gender: bodies

Marketers are happy to respond to and create insecurities.  Here’s one we haven’t covered before, shoes and inserts for men that covertly increase their height:

Borrowed from The Social Complex, a heightism blog. See also guest posts from The Social Complex introducing the concept of heightism as a gendered prejudice and discussing heightism (and other icky stuff) at Hooters.

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.

By now, you’ve undoubtedly seen multiple examples of before-and-after photos that illustrated how re-touching is used to help celebrities and models meet those unrealistic beauty standards we see in the media (see our posts on Katy Perry, a parody Photoshop ad, pre-retouched Playboy pics (NSFW!), Jessica Alba, and Demi Moore and Kim Kardashian). Dolores R. sent in a video of a man emphasizing the other side of the equation — that is, how the “before” body in supplement ads can be manipulated to make the apparent transformation especially dramatic:

For the full collection, see our Re-Touching/Photoshop Pinterest board (NSFW).

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

This week in my gender class, we talked about gender and embodiment — that is, the way that men and women may experience our bodies differently, and how we train our bodies to signal gender differences just as much as the clothing and accessories we wear do. Men and women learn to use their bodies differently as part of their performance of masculinity or femininity; think of the difference in how men and women tend to hold cigarettes, how women are more likely to sit with their legs crossed (even if they’re not wearing skirts), and other ways in which we learn to use or position our bodies differently.

Lindsey sent in a link to an art project, Switcheroo, posted at Sincerely Hana that illustrates a number of topics related to gender. The project, by Hana Pesut, consists of (mostly) men and women exchanging outfits. In our gender binary, women have more flexibility to engage in some types of gender non-conformity; due to androcentrism, women may gain status by associating themselves with masculinity, while men generally only lose if they are perceived as feminine, a devalued status.

Not surprisingly, then, the images that stand out most in the collection are those with a man wearing clothing that is strongly coded as feminine. We’re not surprised that a woman would wear pants, but a man in a skirt or dress — that is, a man openly performing femininity — is still unusual in our culture and violates the cultural norm that masculinity might be good for everybody, but femininity is just for women.

In addition, a number of the photos illustrate gendered embodiment. When the men and women in the photos take on not just the other’s clothing, but also their postures, we can see how certain ways of holding or displaying our bodies are gendered — that we perceive them as feminine or masculine, and see them more often from one or the other gender.

It’s worth browsing the entire collection.

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

(source: Google Images)

Since the inception of the Gaga machine, her message has been to love yourself, flaunt your difference, be you in a conformist youth culture. As a 20-year-old struggling for an alternative sexual expression to “sexpot”, my interest was piqued. She was young and raw, full of a singular energy that demanded attention, with a decent set of pipes… so what was the catch? The catch was the patriarchal bargain.

A patriarchal bargain, as Lisa Wade wrote in a previous post, is:

…a decision to accept gender rules that disadvantage women in exchange for whatever power one can wrest from the system. It is an individual strategy designed to manipulate the system to one’s best advantage, but one that leaves the system itself intact… Don’t be too quick to judge; nearly 100% of women do this to some degree.

Even Lady Gaga.

Gaga, as weird and anti-Britney Spears sexy as she is, still exhibits sexiness that appeals to the male gaze. At times, it is positively pornographic. That is Lady Gaga’s patriarchal bargain. Despite bucking traditional rules of femininity with innovative fashion elements, she upholds contemporary standards of beauty and sex appeal. Her method is achieved through the use of palatable distractions: telephones as headwear, shamelessly poisoning ex-lovers, and dancing in flawless skeleton makeup. Give ‘em the old razzle dazzle and they won’t even notice that she’s a skinny white woman gyrating in underwear.

Bad Romance:

Telephone:

Throughout her body of work there is a thread of what we know all too well:  ass-shaking, barely-there nudity and conspicuous consumption, just in an offbeat fashion. Gaga is bonkers, but Gaga is sexy. Gaga is political and outspoken, Gaga is skinny and [often] blond.  Indeed, “Mother Monster” may uplift her fans because of her affinity for oddness, but lest we forget, she is a lady and must inhabit the flesh that adheres to gender norms and restrictions, she reminds us:

“I would rather die than have my fans see me without a pair of heels on. And that’s show business.”

If you want to ride the ride, you have to pay the price.  And that price is patriarchy.

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Sonita Moss is a 2010 graduate of the University of Michigan with a B.A. degree in Sociology and French & Francophone Studies. Sonita hopes to receive her PhD in Sociology with a focus on the intersections of gender, race, and beauty. Whilst she prepares for the GRE, she occasionally updates her blog, Deconstructed Beauty.

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

Originally posted at Shameless.

