This being the opening weekend for Sex and the City 2, it seems like a perfect time for this video of sociologist Tracy Scott, from Emory University, discussing the cultural impact and contradictions of the SATC franchise. Enjoy!
Thanks to Nicole J. for sending it in!
Lukas B.sent in an advertisement from the February 2010 Hemisphere magazine (the in-flight United Airlines mag). The ad is for ANA airlines’ flights to Japan. The target of the ad appears to be business travelers, represented by a White man. And how to show what a great job the airline will do of taking care of you? Surround said male business traveler with ten Japanese women, there to serve and pamper him:
The ad seems to rely to some degree on the stereotype of the submissive Asian woman, or more specifically, the geisha — a Japanese woman trained in the art of serving and pleasing men. There are many ways ANA could advertise, and even lots of ways they could represent good service.The fact that this ad deals with flights to Japan makes a particular racialized idea of service and comfort useful to the company.
At the same time, I’m fascinated by the fact that there are presumably potential customers to whom the idea of being waited on hand and foot while flying would be a major selling point (as opposed to, say, more comfortable seats or tastier food or something).
And, as Lukas points out, they also make sure to throw in the obligatory blossoms that are required in advertising/images related to China or Japan.
Gwen Sharp is an associate professor of sociology at Nevada State College. You can follow her on Twitter at @gwensharpnv.
We’ve posted many times on the way that cleaning is gendered feminine in a way that makes women ultimately responsible for housework. The Today segment embedded below, however, does not suggest that cleaning is a feminine task. Instead, it turns the tables by arguing that men are better at cleaning and that women need to learn how to “Clean Like a Man.” Ah-mazing. The second cleaning is framed as masculine, it becomes a story about men’s superiority over women.
And, of course, for men cleaning is a war (“Gather the troops,” “Establish a plan of attack,” “Plan the victory party”) and women reward themselves by drinking white wine, playing music, and watching a chick flick.
For examples of how women are responsible for the home, see help cleaning, Olympic laundry, this KFC advertisement offering moms a night off, this a commercial montage, Italian dye ad with a twist, women love to clean, homes of the future, what’s for dinner, honey?, who buys for the family, liberation through quick meals, “give it to your wife,” so easy a mom can do it, men are useless, and my husband’s an ass.
See also our historical examples of the social construction of housework: husbands “help” wives by buying machines, gadgets replace slaves, feminism by whirlpool.
Hat tip to Jezebel.
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.
Snehata K. sent in two commercials for Miller Lite that reproduce ideas of masculinity while encouraging men to do something usually seen as feminine: care about calories. In the commercials we see that it’s ok to drink beer with fewer calories than the regular, as long as you do it in a manly way:
What’s a feminine way of drinking light beer? Prioritizing calorie content over the taste. If you’re a guy, you can care about health/diet and thus want a lower-calorie beer, but only if you show you still care about beer the way men are supposed to: you appreciate the taste and won’t sacrifice it for anything.
Guys who forget that are embarrassingly girly. And being feminized is clearly stigmatizing, worthy of ridicule. Even women are disgusted by feminized men. So not only will men who fail to adequately perform masculinity be ridiculed by men, they’ll lose any chance with hot chicks, too. As they do so often, men are receiving a clear message: be sure you’re masculine in every way, all the time, or you risk losing any claim you have to a respected version of manhood.
Of course, if you really want to be manly, you need to stop caring about silly things like your health altogether and drink Miller High Life.
Crossposted at Jezebel.
Simon O. sent in this Ukrainian army video meant to recruit women:
The translation (taken from YouTube, and I think it’s a somewhat rough translation; I cleaned up the punctuation and spelling a bit):
Girl 1: Would you take us for a ride in your BMW?
BMW-driver: Even to the end of the world!
Soldier: Hey, I’d like to drown [drink?] some vodka, girls!
Girl 1: Just a second!
Girl 2: Where do you live?
Soldier: Right here- daytime at work, and at night in the clubs!
Girl 1: Which work???
Soldier: Contract, of course!
Blonde girl: Contract? Marriage contract or what?
Girl 3: Army contract, stupid!
BMW driver: Hey, don’t you wanna ride in my car?
Girls: Forget it, take yourself for a ride!
Narrator: It’s about time for new heroes! With contract-based service in Ukrainian armed forces!
Apparently the Austrian army thought it was awesome and made their own version:
Translation (again from YouTube):
Audi Driver: Hey girls, wanna go for a spin in my fast ride?
