Welcome to the Arousing Analysis Blog!
This blog was completed in 2010 at Portland State University for a Sex and Media College Course and that is the reason for the at time "racy" content. However, PG-13 content aside, I believe this is an exceptional writing sample and hope you'll enjoy the information and insight.
~Morgan
Male and females may be complete opposites. Books such as Men are from Mars; Women are from Venus only furthers the belief of stark differences between genders with little to no common ground. However, men and women are actually quite similar if you break through all of the social constructs surrounding gender down to the basic biological make-up of Adam and Eve. Based on the social construction theory that reality is constructed through social and cultural practice, the dichotomy between the two biologically similar genders has over time become complete opposites, which is reflected in the binary gender system. In society, male and female genders have been constructed to fit into a two-category system, the binary gender system that defines how male and female genders behave, perform, and act along with many other components. From this socially constructed binary system, males and females are provided the proper gender scripts. These scripts are then learned through social and cultural interaction, including and quite commonly mainstream media. There are a variety of themes in mainstream media that reflect the binary gender system including: objectification, voyeurism and gender purpose or the scripts for each gender regarding interaction with the other.
The way women, and men, are portrayed in media is a reflection of the binary gender system. Gary Brooks refers to these portrayals as The Centerfold Syndrome wherein he outlines five elements that define sexual gender portrayals in mainstream media. Voyeurism, the ability of one to look in on or look upon another is an act, which Brooks argues, “heightens the emotional intensity of a sexual encounter” (Brooks, 1995). Voyeurism is most commonly an act performed by men as they have become the observers and over the last half century has been a “component of men’s sexuality” that has been very exaggerated toward women. From this exaggeration of male voyeurism, female objectification has become quite prominent to fulfill this insane voyeuristic desire, for women to become the observed (Brooks, 1995).
The cultural implications of voyeurism and objectification are immense and reinforce the binary gender system specifically in regards to sex and sexual acts of gender in society. First, for men, the exaggeration of their voyeuristic nature in mainstream media has led to numerous binary system masculine portrayals in media. An example of this voyeuristic nature and objectification of women and their attitudes of sex can be seen in the Dolce and Gabbana advertisement chosen for one of our blogs. It depicts a woman being pinned down on the ground by a man while three other men look on. Her head is tilted to the side and her lower body is thrust in the air suggesting that she is struggling and trying to get away. The message that is portrayed through this about women is that they are sexual beings ready to be taken by men and if they are not they need to be subdued and forced to embody that ideology. Everything within this ad embodies the ideas that Brooks (1995) suggested about “centerfold syndrome”.
The need for validation due to a vague sense of masculinity creates an environment that furthers objectification of women, as men seek validation through voyeurism of women’s bodies. This need for validation then provides power to women based on their physical appearance further reinforcing that looks supersede other characteristics for female success in society. Trophyism, which further objectifies women as something to be obtained and flaunted by men creates an environment that, supports control of men over women (Brooks, 1995), which is reflected in the Dolce and Gabbana advertisement discussed above. Fear of true intimacy is a reflection of the completely opposite expectations wherein men “learn to associated women’s bodies [with] the very qualities they have been taught to reject” reinforcing the masculine versus feminine characteristics of the binary gender system. This fear of intimacy creates an environment where men fear female characteristics and begin to “associate sex with intimacy” (Brooks, 1995). From these components men and women learn various sexual scripts that dictate how they are to behave and act in sexual situations. These scripts are a reflection of the binary gender system and the social construction of the stark differences between male and female genders.
While the gender binary system defines men and women, little is discussed about gender benders and the transgender community existing within the system. This is because there is not enough room for anything but the polar opposites of men and women as defined gender. The reality television show Ru Paul’s Drag Race is an example of transgender personas in mainstream media and how they are marginalized within the mainstream media system. Media socially constructs and embraces the gender binary system and upholds the belief of two completely different and separate worlds from each other when in reality men and women are much more similar to each other than is realized. Transgender communities are often marginalized in media because of the alternative constructs it presents of gender within media. It can be said that transgender themes are talked about more on television, such as RuPaul’s show, but it is still within the peripheral of mainstream when it is presented on the LOGO channel instead of the regular major television networks that most people receive in their households.
