gender

Back when we were kind of obsessed with “man” and “woman” symbology — e.g., whether traffic lights ever include female figures, how stick figures tend to be male, unless they’re parenting, the weird world of default avatars, and also this interesting alternative symbol for disability — I had considered writing a post featuring the then-stewardess, now-flight attendant icon seen on airplanes.  Airplanes have a longer life than cars and, so, many of the airplanes operated by commercial companies still have the old stewardess icon: a friendly round head with a dress.  These were old planes though, I figured, so the post wouldn’t pack much of a punch. They were like that, back then, after all.

Lo and behold, MirandaB took a flight on Delta and snapped a photograph of an undeniably modern incarnation of the friendly round head:

Delta chose to use a digitally-skirted stick figure on its task screen.  Just to be clear, Delta still, in 2011, feels comfortable representing “flight attendants” as 100% female.  That’s a win with the language, a fail with the symbology.

According to the Bureau of Labor Statistics, women account for 81% of flight attendants, not 100% by a long shot.  But you can see why men might be reluctant to join their ranks.

Also in gender, sexism, and air travel: Sexism in Aviation, Then and Now, Selling Feminine Passivity, “Singapore Girls” and Emotion Work, and Fly the Unfriendly Skies.

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.

This weekend I went to the Annenberg Space for Photography in Los Angeles to see the Beauty CULTure exhibit. The description of the show suggested a critical perspective on beauty:

Through different lenses focused on the body beautiful, the exhibition examines both traditional and unconventional definitions of beauty, challenging stereotypes of gender, race and age. It explores the links between beauty and violence, glamour and sexuality and the cost (in its multiple meanings) of beauty.

The exhibit, to be fair, included a 30-minute documentary that touched on several critiques: the socialization of children, the pressure felt by adult women, the role of capitalism, and sizism and racism in the industry (featuring Lauren Greenfield’s work on girl culture and weight loss camps and Susan Anderson on child pageants).

But the actual photographs in the exhibit overwhelmingly affirmed instead of challenged our beauty culture.  While the four images above, highlighted at the website, include an Asian woman, an older woman, and a picture of a child beauty pageant contestant designed to make us question how we raise children, the actual photographs were mostly conventionally-attractive, white, thin professional models glamorously outfitted, posed, and lit.  These photographs outnumbered those that included women of color, older women, “plus-size” women, and critical images (e.g., photos of cosmetic surgeries) by something like 10 to 1.  I didn’t leave feeling like I’d gained some perspective on the crushing pressure to be “perfect”; I left feeling like I’d flipped through a Cosmopolitan, awash in idealized images of female beauty, and more consciously aware of my deficiencies than when I arrived.

I say, skip it.

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.

For a little dose of vintage sexism, I present to you an old Van Heusen ad, sent in by Leticia (via 22 Words):

I am still trying to figure out what a “man-talking” tie is, exactly, but I am more than happy to cede the “power-packed patterns” on those ties to the world of men.

The College Board has released data from an initiative with the aim of better understanding the educational pathways of men of color.  Their site includes testimonials from many of these men, in addition to the data below.  And they included Native American men, a group almost always left out of quantitative data analysis because they are such a small percent of total Americans (in a profound and tragic irony).  Here’s the data on what each group of men are doing after high school.

About 1/3 of African American and Hispanic men are enrolling in some sort of college, another 34 and 47%, respectively, face unemployment.  A significant proportion go straight into work.  The 5% incarceration rate for Hispanics, and the 10% rate for Blacks, is a sad testimony to the over-policing of poor, urban neighborhoods, racial profiling, and emphasis on prosecuting the crimes of the poor.

Native American men are significantly less likely than Black men to go to college or vocational school.  They are most likely to straight into a job or be unemployed.  While not all all Native American men live on reservations — not by a long shot, those that do are more likely to be unemployed because of the dismal economic profiles of many of these regions.

Asian men are more likely to enter postsecondary education than either Native American or Black men, but the 61% is balanced by a good 30% ending up unemployed.  This reflects the diversity of the Asian community.  Some Asian groups do very well in the U.S. — e.g., Japanese and Asian Indians — others are still struggling — e.g., Hmong and the Vietnamese.

The charts below compare men and women in each group.  Each, with the exception of Native Americans, reveals the feminization of postsecondary education and the relative advantage women see in the market (mostly because we’ve got a strong service economy that hires women disproportionately).

Hat tip to Sociology Lens.

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.