Girls: Ehh not sure, there’s not even enough space for all of us.
Soldier: Wazzup girls, in the mood for a joyride?
Girls: *Yaaaaay*
Soldier: Join the army if you wanna drive a tank.
Soldier2: Jump in, starting engine.
Audi Driver: Hey, what about the spin?
Girl: Forget it, I want to drive something big.
Narrator: The Austrian Armed Forces offer unique opportunities for young people who are at least 18, everything else is just everyday life.
Both versions play on the idea of women as materialistic, looking for the guy with the best car. Vehicles become a stand-in for masculinity; the bigger/faster the ride, the more attractive you are to women. And what’s more manly than a tank, with a long, phallic-shaped barrel? Women are simply entranced and can’t help running off after the biggest, strongest, manliest vehicle they can find…and, if we take the phallic imagery seriously, presumably the guy with the largest penis, too.
When American figure skater Evan Lysacek won the gold medal at the 2010 Olympics, he was the only man on the podium who had not attempted a quadruple jump in either of his two skating programs. The silver medalist, 2006 Olympic Champion Evgeni Plushenko of Russia, was quick to point out that “a quad is a quad. If an Olympic champion doesn’t do a quad, well I don’t know… Now it’s not men’s figure skating, it’s dancing.” Plushenko’s website later proclaimed (though the claim was soon redacted) that his superior performance had earned him a “platinum” medal. Figure skaters and others who heard his comment understood this wasn’t just sour grapes; by questioning Lysacek’s jumping ability, Plushenko was also questioning his manhood.
As Daniel, a former singles and pairs skater, knows from personal experience, when you look below the surface of figure skating, a coded gendering of the sport emerges. Figure skating has both athletic and artistic components, and traditionally these have been apportioned to men and women, respectively. Men are expected to be able to land enormous jumps. Women, on the other hand, are more likely to grab one of their feet and pull it up behind their heads, sometimes while spinning fast enough to set off a nose-bleed, as Mirai Nagasu did in Vancouver. Women’s programs also emphasize a great deal of emotion when they skate, while men are expected to display their athletic strength and power.
This is not to say that women are not expected to jump or that men can be soulless automata, but there are lower expectations for each in the other gender’s territory. A male skater who doesn’t emote passionately can be forgiven if he has a fantastic triple axel, and a woman can even win the Olympics with jumps that aren’t fully rotated. Artistry and flexibility are where women are expected to excel, while boys strive to jump higher and rotate more. To this day, only one woman (Japan’s Miki Ando) has landed a clean quadruple jump in competition, while it has become a mainstay of men’s event. This video shows Ando’s jump, at a 2002 competition:
In the aftermath of his silver platinum silver medal finish in Vancouver, Plushenko questioned the qualifications of Evan Lysacek to win gold without a quad. Aside from being poor sportsmanship, his approach highlighted the deep association of jumps with male figure skating. Though, in the women’s event, Mao Asada completed the technically difficult triple axel on three separate occasions, no fuss was made over her second-place finish behind the ethereal Kim Yu-Na. Kim has strong jumps, to be sure, but what sets her apart from her competitors is that she skates in a way that is graceful, balletic and undeniably feminine.
Ironically, one of the most promising things about a young Evgeni Plushenko when he arrived on the international skating scene in 1997 was his blending of artistry and athleticism. His style was avant-garde and overwrought, and his jumps were magnificent; he had, in skating parlance,”the whole package.” It might seem excessive to map gender onto his performances, but he is famous for being one of the only men to perform the Biellmann spin, in which the skater grabs the blade of one skate and pulls it up behind the top of his or her head.
This was a clear and unabashed case of gender-bending, as the spin had previously been the province of women. The figure skating world, after being sufficiently impressed by the flexibility of his hips, shrugged and moved on. No one thought any less of him for doing a “girly” spin.
Compare this to the skating world’s reaction to two-time Olympic gold medalist Katarina Witt, who was often said to skate “like a man.” Witt had big jumps (and big thighs to go with them), and skated to the soundtracks of epic movies, a practice that was usually reserved for men, while other women tended to skate to classical ballet suites. Witt’s artistic style was also not typical of women skaters: while her competitors demonstrated flowing, balletic arm movements to match their floaty chiffon skating dresses, Witt opted for stronger, cleaner arm movements and famously skated in leggings and a tunic in a program set to music from Robin Hood. She also skated with a stoic bearing that was similar to that of Canadian Elvis Stojko, who won the silver medal in Lillehammer in 1994.