The other interesting thing about RuPaul’s persona is that when he is dressed in drag, he is fulfilling the western beauty standards of women. This proves that even though RuPaul is transgender and does not fit in the binary gender system, what he becomes ends up still being pushed to the far end of the spectrum of women and how they are socially constructed to act. They are supposed to put on makeup and use their body to become sexual beings on to serve men, and that’s exactly what RuPaul’s character exudes in drag.
Michael Jackson was also one of our media artifacts that challenged masculinity as well as the appearance of the gender binary system. On the cover of one of his most famous albums, Bad, Jackson is wearing makeup with long hair pulled back into a ponytail. Despite the fact that he has these feminine qualities he is also wearing very rough leather clothing with grommets and random studs that make him look manlier and tougher than his makeup leads you to believe. Michael Jackson’s androgynous dress confused some people by his image but for some reason it didn’t matter that he had dark eye liner nor did it matter that he sang and danced as well as he did and was a very talented artist. It was almost as if Michael Jackson was such a popular artists that he made up a category of his own within the gender binary spectrum as well as in society in general.
Gail Markle in her piece “Can women have sex like a man? Sexual scripts in Sex and the City” outlines how men and women “learn different scripts because they inhabit different social locations” being that they inhabit biologically different bodies as well as different social locations due to the gender constructions of society (Markle, 2008). Men and women learn how to act out their gender sexually based on social constructions that provide these “sex scripts” (Markle, 2008). Markle identifies these scripts for males to include, “ active pursuit of sexual partners, peer validations of sexual activity inability to control sexuality once aroused, and sex undertaken solely for the sake of pleasure” (Markle, 2008).
For women, these scripts include “waiting to be chosen instead of pursuing a partner, feeling affection or love, and a wish to please men” (Markle, 2008). Markle also notes that women tend to seek “emotional intimacy and commitment” wherein women want to be please and be emotionally available to men (Markle, 2008). In comparison men prefer to pursue “casual sex” scripts that most commonly portray opposite behaviors of the female gender scripts (Markle, 2008).
A study performed by Janna Kim identifies many of the components presented by Markle in primetime television. Kim’s study revealed that “sex as masculinity” or the idea that men are sexual initiators and will do anything to have sex was the most prominent portrayal in primetime television. This is apparent in the commercial advertisement for Axe Shower Detailer. In this commercial a man is being put through a cleaning machine where every part of his body is ‘detailed’ by women who are submissive, serving the man and that fit the western beauty model. This is an example of masculinity and sexual endeavors that are achieved through objectification of women as defined by their physical attractiveness (Kim, 2007). In comparison, Kim’s “good girls” defined women as passive and present to please their male partner but only performing sexual acts within the context of an intimate relationship. This portrayal of women as “good girls” was the third most prominent scripts in primetime television. Female courtship script portrayed women as objectifying themselves for male attention.
Lastly, Kim defined and identified the commitment scripts of males and females. Male commitment scripts include a lack of commitment, limited desire to be in relationships as well as low emotional intimacy. On the opposite of the spectrum, female commitment scripts involved females desiring relationships, commitment and a high level of emotional intimacy and sacrificing personal goals to please their male partner (Kim, 1995). The T-Mobile advertisements presents these female scripts as she is waiting to be chosen by Brad to be in a relationship and she compares herself to Brad’s exes which reinforces the idea that women are only as good as their looks or object qualities. It is also important to observe that the common roles of voyeurism and objectification have been switched, as Brad is the object being looked in upon his female stalker. However, although the roles are switched it is secretive as the woman is in hiding and Brad is unknowing that being viewed as an object is challenging his male power. Females can only be voyeuristic in secret as voyeurism provides power and females cannot have power over a male unless it is in secret.
Another component that is important to identify in mainstream media is the lens through which media is presented. Much of mainstream media is voyeuristic by nature, which reinforces the masculine dominance in society, as voyeurism is most commonly a masculine act. Mainstream media constantly reinforces and recreates the behaviors and acts of male and female genders as defined by the binary gender system. From voyeurism and objectification that lead to gender specific script cultivated by society, the media is viewed through a masculine lens.
