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Women in Entertainment & Media
EXIT ZINE STAFF Writers Laasya Babbellapati Veda Chari Jayani Mamidi Annika Singh Tanisha Srivatsa Sabrina Wu Angela Xiong Yawen Xue Selina Yang Layout
Annika Singh Kirsten Trinh Katherine Zhang
Editors
Mahek Bhora Tanisha Srivatsa
Officers/Editors President Aria Lakhmani Vice Presidents Clarise Han & Sabrina Wu Treasurer Vinithra Seshan Secretary Gokul Ramapriyan Artistic Director Kirsten Trinh Activities Coordinator Kayley Seow Publicity Ani Tonoyan
The Issue of Systemic Hypersexualization: Shedding Light on Why We Need to Protect Black Women………………………………………………………………………………………………… 1 Women of Color in the Media: Hollywood Needs a Transformation………………………….. 3 Social Media As a Platform for Body Positivity…………………………………………………… 6 Breakthrough for Women in Media: A Timeline.................................................................... 8 Girlboss Feminism…………………………………………………………………………………………. 11 The Glass Ceiling & The Illusion of Equity…………………………………………………………. 15 Feminism Within ‘Hamilton’.................................................................................................... 17 Women and Their Accomplishments………………………………………………………………… 19 Female Directors in the Spotlight……………………………………………………………………. 20 Why Are Period Pieces So White?.......................................................................................... 22 Misogynistic Media Tropes………………………………………………………………………………. 25 Women & Rock Music: A Narrative of Activism and Misogyny………………………………. 28
THE ISSUE OF SYSTEMIC HYPERSEXUALIZATION
WOMEN IN MEDIA/ENTERTAINMENT
Shedding Light on Why We Need to Protect Black Women BY LAASYA BABBELLAPATI Last October, rapper Megan Thee Stallion published a New York Times op-ed in which she described what it meant to “protect black women.” Accompanying her op-ed was a quote by Malcolm X: “the most disrespected person in America is the Black woman. The most unprotected person in America is the Black woman. The most neglected person in America is the Black woman.” In light of the deaths of George Floyd, Breonna Taylor, and thousands of African Americans, racial inequality has been a contentious topic of conversation. However, this same conversation often neglects the intersectional oppression that Black women face: constant degradation and hypersexualization. In order to understand how discrimination against black women came to be, it is necessary to understand that its origins date back to colonization. White men, when observing African societies, viewed the Black woman as aggressive, less feminine, and sexually promiscuous in contrast with the docile, feminine, and innocent white woman. As stated by New Bedford Whaling Museum researcher Dr. Akeia Benard, “The social creation of the marriageable (White) woman is based in large part on the social creation of the animalistic, morally lax, dirty, diseased, poor woman of color.” According to Black Feminist Theory, which explores the intersections of anti-blackness and misogyny, the colonist’s view of Black women is a combination of the racist ideology that Black people are inherently uncivilized and the sexist ideology that a sexually liberated woman is impure and worthless.
THE TRANS-ATLANTIC SLAVE TRADE FURTHER DEGRADED SOCIETY’S VIEW OF BLACK WOMEN. FOR EXAMPLE, BLACK WOMEN WERE OFTEN PORTRAYED AS A “JEZEBEL”: “AN ALLURING AND SEDUCTIVE AFRICAN AMERICAN WOMAN WHO IS HIGHLY SEXUALIZED AND VALUED PURELY FOR HER SEXUALITY,” AS DESCRIBED BY AN AUSTRALIAN CATHOLIC UNIVERSITY RESEARCH ARTICLE “REVISITING THE JEZEBEL STEREOTYPE: THE IMPACT OF TARGET RACE ON SEXUAL OBJECTIFICATION.” THIS CHARACTERIZATION OF BLACK WOMEN NOT ONLY REDUCED THEM TO THEIR SEXUALITY BUT ALSO WAS USED AS A JUSTIFICATION FOR SEXUAL VIOLENCE AGAINST THEM.
With the increase of African American presence in modern media, the stereotypes that were formed during colonial times have persisted and now resurface in new ways. In the dating world, many Black women have faced fetishization and unwanted sexual attention from non-Black men. In a recent Cosmopolitan article, one Black woman described her experiences with virtual dating during the pandemic: “no matter how much I tried to avert the conversation away from sex, it always came back to my body and its features [...] I’ve had non-Black men, usually white men, ask me if I can do stereotypical things, like twerk, saying it’s something that motivated them to talk to me in the first place [...] it’s a collective struggle for many other Black women who are
Moreover, does a Black woman sexualizing herself justify the
using dating apps.” According to Dr. Benard, another aspect of
horrifying amounts of violence inflicted against her? In July,
hypersexualization is in the pornography industry “where Black
Megan Thee Stallion was shot twice in the foot by a man whom
women are often bound, gagged, and/or in chains [...]the
she was not in a relationship with. When she opened up about
exhibition of Black women as animals in contemporary
her injury and identified the assailant, she faced skepticism,
pornography is a symbolic means of domination.”
mockery, and hostility.
However, the most evident form of objectifying Black women is in
In her op-ed, she recalled the event and claimed that this type of
the rap and hip-hop industry, notable for thriving on machismo
violence “happens because too many men treat all women as
culture and the constant degradation of women’s bodies. There
objects, which helps them to justify inflicting abuse against us
are thousands of rap and hip-hop lyrics that promote varying
when we choose to exercise our own free will.” She goes on to
levels of misogyny, but notable examples include “B*tches Ain’t
say that “the issue is even more intense for Black women, who
Sh*t” by Dr. Dre ft. Snoop Dogg:
struggle against stereotypes and are seen as angry or
"B*tches ain't sh*t but h*es and tricks / L*ck on these n*ts and
threatening when we try to stand up for ourselves and our
s*ck the d*ck / Get the f*ck after you're done / And I hops in my
sisters.” The “angry Black girl” caricature that she brought up
ride to make a quick run."
refers to a broader notion that Black women are inherently
The lyrics later on imply that Snoop Dogg and Dr. Dre were
stronger, more aggressive, and have a higher tolerance for pain.
referring to black women the whole time, by making a distinction
This stereotype has been the driving force behind many forms of
of a white woman: “I didn't give a f*ck where the b*tch was at,
oppression towards Black women — with their pain being
But she was hangin' with a white b*tch doin' the sh*t she do.” In
discredited by doctors as exaggerated, a dismissal of mental
the song, Dr. Dre and Snoop Dogg objectify black women as
health issues, and even when facing abuse or sexual violence.
untrustworthy “b*tches”, characterizing them as mere objects
According to the Australian Catholic University article, “Black
whose sole purpose is not for anything other than male pleasure.
survivors of rape are not only considered more sexually
This objectification is nothing but the extension of the Jezebel
promiscuous than white women, they are also less likely to have
stereotype into modern music. Given his material, it is only ironic
the experience defined as rape, are held more responsible, and
how Snoop Dogg was quick to criticize Megan Thee Stallion and
others are less likely to believe the incident should be reported to
Cardi B’s recent hit song “W.A.P.” that intricately explores
authorities, compared to white survivors of rape.” The perils of
female sexuality, rather than demeaning it. In an interview with
hypersexualization don’t end there. The objectifying gaze that is
Central Ave, when asked about the lyrics of W.A.P, Snoop Dogg
placed on women of color, when internalized by the woman
stated “Oh my God. Slow down. Like, slow down. And let’s have
herself, can lead to subtle but dangerous results. The university
some imagination [...] “Let’s have some, you know, privacy,
article goes on to say that “experiencing the objectifying gaze
some intimacy where he wants to find out as opposed to you
leads to reduced math performance, increased body shame and
telling him.” This is a blatant example of the hip-hop industry
social physique anxiety, and increased self-silencing.” Being
setting unfair, hypocritical standards towards female artists. Men
constantly sexualized can affect someone’s self-perception and
in the same genre consistently rap about sexual encounters and
performance — which interferes with their daily lives.
dehumanize women in the process. However, WAP, a
Due to her powerful platform as an influential rapper, Megan
reclamation of Black female sexuality was met with unfair
Thee Stallion is fortunate to be able to speak out about her
criticism from uncomfortable men.
experiences; however, she is just one of the millions of Black
Since the evidence of hypersexualizing Black women dates back
women who face discrimination on a daily basis. With each and
to colonial times and is constantly perpetuated by men, why are
every statistic, the phrase “protect Black women” becomes more
the stereotypes only called out when Black women are the ones
and more significant. It will take the efforts of everyone, Black or
sexualizing themselves? The slave trade, the dating sphere, the
not, to listen to black voices and raise awareness for this issue in
porn industry, and the music industry are rife with male-
order to dismantle the oppression that’s been rooted in history
dominated oppression of Black women, but why is it that when
for centuries. As Megan Thee Stallion herself said, “[Black
Megan Thee Stallion creates a song with strong sexual lyrics,
women] deserve to be protected as human beings. And we are
she is quick to be criticized for setting a bad example for Black
entitled to our anger about a laundry list of mistreatment and
women? The double standards are not hard to see.
neglect that we suffer.”
Women of Color in the Media: Hollywood Needs a Transformation Annika Singh From the “Black best friend” trope to the “Indian nerd” cliché, racial stereotypes of women of color (WOC) have caused them to become heavily misrepresented in American media and the entertainment industry, leading to lasting effects in the real world. For years, the media has perpetuated these racist stereotypes through TV shows, films, and music videos, influencing impressionable audiences, many of whom will take these harmful stereotypes to be reality and use them as a basis on how to treat and perceive WOC in society. In the media, the ethnic and cultural backgrounds of WOC are overemphasized, creating caricatures of racial stereotypes. Since the media and entertainment industries are vehicles of social change and awareness, this faulty representation has the power to change the way racial groups are perceived and treated in society through discrimination and legislation. The media has an easily impressionable audience, making stereotypes of WOC shaped around pre-existing prejudices incredibly harmful. For example, East Asian women in the media are often perceived as a “Dragon Lady” or a “China Doll,” implying either a threatening or submissive personality with no middle ground. These stereotypes suggest that all East Asian women fall into these two categories, which is far removed from reality. Constance Wu in Fresh off the Boat (2015), where she plays Jessica Huang, an “Asian tiger mom”
On the other hand, Black women are written off as “sassy” or “loud-mouthed,” enfolding all Black women into a negative stereotype of anger. Such stereotypes can make people have a negative preconceived notion about Black women.