Despite the popular perception of figure skating as a uniformly “girly” sport, there exists within the figure skating world a unique and nuanced code for constructing and understanding gender. In the figure skating world, as in the rest of our culture, that code changes over time, with different representations of masculinity and femininity being rewarded, marked down, or phased out entirely as the sport evolves. And as Plushenko’s comments about Lysacek demonstrated, figure skating’s coding of gender can be invoked by skaters trash-talking their rivals in subtle, but complicated, ways. As yet, Plushenko has made no comment on Lysacek’s upcoming appearance on “Dancing with the Stars,” but it’s not hard to imagine what he might have to say.
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Chloe Angyal is a Contributor at Feministing.com, where she writes about gender in popular culture. She is also a failed figure skater. Daniel Eison is a former nationally-ranked pairs and singles skater who retired in 2005. He is not a failed feminist.
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Gender differences in figure skating are also institutionalized in the form of costume requirements. Women are required to wear dresses, while men are not allowed to wear leggings or sleeveless outfits.
UPDATE: Reader Jeff says,
This isn’t true anymore; “this rule was repealed in 2004, allowing women to wear tights, trousers, or unitards” [1] ([1] http://www.frogsonice.com/skateweb/faq/rules.shtml)
Thanks for the correction!
Related posts: Johnny Weir and Canadian skating gets tough.
Ada A., Katrin, Filip S., and Missives from Marx all let us know about PinkStinks, a campaign in the UK that “challenges the culture of pink which invades every aspect of girls’ lives”.
The aim is a worthy one: the webpage discusses concerns about girls’ body image, self esteem issues, the sexualization of young women, and so on.
They link to this video, which I thought was neat:
While I totally get the idea and support the effort to provide girls with a wider set of images of what they can aspire to do or be like, the “pink stinks” name, and some of the t-shirts on the site, give me a some pause.
If you read different parts of the site, it’s clear that pink is a stand-in for the socialization of girls into a particular type of femininity, and the campaign is attempting to combat the narrowing of girls’ aspirations and role models. But it brings up an issue I face whenever I’m trying to pick out clothes for my 3-year-old niece: how do you reject the trappings of that socially-approved version of femininity without devaluing femininity, girls, and women themselves? All things equal, I’ll usually pick a green t-shirt instead of a pink t-shirt for my niece because I feel like giving her a pink t-shirt signals to her an approval of all the things we associate with “pink culture”–valuing looks over smarts, worrying about boys, and so on, and because I know she is frequently encouraged to declare pink her “favorite” color by those buying her gifts.
But we often see that in the attempt to provide girls with more options, those who accept elements of mainstream femininity are devalued. My students who are trying to distance themselves from ideas of passive femininity often disparage “girly-girls,” those they see as unambiguously accepting pink culture. Thus, wearing a sparkly barrette or painting your nails pink becomes inherently problematic, a sign that you must be boy-obsessed, dumb, superficial, and so on.
I don’t think this campaign overall is doing that–if you read through it, the message is more complex and clearly about giving girls a wider array of options to choose from as they construct their identities. But much of the online discussion of it seems to miss the nuance and veer more into the simplistic interpretation of “pink stinks” as “empowering girls means rejecting and devaluing everything currently associated with femininity, as well as those who do it,” and the t-shirts seem to play into that a little.
Many of the things associated with femininity–being nurturing, say, or liking to cook–are, in fact, quite lovely, and problematic only when we say that only girls can/should like them, that all girls ought to, and that they’re less worthwhile than things boys do. Adding to the devaluing of women and femininity in an attempt to resist gender norms is, ultimately, counter-productive.
Gwen Sharp is an associate professor of sociology at Nevada State College. You can follow her on Twitter at @gwensharpnv.
Jayna T. and V. sent in a number of commercials for home security systems. They point out that in all the commercials they’d seen (there are many, many, many more than what I have here), the intruders are men (White men, from what I can tell) and the person endangered is a White woman, either alone or with her daughter:
So they’re selling home security systems by playing on the idea of the vulnerable middle-class White woman, easily victimized in her home. Luckily, home intruders are easily frightened away by an alarm system and run for the hills.
Saturday Night Live recently parodied these commercials, and I think the skit sums them up nicely:
UPDATE: A commenter pointed out this Target: Women segment on the same topic:
