media

Nora R. sent us a link to an article at Band of Thebes about how promotional materials for the movie “A Single Man,” staring Colin Firth, have been altered to imply that the central relationship in the movie is heterosexual, and to eliminate references to the fact that Colin Firth’s character also has male lovers. A poster for the movie:

The first trailer:

The second trailer, which emphasizes heterosexual desire:

From the post at Band of Thebes (quote is originally from another article, but you have to sit through a 30-second ad to get to it; there’s a link at the Band of Thebes post if you want to see it):

Peter Knegt reports:

“The new trailer essentially is altered to suggest the core of the film is the relationship between Colin Firth and Julianne Moore’s characters, even removing from the end of the trailer the names of both Matthew Goode and Nicholas Hoult (who play Firth’s love interests). Moreover, in the first trailer, we see Firth’s character kiss both Goode and Moore, in the second we just get Moore. There’s also a sequence of shots in the first trailer which crosscuts Firth, who plays a professor in the film, staring into the eyes of both a female student and a male student. In the second, as you might guess, we only get the female (in a telling twist, instead of cutting to the male eyes, the trailer cuts to a quote from Entertainment Weekly saying ‘[Firth’s] performance is bound to win attention in this year’s Oscar race’).”

Of course, studios often manipulate what a movie appears to be about to appeal to as wide an audience as possible. If you saw some of the previews for “Twilight” that were shown before movies that targeted men, you’d think the movie was a lot more violent and action-heavy than it actually was (I presume to the dismay of some of the viewers who went to see it thinking they were seeing a vampire action movie).

But it’s interesting that a movie in which the main male character’s relationships with other men is a central element is advertised with that main plot point obscured.

Cate M. emailed us about the promo for the movie “The Killer Inside Me,” saying,

The level of violence is at NSFW levels and quite possibly one of the most ‘trigger warning’ vids I’ve ever seen used to promote a non-horror film.

We get a lot of submissions about sexualized violence toward women, so I thought, “well, ok, we’ll see.” And then I watched it, and at 1:15 in had to pause because I was already horrified. Here’s the whole 5:42 promo. It’s Not At All Safe for Work, and you won’t want to watch it if scenes of sexualized brutality toward women would be a trigger for you. And also, I guess, Spoiler Alert, if that’s your main concern.

UPDATE: The promo keeps being taken down; here’s a link that works for now, but I don’t know for how long.

Clearly, Casey Affleck’s character is a sadistic asshole (the cigar on the guy’s hand), but in the promo, at least, the graphic, sexualized violence is reserved for women…who also appear to like it, at least for a while. Jessica Alba gives in to him, and apparently starts a relationship with him, after he pulls her pants down and whips her. Perhaps that’s because she’s a prostitute; of course she’d like a dominant man who plays rough, right?

The thing is, you could make this movie and tell the same story without actually showing all the violence in such a graphic way. Movies imply things all the time. It’s a choice to show this type of violence toward women as a form of entertainment…and to show the women liking it.

See our posts on increases in violence toward women on primetime TV, sexualized violence on TV crime procedurals, and the movie “DeadGirl.”

Victoria S. observed that, when 20-year-old Morgan Harrington went missing, the Nancy Grace show didn’ t do a story about missing Morgan Harrington, they did a story about the missing “co-ed beauty”:

As Victoria said, if any of us go missing, let’s hope we’re lucky enough to be beautiful with lots of photos of us posing with our pretty girlfriends and glamour shots in our sunglasses.

See a previous post arguing that missing children that get a lot of media coverage tend to be blond and attractive.

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Lisa Wade is a professor of sociology at Occidental College. You can follow her on Twitter and Facebook.

Kathleen K. was recently looking at the Credit Education Week Canada website, where they have a number of quizzes for couples to take. At the end of each quiz there is a picture of a couple along with your results. She was pleasantly surprised that this image accompanied the results of one quiz:

It’s a rare example of the normalization of gay/lesbian couples in media not specifically targeted at the GLBT community. The couple is presented as a legitimate image of love for both straight and gay couples, and there is no ambiguity about whether or not they’re a couple. Given the general invisibility of gay and lesbian couples in media outlets, and the use of only heterosexual couples as “neutral,” unmarked examples, it’s quite striking to see this.

Also see our post on a commercial by an Argentinian bank that depicted transgendered individuals positively.

U.S. civilians, by virtue of geography and geopolitics, have rarely experienced war firsthand. The possibility of the destruction of our infrastructure or civilian casualties on our land has remained remote. Today, for example, though we are waging war in Iraq and Afghanistan, non-military Americans do not expect to personally suffer (with the significant exception of harm to and the loss of loved ones).

That civilian populations can experience war in vastly different ways is illustrated by this photograph:

It is the early 1920s and the Soviet Union has been at war with much of Europe for several years. In the photograph, children practice their response to being gassed in an attack.

