Nickey Robare and Maile Martinez, of Reel Grrls, put together a video discussing coverage of several celebrities who have recently lost weight, including the way that changes in body size are linked to changes in personality, with women becoming nicer when they get thinner:
Thanks to Nickey for sending it to us!
Cross-posted at FemmePolitical.
As many as 4 million people — most of them women and children — are sold into slavery globally each year, according to the United Nations, and 70 percent of those women are trafficked for commercial sexual exploitation [PDF]. An estimated 200,000 American children are at risk for sex trafficking each year, and the International Human Rights Law Institute estimates that 30,000 sexual slaves die annually from abuse, torture, neglect and disease.
So why is Disneyland still asking us to laugh at an overt depiction of sexual slavery in its popular Pirates of the Caribbean ride?
Many of us have floated past the scene of a pirate captain selling captured women as “brides,” with the banner “Auction: Take a Wench as a Bride.” Viewer focus is drawn to a rotund woman on the auction block, an object of open derision due to her weight, as well as to a red-haired woman with her breasts on display, an object of hoots and hollers from surrounding drunken pirates.
These two women are linked to four other women-for-sale by ropes cinched around their waists. One of the captives–a teenager–cries profusely into a handkerchief while an older woman tries to comfort her. This disturbing scene of women being sold into sexual slavery is supposed to be amusing.
What makes this all the more alarming is that the Disney folks altered the ride to be less sexist during a major renovation in 2007. It originally included a scene with male pirates chasing unwilling (but giggling) townswomen and another in which an overweight male pirate, exhausted from his pursuit of a teenage girl, holds a piece of her dress and says, “It’s sore I be to hoist me colors upon the likes of that shy little wench” and, “Keep a weather eye open, Mateys. I be willing to share, I be” (an implied gang-rape invitation?).
The pirates-ravaging-wenches aspect of the Pirates attraction was planned from its inception in the late 1960s. Several sketches from illustrator Marc Davis conveyed the rapacious spirit of the scenes:
And they included the notion that women might even enjoy being sold into sexual slavery:
So why didn’t Disney get rid of the sexual slave auction when it had the chance? What arguments were put forth by corporate executives to justify showing these images to as many as 40,000 visitors a day, many of them children, with jovial music playing in the background? (Note: Pirates was the last exhibit Walt Disney oversaw before his death. The auction scene is the only one he saw fully animated, and the only scene that has never been altered.)
Disney has unparalleled power to shape young hearts and minds. If the Pirates of the Caribbean ride normalizes sexual slavery with humor, it can desensitize viewers to this heinous and very real gendered crime.
When will Disney learn that sexual slavery is no laughing matter? Contact the company to let them know what you think.
Special thanks to C. Martin Croker for his insightful research on the ride and to Theme Park Adventure magazine for images and history on the ride.
Sharon Gefen sent along a five-minute SPARK Summit video on the sexualization of women and girls in the media and its effects on young women:
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.
A former CEO of World Wrestling Entertainment, Linda McMahon (R) is running in Connecticut for a seat in the U.S. Senate. In an essay at the Huffington Post, sent in by Dr. Caroline Heldman, Jackson Katz explains that her company has promoted “…some of the most brutal, violent and hateful depictions of women in all of media culture over the past twenty years.” The violence and misogyny in professional wrestling is an issue that Katz has taken on personally in his documentary, Wrestling with Manhood.
Media actors, he argued, have not focused on the substance of her company’s product, so much as its amazing success. Katz, however, challenges the idea that her business acumen is more important than the fact that she spent 20 years promoting and excusing violence against women:
…incredibly, the rampant misogyny of McMahon’s WWE has gotten scant coverage during this fall’s U.S. senate campaign in Connecticut. Political reporters have largely rolled over and bought the McMahon campaign line that what goes on in professional wrestling is only entertainment, that the WWE has gotten more family-friendly in recent years, and that we should all just lighten up and focus on what really matters about Linda McMahon’s stewardship of the WWE: her savvy business skills and experience.
Hoping to bring attention to the kind of messages the WWE sent under McMahon’s leadership, Katz put together this 11-minute clip from his documentary (trigger warning):
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.
In this 12-minute RSA Animate video, Education Professor Sir Ken Robinson explains why we need to change the way we educate new generations. Children, he says, “…are living in the most intensely stimulating period in the history of the earth.” Yet we are still educating them according to a model invented during the industrial revolution that emphasizes conformity, standardization, and coming up with the “right” answer. Today the future is coming faster and faster and we need to teach children to be able to thrive in change and uncertainty. Watch the video for his thoughts on what to do next (and what Oklahoma has to do with it):
Thanks to education activist and friend, Diallo Shabazz, for the link!
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.
Dmitriy T.M. sent in a link to an interesting breakdown of the race/ethnicity and gender of guests on a number of late-night talk shows, found at Edlundart.
Edlund explains the methodology:
The data for this graphic was gathered over 6 weeks in August and September of 2010. Numbers are based on guest lists as presented on Late Night Lineups. Determining race/ethnicity can be a rather dicey and imprecise activity, and it’s also worth noting that the relationship between census and guest numbers is not a pure one – for example, some of the guests I counted as white are British white people who are visiting the United States.
Of course, a few guests were neither White, Hispanic, Black, nor Asian. These guests were left out, as their numbers were insignificant on the whole…
Edlund also points out that since The Daily Show only has one guest per night, it has a much smaller dataset than the others, so the lack of diversity may be somewhat overstated due to such a small sample.