Brooks, G. (1999). The centerfold syndrome. In S. Maasik & J. Solomon (Eds.), Signs of life in the USA: readings on popular culture for writers (438-447). Boston: Bedford Press.
Kim, J., Sorsoli, C.L., et. al. (2007). From sex to sexuality: Exposing the heterosexual script on primetime network television. Journal of Sex Research, 44(2), 145-157.
Markle, G. (2008). “Can women have sex like a man?” Sexual Scripts in Sex and the City. Sexuality & Culture, 12, 45-57.
Aleesha Wrote in regard to the image below;
Lindsay Lohan and Samantha Ronson were probably one of the most notorious lesbian couples of Hollywood for a point in time. Their relationship was rumored to be fake and just for show in Hollywood town to boost both of their careers. After they broke up, Lindsay Lohan was seen with random men for short to long period of time indicating heterosexual relations. Lindsay Lohan very well could be bisexual, which is probably the assumption that everyone is going on lately. However, if Lohan and Ronson’s romance was a hoax, then it illustrates something that Jenkins discussed in this weeks reading - it simply is the heterosexualization of lesbianism, maybe not on films, but in real life, sort of (Jenkins 2005). Even in the “real” lives of Hollywood socialites there is always the possibility that things are done for press in order to generate talk about themselves. Lohan and Ronson can be seen as this sort of archetype within Hollywood’s false reality.
I agree with her point that Sam & Lindsay are a very good example of heterosexualizing lesbianism. First and foremost is the image of Lindsay Lohan that allows for her relations with Ronson be to accessible to her large and primarily heterosexual fan base. Lindsay's original 'good girl' image was created based on her looks which are the perfect image of western beauty standard as well as a supportive family and successful career. Her roles in films furthered this image of a 'good girl' and all roles were benign conforming to the 'cookie cutter' heterosexual teen love story standards which furthered her acceptable and even desirable image. This image made Lindsay - even when in a lesbian relationship accessible.
Ronson's image furthered this accessibility - similar to Ellen and Portia - Lindsay and Ronson maintained a heterosexual image as Ronson was deemed a 'butch' or masculine lesbian. Ronson's image was constructed around her DJ booth, as Lindsay's masculine arm candy or out shopping or eating (feminine activities). The couples intimate life was never discussed or portrayed past hand-holding in public which again makes this taboo relationship accessible and acceptable to heterosexuals. Their relationship was heterosexualized through the way in which it was portrayed by mainstream media - two women that emanated heterosexual relationship standards - not traditionally lesbians - the media portrayed Ronson and Lindsay as 'girlfriends' maintaining a benign and acceptable lesbian relationship.
Among their image and mainstream portrayals, Ronson and Lindsay (already a fantasy) emanated "conventional straight man's lesbian fantasy" (Jenkins, 2008). Lindsay is a heterosexually desirable woman and Ronson also fits western beauty standards and could be desired as well.
Women have become objects that are put on display to be a “stimulator of men’s visual interests” while these men have received the cultural right to be voyeurists (Brooks, 1995). These objectified women lack many human qualities of personality, which allows for them to be defined and identified by their physical endowments (Brooks, 1995). From these idea of women as objects, scripts have been developed in regards to how femininity is to be displayed and what acts validate a woman as feminine. These scripts or what it is to be feminine are discussed by Gail Markle and Janna Kim and examples are given below.
Gail Markle in her piece “Can women have sex like a man? Sexual scripts in Sex and the City” outlines how men and women “learn different scripts because they inhabit different social locations” being that they inhabit biologically different bodies as well as different social locations due to the gender constructions of society (Markle, 2008). Men and women learn how to act out their gender sexually based on social constructions that provide these “sex scripts” (Markle, 2008). For women these scripts include “waiting to be chosen instead of pursuing a partner, feeling affection or love, and a wish to please men” (Markle, 2008). Markle also notes that women tend to seek “emotional intimacy and commitment” wherein they women want to be please and be emotionally available to men (Markle, 2008). Women are objects that to serve men and exhibit these behaviors or actions.