The media also tends to portray Black women as sexual objects, shoving them into the role of the Jezebel stereotype, which labels them as innately promiscuous or predatory. This toxic trope leads to a harmful misinterpretation and dehumanization of Black women. On the other hand, white women are portrayed as models of self-respect, self-control, and modesty. Additionally, the historical context of Black women as slaves and servants has caused people to associate them with manual labor jobs. In her career, Black actress and Academy Award winner Octavia Spencer, has played the roles of nurse, cleaner, and maid 21 times including two of the three roles for which she was nominated for an Oscar. Despite being a talented actress, she is forced to play these subjugated roles because of her race. Both stereotypes are negative and portray Black women in a demeaning way. Black actresses rarely ever get the leading role in movies or TV shows, and are often forced to play the tropes of the “Black best friend” or the “Black supporting character,” rather than a main character. Golden Globe and Oscar nominees for the Best Actress, Best Director, and Best Screenplay categories are rarely Black women. This speaks volumes about the marginalized role of Black women in the film industry. In many shows, even if there are characters of color on screen, white actors still play the most prominent roles, showing how white people continue to dominate the narrative about race and discrimination despite not understanding the issue personally. White people are privileged and are far-removed from the reality of the capabilities of WOC. They do not know the many strong and positive aspects of WOC which deserve attention in the media. Octavia Spencer (left) in The Help (2011) as a housekeeper/maid
Unfortunately, Hollywood has not been any kinder to Latinxs. Latinx people are the largest ethnic minority in the US, making up around 18% of the population. However, a look at 2,682 movies from 2000 to 2021 finds that tropes about Latina characters focus mainly on their sex appeal or the cleaning lady/maid stereotype. Between 2007 and 2018, 35.5% of Latina characters in the 100 top-grossing films were hyper-sexualized. These negative stereotypes reinforce perceptions about the jobs that Latinxs are supposedly limited to: maids, gardeners, and nannies. A research study by professor Vera Lopez from Arizona State University stated that the problem of gender role expectations in the Latinx community is compounded because these representations are often presented in a negative light and are used to explain several “social problems” such as teen pregnancy, sexually transmitted infections, and other violence. This is illustrated in several movies like Quinceanera, a film about a fifteen-year old Mexican girl becoming pregnant. Stereotypes have real world implications for Latinxs because assumptions about their culture can lead to racism in youth settings, such as schools and juvenile correctional facilities where people rely on stereotypes to inform their practice. Rather than having genuine representation involving histories of abuse, trauma, violence, and poverty, Latinxs are used as a plot device to further stigmas surrounding teen pregnancy. Faulty representation creates caricatures of a person’s true identity, which not only leads to others perceiving them in a negative way, but also causes them to unconsciously conform to the stereotypes about themselves as a way to fit societal expectations. Gina Rodriguez, who plays Jane on Jane the Virgin, and is of Puerto Rican descent said, “It was a crazy feeling as a young girl to only see myself, my culture, portrayed negatively on-screen or, even worse, never portrayed at all. I felt like I didn’t belong or I had to assimilate to be accepted or successful.”
As mentioned before, East Asian women are also victims of racial stereotypes. An example of a negative portrayal by the media is Anna May Wong, the pioneering actress who starred in the movie The Thief of Bagdad. In this role, she played the “Dragon Lady,” a harmful caricature of East Asian women that portrayed her as strong, deceitful, mysterious and sexually alluring. During her career, Wong played the “Dragon Lady” role in The Thief of Bagdad, Old San Francisco, and many more movies. Even though Wong appeared in over 60 films and played a variety of characters from temptresses to doomed lovers, she often complained about the parts she had to play, as she was perpetuating negative stereotypes that weren’t representative of all Asian women. In a 1933 magazine interview after leaving Hollywood, she said, “I was so tired of the parts I had to play. Why is it that the screen Chinese is nearly always the villain of the piece, and so cruel a villain--murderous treacherous, a snake in the grass. We are not like that.” In addition, South Asian women have been placed under the submissive nerd stereotype. Hollywood tends to portray South Asian women as submissive, from roles like Mohini in Lemonade Mouth to Jess in Bend It Like Beckham. In Lemonade Mouth, Mohini, or Mo, is a hardworking girl who wants to try new things and have fun, but she is scared of disappointing her strict parents. She conforms to the obedient, nerdy Indian daughter, just like Jess in Bend It Like Beckham, who has to hide her love for soccer to please her parents. This is a distorted view of South Asian women, who are in reality progressive, educated, and multifaceted. The perpetuation of these harmful stereotypes primarily by white producers and directors causes their normalization in society, which can influence things like parental and societal expectations on WOC and further isolate these communities. When people with little knowledge of the culture of certain racial groups represent them in a negative way, it can lead to whitewashing and misrepresentation. This is harmful to these racial groups because negative perceptions about them propagate and harm their self-esteem. These stereotypes are mainly a creation of non-Asian movie producers, as there are very few people of color who are directors and producers in Hollywood.