Here are the results for race (presented as % of all guests); the small dots show the percent in the Census, the wider bars the percent on the show:
Here is the same data but for the top-billed guests only, where the over-representation of Whites goes up even more for most of the shows:
Here’s equivalent data for women:
And, again, for just top-billed guests:
As Edlund says, these data both reflect and reinforce broader cultural patterns. Given that Whites still dominate the political system, for instance, it’s not surprising that political guests would be disproportionately White; and if more movies have male stars than female stars, guest spots will reflect that as well. But at the same time, these shows include people from a range of industries/careers, and their selection of guests helps raise the profile of some individuals more than others, potentially contributing to more opportunities and star power for them. So they don’t just reflect existing realities; they amplify them.
It would be great to get more info on how an individual is selected when there are multiple possibilities — say, you have a movie with several prominent cast members. In that case, are there patterns related to race/ethnicity and gender in which person is most likely to get booked?
Larry Harnisch (of The Daily Mirror) and Jimi Adams sent in a story in the New York Times about ESPN’s plans to roll out espnW, a brand aimed at women. The brand will apparently mostly consist of a website, Facebook pages, and the like for now, with possible expansion to TV in the future.
Responses have been mixed, with some excited at the idea of women’s sport, and female sports fans, being taken seriously, and others fearing it’ll be a condescending attempt that will serve to segregate those groups from “regular,” i.e., men’s, sports and fans.
While women may be interested in watching women’s sports in particular, the article also notes that women make up a minority, but significant, portion of the viewership of the NFL, NBA, and MLB, as well as a number of sports-related websites:
From the article:
Women make up 44 percent of football fans, 45 percent of baseball fans and 36 percent of professional men’s basketball fans, according to research conducted by the sports leagues. During the 2009 season, an average of 4.2 million women watched the N.F.L. on ESPN, according to the network.
The NYT article includes a link to a study by Michael Messner, Cheryl Cooky, and Robin Hextrum shows that over time, ESPN’s coverage of women’s sports during SportsCenter, its headline sports show, has gone down, generally remaining well below the portion devoted to women’s sports on broadcast news sports segments (the report includes a full description of the methodology):
Women’s basketball gets the most coverage among women’s sports:
On the upside, since the total coverage of women was down in 2009 compared to previous years, the researchers found less ridicule of female athletes and fewer sexualized joke stories (i.e., a story about a bra that unfolds into a golf putting green). So, you know…woo! If programmers just completely erase women from TV, they can’t ridicule, sexualize, or belittle us! We’ve found the answer to negative portrayals of women!
Anita Sarkeesian, creator of the fun Bechdel Test video we link to frequently (and blogger at Feminist Frequency), emailed to let us know about Jonathan McIntosh’s most recent video. McIntosh, who posts at rebellious pixels, has a knack for remixing elements of pop culture to make larger social points. He made the Buffy vs. Edward remix we posted last year.
His newest video, Right Wing Radio Duck, mixes scenes from 50 different Donald Duck cartoons with audio of Glenn Beck:
Glenn Beck actually responded to it. Here’s the audio:
When I read part of the transcript first, I honestly thought Beck was joking and playing along. But after listening to it, I think he’s serious.
Of course, he’s also making some accurate points: Walt Disney was extremely anti-union and anti-Communist. He served as a friendly witness before the House Un-American Activities Committee in 1947 (transcript here). Others have accused Disney of being a Nazi sympathizer — swastikas and other symbols show up in some Disney cartoons — though The Straight Dope says Disney’s politics weren’t easy to pin down (for instance, the cartoon where Donald Duck is a Nazi eventually shows it to have been a nightmare; is that pro-Nazi or not?).
But back to Beck’s fascinating response, and how seriously he takes this “unbelievable attack.” He seems to imply the Fair Use doctrine allows propaganda, but also that Disney is somehow in on it (“apparently Disney doesn’t have a problem with Donald Duck cartoons now being remixed and politicized for the progressive left”). Of course, that’s the point of the Fair Use doctrine: whether or not Disney is ok with it isn’t relevant, because Fair Use protects the right to use otherwise copyrighted material. Specifically, according to the U.S. Copyright Office, “Section 107 contains a list of the various purposes for which the reproduction of a particular work may be considered fair, such as criticism, comment, news reporting, teaching, scholarship, and research.” It’s hard for me to imagine that Beck doesn’t know that; I’m sure he’s used material on his program at some point — say, news footage or historical photographs — and was able to do so specifically because of the fair use doctrine.
His response also reminds me of an episode of Fresh Air I heard earlier this week. Historian Sean Wilentz discusses how often Beck draws on 1950s Cold War-era ideologies, and that he has made them resonant again. Five years, saying “communists” and “socialists” in an ominous tone and implying that communism is in danger of spreading across America would have made you ultra-fringe, and I don’t think it would have had much cultural resonance. Now throwing around accusations of socialism and conspiracy theories isn’t at all out of the ordinary.
Given that resurgence in ideas that arose from the right during the Cold War, combined with Disney’s anti-Communist and anti-labor stance from that period, I think actually makes McIntosh’s use of old Disney cartoons even more effective as social commentary.
And just for fun, ikat381 remixed part of Beck’s response with an old Mickey Mouse cartoon:
