media

Reel Injun, a new documentary about the portrayal of American Indians in U.S. movies, has been earning high praise and notice from bloggers and film critics. About the film:

Hollywood has made over 4000 films about Native people; over 100 years of movies defining how Indians are seen by the world...

Travelling through the heartland of America, Cree filmmaker Neil Diamond looks at how the myth of “the Injun” has influenced the world’s understanding – and misunderstanding – of Natives.

With candid interviews with directors, writers, actors and activists, including Clint Eastwood, Jim Jarmusch, Robbie Robertson, Sacheen Littlefeather, John Trudell and Russell Means, clips from hundreds of classic and recent films, including Stagecoach, Little Big Man, The Outlaw Josey Wales, One Flew Over the Cuckoo’s Nest, and Atanarjuat the Fast Runner, Reel Injun traces the evolution of cinema’s depiction of Native people from the silent film era to today.

I can’t wait to see it.

The trailer:

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.

Jamie Keiles, of  the Seventeen Magazine Project and Teenagerie, wondered how racially representative Seventeen was compared to the U.S. population.  So she offered some data based on the May 2010 issue.  Her methods:

There are 332 faces in this month’s issue of Seventeen. I counted a face as a head with at least one visible eye. That is, backs of heads and disembodied mouths or eyes were not included in my data. I researched the races of the models and celebrities that I could identify. Those whose race I could not determine with reasonable certainty I’ve excluded from my data, making for 319 surveyed faces.

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 at BlogHer.

Michaela M. alerted us to the news that Essence, the iconic fashion and lifestyle magazine for Black women, has hired an Australian-born, White woman, Elliana Placas, as its new Fashion Director.  Disappointed, former Essence fashion editor, Michaela Angela Davis, wrote:

If there were balance in the industry; if we didn’t have a history of being ignored and disrespected; if more mainstream fashion media included people of color before the ONE magazine dedicated to black women ‘diversified’, it would feel different.

In this 3-minute clip, Davis explains her position to Anderson Cooper:

The controversy over her hire is an example of a more widespread question about representation. Most agree that the presence of Black politicians, actors, models, teachers, professors, authors, and athletes (to name a few) is a good thing for Black people. It’s good, presumably, for two reasons. First, their presence in these roles normalizes Black achievement, beauty, intelligence, etc. The election of Barack Obama, for example, shows us that being Black and being the President of the United States are not mutually exclusive. The success of Tyra Banks and Alek Wek, similarly, upsets the notion that Black women aren’t beautiful.  It is good for all of us to be exposed to evidence that upsets negative stereotypes about Black people, stereotypes that all of us, no matter our color, unconsciously internalize to some degree (test your unconscious preferences here).

But there is a second reason why we often believe that representation is good. It is often presumed that people advocate for their own. Having a Black woman as Fashion Director, it is hoped, will mean that the content of the magazine will be empowering to Black women. That is, that the Director will be sensitive to the historic and ongoing racist idealization of white femininity that makes Black women’s bodies, hair, facial features, and skin color seem to need fixing.  Even if her racial politics are sound (and this is always a serious worry), she certainly does not have the experiences that Black woman in the U.S. often share nor, necessarily, the deep connection to the Black population that will make this a driving concern.

Essence‘s current Fashion and Beauty page with it’s August 2010 cover, featuring Janet Jackson, in the upper left corner:

The hiring of Placas is disappointing in the sense that it is a lost opportunity to put a Black woman in a position of power.  If, however, Placas is going to have this job, people concerned about the empowerment of Black women need to turn to evaluating her product.  The worry caused by her appointment is an opportunity to insist that Essence do right by Black women.  That is, Essence should be a refuge from racism.  One that, hopefully, does not subject Black women to the same sexism as White women in the name of equality.  Light skin does not preclude Placas from being able to do this, just as dark skin does not protect a person from internalizing and perpetuating colorism.

Ultimately, while having a darker-skinned, Black-identified person in the role of Fashion Director would be good, the production of a magazine that empowers Black women is also very important and this is something that Placas may be able to do.  It is up to us to insist that she does.

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 is not a major social issue, and I am not going to make it one. Rather, I think the way this story is being presented in the media effectively illustrates how race matters and is constructed in particular social contexts. Among track and field (“athletics”) aficionados, the 100 meters is frequently considered the premier event. At the elite level, the 100 meters is a power sprint, measuring fast twitch, explosive, kinetic energy manifested through meticulously honed technique.