Jennifer Lopez in Maid in Manhattan (2002)
Several producers and directors of movies, shows, or music videos who have diverse female characters portraying racial stereotypes argue that this is an accurate reflection of society. They insist that WOC are perceived by society with these stereotypes, so storylines should embrace them. Several directors also argue that “stereotypes had to come from somewhere.” However, the media and entertainment industry need to realize the expanse of their reach and the influence they have on people. Movies and TV shows can be instrumental in forming impressionable viewers’ perceptions of certain racial groups because they contribute to the ongoing microaggressions and racial violence that WOC face in the real world. When WOC children and teenagers grow up watching people with the same skin color as them represented poorly in the media, feelings of inferiority can transfer over into their own lives. For white viewers, these stereotypes on screen may lead them to think that discriminatory or offensive behavior towards POC is acceptable, when in reality, the opposite is true. WOC will always be in a constant uphill struggle for liberation from the stereotypes that they are fixated to in the media industry. White men dominate the media and entertainment industries with little knowledge of these diverse cultural backgrounds and continue to paint them as objects. The influence of the media and the entertainment industry in shaping people's opinions and perceptions cannot be undermined. Casting minority actors in meaningful lead roles away from their stereotypes can help in changing societal perceptions in a positive way and play a huge role in the acceptance of WOC in society.
Compromise isn’t a choice when it comes to racial stereotypes, faulty representation, or caricatures of racial groups. Respect for diverse cultures and the accurate portrayal of WOC in the media and entertainment industries can go a long way in promoting inclusivity in communities. Hollywood has left a lot of transformative and life-shaping experiences of WOC unexplored. Including these experiences in diverse roles for WOC will help in dismantling these toxic racial stereotypes.
SOCIAL MEDIA AS A PLATFORM FOR BODY POSITIVITY Body Positivity Through Social Media Written by Veda Chari & Selina Yang
In every corner of media, fashion glamorizes dangerously-thin models, and advertisements for clothes feed off creating insecurities for everyday people. While the media like movies or television shows are known for their negative influence on the beauty standard, social media has a unique position: it allows individual users more power to control their experience. Instead of following the stereotypes around women’s clothing and body image, some content creators have stood up against unhealthy beauty standards, utilizing their platforms to break norms of beauty. By proactively working to stop body shaming, their efforts turn social media from a weapon to a tool for positive change. For every skinny, white model promoted by brands, there are lesser known creators working to share both their talented designs and inclusivity in the fashion industry. In average department stores, plussized people struggle to find a wider range of brands that are both accommodating and fashionable. By creating more representation and normalizing clothing of all sizes, more and more brands will be pressured for inclusivity that encourages confidence and self love. Emphasizing their “XS-5X” size range and free custom sizing, the Bay Area-based brand WASIL is more inclusive, using popular styles over a larger size range. WIth plus size people commonly being told to stick to wearing black or hide their bodies in order to look slimmer, WASIL’s Renaissance-inspired corsets and puff sleeves defy what society tells plus-sized women to do. The soft prairie aesthetic and image of a fashion
designer are conventionally dominated by thin, white women, but California-based Tayma Martins flips both stereotypes on their heads with her collection modeled by women of color and plus-size women. With unapologetic confidence, these creators go against the stereotype that someone who is not skinny cannot be beautiful or fashionable. Even though the fame of these brands do not compare to mainstream lines yet, social media gives individuals the power to choose who to follow, choosing what values one wants to support. Starting off as small businesses, inclusive brands are paving the way for young and upcoming artists and designers who also strive to make fashion inclusive. Paying attention to these body positive brands is absolutely necessary, but to make bigger societal change, consumers must push for larger brands to adopt a more inclusive range of sizes in order to change societal norms around body image. A recent study stated that 80% of U.S. women don’t like their appearance, and 70% of women wish to be thinner even though they are of normal weight. Societal pressures have altered our reality of what is healthy and what isn’t. Recently, brands such as Gucci, Girlfriend Collective, and Nike have focused more on plus size styles, and making sure their clothing is available in a wide selection of sizes. However, there is still a far way to go until our society is truly a body positive environment. Societal norms regarding body image have been ingrained in our society for hundreds of years through the entertainment and fashion industry.
From corsets to body-hugging dresses, women have been trained to chase a slim figure to achieve a certain beauty standard. These beauty ideals saturate our social media feeds from all sides, with designers, fashion companies, fashion accounts, and even the average consumer trying to live up to impossible beauty standards. To break these norms and transform society to be more body positive, all users, big and small, need to think about the message their posts are sending. By seeing multiple sizes and shapes on their social media feed, the viewer will start to change their views on what beauty means, and stop associating one body type with “beautiful.” By using social media to provide spaces that celebrate women of all sizes and normalizing all sizes, corporations will come to realize that the former ideal body type is no longer as profitable. Today, many major companies have started hiring a wider range of body sizes, but fatphobia is still just as pervasive Social media is in the hands of the users is one of the biggest tools today, but it needs to be used correctly because negative perceptions of plus-sized people impact millions each day through very real situations. For example, plus-sized individuals are less likely to be diagnosed and receive proper care from a doctorSocial media can be used as a medium of change to positively impact plus-sized women, as it reaches a wide audience in a short amount of time. By turning social media into a safe space for vulnerable people and a way to empower women instead of body-shame them, we can take steps towards true body positivity.
