media: tv/movies

Various journalists and scholars have pointed out over the years that movies and TV shows often portray as romantic behavior that is fairly indistinguishable from stalking. A good example of this is There’s Something about Mary, in which three men engage in some really sketchy behavior–in one case literally spying on her with binoculars. And while we’re supposed to find them crazy and obsessed, this doesn’t preclude her from getting together with one of them. This type of thing shows up often–one character (usually a guy, though not always) follows another character (who has rejected previous advances) around or sleeps on her lawn or declares he’s in love at first sight or does something else that is supposed to be evidence of deep and abiding love.

But of course, there’s a more disturbing way to interpret that behavior. I once had to contact security and have a man removed from campus when one of my female students anxiously told me that a man she had a restraining order against for stalking (and who wasn’t a student) was outside the classroom. She thought she had escaped him when she moved to college and was very scared that he’d shown up, hours away from their hometown. She didn’t find the behavior romantic or cute; it didn’t make her eventually think she should give him a chance in return for his persistence. It made her feel truly frightened.

Anyway, that’s an overly-long introduction to a video (found here) sent in by Matt W. The creator, Jonathan McIntosh of Rebellious Pixels, edited together scenes from Buffy the Vampire Slayer with scenes of Edward Cullen from the movie Twilight to show how behavior that is depicted as protective and romantic in the film (and book) could also be seen as disturbing:

McIntosh says,

Seen through Buffy’s eyes, some of the more sexist gender roles and patriarchal Hollywood themes embedded in the Twilight saga are exposed in hilarious ways. Ultimately this remix is about more than a decisive showdown between the slayer and the sparkly vampire. It also doubles as a metaphor for the ongoing battle between two opposing visions of gender roles in the 21st century.

I think it’s a great conversation starter (and I’m always happy for an excuse to talk about Buffy).

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

From ABC News, “Transformers: Revenge of the Fallen … is taking fire for its comic relief: a pair of slang-spewing, illiterate Chevy hatchbacks named Skids and Mudflap… the robot duo is being labeled a racist caricature.” According to Yahoo News, “They’re forced to acknowledge that they can’t read. One has a gold tooth.”

I haven’t seen the movie, so it’s difficult to comment directly, but I wonder if this another example of the dehumanizing racial stereotypes. Michael Bay, the director, largely dismisses the concerns. “Listen, you’re going to have your naysayers on anything,” he said. “It’s like is everything going to be melba toast? It takes all forms and shapes and sizes.”

Toban B. sent in a link to a clip of a 1935 Department of the Interior movie that includes a scene with African American conservation workers. I couldn’t find an embed code, so you have to click over, but the clip clearly illustrates the “happy-go-lucky,” dancing and singing stereotype of Blacks common to the era. The person who posted the clip says,

The racial stereotyping in this clip is appalling, but not surprising for a 1935 production. Hollywood films of that era also portrayed African-Americans purely for laughs. It was a rare film that showed black people as more than two-dimensional, and when they did – as Hattie McDaniel demonstrated in Gone With The Wind – Hollywood was ready to pat itself on the back.

Of course, Spike Lee’s movie “Bamboozled” implied that this type of stereotypical Black-man-as-happy-man-child-entertainer trope is still alive and well. He’s been criticized for his portrayal, of course, but it’s food for thought.

Katie M. sent in a link to a post at Vast Public Indifference about gender in Pixar films, specifically how they tend to focus on male characters, with female characters in smaller or supporting roles. As Caitlin says in the original post,

The Pixar M.O. is (somewhat) subtler than the old your-stepmom-is-a-witch tropes of Disney past. Instead, Pixar’s continued failure to posit female characters as the central protagonists in their stories contributes to the idea that male is neutral and female is particular. This is not to say that Pixar does not write female characters. What I am taking issue with is the ad-nauseam repetition of female characters as helpers, love interests, and moral compasses to the male characters whose problems, feelings, and desires drive the narratives.

Here are some images showing main characters from a number of Pixar films. Clearly there are a lot I left out; I chose these both because they were mentioned in the original post by Caitlin, because I’ve seen them, and because they illustrate the general trend.

