bodies: objectification

This is the third part in a series about how girls and women can navigate a culture that treats them like sex objects. See also parts One and Two. Cross-posted at Ms. and Caroline Heldman’s Blog.

This post outlines four damaging daily rituals of objectification culture we can immediately stop engaging in to improve our health.

1) Stop seeking male attention. 

Most women have been taught that heterosexual male attention is the Holy Grail and its hard to reject this system of validation, but we must. We give our power away when we engage in habitual body monitoring so we can be visually pleasing to others. The ways in which we seek attention for our bodies varies by sexuality, race, ethnicity, and ability, but the template is the “male gaze.”

Heterosexual male attention is actually pretty easy to give up when you think about it.

• First, we seek it mostly from strangers we will never see again, so it doesn’t mean anything in the grand scheme of life. Who cares what the man in the car next to you thinks of your profile? You’ll probably never see him again.
• Secondly, men in U.S. culture are raised to objectify women as a matter of course, so an approving gaze doesn’t mean you’re unique or special, it’s something he’s supposed to do.
• Thirdly, male validation is fleeting and valueless; it certainly won’t pay your rent or get you a book deal.  In fact, being seen as sexy hurts at least as much as it helps women.
• Lastly, men are terrible validators of physical appearance because so many are duped by make-up, hair coloring and styling, surgical alterations, girdles, etc. If I want an evaluation of how I look, a heterosexual male stranger is one of the least reliable sources on the subject.

Fun related activity: When a man cat calls you, respond with an extended laugh and declare, “I don’t exist for you!” Be prepared for a verbally violent reaction as you are challenging his power as the great validator. Your gazer likely won’t even know why he becomes angry since he’s just following the societal script that you’ve just interrupted.

2) Stop consuming damaging media.

Damaging media includes fashion, “beauty,” and celebrity magazines, and sexist television programs, movies, and music. Beauty magazines in particular give us very detailed instructions for how to hate ourselves, and most of us feel bad about our bodies immediately after reading. Similar effects are found with television and music video viewing. If we avoid this media, we undercut the $80 billion a year Beauty-Industrial Complex that peddles dissatisfaction to sell products we really don’t need.

Related fun activity: Print out sheets that say something subversive about beauty culture — e.g., “This magazine will make you hate your body” — and stealthily put them in front of beauty magazines at your local supermarket or corner store.

3) Stop Playing the Tapes.

Many girls and women play internal tapes on loop for most of our waking hours, constantly criticizing the way we look and chiding ourselves for not being properly pleasing in what we say and what we do. Like a smoker taking a drag first thing in the morning, many of us are addicted to this self-hatred, inspecting our bodies first thing as we hop out of bed to see what sleep has done to our waistline, and habitually monitoring our bodies throughout the day. These tapes cause my female students to speak up less in class. They cause some women to act stupidly in order to appear submissive and therefore less threatening. These tapes are the primary way we sustain our body hatred.

Stopping the body-hatred tapes is no easy task, but keep in mind that we would be utterly offended if someone else said the insulting things we say to ourselves. Furthermore, we are only alive for a short period of time, so it makes no sense to fill our internal time with negativity that only we can hear. What’s the point? These tapes aren’t constructive, and they don’t change anything in the physical world. They are just a mental drain.

Related fun activity: Make a point of not worrying about what you look like. Sit with your legs sprawled and the fat popping out wherever. Walk with a wide stride and some swagger. Public eating in a decidedly non-ladylike fashion is also great fun. Burp and fart without apology. Adjust your breasts when necessary. Unapologetically take up space.

4) Stop Competing with Other Women.

The rules of the society we were born into require us to compete with other women for our own self-esteem. The game is simple. The “prize” is male attention, which we perceive of as finite, so when other girls/women get attention, we lose. This game causes many of us to reflexively see other women as “natural” competitors, and we feel bad when we encounter women who garner more male attention, as though it takes away from our worth. We walk into parties and see where we fit in the “pretty girl pecking order.” We secretly feel happy when our female friends gain weight. We criticize other women’s hair, clothing, and other appearance choices. We flirt with other women’s boyfriends to get attention, even if we’re not romantically interested in them.

Related fun activity: When you see a woman who triggers competitiveness, practice active love instead. Smile at her. Go out of your way to talk to her. Do whatever you can to dispel the notion that female competition is the natural order. If you see a woman who appears to embrace the male attention game, instead of judging her, recognize the pressure that produces this and go out of your way to accept and love her.

Stay tuned for Sexual Objectification, Part 4: Daily Rituals to Start.

Caroline Heldman is a professor of politics at Occidental College. You can follow her at her blog and on Twitter and Facebook.

This is the second part in a series about how girls and women can navigate a culture that treats them like sex objects (see also, part One). Cross-posted at Ms. and Caroline Heldman’s Blog.

The “sex wars”  of the 1980s pitted radical feminists, who claimed that female sexual objectification is dehumanizing, against feminists concerned about legal and social efforts to control and repress female sexuality.  Over a decade of research now shows that radical feminists were right to be highly concerned.

Getting back to the “sex wars” and how radical feminists were right, women who grow up in a culture with widespread sexual objectification tend to view themselves as objects of desire for others. This internalized sexual objectification has been linked to problems with mental health (e.g., clinical depression, “habitual body monitoring”), eating disorders, body shame, self-worth and life satisfaction, cognitive functioning, motor functioning, sexual dysfunction, access to leadership, and political efficacy.  Women of all ethnicities internalize objectification, as do men to a lesser extent.

Beyond the internal effects, sexually objectified women are dehumanized by others and seen as less competent and worthy of empathy by both men and women.  Furthermore, exposure to images of sexually objectified women causes male viewers to be more tolerant of sexual harassment and rape myths.  Add to this the countless hours that most girls/women spend primping and competing with one another to garner heterosexual male attention, and the erasure of middle-aged and elderly women who have little value in a society that places women’s primary value on their sexualized bodies.

Theorists have also contributed to understanding the harm of objectification culture by pointing out the difference between sexy and sexual.  If one thinks of the subject/object dichotomy that dominates thinking in Western culture, subjects act and objects are acted upon.  Subjects are sexual, while objects are sexy.

Pop culture sells women and girls a hurtful lie: that their value lies in how sexy they appear to others, and they learn at a very young age that their sexuality is for others.  At the same time, being sexual, is stigmatized in women but encouraged in men. We learn that men want and women want-to-be-wanted. The yard stick for women’s value (sexiness) automatically puts them in a subordinate societal position, regardless of how well they measure up.  Perfectly sexy women are perfectly subordinate.

The documentary Miss Representation has received considerable mainstream attention, one indicator that many are now recognizing the damaging effects of female sexual objectification.

[youtube=http://www.youtube.com/watch?v=6gkIiV6konY]

To sum up, widespread sexual objectification in U.S. popular culture creates a toxic environment for girls and women.  The following posts in this series provide ideas for navigating new objectification culture in personally and politically meaningful ways.

Cross-posted at Caroline Heldman’s Blog.Magic Mike is “wildly overperforming” at the box office because women and gay men are going to see it in droves.  Thank you Hollywood executives for finally noticing that there’s plenty of money to be made off of heterosexual female and gay male sexuality.  Magic Mike purports to be a movie that caters to het women, and while it does provide a highly unusual public space for women to objectify men, the movie in fact prioritizes male sexual pleasure in tired, sexist ways.

Watching Magic Mike was an experience.  Many of the female theater-goers around me were hollering demands (e.g., “take it all off, baby!”) and grunting approvingly during dance scenes.  The camera unabashedly focused tight on the dancer’s abs and buttocks, requiring viewers to objectify the male actors.  I’ve written elsewhere that living in a culture that objectifies girls/women is highly damaging, and emerging male objectification is a corporate wet dream to sell products by creating new body dissatisfactions/markets.

