Lily Allen & Feminism

So Lily Allen recently came out with a music video for her song "Hard Out Here" which includes lyrics such as "If you're not a size 6, then you're not good looking/Well you better be rich or be real good at cooking/You should probably lose some weight 'cause we can't see your bones/You should probably fix your face or you'll end up on your own/Don't you want to have somebody who objectifies you?/Have you thought about your butt, who's gonna tear it in two?/We've never had it so good, uh huh, we're out of the woods/And if you can't detect the sarcasm, you've misunderstood." Lily Allen has done a lot with her music to get her feminist views out into the world, but was this video too much? It seems as though throughout the video that she is poking fun at one person in particular - Miley Cyrus. Her over use of hyper sexualized black bodies, the dancing, and overall objectification seems to be a reference to Miley Cyrus and her use of black bodies as an agency for her sexuality. The part of the music video in which the balloons spell out "Lily Allen has a baggy p***y" is a direct reference to the Blurred Lines music video in which the balloons spell out "Robin Thicke has a big d**k." I've linked the video and the picture of the Blurred Lines video as reference. It is clear that Lily Allen wants the world to understand that the objectification of women in the industry is still very real and very much a problem, especially when young stars like Miley Cyrus are making it seem so glamorous.

Gender in Vietnamese Comtemporary Cinema: from the Issue of Prostitution

My paper is going to discuss the representation of female prostitutes in Vietnamese cinema in the context of the country’s embracement of globalization.  From a gender perspective, I will examine the impacts of the transition from a socialist economy to a capitalist economy on the culture and society in the late 1980s and 1990s. The question of how the drastic changes in the economic roles of genders have influenced the striking shifts of female stereotypes in cinema interests me.

The year 1986 marked a milestone in Vietnam history:  the country took up marketization and integration into the global economy after having keenly followed a socialist economy. The  State’s slogan “industrialization and modernization” has been spread over the population since the 1990s. This immediately brought not only crucial development but also caused cultural ruptures in the nation. Many films of the 2000s deal with the prostitution theme as an implicit indication of the aftermath of globalization. Women, the embodiment of the nation, have been displayed as the victims in this transition. Accordingly, prostitution metaphorically refers to the cost the country has had to pay for globalization, reflecting the social anxiety of a national identity crisis in the midst of a changing economy. Rather than focusing on the victimization of women, I examine how filmmakers make use of a frangible female body to claim their unstable positions as artists in the process of the reformation of cinema in the post-communism period.  I argue that male filmmakers use prostitution and HIV/AIDS and its consequences, one of the most threatening topics in the country, to blame the State’s responsibility in the national identity crisis in general and masculinity in particular, setting up a new idea of patriarchy to control women’s independence. By considering victims as prostitutes, they avoid their own responsibility as a “pillar of the family”, contributing to the physical and moral decline of women. Embracing feminism, I read prostitute-theme films against traditional nationalist and humanist readings that these male intellectuals manipulate for films of their choosing. I will take Bargirls (2003) and Street Cinderella (2004), by Le Hoang, and The Little Heart (2006), by Nguyen Thanh Van, the two state-invested films, as case studies.

Outline: Biphobic Tropes in Television

Bisexuality in American Television

                In my paper, I intend to present several profiles of bisexual characters in American TV shows, outlining the treatment they receive for their sexual orientation among their peers in the shows. I hope to focus primarily on Alice from The L Word, Piper from Orange is the New Black, and Brittany from Glee. While male bisexual characters are much less prevalent and not usually identified as such, I will discuss Frank Underwood from House of Cards.

I intend to argue that there are two discreet tropes written for bisexual characters. In the first, a character’s bisexuality is accepted and believed by the audience. Characters whose bisexual identities are not questioned are portrayed as aloof, confused, sex-crazed, and overly-emotional. I will focus on Glee and The L Word for this portion, and I will discuss how the characters are subjected to these stereotypes both by their fellow “in-world” peers on the shows themselves, as well as by the audiences who watch these shows. My analysis of this first trope will proceed in suggesting the need for more serious portrayals of out-bisexual characters, and it will criticize the usage of an “lgbt inclusive” image on the part of networks that do not treat bisexual characters as they do other queer characters.

The second discreet category examines the unacknowledged bisexual—character’s whose onscreen behavior indicates their attraction towards both men and women, but whose audience believes the character to be either gay or straight (usually gay). Rather than the first category, which is a result of uninformed or biphobic writing and can be corrected easily if the incentive should exist, this second category is an inevitable byproduct of the “coming out” storyline and will not disappear until the frequently used plot point does as well. For example, I will examine in depth the relationship Frank is revealed to have with an old college fraternity brother in House of Cards. The shock value in the revelation of this relationship rests on the assumption by the audience that Frank must be gay. In order to make this assumption, we must necessarily invalidate the genuine, self-professed feelings Frank has had with various women in previous episodes. I will also discuss Orange is the New Black, and the seeming-inability of any character on the show to consider the possibility that Piper may be attracted to men and women, despite her own self-stated attraction for male and female characters.