A study performed by Janna Kim identifies many of the components presented by Markle in primetime television. Kim’s “good girls” defined women as passive and present to please their male partner but only performing sexual acts within the context of an intimate relationship. Kim also defined and identified the courtship strategies of men and women. Women portrayed were attracted to the men with wealth and power, being passive and desiring for them to be chosen by the man (Kim, 2007). Furthermore, female courtship script portrayed women as objectifying themselves for male attention. Lastly, Kim defined and identified the commitment scripts. Female commitment scripts involved females desiring relationships, commitment and a high level of emotional intimacy and sacrificing personal goals to please their male partner (Kim, 1995).
Overall, femininity as specifically sexualized is to be a desirable object that behaves in the ways exhibited above - subordinate and serving me and of course desiring emotional intimacy and commitment from the male figure who simply desire casual sex.
Naomi Price - Priceline Commercial
The black leather worn by Naomi Price is sexual as it emanates elements used in pornography. Although Naomi may seem powerful, this power comes from her objectification as the "priceline girl" whose physical characteristics allow her to achieve the low prices.
Virgin Mobile - Stalker
This commercial mimicks the scripts discussed by Markle and Kim. Firstly, this is a depiction of a male fantasy - to be desired by a sexually ravenous women. Second, the common roles of voyeurism and objectification have been switched as Brad is the object being looked in upon his female stalker. However, although the roles are switched it is secretive as the woman is in hiding and brad is unknowing that his male power is being challenged by viewed as an object. Females can only be voyeuristic in secret as voyeurism provides power and females cannot have power over a male unless it is in secret. This woman also exhibits the scripts as discussed by Markle and Kim in that she is waiting to be chosen by Brad to be in a relationship. Lastly, she compares herself to Brad's exes which reinforces the idea that women are only as good as their looks or object qualities.
The Film "She's Out of My League" –
The entire film is based on premises given by Brooks in The Centerfold Syndrome. Molly is the classic centerfold body "comely, buxom" commonly dressed in skimpy or sexy outfits, which creates the foundation for the film as she is the “centerfold” woman that men are supposed to desire. Her image creates both voyeurism and objectification, as she is portrayed as an object or image, the “centerfold” ideal which in turn demands men’s gaze, voyeurism (Brooks, 1999).
From the foundation of objectification and voyeurism, the plot of the film is developed as Molly takes an interest in Joe, the not so masculine man featured in the image. The need for validation is presented as Joe, who has “a vague sense of [his] masculinity” and is originally confused of Molly’s interest spends the majority of the film validating his masculinity, “viewing women’s bodies (Molly) as a medium for that validation,” by utilizing her interest in him and their growing relationship to validate his masculinity to all in the film (Brooks, 1999). From this validation and newly developed masculinity, Joe begins to exhibit characteristics of trophyism with Molly, with his display of masculinity to other men (Brooks, 1999). Utilizing Molly’s “centerfold” image and his validated masculinity that comes from her interest in him, Joe flaunts Molly to his male friends, using her body as a trophy, that he won the competition among his male peers by obtaining the “centerfold” woman (Brooks, 1999). Lastly, Joe also presents a “fear of true intimacy” due to the power that Molly maintains due to her image, Joe approaches their relationship as one solely about sex as he “vague sense of masculinity” is only further validated through sexual encounters and his understanding based on societal standards is that to further validate his relationship with her, he must provide sexually for her rather than intimately. As intimacy is not masculine and due to his vague sense of masculinity her must utilize sex to further justify his masculinity and his relationship with this “centerfold” woman (Brooks, 1999).
With all of these components the idea of compulsory heterosexuality is further instilled (Berkowitz, 2006). These five components as outlined by Brooks are narrow, in the way that these actions/components are founded and acted out in heterosexual relationships. Heterosexual relationships displayed by these five components further the dominant male structure in society as they reaffirm the role and power of masculinity in relation to the individual and others both men and woman (Berkowtiz, 2006)(Brooks, 1999).
Berkowitz, D. (2006). Consuming eroticism: Gender performance and presentations in pornographic establishments. Journal of Contemporary Ethnography, 35(5), 583-606.
Brooks, G. (1999). The centerfold syndrome. In S. Maasik & J. Solomon (Eds.), Signs of life in the USA: readings on popular culture for writers (438-447). Boston:Bedford Press.