Make no bones about it, this movie is all about reinforcing the notion that men are in control and men’s sexuality matters more.  It baffles me that the filmmakers were so effective in conveying these themes in a movie about male strippers that a mostly female audience is eating up.  Have we learned to devalue our own sexual pleasure so thoroughly that the scraps of het female sexual pleasure provided by Magic Mike feel like a full meal?

Aside from the questionably-empowering viewer interaction with the film, the content of Magic Mike is old-school sexism wrapped in a new package.  It reinforces prevailing notions of masculinity where white men are in control, both economically and sexually, and women are secondary characters to be exploited for money and passed around for male sexual pleasure.

Most of the women in the film are audience members portrayed as easily manipulated cash cows to be exploited for money.  In one scene, the club boss, Dallas (Matthew McConaughey) gets his dancers pumped up before a show by asking them, “Who’s got the cock?  You do.  They don’t.”  Dallas has a running commentary that forcefully rejects the idea that female audience members are sexual subjects in the exchange.

Beyond the foundational theme of male control, many (but not all) of the simulated sex acts the dancers perform in their interactions with female audience members service the male stripper’s pleasure, not hers.  Dancers shove women’s faces into their crotch to simulate fellatio, hump women’s faces, perform faux sex from behind without a nod to clitoral stimulation, etc.  As a culture, we have deprioritized female sexual pleasure to such a great extent that these acts seem normal in a setting where they don’t make sense.While the men in Magic Mike strut their sexual stuff with a plot line that constantly reaffirms their sexual subjectivity, the few supporting female roles show women in surprisingly pornified, objectifying ways.  Magic Mike is pretty tame when it comes to male bodies.  Lots of floor and face humping, but no penis or even close-up penis tease shots through banana hammocks.  In fact, viewers aren’t exposed to any male body part that they wouldn’t see at Venice Beach.  The same cannot be said for women.

The movie features gratuitous breast scenes galore (yes, the breasts are the scene) and full body (side and back) female nudity. One of the male stripper’s wives is reduced to a pair of breasts that are passed around when her husband encourages another male stripper to fondle them because “she loves it.”  The few recurring female roles in the cast are flat with no character development, including the romantic interest, while the white men in the film enjoy extensive character development.

Other disturbing moments are peppered throughout the movie.  Magic Mike (Channing Tatum) makes a thinly veiled rape innuendo when he’s “teaching” a younger guy how to approach a woman at a club: “Look what she’s wearing. She’s asking to be bothered.”  The movie also asks viewers to laugh at a larger woman who hurts a dancer’s back when he picks her up (see photo and trailer below).  And one of the main characters has a homophobic reaction when he’s grossed out that his sister thinks he’s gay.  Also, this is a story about white men where both women and men of color exist at the margins.  The Latino DJ is a drug dealer (how original), and the two Latino dancers barely talk.I was heartened and humored by grandmas and teenage girls asserting their sexual subjectivity in the theater by yelling at the screen.  It is wonderful to see so many women spending money for an experience that purports to cater to our sexual desires.  We want to feel powerful when it comes to our sexuality because we’re constantly robbed of sexual subjectivity through popular culture, pornography, the male gaze, and in the bedroom.  One Sexual Revolution later, men are still twice as likely to achieve orgasm than women during sex.

If Magic Mike is our sexual outlet, we deserve something better.  When women turn around and engage in the same objectification that harms us, is that empowering?  When the men we’re objectifying on the screen are degrading women and prioritizing their own sexual pleasure, and we eroticize this behavior, is that empowering?  And when women eroticize sexual acts that don’t involve the clitoris/orgasm, is that empowering?  I don’t have definitive answers to these questions, but I do know that Magic Mike would have been a radically different film had it truly been about female sexual pleasure.  It’s high time more women were calling the shots in Hollywood and making mainstream movies that feature female sexual pleasure.

Magic Mike trailer.  To see the sexual double standard, note how the trailer frames male stripping as a “fantasy” life, and imagine this term being applied to female strippers in a Hollywood trailer.