In constructing the frame of this paper, I will draw heavily from The B Word: Bisexuality in Contemporary Film and Television. Maria San Filippo uses this book to compile almost every article relevant to the topic, so I had used it as a primary resource in addition to the programs I will be citing. I intend to supplement this with additional articles as needed.

I hope to draw different conclusions from the two discreet categorizations of bisexual representation. For the first trope, I hope to conclude on the need for bisexual characters that do not play a stereotypical or comical-relief role and the impacts these have on representation for a group hard to “see”. For the second, I will argue that the elimination of “queer as conflict” plotlines is necessary not only for a progressive depiction of queer characters, but also as a necessary prerequisite for the serious depiction of any bisexual character. I hope to make a final conclusion that the alleviation of misogynistic standards in the television industry is necessary for the elimination of biphobic programming by analyzing the push for all bisexual characters to “really” be attracted to men, regardless of their own gender.

-Cara Fassino

ABSTRACT: Gender Inequality in Popular Films

It's not a surprise that females are grossly underrepresented on screen & behind the camera in popular films and television programming. At USC, I work under an Annenberg professor, Dr. Stacy L. Smith, and I help her with her on-going research: Media Diversity and Social Change. We conduct a yearly content analysis research study focusing our analysis on how gender is portrayed in the Top 100 Grossing Films. We also analyze gender portrayal in family films, prime-time television programs, and children television shows.

The main intention of my paper is to analyze the under-representation and misrepresentation of females through films. Gender stereotyping is an inherent problem in today's entertainment landscape. Popular films are showing gender inequality through their stories and character portrayals. These depictions of females in popular films goes beyond merely creating stereotypes. The lack of exposure of females in popular films has contributed to the growing social problem of gender inequality.

I will proceed with my argument by focusing on the on-going research that I currently am working with Dr. Stacy L. Smith and her brilliant research team. I will describe, in detail, about the method we use in our study, and how we code the films and analyze the data. From each film, we code over 40 different variables, and we focus on the unitization of characters that are either speaking on screen or named on screen. From there, I will proceed my argument by focusing on the findings of the research. Because we analyze over 40 different variables per character, we can link and show more reasons as to how and why females are significantly underrepresented on screen & behind the camera in popular films. For example, "Females in the top-grossing films of 2012 are more likely than males to be shown in sexy (i.e., tight or alluring) attire (M=7%, F=31.6%) or partially naked (M=9.4%, F=31%)....[and] [f]emales' age is related to on-screen hypersexualization" (Smith et al.). The variables I will be focusing on in association to gender is speaking role, age & sexualization, occupation, STEM jobs, and lastly, off camera we study gender prevalence behind-the-scenes.

I will not be solely relying on this research study as my only methodology in analyzing this subject. I plan to expand out of not just analyzing gender inequality in popular films from the United States, but I will develop my paper into also focusing gender inequality in popular films from China as well. I believe it's important to see this type of research on a global scale. Obviously, I can't analyze all of the countries within a 8-10page paper. Thus, I chose to focus this comparison with just one country, China, a country that I have lived in for over 15years and is one of the top 10 countries in the main film industry.

The big picture of all this is to show how the portrayal of females in popular films has contributed to the growing social problem of gender inequality. Whether on screen or behind the scenes, the story for females has not changed. Movies should be able to accurately depict their female audience. I plan to conclude my paper with driving the message of how media should enforce toward the screen and toward popular content that presents women and girls equally and powerfully.

Topic: In my essay I plan to explore and show how television and other media outlets, such as Facebook, twitter, instagram have created a misleading image and message of beauty and body image in society that shape many young girls perception of what is beautiful. I want to also explore how television's portrayal of women has played a major role in creating long-lasting expectations and status quos on the role of women as compared to men. Basically exploring tv's impact on women in creating superficially and societal walls that they still have yet to break down.

Some ideas

Ive noticed how much stronger society judges and shames women seen throughout numerous scenarios as compared to men. For example, watching HBO drama Hung never did it cross my mind to judge him or shame him for essentially being a prostitute. If it were a women instead in his situation, even with the same compelling background story of doing whatever needed to support her family, society like my self naturally have less sympathy and almost take on a state of detachment. This negative connotation and strong disapproval of women acting as "sluts" and using sex to lure men and cash is so strongly rooted and taught within American society and norms. If you think about, for many centuries especially the images of women in media throughout the 50's and 60's women were portrayed as moral and proper whose main goal is to find a husband and start a family. Although it is more than obvious to see women are no longer treated the same way today, it seems however  traces of outdated norms continue to influence and shape people even today keeping these double standards alive. 