BREAKTHROUGH FOR WOMEN IN MEDIA: A TIMELINE By Veda Chari
WOMEN BREAK THROUGH THE CENTURIES
Throughout the centuries, women have been under-represented in industries. The many freedoms we take for granted today were privileges few before us enjoyed. In the face of the extreme prejudice towards women, there were leaders who made the first step towards equality, paving the way for future generations. These women throughout history deserve to be recognized.
10th Century: Before the tenth century, women were prohibited from being a part of the theater: all female roles were played by men, and all stories and plays depicted were written by men. Then, in the 10th century, German nun Hrosvitha of Gandersheim wrote a comedy play called Dulcitius. Hrosvitha is credited as the first female playwright and writer. Inspired by her unprecedented move, more women, most of which were noblewomen or nuns, took to writing plays. Their plays were centered around religion and were not intended to be a primary source of income. However, women were still barred for acting in plays and the jobs in the entertainment industry as a whole.
1660: In 1660, King Charles II, an avid theater goer, issued a special charter to the Drury Lane Royal Theater, requiring all female parts to be played by women. This charter allowed Margaret Hughes to step to the stage and become the first female actress with her breakout role as Desdemona in Shakespeare's Othello. Hughes’ performance was the first time a woman acted on an English stage and the first documentation we have of a female playing a role in theater. 1896: With the invention of movies came the first female director. French filmmaker Alice Guy-Blaché wrote and directed “La Fée aux Choux” (The Cabbage Fairy) in 1896, making her the first female director. Guy-Blaché directed what is now regarded as the world’s first narrative fiction film. Between 1896 and 1906, she was the only female filmmaker in the world, before she inspired other women to join the industry behind the camera.
1940: Hattie McDaniel becomes the first African American ever to win an Oscar for her role as head slave in “Gone with the Wind.” McDaniel was forced to accept her award in a racially segregated hotel at the 12th Academy Awards, but was able to make an acceptance speech after the director pulled some strings.
1906: With her breakout role as Boone’s daughter in the movie “Daniel Boone,” Florence Lawrence quickly rose to stardom, becoming the first female movie star, as she was the first actress whose name was used to promote her films. She went on to have an extremely successful career, starring in over 40 movies until her death in 1938.
1922: Zubeida Begum Dhanrajgir is the first Indian film actress with her breakout performance in “Kohinoor.” She went on to star in many other major films including “Devadas,” “Meri Jaan,” and the first Indian talkie movie “Alam Ara.” A talkie movie is a film where the motion picture is synchronized with the sound.
1931: With the radio show “The Katie Smith Hour,” Katie Smith became the first woman to have her own radio show — before her, all female radio hosts had a male counterpart. Her show was a halfhour variety program where Smith sang with the Harry Simeone Chorale. Due to popular demand, the show went from a twice-a-week broadcast to a six show per week broadcast
1958: Jazz singer Ella Fitzgerald became the first person in history to win the Grammy for Best Vocal Performance, doing so as a Black woman. She was a well renowned singer, despite her skin color in a segregated society. Due to her powerful vocals and pure tones, she was often called the First Lady of Song and the Queen of Jazz. She went on to win 13 more Grammys.
1967: In 1967, Tina Turner became the first Black and female artist to be on the cover of the famous Rolling Stone rock ‘n’ roll magazine. With her powerful vocals, she is known as the “Queen of Rock ‘n Roll.” She released iconic songs such as “River DeepMountain High” and “Proud Mary” winning her 7 Grammy Awards. 1976: Before 1976, women anchors were sidelined to smaller stories like the weather, while the more serious news stories were reserved for men anchors. However, Barbara Walters broke this paradigm, becoming the first woman to anchor a nightly newscast on a major television network. With her nightly newscast on ABC, she discussed important events with her co-hosts, the same stories she would have previously been deemed as “too soft” to deliver due to her sex.
1987: Aretha Franklin was the first woman inducted into the Rock and Roll Hall of Fame. Known for her strong vocals with songs such as “Respect” and “A Natural Woman,” she was the first woman given the honor.
2006: Katie Couric became the first female solo anchor of a weekday network evening news broadcast with CBS Evening News with Katie Couric. Even after Barbara Walters’ breakthrough, women were required to have a male co-host to deliver news with them. Couric was the first female to deliver the news by herself.
1997: Rachel Portman became the first woman to win the Oscar for Best Original Score for her work in Douglas McGrath’s Emma. The movie is an adaptation of Jane Austen’s novel, starring Gwyneth Paltrow and Alan Cumming. Only 7 women have been nominated for an Oscar in one of the score categories, and only 3 have won.
2010: Kathryn Bigelow became the first woman to ever win the Oscar for Best Director for her film The Hurt Locker. Only three women have been nominated for this category, and Bigelow was the first and only woman to win. Kathryn Bigelow has had a very successful career, directing numerous films such as Near Dark, Point Break, and The Widowmaker.