For males, breaking the 10-second mark is still a colossal accomplishment. One might not think so since track and field doesn’t get much media attention in general (at least not in the United States), and when it does, we’re now more accustomed to watching Usain Bolt blast away his competitors, seemingly cruising to numerous sub-10-second performances (his world record currently stands at 9.58). A few weeks ago sprinter Christophe Lemaitre won France’s national competition with a time of 9.98 second, squeaking below that 10-second mark.  A typical headline of Lemaitre’s accomplishment (from Reuters.com, July 9, 2010):

Lemaitre first white man to run 100m in under 10 seconds

And from the article:

PARIS (Reuters) – France’s Christophe Lemaitre became the first white man to run the 100 meters in under 10 seconds when he clocked 9.98 on Friday, the French athletics federation said.

Lemaitre, 20, set his time during the French championships in Valence, southern France.

“He is the first white man to run the 100 meters in less than 10 seconds,” Jean-Philippe Manzelle, French athletics Federation press officer, told Reuters.

There have been other white sprinters who have excelled at the world level in recent years. Lolo Jones comes to mind in the 100m hurdles; Jeremy Wariner dominated the open 400m in recent years. And if we’re talking sprinters of “outlier” ethnicities in general, Liu Xiang of China recently held the world record in the 110m hurdles. But the early discourse around Lemaitre could be a bit more pointed in the way he is being constructed through the media as a great white hope.

When should race matter in sport, and when it does, how should it be discussed? In this case, at the very least, Lemaitre’s race is framed such that his being “white” is of greater importance than his win. As the track and field season moves on and should Lemaitre continue to run sub-10-second times, I expect to see increased media coverage about his whiteness. He is not going to beat Usain Bolt or America’s top sprinters at international competitions. But on the European circuit, I expect he will make waves. Mainstream media discussion of his success or failure should be interesting to follow.

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David Mayeda is adjunct faculty at Hawaii Pacific University in the Department of Sociology and Legal Studies, where he will also come on board as Assistant Professor this coming fall semester.  His recent book publications include Celluloid Dreams: How Film Shapes America and Fighting for Acceptance: Mixed Martial Artists and Violence in American Society.  He also blogs at The Grumpy Sociologist.

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

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.

Jamie Keiles is a new high school graduate from Pennsylvania who embarked on a fantastic project: trying to live according to the advice of Seventeen magazine… and blogging about it.

Her insights are many and she’s funny and accessible. The whole blog is worth reading.  And you can check out her new project at Teenagerie.

In this post, however, I wanted to highlight her analysis of the ad content of the June/July 2010 issue. She writes:

Magazines profit from ad sales more than they do from newsstand sales or subscriptions. From a business standpoint, the essential purpose of magazines (or television, or radio) is to round up a group of similarly demographic’d consumers that advertisers can easily target. I figured that the advertising content might have something to say about what the average Seventeen reader is imagined to be like. In the 171 page issue, there were 91 ad spaces. Here is how the content broke down:

So… mostly, as Jamie puts it, “stuff that makes you look better.” Jamie then broke it down by advertisements for products and ones for experiences:

She ponders:

I’m not heading toward any sort of conclusive argument with these graphs. Just thought it was an interesting exercise to explore how low the bar is set for Seventeen readers when it comes to what advertisers think will interest them. Products advertised definitely skew more toward tangible than experiential, and more toward short-term use than long-term investment. It would be interesting to do a similar data sample with the Economist or the New York Times. Wonder if this way of thinking is something that applies to all demographics, or mostly just teens.

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.

Chris Marshal and Captain Crab sent along this gem from The Second City Network:

Borrowed from Evolving Thoughts, via Pharyngula.

More on Disney: media consolidation and Tinkerbell, the real Johnny Appleseed, fallen princesses, modernizing the fairy tale, pickaninny slaves in Fantasia? yes, racist Disney characters, infantilizing adult women, gendered Disney t-shirts for kids, Deconstructing Disney princesses, are the new Disney princesses feminist?, race and gender in Princess and the Frog, socializing girls into marriage, and…

…did you know that the very first political tv commercial was made by Disney?  I like Ike!

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.