From “Cars,” a movie in which almost all the characters are male and female characters are mostly car-groupies who swoon over the main character (though there is a female attorney car who doesn’t fall into that category):

“Monsters, Inc.,” where the two central characters are male:

“Toy Story,” same as above:

“A Bug’s Life,” in which not only is the main character male, the actual behaviors of male and female ants have been switched to fit in with our ideas of appropriate gender roles (for another example of changing the behavior of animals to fit human gender norms, see this post on “Bee Movie”):

We do see a Pixar film with a female main character, however: the upcoming”The Bear and the Bow”:

According to Wikipedia, this is Pixar’s “first fairy tale.” So apparently though we get a female lead here, she’s of the spunky-princess type often found in fairy tales.

I have read, in discussions of gender in children’s films, that there is a general belief in the industry that everyone will watch a movie with a male lead character, but boys will be turned off by movies with a female lead. So we see the pattern Caitlin points out: males are the neutral category that are used when the movie is meant to appeal to a broad audience, while females get the lead mostly when the movie is specifically geared toward girls. The assumption here is that girls learn to look at the world through the male gaze (identifying with and liking the male lead, even though he’s male), while boys aren’t socialized to identify with female characters (or actual girls/women) in a similar manner.

I’m torn as to whether I think boys would avoid movies that had female leads. On the one hand, a big part of masculinity is rejecting all things feminine, so I can imagine boys deciding they hated any movie that seemed to be for or about girls. On the other hand, I wonder what would happen if we had more films aimed at kids that had female leads but didn’t fall into the traditional “girl’s movie” categories (such as fairy tales). If “A Bug’s Life” had a female lead but was otherwise the same type of movie–one aimed at a general audience, not specifically girls–would boys reject it? Most of the animated movies I can think of that had females as the main character were focused around romance and other topics deemed feminine (except maybe “Mulan,” where that’s not the main focus), which obscures the issue of whether boys would watch a movie with a female character if it was treated as a general-audience movie. [Note: See the comments for some other examples of movies with female leads that weren’t necessarily romantic-centered, such as “Lilo & Stitch” and “Alice in Wonderland,” as well as some non-animated ones.]

I dunno. Thoughts?

UPDATE: In the comments, Benjamin L. makes a great point:

Something to consider is that most of the people working on Pixar films are men. It’s possible that they might feel unable to successfully create and write dialog for compelling female characters. Take a look at this list: http://en.wikipedia.org/wiki/List_of_Pixar_films Out of the all the writers and directors of Pixar’s films, one is female–Rita Hsiao. Significantly, the films she has worked on, Mulan and Toy Story 2,  are unique in that they both have prominent female characters.

Leontine G. sent in this iconic image (found at Empire) of Spock and Captain Kirk from the original Star Trek series, next to the actors who play those characters in the new version (a movie by J.J. Abrams):

Leontine says, “I have a vague feeling that actors and musicians are getting smoother and more plasticky looking,” and this image shows some of that. The Spock and Captain Kirk on the right are supposed to be younger than the ones on the left (the movie is a prequel, more or less), but it’s not just that the actors are younger. There’s clearly also irbrushing and make-up used to erase any lines, blemishes or other “imperfections” on their faces (and either New Spock’s shirt fits perfectly, or they airbrushed out most of the wrinkles).

You might use this to talk about changing standards of beauty in the visual media. If the original Star Trek came out today, how much retouching would they do to the picture of Leonard Nimoy and William Shatner? Maybe the photo would still show them with as many wrinkles and facial lines as they have…but I’m doubtful.

For another example of how TV standards of changed (in this case, how much sexual activity is shown on teen-oriented shows),  see this post about the old and new versions of Beverly Hills, 90210.

Edward L. sent in a link to Ultra Culture’s post about trailers for the new Will Smith movie “Seven Pounds” market the movie differently depending on whether the target audience is men or women. Ultra Culture’s analysis is funnier than anything I’d say, so I’m just going to quote it.