2017: Patty Jenkins became the first woman to direct a superhero movie. Jenkins made history with the movie, as superhero films have been around for decades, yet all have been directed by men. The film did very well, scoring 93% on Rotten Tomatoes and earning $822.3 million in box offices. 2021: Chloé Zhao becomes the first woman of color to win an Oscar for Best Director for her work with “Nomadland.” She is the second woman ever to win Best Director (the other being Katheryn Bigelow) and the 7th woman ever to be nominated.
GIRLBOSS FEMINISM Tanisha Srivatsa & Selina Yang After nationwide protests erupted this summer over the Black Lives Matter movement and police brutality, people of different backgrounds have begun to more actively advocate for social issues like feminism and the advancement of racial equality. While much of this activism has positively impacted movements, girlboss feminism, which is the ideal of feminism characterized by corporate success, has depreciated the contributions of women of color (WOC) by solely focusing on white women. The tone policing, deradicalizing, and white savior complex that girlboss feminism promotes diminishes intersectional feminist ideologies. The term “girlboss feminism” was coined in 2014 by Nasty Gal founder Sophia Amoruso, a white woman, to describe her self-proclaimed rags-to-riches story. According to Amoruso, a girlboss is “someone who has big dreams and is willing to work hard for them.” Today, its definition has broadened to describe women in management or executive positions, especially in traditionally male-dominated workforces.
However, the mentality of girlboss feminism is, by its nature, exclusionary of WOC and women from lower socioeconomic backgrounds. This mainstream ideology is inherently linked to unjust hierarchies that late-stage capitalism promotes. According to activist Angela Davis, the concept of “glass-ceiling feminism” consists of “supporting women who are already at the top.” The idea that women need to shatter a glass ceiling and become powerful leaders in their industry furthers the capitalist propaganda that liberation of one woman comes from the exploitation of all others.
Today, its definition has broadened to describe women in management or executive positions, especially in traditionally male-dominated workforces. However, the mentality of girlboss feminism is, by its nature, exclusionary of WOC and women from lower socioeconomic backgrounds. This mainstream ideology is inherently linked to unjust hierarchies that late-stage capitalism promotes. According to activist Angela Davis, the concept of “glass-ceiling feminism” consists of “supporting women who are already at the top.” The idea that women need to shatter a glass ceiling and become powerful leaders in their industry furthers the capitalist propaganda that liberation of one woman comes from the exploitation of all others. In 2013, Facebook COO Sheryl Sandberg published her bestselling novel Lean In: Women, Work, and the Will to Lead. Since its publication eight years ago, the book has faced considerable backlash from WOC, most notably former First Lady Michelle Obama, who said in a 2018 speech that “it’s not always enough to lean in, because that sh*t doesn’t work all the time.” For white women like Sandberg, achieving corporate equality might be as easy as forming “Lean In circles” — groups of women who meet to support each other and learn new skills — with fellow professionals and asking for raises, but it’s often not so straightforward for WOC, who have to deal with implicit bias beyond just their gender identity. Beyond race, women of lower socioeconomic status who are forced to work multiple jobs or don’t have the luxury of hiring domestic services may not have the time to simply “lean in” due to responsibilities beyond the scope of their day jobs. Similarly, the trend of female professionals who have published self-help memoirs inspiring other women to take initiative in the workforce — Nicole Lapin’s Boss B*tch, and Ivanka Trump’s Women Who Work, to name a few — boast a watered-down version of feminism in which all it takes to achieve gender parity and equality is some hard work and effective elevator pitches. Despite criticism surrounding these books, like in Obama’s 2018 declaration, their ideals are still widely perpetuated, both by these authors and by white women in general.
The problem with this girlboss feminism isn’t the feminism itself, it’s the prioritization of white, affluent women as the dominant voice in spheres of discourse that should be led by individuals of color.
By idolizing white women as the epitome of feminist power and the manifestation of the “strong, independent woman,” society once again brushes off the contributions of WOC as less than the opinions of their white counterparts. While white women can afford to advance in the workplace, WOC are forced to first overcome the diminishing experiences and hostility they face in the workplace before they can even begin to seek raises or promotions. This manipulative dynamic is not a symbol of progressivism, no matter what the mainstream media pushes. Instead, this is a symbol of white ignorance — women are not a monolith, and denying the lived experiences of WOC is directly contradictory to the ideals of intersectionality. Ignoring the contributions of BIPOC feminist activists and devaluing their work allows for WOC to slip through the cracks of conventional feminism. Feminism and anti-racism aren’t either/or movements; in order to achieve a truly equal society, both philosophies must be adopted and adhered to. In the wake of the Black Lives Matter protests that consumed the media in the summer of 2020, many white social media influencers were publicly called out for instances of racism and harassment. Reformation CEO Yael Aflalo, for example, stepped down in June over accusations of discrimination after several Black former employees spoke up about the supposedly sustainable fashion brand’s negligence of diversity and lack of representation in promotional content. Despite the sustainable branding and messaging on the company’s social media platforms, the reality of the racism that employees have faced sheds light into the dangers of solely promoting whitewashed feminism as a model for equality. As many outwardly progressive media outlets, including Refinery 29 and Man Repeller, published their support for the Black Lives Matter movement online, the ignorance of these companies’ rampant culture of elitism, favoritism, and racial microaggressions distracts from the overall sentiment that discrimination in any form is not okay. Part of this issue stems from the fact that feminism and capitalism are so radically different — in order to achieve corporate success, concessions are often made in terms of cutting workplace diversity, undercompensating workers of color, and ignoring patriarchal corporate culture. Therefore, the easy “Yes, you can!” feminism of these content creators falls flat in parallel to the institutional barriers that prevent feminism and capitalism from coexisting. And amidst the chaos of the nation’s current sociopolitical climate, the need for systemic change runs much deeper than what self-help books have to offer. Here, white women’s naivety in thinking that all it takes to dismantle traditional cisheteropatriarchal society is some glitter and girl power is ignorant in light of the multidimensional problems that WOC face due to their dual identity as women and racial minorities.