Body Image and Sexuality

tv and media still feels need to within forward story lines clearly showing women single or in complicated relationships a reflection of the diversity within today's society, its use of unreallistic women and emphasis on glamor by tall, white and perfect actors as the lead characters as well as other media outlets, such as Facebook, twitter, instagram have created a misleading image and message of beauty and body image.

tv and other media create and represent women as lead characters but this does not always mean it is progressive towards feminism. The show girls for example, shows very modern and addresses situations and conflicts that attract young people who understand and watch for enjoyment. Other than its humor with its shocking explicitly, the show however portrays women as nothing admirable as they continue to be unhappy and continue to make choices over and over again that keeps them unhappy such as their constant return to men they don't even want to be with or enjoy sexually.

Conclusion: Television is a visual representation of society and an outlet that can be useful to create change, however television is not real life and many young women especially grow up being influenced by what they see on tv and in media. This has created a disformed image of beauty just adding to body image problems.

The Unruly Woman on Television

The Unruly Woman on Television

The main intention of my paper is to investigate the phenomena of unruly women on television - mainly through Roseanne Barr and Lena Dunham. What makes a woman qualify as an unruly woman? What makes these two women specifically qualify as unruly women?

Both women are actresses and writers of their own characters and they both approach the typical sitcom woman in different ways - whether it be wife, mother, or daughter. In order to truly understand why these women make the creative decisions they make in regards to their own portrayal of a woman on a TV show, I will be looking at sources that critique and/or praise the shows (and for what reasons) as well as looking at interviews to get opinions from the women themselves. 

There are many categories that make an unruly woman, but most of all what makes an unruly woman is that she doesn't fit into the categories of what society considers as gender norms that women should adhere to. Much of the criticism around Roseanne Barr and Lena Dunham stems from (1) their characters not adhering to a typical TV representation of a woman and (2) the women themselves not adhering to society's gender norms.

Roseanne pushes the envelope through her character by not playing the stereotypical sitcom mom. Through the character of Roseanne she portrays the exact opposite of a feminine woman; she introduces the unruly woman to the world and uses it as her mode of resistance against mainstream society, which is always so quick to hire “overmedicated, painted-up, capitalist whores claiming to be housewives” (Barr 7). 

Lena Dunham also resists ideals with her character on the show by making her character reflective of herself in real life. What makes "Girls" so different from "Sex and the City" is that Girls is based off of Lena Dunham's real life. The show has a bold sense of reality that Sex and The City never did, in the words of Lena Dunham, Girls addresses that with "post recession and with the rise of social networking, there is a different kind of woman who wants something less aspirational and more reflective of her reality." This is exactly what Girls gives it's audience and in this way, by not following in the steps of the ever so popular Sex and The City, Girls is deviating from the often "glamorously portrayed" norm.

Both women are considered unruly outside of their shows in regards to their appearance. Roseanne, being overweight, exemplifies excessiveness and "taking up space," both things being considered unfeminine. Many critiques of Roseanne's appearance are met with distaste, much like Lena Dunham. On the show, Lena Dunham is met with distaste over her excessive sex scenes in which she has no qualms over showing her body. And outside the show Lena Dunham's appearance has often been described as "disgusting," also in regards to her weight. What makes the appearance of these women so unruly is that they don't comply with society's idea of consumption - that women should consume into what the media is telling them a woman should like. 

Overall the outcome of this paper is to expose how women are looked at when they resist the norms, specifically here in the case of two women writers of their own TV show characters. Should these women continue with what their doing? Could this spark more women writers to do the same? Does more women writers in the TV industry mean better portrayals of women? This topic and these questions will be addressed through many aspects including but not limited to: media, gender, sexuality and feminism.

Abstract: The Makeover in Fictional Films vs. Nonfictional TV

            In my paper I plan on looking into the similarities and differences between the representation of makeovers in fictional movies and non-fictional television shows. My intention is to unpack the way in which fictional makeovers are often seen as fun, comedic, and overall acceptable, while in the context of reality shows (particularly surgical ones), they are frowned upon. I aim to expose that both represent the same primary idea- that in our society, a woman’s appearance is what determines her personal identity and how she is perceived and treated by those around her.

            To do this, I will focus on movies such as Mean Girls and Clueless and television shows such as Extreme Makeover, The Swan and Bridalplasty. I think that these will be good examples of how in fiction, average girls get made over with more revealing clothing and more makeup and miraculously become popular amongst other girls, desirable by men, and seemingly more confident in themselves and their place in the world. The reality shows I’ve chosen will work to display how these seemingly comedic fictional makeovers are very real and very extreme. Women see models in magazines and on billboards and are made to believe that they need to surgically alter themselves to be worthy. Consumerism, the male gaze and the body as power will all go into this argument.

            The projected conclusion of my paper is that society has caused women to feel the need to change their physical appearance in order to be “better” in the eyes of other women, men and themselves.  Whether in harmless fictional films that are widely popular, or in nonfictional television that is scrutinized, the same idea and representation of the female body is represented.