[youtube=http://www.youtube.com/watch?v=eMU7s6cwxEM]

Caroline Heldman is a professor of politics at Occidental College. You can follow her at her blog and on Twitter and Facebook.

This is the first part in a series about how girls and women can navigate a culture that treats them like sex objects. Cross-posted at Ms.,  BroadBlogs, and Caroline Heldman’s Blog.

Around since the 1970s and associated with curmudgeonly second-wave feminists, the phrase “sexual objectification” can inspire eye-rolling. The phenomenon, however, is more rampant than ever in popular culture.  Today women’s sexual objectification is celebrated as a form of female empowerment.  This has enabled a new era of sexual objectification, characterized by greater exposure to advertising in general, and increased sexual explicitness in advertising, magazines, television shows, movies, video games, music videos, television news, and “reality” television.

What is sexual objectification?  If objectification is the process of representing or treating a person like an object (a non-thinking thing that can be used however one likes), then sexual objectification is the process of representing or treating a person like a sex object, one that serves another’s sexual pleasure.

How do we know sexual objectification when we see it?  Building on the work of Nussbaum and Langton, I’ve devised the Sex Object Test (SOT) to measure the presence of sexual objectification in images.  I proprose that sexual objectification is present if the answer to any of the following seven questions is “yes.”

1) Does the image show only part(s) of a sexualized person’s body?
Headless women, for example, make it easy to see her as only a body by erasing the individuality communicated through faces, eyes, and eye contact:
We get the same effect when we show women from behind, with an added layer of sexual violability. American Apparel seems to be a particular fan of this approach:

2) Does the image present a sexualized person as a stand-in for an object?

The breasts of the woman in this beer ad, for example, are conflated with the cans:

Likewise, the woman in this fashion spread in Details in which a woman becomes a table upon which things are perched. She is reduced to an inanimate object, a useful tool for the assumed heterosexual male viewer:
Or sometimes objects themselves are made to look like women, like this series of sinks and urinals shaped like women’s bodies and mouths and these everyday items, like pencil sharpeners.

3) Does the image show a sexualized person as interchangeable? 
Interchangeability is a common advertising theme that reinforces the idea that women, like objects, are fungible. And like objects, “more is better,” a market sentiment that erases the worth of individual women. The image below advertising Mercedes-Benz presents just part of a woman’s body (breasts) as interchangeable and additive:

This image of a set of Victoria’s Secret models, borrowed from a previous SocImages post, has a similar effect. Their hair and skin color varies slightly, but they are also presented as all of a kind:

4) Does the image affirm the idea of violating the bodily integrity of a sexualized person that can’t consent?

This ad, for example, shows an incapacitated woman in a sexualized positionwith a male protagonist holding her on a leash. It glamorizes the possibility that he has attacked and subdued her:

5) Does the image suggest that sexual availability is the defining characteristic of the person? 

This ad, with the copy “now open,” sends the message that this woman is for sex.  If she is open for business, then she presumably can be had by anyone.

6) Does the image show a sexualized person as a commodity (something that can be bought and sold)?

By definition, objects can be bought and sold, but some images portray women as everyday commodities.  Conflating women with food is a common sub-category.  As an example, Meredith Bean, Ph.D., sent in this photo of a Massive Melons “energy” drink sold in New Zealand:
In the ad below for Red Tape shoes, women are literally for sale:

7) Does the image treat a sexualized person’s body as a canvas?

In the two images below, women’s bodies are presented as a particular type of object: a canvas that is marked up or drawn upon.

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The damage caused by widespread female objectification in popular culture is not just theoretical.  We now have over ten years of research showing that living in an objectifying society is highly toxic for girls and women, as is described in Part 2 of this series.

Caroline Heldman is a professor of politics at Occidental College. You can follow her at her blog and on Twitter and Facebook.

Cross-posted at Ms. and Caroline Heldman’s Blog.

The Hunger Games should serve as a wake-up call to Hollywood that women action-hero movies can be successful if the protagonist is portrayed as a complex subject — instead of a hyper-sexualized fighting fuck toy (FFT).