The Vietnam War was the first televised war and some sociologists credit the visual images returning from the war for increasing opposition.  But the idea that an understanding of the horrible, destructive, and deadly effects of war would require the mass media is predicated on U.S. geographical detachment.  That is, the mass media would be less necessary if the war was happening on our soil.

Earlier this month, the U.S. military hardened its rule against publishing photographs of dead or dying U.S. soldiers.  The rule for embedded journalists states that:

Media will not be allowed to photograph or record video of U.S. personnel killed in action.

This separates U.S. civilians from war in a second way, by politics.  So a civilian population can be isolated from its own wars by geography or by politics and, largely, the U.S. is separated by both.

Thanks to Dmitriy T.M. for this great photograph.

For more posts discussing the impact of war on civilians, see license plate patriotism, sex protest, war is boring, WWII civilian sacrifices (carpooling and staying off the phone), war and euphemism, framing “their” deaths, the silent ranks, U.S. non-news about war, and reframing the “atomic bomb” (the evolution of the term and mushroom clouds have a silver lining).

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Lisa Wade is a professor of sociology at Occidental College. You can follow her on Twitter and Facebook.

This nine-minute 1938 promotion video for White Sands National Monument is a stunning example of how incredibly short our attention spans have become.  Or is it just me?  Or maybe they found this mindnumblingly slow in 1938 also?

The introductory title pages finally fade away so that the substantive material can begin at about 40 seconds in.  40 seconds!  I was dying from boredom at about second 15!  See how long you can stand to watch it:

Via Weird Universe.

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Lisa Wade is a professor of sociology at Occidental College. You can follow her on Twitter and Facebook.

One way to study social problems is to take a social constructionist approach.  This approach suggests that the degree to which a social problem is perceived as problematic, as well as the kind of problem it is understood to be, is a function of social interaction.  For example, many Americans consider drunk driving to be a very bad thing and a serious threat.  Drunk driving is not only embarrassing, it is punishable by law, and a conviction could result in social opprobrium.  It wasn’t always that way, and it still isn’t all that stigmatized in some parts of the U.S. and, of course, elsewhere.

So, social problems aren’t immediately obvious, but need to be interpreted and presented to us.  And, of course, some people have more power to deliver a message to the public than others.

Artist Susannah Hertrich developed this graphic (via) designed to bring to consciousness the difference between the likelihood of harm from certain threats and public outrage:

I am unsure as to how she measured both “public outrage” and “actual hazard” but, giving her the benefit of the doubt and assuming that this information is based on some reasonable systematic measurement, the image nicely draws our attention to how some social problems can receive a disproportionate amount of outrage, contributing to their social construction as significant or insignificant social problems (or, alternatively, their social construction as public problems for which outrage is appropriate and useful, versus private problems that have no public policy dimensions).

So, for example, heat is seen as relatively harmless even though, as Eric Klinenberg shows in his book Heat Wave: A Social Autopsy of Disaster in Chicago, it kills many, many people every year and is severely exacerbated by social policies both directly and indirectly related to weather.  But the people who die from heat, and those who love them, tend to be relatively powerless members of our society: usually the elderly poor.

Conversely, the threat of terrorism attracts a great deal of public outrage, but is not a significant threat to our individual well-being.  Still, certain members of our society with an ease of access to the media and authoritative roles in our society (mostly politicians and pundits) can raise our fears of terrorism to disproportionate levels.

Similarly, bird flu makes for a fun story (as all gruesome health scandals can) and gun crime feeds “mainstream” fears of the “underclasses” (often perceived as black and brown men).  Both make for good media stories.  Less so, perhaps, pedestrian accidents.

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Lisa Wade is a professor of sociology at Occidental College. You can follow her on Twitter and Facebook.

Kelebek sent in an Australian commercial for Brut deodorant. In it, a male robot transforms various objects (a motorcycle, a drink) into “better” versions, more fitting of a super macho robot. One of the improved items is a Barbie doll/woman:

The woman is, quite literally, an object, to be “modified,” and then posed with his other belongings. And as we see, being “brutally male” is associated with drinking a lot, driving powerful vehicles, having hot women, and probably engaging in the type of risky behaviors that partially explain why men in many industrialized nations live shorter lives than women.

The commercial was pulled from TV by the Advertising Standards Bureau after they determined it was offensive to women. The commercial had to be recut…so that the woman isn’t one of the “objects” in the back of his vehicle at the end. The scene where he modifies the Barbie to be a live woman, and the phrase “reject, modify object,” weren’t removed. And:

Brut brand manager Deane De Villiers defended the ad, saying the robot carried the woman with the utmost of respect “as one would carry one’s bride”.

Yes. If your bride were an object you created to your very own specifications.

And for fun, read the comments to that Sun-Herald article.