White” hair and facial features? If you know of scholars that have specifically tried to explain this, I’d love to know about them.

UPDATE: Commenter Dubi adds,

In addition, it should be noted that the two dolls in the experiment were identical in all but skin colour, so things like hairstyle or facial features don’t get factored it. It is wholly possible that people do not judge people anymore by the colour of their skin, but things that are more “changeable” like hair colour and style are still seen as indicative of other qualities. This, of course, requires further study.

Gwen Sharp is an associate professor of sociology at Nevada State College. You can follow her on Twitter at @gwensharpnv.

An  interactive graphic at Newsweek allows us to explore the amount of money women spend on beauty by their tweens, teens, 30s/40s, 50s, and, then, over the course of their lifetimes.  Below is a screenshots of the summary, click here to visit the graphic, and visit here for details on the numbers.

I know nothing about “fat camps,” but I have (rather thoughtlessly) simply assumed that they are oppressive places that punish and shame campers in support of a sizest status quo. But, after looking through Lauren Greenfield‘s photographs of kids at a weight-loss camp in the Catskills, NY (here), I’ve started to think differently. The pictures don’t seem to be of oppressed beaten-down kids. Instead, they seem to be having a pretty good time.  Greenfield’s captions suggest that these kids feel more comfortable at weight-loss camp than they do in their “real” life because they’re around other people that are, in this important way, just like them.  Images show them enjoying things they say they can’t do outside of camp (e.g., wearing a swimsuit), practicing (heterosexual) romance, and learning stuff that is fun or useful (e.g., tae bo, nutrition).

As Gwen pointed out, my critique of weight-loss camps was based on the idea that fat-shaming was more intense at weight-loss camp than it was elsewhere. If you think about it much, this is obviously false.  There is plenty of fat-shaming everywhere.  At least at camp, kids can potentially achieve a sense of normalcy and some solidarity with one another.  So, without suggesting that there is nothing at all problematic about weight-loss camps, these images complicate simple condemnations.

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.

I guess sociologists are off the charts!

Here, via The American Virgin.

Below are screenshots of the Degree Men, Degree Women, and Degree Girl websites.

Degree genders their deodorant with color (turquoise and lavender versus blue and yellow), pattern (bold lines versus curving spirals), language (women are “emotional” and men “take risks”).  Really, Degree? We’re still going there? 

Even the scents are gendered and, further, they reveal how we place men and women in a hierarchy (e.g., “Extreme Blast” versus “Summer Rain”).  Men even get a scent called “Power.”

Degree also markets their product differently towards adult and t(w)een girls.  Women are “emotional,” girls are “OMG!” let’s dance!!! 

OMG!  Let’s take a look!

“DEGREE MEN. PROTECTS MEN WHO TAKE RISKS.”

“Absolute Protection.”
“Responds to increases in adrenaline.”
“Proven at the hottest temperature on earth.”
“Unbeaten in competitive dryness testing.”

Scents include “Cool Rush,” “Extreme Blast,” “Arctic Edge,” “Intense Sport,” “Clean Reaction,” and “Power.”

“DEGREE WOMEN. DARE TO FEEL.”

“Emotional sweat can cause body odor more than perspiration from physical activity… you need extra odor protection to kick in when you’re stressed or emotional.”

Scents include “Classic Romance,” “Spring Fusion,” and “Fresh Oxygen,” “Pure Satin,” “Delicious Bliss,” and “Sexy Intrigue.”

“DEGREE GIRL. PROTECTION FOR EVERY OMG! MOMENT.”

“Crazy, exciting or embarrassing, OMG! moments happen to everyone.”

“Sign up 4 Cool Stuff! OMG SIGN UP.”

Scents include “Fun Spirit,” “Tropical Power,” and “Just Dance.”  See also “Pink Crush.”

Also in dumb gendered marketing:  Redken for men, make up for men, Frito Lay targets the ladies, nature versus the beast, it may be pink, but it’s not girly, gendered vitamins, and RISK (for men only).

Also in marketing towards tweens: “My Life” involves getting a boyfriend, teenager+colonialism = weird, and Nair for tweens.

Katie M. sent in a link to a post at Vast Public Indifference about gender in Pixar films, specifically how they tend to focus on male characters, with female characters in smaller or supporting roles. As Caitlin says in the original post,

The Pixar M.O. is (somewhat) subtler than the old your-stepmom-is-a-witch tropes of Disney past. Instead, Pixar’s continued failure to posit female characters as the central protagonists in their stories contributes to the idea that male is neutral and female is particular. This is not to say that Pixar does not write female characters. What I am taking issue with is the ad-nauseam repetition of female characters as helpers, love interests, and moral compasses to the male characters whose problems, feelings, and desires drive the narratives.

Here are some images showing main characters from a number of Pixar films. Clearly there are a lot I left out; I chose these both because they were mentioned in the original post by Caitlin, because I’ve seen them, and because they illustrate the general trend.