Here’s one trailer:

[youtube]https://www.youtube.com/watch?v=7kpK1fKzoDs[/youtube]

Ultra Culture says:

WOMEN!
This is the film for you! Its got that sexy Will Smith in it (from Hitch!) and just look at all the emotional turmoil he’s going through with Rosario Dawson. And did you see that? It’s directed by the guy who did Pursuit of Happyness! What a lovely, life-affirming film that was.

Another trailer:

Again from Ultra Culture:

MEN!
This is the film for you! Its got that cool Will Smith in it (from Hancock!) and just look at all that fast paced action he’s going through with that gruff-voiced man. And those fast cuts, whooshing noises and gradually fading words remind me of Enemy of the State! What a heart-pounding thrill-ride that was.

You might pair this with a discussion of how other products are marketed differently to men and women, such as cars or food.

Thanks, Edward!

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

A Cracked article compiled their candidates for the Nine Most Racist Disney Characters. Select stolen clips and liberal quoting below:

American Indians in Peter Pan:

Why do Native Americans ask you “how?” According to the song, it’s because the Native American always thirsts for knowledge. OK, that’s not so bad, we guess. What gives the Native Americans their distinctive coloring? The song says a long time ago, a Native American blushed red when he kissed a girl, and, as science dictates, it’s been part of their race’s genetic make up since. You see, there had to be some kind of event to change their skin from the normal, human color of “white.”

The bad guys in Alladin:

“Where they cut off your ear if they don’t like your face” is the offending line, which was changed on the DVD to the much less provocative “Where it’s flat and immense and the heat is intense.”

In a city full of Arabic men and women, where the hell does a midwestern-accented, white piece of cornbread like Aladdin come from? Here he is next to the more, um, ethnic looking villain, Jafar.

NEW: Miguel (of El Forastero) sent in a post from El Blog Ausente that compares an image of Goofy, a character generally portrayed as sort of dumb and lazy, to a traditional Sambo-type image:

The post suggests that Goofy is a racial archetype, built on stereotypical African American caricatures. I can’t remember ever seeing anything that suggested this, but that doesn’t mean much, and I certainly don’t put it past Disney to do so. Does anyone know of any other examples of Goofy supposedly being based on African American stereotypes? On the other hand, is it possible to depict a character eating watermelon in an exuberant manner without drawing on those racist images? When I look at the image of Goofy above, I have to say…that’s pretty much what it looks like when my (mostly White) family cuts a watermelon open out on the picnic table in the summer and everybody gets a piece and they all have ridiculous looks on their faces as they dribble juice all down themselves eating big chunks (I say “they” because I’m a weirdo who doesn’t really care for watermelon, so I rarely eat any, and even then only if I can put salt on it). I’m fairly certain that I couldn’t put up a photo of my family eating watermelon like that without it seeming, to many people, to draw on the Sambo-type imagery. It brings up some interesting thoughts about cultural and historical contexts, and how and in what circumstances you can (or can’t) escape them, regardless of your intent.

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.

Teresa C., from Moment of Choice, sent in the trailer for the movie “The Secret Life of Bees.” What brought her attention to it was that it had a female voiceover, which is very uncommon. Voiceovers are almost always male. Unfortunately, she hasn’t been able to find a video of the trailer with the female voiceover online; if anyone finds it, let us know. This trailer just has some of the characters’ lines from the movie as narration.

What struck me about it–and Owen Gleiberman over at Entertainment Weekly–was that this seems to be another movie in which wise, long-suffering African American characters protect or enlighten White characters who are, at their core, good, kind liberals (we know that Dakota Fanning’s character is a Good White Person because she knows about the Civil Rights Act). As Gleiberman says in his review,

Isn’t it time that Hollywood took a sabbatical — maybe a permanent one — from movies in which black characters exist primarily to save the souls of white ones?…Over the years, we’ve all seen too many anachronistic ”magic Negroes” in movies like Forrest Gump and The Green Mile.

I would add “The Legend of Bagger Vance” to the list. They have important Black characters, but those characters’ main role is to facilitate the moral development of the White character through their wise advice and unending patience. I may be totally off, since I’ve only seen the trailer (though Gleiberman has seen the whole film), but “The Secret Life of Bees” seems to have a lot of the same themes.

Thanks for sending in the clip, Teresa!