In its first weekend, The Hunger Games grossed $155 million, making it the third highest opener of all time (behind the last Harry Potter film and The Dark Knight), despite a marketing budget half the size of a typical big-studio, big-budget film. It seized the records for top opener released outside of July, top non-sequel opener and top opener with a woman protagonist. By the second weekend, The Hunger Games had made $251 million in the U.S. — the fastest non-sequel to break the quarter-billion-dollar mark.

While the movie arguably plays up the romance angle more than the books, The Hunger Games is still squarely an action thriller, set in a dystopic future world where teens fight to the death in a reality show.

Its success is largely based on the wide appeal of its teenage hero, Katniss Everdeen, who makes it through the movie without being sexually objectified once — a rarity in action films. Katniss is a believable, reluctant hero.

Katniss succeeds with audiences where other women heroes have failed because she isn’t an FFT. Fighting fuck toys are hyper-sexualized women protagonists who are able to “kick ass” (and kill) with the best of them — and look good doing it. The FFT appears empowered, but her very existence serves the pleasure of the heterosexual male viewer. In short, the FFT takes female agency and appropriates it for the male gaze.

From an ethical standpoint, Hollywood executives should be concerned about the damage girls and women sustain growing up in a society with ubiquitous images of sex objects. But it appears they are not. From a business standpoint, then, they should be concerned about the money they could be making with better women action heroes. But so far, they seem pretty clueless.

Hollywood rolls out FFTs every few years that generally don’t perform well at the box office (think Elektra, Catwoman, Sucker Punch), leading executives to wrongly conclude that women action leads aren’t bankable. In fact, the problem isn’t their sex; the problem is their portrayal as sex objects. Objects aren’t convincing protagonists. Subjects act while objects are acted upon, so reducing a woman action hero to an object, even sporadically, diminishes her ability to believably carry a storyline. The FFT might have an enviable swagger and do cool stunts, but she’s ultimately a bit of a joke.

For a breakdown of why FFTS lack believability and appeal, check out the Escher Girls tumbler, a site that critiques the ridiculous physical contortions of FFTs that allow them to be both sex objects and action heroines.  Contortions like this:

As Mark Hughes from Forbes.com points out, movie studios artificially limit their profits when they target only male audiences (by, for instance, by portraying women only as FFTs). With the phenomenal success of The Hunger Games, Hollywood can no longer deny the bankability of believable women action leads. Forty percent of the audience for The Hunger Games is male, proving that a kick-ass woman lead who isn’t reduced to a sex object can appeal to all genders. That should put dollar signs in executives’ eyes.

Hollywood is now on a quest to find the next Katniss Everdeen. Whoever she is, the question will be: Do executives know better than to turn her into a fighting fuck toy?

Flickr Creative Commons, Lau

Stephanie Medley-Rath sent in a new example of urinals shaped like women’s mouths (source).

Liz B. sent in a slide show of “innovative” urinals that included this example.

Urinals at the Rosenmeer restaurant in Moenchengladbach, Germany, are shaped like women’s bodies (source).

Others are shaped like nuns urinals (more nun or maybe the Virgin Mary urinals here).

Emma B. sent in this image of sinks:

Gwen Sharp is an associate professor of sociology at Nevada State College. You can follow her on Twitter at @gwensharpnv.

Cross-posted at Sociology in Focus.

Back in 1987, Raewyn Connell coined the term hegemonic masculinity in a seminal text, Gender & Power. Hegemonic masculinity refers to the dominant form of masculinity that exists within a particular culture. Relative to this ever changing, idealized form of masculinity are different subordinated masculinities – those within a culture that do not live up to the so-called masculine gold standard. Put simply, there are “real men” and then there are all other men.