From the redlining of school districts to keep Black neighborhoods in lower income areas or the ongoing disenfranchisement of minority voters, WOC have historically faced struggles unique in comparison to white women’s experiences. By dismissing their privilege, white feminists create an environment that gaslights and diminishes WOC who speak about their lived experiences. The image of a girlboss mirrors that of the American dream, the simple statement that hard work equals success. Under America’s supposed meritocracy, it is uncomfortable to point out how one might have inadvertently benefitted from others’ oppression. Often painted as attempts to be “logical” or “positive,” white women’s tendency to tell WOC to “calm down” when expressing their frustrations with girlboss feminism erases the historic and systematic nature of their disadvantages to blaming it on an individual’s personality. By nitpicking at the delivery to distract from the overall message, this tone policing shifts the focus of the conversation from systematic racism to a diluted “bad apple” perspective that fails to recognize the larger systemic barriers that WOC face. The prominence of self proclaimed girlbosses in the media can certainly encourage young girls to become confident entrepreneurs, rather than feeling confined to traditionally female jobs or powerless. However, to WOC, it is an empty promise that may lead to disillusionment. It is difficult to distinguish capitalism from
racism: minorities will be negatively affected by hiring practices due to the
pervasiveness of unconscious stereotypes and biases in larger culture, as employers continue to only seek who might help maximize profits, as shown in a United Nations report from 2016 that found that white people were most likely to be hired for skilled, non-manual jobs. Although white women reaped the most benefits from first and second wave feminism,, it is time for them to take a backseat to the voices of BIPOC women who can speak more personally to the intersectionality of issues such as racism and feminism. Rather than hijacking the feminist movement, white women must focus on using their privilege to continue to uplift minorities’ voices and contribute to meaningful change. True allyship results from acknowledging one’s privilege and contributing to movements of racial justice and equality without diminishing those that have experienced these injustices firsthand, and this starts with abolishing girlboss feminism.
THE GLASS CEILING & THE ILLUSION OF EQUITY First popularized in the 1980s, the “glass ceiling” describes
While 60% of journalism undergraduates are female, only
the invisible barriers that prevent women and Black,
three out of ten C-suite positions (CEO, COO, etc.) are
Indigenous, People of Color (BIPOC) individuals from
filled by women. The inequality in job distributions grows
receiving promotions, raises, and other opportunities. While
when race is taken into account — while white women
the term is often used to describe implicit bias in a business
make up 33% of entry-level hires in the media industry,
corporate setting, the glass ceiling is just as present in sectors
women of color only contribute to 17%. Further up the
like the news and media industries, even if it might be less
corporate chain, women of color hold just 4% of C-suite
visible. Despite the widely-held perception that women are
positions.
represented equally in the media, the industry is not as
Clearly, the “get one foot in the door” mindset has proven
supportive of women as it is made out to be.
to be a double-edged sword for women in the media and
On the surface, women are represented fairly well in the
entertainment industries. While it has allowed them to
media
other
reach base-level representation in entry-level hires, it has
predominantly-male sectors such as business or STEM fields,
also prevented them from advancing further in their
where women make up only 19% of the total workforce,
careers. By focusing on artificial metrics of equality in the
according to data from the Pew Research Center. The
workforce through seemingly progressive entry-level
misogyny that women in the media face is most prevalent in
representation statistics, the media industry fails to
three areas — promotions, attrition, and external hiring.
address the far more insidious issue of why women in the
industry
in
comparison
with
industry don’t receive the same opportunities and Women make up a whopping 49% of the workforce in the
compensation as their male counterparts.
media industry, but are concentrated almost exclusively in entry-level positions. Although McKinsey & Company’s 2019
Analyses suggest that issues such as toxic masculinity,
Women in the Workplace study reported that 93% of HR
hierarchical newsroom structures, and the patriarchal
representatives from media and entertainment companies
nature of “macho-man” culture are also contributing
reported that their organization was committed to achieving
factors to the lack of gender diversity within the news
greater gender parity and diversity, most fail to deliver
industry specifically. Because the structure of a capitalist
upon this promise as one progresses higher in the
society is tied so intrinsically to position-based
corporate ladder. Women in the media and entertainment
hierarchies, companies are able to exploit female
industries are noticeably absent from higher-level positions.
workers’ contributions in entry-level positions while denying them further opportunities for career growth in the future.