Christina W. alerted us to the availability of the first episode of John Berger’s 1972 BBC documentary, Ways of Seeing.  Berger was is a artist, author, and art critic.  In the first episode of the documentary (in four parts below) he asks how the ease of reproduction made possible by the camera (both still and moving) has changed the meaning of art.  The episode is a bit slow (for my taste), but has some interesting ideas.

First he argues that the ability to reproduce works of art in books, on posters, postcards, and television screens means that art is experienced in a decontextualized way (or in the context of, say, your living room). No longer something we pilgrimage to, to consume in a very specific context, they come to us.  This, he argues, has multiplied a work of art’s possible meanings.

As an aside, he makes an interesting argument that the obsession with authenticity — “usually linked with cash value,” he says, “but also invoked in the name of culture and civilization” — is actually “a substitute for what paintings lost when the camera made them reproducible.”

He then talks about how our experience of art is mediated by media (whether it be an art book or a discussion of art in a television program), so that our reaction to it is inevitably shaped by its re-interpretation.  The art critic, for example, tells us what to think about a piece of art. (No doubt, his call for skepticism certainly can be applied to Sociological Images.)

But reproduction and the multiplication of meaning also makes it easier to make connections and have personalized reactions.

(Btw, there is a pretty awesome moment at 4:38 of the third installment.)

Start watching Episode Two here.

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.

Deepa D. sent in an interesting post from Racebending about the race/ethnicity and gender of stars who get top billing in Paramount movies. Three volunteers at Racebending analyzed relevant data on movies produced or distributed by Paramount Pictures since 2000, as well as those currently in development. They focused on top billing — that is, which stars are most frequently highlighted in promotional materials, whose names appear highest in the credits, and so on. This both reflects power and status in Hollywood (the more prestige you have, the higher you’re likely to be credited compared to lower-status stars with similar screen time) and contributes to it (higher billing leads to more exposure and attention. Racebending explains:

Various types of Credit include Main Title Credit (before the movie starts), End Title Credit (after the movie is over), Paid Advertising Credit (mention during commercials and publicity), Above-the-Title Credit (name shows up on top of the movie name in promos and on screen), and Billing Block Credit (the block of text on posters and trailers.)

Their methodology:

For our review, we simply looked at which actor is listed first on imdb.com. Even if several actors have received top billing or above the title billing, someone is always listed first…

Our review of actors in top billing was necessarily subjective, but the cultural ethnicity and gender of most of Paramount’s top-billed actors like John Travolta, Angelina Jolie, and Samuel L. Jackson are well established in the public sphere. For animated characters like Shrek the Ogre, Spongebob Squarepants, and Eliza Thornberry we looked to the gender and ethnicity of the voice actor. We simply tallied the first actor billed, (for example: Malin Ackerman in Watchmen, Chris Pine in Star Trek, Ben Affleck in The Sum of All Fears, Jamie Foxx in The Soloist, Noah Ringer in The Last Airbender.)

The analysis found that the vast majority of top-billed stars in Paramount films from 2000 to 2009 are male, while movie audiences are about 45% male:

An even higher proportion — 86% — of top-billed stars are White (the green bars show each groups percent of the overall U.S. population):

The category White there specifically includes White non-Hispanics. No Latinos had top billing in Paramount movies during this time period. Also,

Out of 133 movies either produced or distributed, 17 had a black lead actor and only one had an Asian actor–Parry Shen in the film Better Luck Tomorrow (2002). However, Paramount did not produce Better Luck Tomorrow, the company distributed the film to theaters after the film made the independent film circuit.

When the data are broken down by race/ethnicity and gender, we see that the vast majority of top-billed stars who are non-White are men. Non-White women are almost entirely shut out:

The chart on the right represents films currently under development. While Whites predominate in the starring roles in these projects, notice that White women make up only 6% of top-billed stars, and non-White men make up about twice that proportion.

This is, of course, just one studio. If you have links to similar data on other studios, or on movies more generally, send them in!

Related posts: the Bechdel test, the real stars of Glee, underrepresenting women in Hollywood, the Smurfette principle, whitening Heroes, White actors in yellowface, casting cheat sheet, Hollywood’s discomfort with Asian lead characters, race in Transformers II, gender in Pixar films, racist Disney characters, and the gender hierarchy in Bee Movie.