In watching the 2012 Super Bowl commercials, we can see versions of hegemonic masculinity demonstrated. Perhaps the most vivid version was seen in H&M’s Super Bowl ad, utilizing soccer (futbol) star, David Beckham:

[youtube]https://www.youtube.com/watch?v=fjd6i0S67HQ[/youtube]

Tattooed, rugged, athletic, showcasing a lean musculature and menacing glare, Beckham embodies a hegemonic masculinity that would surely resonate with sporting audiences. And while not presented in this commercial, it is important to also note that Beckham carries other cultural traits that ad to his hegemonic masculine status – he is globally recognized, financially wealthy, and married to a woman who also holds currency in popular culture. This last point is critical. By being married, Beckham confirms his heterosexuality, and her extraordinary beauty and international popularity raise his standing as a “real man”.

In contrast to Beckham, other males were presented in this year’s Super Bowl commercials, who represent a marginal masculinity, meaning they would love to hold hegemonic masculine status and are pursuing such an identity, but for any number of reasons are unable to achieve it. You could say these are the “wannabe real men”. A good example of marginal masculinity is presented in the following commercial for FIAT:

[youtube]https://www.youtube.com/watch?v=GxQsLdwCtMU[/youtube]

In contrast to the commercial with Beckham, the male in this commercial lacks qualities that would otherwise provide him with a sense of hegemonic masculinity. Although he appears to be employed (wearing business attire), he is relatively short in comparison to the woman in the ad, cast as nerdy and lacking confidence. Given the fantasy he has with the female actor, we can see he desires hegemonic masculine status. But because he lacks a kind of physical prowess, he is marginalized.

Of even greater importance here, the concept of hegemonic masculinity is not only about men and their relation to one another. Hegemonic masculinity also represents a cultural system that dominates women. Thus, the FIAT commercial is also useful because it illustrates women’s overall subordination. Connell also defined the term “emphasized femininity”, which refers to women’s “compliance with this subordination… oriented to accommodating the interests and desires of men” (p. 183).

When women emphasize their femininity – or are coerced to emphasize their femininity – they are often times objectified. Objectification refers to the depersonalization of someone, such that her/his humanity is stripped and the person(s) is turned into an inanimate object. Sociologists have argued that when humans are objectified, they tend to be “seen as less sensitive to pain,” and, “we care less about their suffering” (Loughnan et al., 2010, p. 716). In other words, when we turn people into object, we remove their humanity, and it is easier to commit violence against them. Feminists commonly argue the objectification of women in the media facilitates women’s ongoing victimization in society at large.

In the FIAT commercial, the woman “emphasizes her femininity” by catering to the male’s sexual desires. She is also objectified – likened to an inanimate car that would lack human feelings and emotion. Go Daddy also aired a commercial clearly objectifying women, where female celebrities paint another female, who is used as an inanimate, sexualized prop to promote the Go Daddy company.

[youtube]https://www.youtube.com/watch?v=q9ucBY_2WEA[/youtube]

While the Super Bowl is known primarily as a sporting event where millions of Americans tune in each year to watch men engage in athletic competition, the event also includes advertising content that is highly gendered. With so much attention attention directed to this advertising, it is important to dissect it through a gendered framework.

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David Mayeda is an Assistant Professor in the Department of Sociology and Legal Studies at Hawaii Pacific University.  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.

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.

On the heels of our guest post describing the surprising rise in hypersexually-objectified women on the cover of Rolling Stone, comes troubling research out of cognitive neuroscience, sent in by Dolores R.

Mina Cikara and colleagues did a series of experiments — using Implicit Association and fMRI — to test whether sexist and non-sexist men’s cognition varied when looking at sexualized versus non-sexualized images of women. In fact, when men who tested high on a scale of sexism were shown images of sexualized women, they associated them more easily with words that implied an objectified “thing” than a thinking “person.” This was reflected in the fMRI study.

The take home message? When sexist men are exposed to strongly sexualized messages, they are inclined to dehumanize women, to see them as things.  Seeing someone as a thing is the first step towards treating her like her desires, thoughts, and preferences do not exist (because objects don’t think).  In other words, it facilitates sexual assault.

So… hmmmm… who to pick on here.  How about American Apparel…

American Apparel, this is brain poison (after the jump; NSFW):

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