Societies are permeated with visual images. This means that images dominate our lives. However, no other images confront us so frequently as advertising images. They belong to the moment. We see them as we turn a magazine page, as we drive past a billboard, and as we visit a website.  However fleeting, they are powerful agents of socialization.

Sociologist Erving Goffman described and exhibited subtle features of gender displays in his book Gender Advertisements. One significant feature that he noted was the ritualization of subordination in which women are portrayed in clowning and costume-like characters. This still rears its ugly head in today’s advertisements.

According to Goffman, “the use of entire body as a playful gesticulative device, a sort of body clowning” is commonly used in advertisements to indicate lack of seriousness struck by a childlike pose (p. 50).

Images reproduced in Gender Advertisements (Goffman, 1979, p.50)

Advertisement found in a file-hosting web site:

The clownish poses represent in these images clearly remind us some photos of female hysterics taken by Jean Martin Charcot (1825-1893) who was not only a neurologist but also an artist.

Charcot was the inventor/discoverer of the female psychic affliction of “hysteria” at the Salpêtrière asylum in Paris that confined four thousand incurable or mad women. For delving into the nature of hysteria, Charcot armed himself with photography. He extensively photographed the different stages and forms of hysteria and calibrated them into a general type called “the great hysterical attack.” Charcot believed that this attack proceeds in four phases, the second of which is called clownism or so-called illogical movements.

Image taken by Charcot and reproduced in Invention of Hysteria (Didi-Huberman, 2003, p.147)

Charcot used the clowning to delegitimate so-called hysterical women, and Goffman saw such representations for what they are, a way to portray women as inferior, emotionally childlike, unserious.  Over 100 years later, images of clowning women are still used to reinforce gender discrimination and position females as inferior.

References:

Didi-Huberman, G. (2003). Invention of Hysteria: Charcot and the Photographic Iconography of the Salpêtrière, translated by Alisa Hartz. Cambridge, Mass: MIT Press.

Goffman, E. (1979). Gender advertisements. Cambridge, MA: Harvard University Press.

———————-

Zahra Kordjazi earned her M.A. in Teaching English as a Foreign Language, with a special interest in social semiotics, gender, visual literacy, and sociolinguistics. This post is based on her thesis, Images Matter: Gender Positioning in Contemporary English-Learning Software Applications, a semiological content analysis of gender positioning.

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

Mandi B. sent in this straightforward example of the way that women are positioned as commodities in advertising.  The email ad for Spirit Airlines reads “Trade Up for a Better Flight Awards Card” and illustrates that trade with a new car, a younger look, and a lady in red.  What does the lady have to do with it? Absolutely nothing. But it works because we’re accustomed to thinking of sexy women as prizes for men’s success.

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.

Deeb Kitchen sent in an essay at The Brookings Institution with a graph comparing the number of hours worked and earnings in middle-class, two-parent households (the 10% of households that are in the very middle of the income distribution).   Controlling for inflation (results are in 2009 dollars), we see that these households are earning more, for sure, but also working more.  In other words, they’re getting about as much buck for their bang as they were in 1975.

The authors of the post argue that the 26% increase in the number of hours worked is due mostly to mothers increasing their work hours.  Wages, as you can see below, have been stagnant for fathers, but gone up for mothers:

See also: more men and less women earning poverty wages and why did married mothers go to work.

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.

Megan H. and Ami R. sent in contrasting examples of using gender to market fuel-efficient cars. Megan saw this ad (one in a series that plays on the “I’m a Mac/I’m a PC” Apple ads) advocating electric cars over gasoline-powered ones. In this ad, femininity is associated with environmental responsibility. The most stereotypically masculine man in the ad — the blue-collar worker in a hard hat and filthy clothes — represents the harmful oil industry. Beneficial, good wind energy, on the other hand, is personified by a pretty woman in a filmy dress. Her beauty renders the bad guys speechless:

Dodge, on the other hand, wants to distance its claims to fuel efficiency from any association with femininity. Ami found this ad for the new Dodge Charger in the magazine for Go! Chapel Hill, an organization that advocates less car use:

So here, fuel efficiency with is also associated with femininity, but in the negative sense of emasculation. The Charger is the one exception to the other fuel efficient cars out there. You can get better gas mileage and still protect your manly reputation.

For other examples of gender representations of the environment or environmental movement, see our previous posts on femininity and benign nature, using PETA tactics to oppose the BP oil spill, nature in vintage men’s magazines, and even girls can drive electric cars!