Marilyn Monroe is often held up as the antidote to the idea that only thin can be beautiful. “Marilyn was a size 10/12/14,” goes a common refrain (though sizing basically means nothing these days, so what does that even prove?). There have been a couple Marilyn Monroe memes floating around Facebook in the past couple months, and both are troubling. The focus is on Marilyn’s curves, and how her swimsuit clad body is different from what movie stars look like today (oh, the tyranny of the “Best Beach Bodies!” issue). What’s supposed to be an empowering message to women – you don’t have to be a Victoria’s Secret model to be beautiful – is completely undermined by two much older memes: divide and conquer and the male gaze.

In the first photo, Marilyn is compared to another woman in a bikini, who is much thinner. The text reads: “This [pointing to Monroe] is more attractive than this [pointing to the other woman].” While I can totally get behind the title “fuck society,” and add “and its stupid expectations” for good measure, there’s nothing anti-establishment about what’s being done here. This is a common tactic, in which women are pitted against each other, so that we lose sight of the real problem: namely, society. If women are fighting amongst ourselves about who is more “beautiful,” if we compare ourselves to other women endlessly, we don’t have time to notice that we’re trapped in a hamster-wheel of low self-esteem. Society hopes that you’ll buy things, to try and make yourself feel better. In the meantime, it’s hoped that we as women won’t critically examine what beauty is, what’s being sold to us, and most importantly, who profits from all this. Fuck Society, sure, because society tells you that if you’re not extremely thin, you’re worthless. However, extremely thin women? They’re still people. Further, bodies are just bodies. They have no intrinsic worth, no moral value, other than what we assign them. The thought behind this comparison photo is to turn the dominant paradigm on its head, but what it really does is reinforce that for one woman to be good, another must be bad. And that kind of thinking isn’t going to get us anywhere.

The second is the same photo of Marilyn, this time alone in the Motivational Poster style. The text reads: “PROOF: That you can be adored by thousands of men, even when your thighs touch.” From the start this would seem like a better message. No comparison photo, no pitting women against each other. For some reason, though, this photo troubles and angers me more than the first one does. Because here’s the thing: you are worth more than what men think of you. Marilyn Monroe was, to put it mildly, very sad, very often. She was a sex symbol, and thus, stopped existing as human being, a regular girl. Almost everything that fucked up Marilyn’s later life had to do with being “adored” by men. Men used her, or deified her (and that’s a hard come-down for those dudes when they found a human being in their bed the morning after). Political brothers purportedly passed her around like a toy. Conventional wisdom, political conspiracy aside, has it that Monroe killed herself. Being “adored by thousands of men” didn’t stop her demons from consuming her. It angers me to no end that, again, in the name of self-esteem we’re going to make a poster girl (literally) out of a woman who was notoriously down on herself.

I want very much for us to stop thinking that there is only one body type that is acceptable. I would prefer the focus be on health, rather than appearance. The Monroe Meme seems about the furthest thing from healthy. This is a woman who abused alcohol and sleeping pills later in her life, this is a woman who (probably) died due to depression. But, hey, as long as someone thinks she looks good, I guess that’s what matters.

Heather Cromarty has written for The Walrus Blog, and writes about books and bookish miscellany at In The Midst of Life, We Are in Debt, Etc. Follow her on Twitter: @la_panique.

In this two-and-a-half minutes of spoken word poetry, Dan Sully & Tim Stafford express their frustration with those who don’t take short men seriously.

Borrowed from The Social Complex, a heightism blog.  See also our guest posts from The Social Complex introducing the concept of heightism as a gendered prejudice and discussing heightism (and other icky stuff) at Hooters.

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.

Cross-posted in Portuguese at Conhecimento Prudente.

A lot of readers were taken with the new parody video, “Fotoshop by Adobé,” that has been making it’s way around the internet. Created by filmmaker Jesse Rosten, the video parodies beauty product commercials that play on and encourage insecurities while promising women magical transformations that will allow them to attain entirely unrealistic beauty standards overnight due to ground-breaking science-y sounding ingredients and processes (“pro-pixel intensifying fauxtanical hydro-jargon microbead extract”). Enjoy!

Thanks to Jessica B., Kate A., Rex S., Emma M.H., Jessica W., finefin, Bernardo, Robin D., Priyanka Mathew (who posts at Culture+Marketing+Politics), runbotrun, Dmitriy T.M., Lots of Models, Tom Megginson, and my colleague Pete La Chapelle for sending it in!

Way back in 2008 we posted about the conflation of food with women’s bodies — that is, presenting women’s bodies as food, and presenting food items as sexualized women, an issue covered in depth by Carol Adams. Two readers sent in additional examples. Sarah noticed this ad for canned tuna fillets, which have apparently sprouted heels-wearing legs:

And Whitney R. pointed out that Ludacris’s 2003 album, Chicken-n-Beer, presents a woman’s disembodied leg as the equivalent of fried chicken, ready to be consumed:

For many more examples — including a bikini-clad pin-up turkey — see our original post.