From “Cars,” a movie in which almost all the characters are male and female characters are mostly car-groupies who swoon over the main character (though there is a female attorney car who doesn’t fall into that category):

“Monsters, Inc.,” where the two central characters are male:

“Toy Story,” same as above:

“A Bug’s Life,” in which not only is the main character male, the actual behaviors of male and female ants have been switched to fit in with our ideas of appropriate gender roles (for another example of changing the behavior of animals to fit human gender norms, see this post on “Bee Movie”):

We do see a Pixar film with a female main character, however: the upcoming”The Bear and the Bow”:

According to Wikipedia, this is Pixar’s “first fairy tale.” So apparently though we get a female lead here, she’s of the spunky-princess type often found in fairy tales.

I have read, in discussions of gender in children’s films, that there is a general belief in the industry that everyone will watch a movie with a male lead character, but boys will be turned off by movies with a female lead. So we see the pattern Caitlin points out: males are the neutral category that are used when the movie is meant to appeal to a broad audience, while females get the lead mostly when the movie is specifically geared toward girls. The assumption here is that girls learn to look at the world through the male gaze (identifying with and liking the male lead, even though he’s male), while boys aren’t socialized to identify with female characters (or actual girls/women) in a similar manner.

I’m torn as to whether I think boys would avoid movies that had female leads. On the one hand, a big part of masculinity is rejecting all things feminine, so I can imagine boys deciding they hated any movie that seemed to be for or about girls. On the other hand, I wonder what would happen if we had more films aimed at kids that had female leads but didn’t fall into the traditional “girl’s movie” categories (such as fairy tales). If “A Bug’s Life” had a female lead but was otherwise the same type of movie–one aimed at a general audience, not specifically girls–would boys reject it? Most of the animated movies I can think of that had females as the main character were focused around romance and other topics deemed feminine (except maybe “Mulan,” where that’s not the main focus), which obscures the issue of whether boys would watch a movie with a female character if it was treated as a general-audience movie. [Note: See the comments for some other examples of movies with female leads that weren’t necessarily romantic-centered, such as “Lilo & Stitch” and “Alice in Wonderland,” as well as some non-animated ones.]

I dunno. Thoughts?

UPDATE: In the comments, Benjamin L. makes a great point:

Something to consider is that most of the people working on Pixar films are men. It’s possible that they might feel unable to successfully create and write dialog for compelling female characters. Take a look at this list: http://en.wikipedia.org/wiki/List_of_Pixar_films Out of the all the writers and directors of Pixar’s films, one is female–Rita Hsiao. Significantly, the films she has worked on, Mulan and Toy Story 2,  are unique in that they both have prominent female characters.

The solutions for parentless (and unparented) children have varied tremendously over history and they vary, in part, based on the particular technological, economic, and cultural realities of the time.  For more than 75 years, one answer was the orphan train.  

In the 1850s,

…thousands of children roamed the streets of New York in search of money, food and shelter–prey to disease and crime. Many sold matches, rags, or newspapers to survive.  For protection against street violence, they banded together and formed gangs. Police, faced with a growing problem, were known to arrest vagrant children–some as young as five–locking them up with adult criminals (PBS).

At the same time, farmers in the country were having as many kids as they could because kids were great farm labor.  They could use as many hands as they could get. 

So, in 1853, a minister named Charles Loring Brace started the orphan train.  Brace believed that farmers would welcome homeless children, take them into their homes, and treat them as their own.  So he rounded up the kids, got parental permission when he needed it, and took the city kids to the country.  Between 1854 and 1929, the trains took over 100,000 children to adoptive parents in 47 states and Canada.

On the orphan train (image here):

Children lined up to board the train (1920) (image here):

The orphan train in Michigan:

Orphan train children (images here):

Howard with his adoptive parents, the Darnells (1910) (image here):

Orphan train children with their chaperones in Bowling Green (1910) (image here):

An ad and a news story from the Tecumseh Cheiftan (1893) and Nehama County Herald (1915) respectively (found here):

Franklin suggested that we post about some points people are making about Dora the Explorer’s makeover.  Originally drawn like this…

…Dora has been re-envisioned and now looks like this:

Wicked Anomie writes:

The producers insist that the new tween Dora will still be like the old one in personality and interests. Just more fashionable, with ballet flats, long hair, jewelry, and makeup. And she wears a dress. Not the choicest attire for galavanting in the woods going on adventures, but hey…

I asked my six-year old daughter what she thought of the new Dora. She likes her better. Why?

“Well, I like that her hair is longer, and she’s wearing a dress. And a necklace. And I like her shoes. And that other one, she’s fat in her belly and her clothes don’t fit right. I don’t like her shoes, either. And her hair’s all short and she doesn’t have a necklace.”

Gwen and I, however, are not surprised at this new feminized Dora.  About a year ago we were in Toys ‘R Us in Henderson, NV, and were so struck by the Dora the Explorer toys that we took pictures of every single one of them.  Almost all of them feature feminized activities such as cooking, taking care of babies, and fashion and accessories.  There are 15 images so I’ve put them after the jump:

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