TANISHA SRIVATSA By devaluing the work of women of color in the media and
Specifically, Buzzfeed improved their diversity metrics by
simultaneously limiting their avenues for career growth, mass
partnering with diversity organizations, hosting recruiting
media is able to profit off of their struggles and uphold
events, and reaching out to organizations like the
systems of racial inequality.
Multiculturalism Advertising Internship Program, the
More than 34% of women working in the media or entertainment industries reported witnessing sexist behavior
Council of Urban Professionals, and Historically Black Colleges and Universities (HBCUs) to hire employees.
in the last one year, and almost half believe that women are
This goal can also be achieved by establishing senior
held to higher standards at work compared to men in similar
sponsorship programs for women in entry-level positions.
roles. Women of color in the media industry suffer on
Formal sponsorship programs that connect high-potential
another level through microaggressions and mansplaining at
job candidates to more experienced professionals in a
a higher rate than in other industries, according to analyses
similar line of work can inspire more women and people
from the Pew Research Center.
of color to stay in these industries and improve the
The McKinsey study showed that external hiring ( a business
overall attrition rates for the media and entertainment
looks to fill a vacancy from outside of their existing
industries.
workforce) for executive-level management was skewed
To combat the low rates of female attrition at news
heavily toward male candidates, with only 27% of C-suite
organizations, companies ought to invest in programs that
positions being held by women.
prioritize listening to and valuing women’s perspectives
While current statistics show that progress has been made in achieving a 50-50 gender balance in the media and entertainment industries, much more work must be done to
on issues like gender-based discrimination in the workforce, working as allies for women and people of color, and promoting diversity in hiring.
dismantle the systemic barriers that prevent women from
Despite the favorable metrics that show male vs. female
achieving more in the workplace.
employee percentages as nearly equal in entry-level
To this end, companies can address the lack of minority representation and toxic work environment through several anti-discrimination
measures,
taking
example
from
companies like Buzzfeed, who boasted 61.1% female managers and 50% female executive editors in 2017.
positions, the media and entertainment industries have a lot of work to do before true equality is reached. By committing to more inclusive policies and standards, companies can work towards dismantling sexist barriers that women face in this industry, aiming for a more equitable future without the glass ceiling.
WOMEN AND THEIR ACCOMPLISHMENTS Jayani Mamidi Vapid, stupid, idiotic, or vixens - these are the legacies that famous actresses supposedly leave behind. While their male counterparts are remembered for who they were as people, women in media are constantly reduced to their styles and scandals, leaving their accomplishments forgotten. Throughout her life and even after her death, Marilyn Monroe has been constantly misrepresented by society and the media. Most know Monroe by defining traits that the media shaped her character around: her blonde hair, promiscuous attitude, and cheating scandals. The establishment of this reputation was further underscored by coverage that exaggerated her interactions with famous men. When she sang Happy Birthday for President Kennedy, carrying on a tradition that many other celebrities had previously participated in, journalists fabricated headlines implying an affair between her and the president. One even went as far as to call the performance "making love to the president in the direct view of forty million Americans.” Despite the detailed coverages on scandals surrounding Monroe and her sexuality, the media failed to highlight her contributions to the film industry. When 20th Century Studios attempted to control Monroe by capitalizing off of the dumb blonde stereotype that many associated with Monroe, she broke away and established her own production company, Marilyn Monroe Productions. In this era, this was an unprecedented move, and her refusal to let anyone control her helped empower other women in the industry. Ella Fitzgerald, a talented jazz singer, was denied stages due to her status as a Black woman. Monroe used her popularity to negotiate with LA’s most famous club, Mocambo. In exchange for Monroe’s publicity at Fitzgerald’s performances, Fitzgerald was allowed to perform, catapulting her career towards stardom. Additionally, Monroe was an active supporter of LGBTQ+ rights: “When two people love each other, who cares what color or flavor or religion they are? It’s two human beings. It’s beautiful. Love is beautiful. It’s that simple.”
Similarly, Audrey Hepburn, a prominent actress of the 1960s, was constantly reduced to her beauty while her active political stances were long ignored. Famous for her slim figure and chaste attitude, Hepburn was solely presented as the “ideal woman” through articles on her style and obedient personality. In addition,, she was continuously referred to as untalented due to a nervous breakdown she had on the set of My Fair Lady. However, Hepburn’s political views and ardent support for movements were, and still are rarely discussed. For example, Hepburn raised money for the Dutch underground railroad through ballet performances to show her support for the Dutch resistance. Despite her parent’s alignment with the Nazi party and pro-fascist organizations, Hepburn held her own views. Hepburn was also a UNICEF Goodwill Ambassador, working on missions to address drought and food shortage in Ethiopia, lack of polio vaccines in Turkey, and increasing amounts of impoverished children working on Ecuador’s streets. She was involved in bringing fresh water to Guatemala and Honduras, teaching people in El Salvador, bringing meals and medicinal help to people in Vietnam, and helping children without homes in Sudan with suitable living conditions. President George W. Bush even awarded Hepburn a Presidential Medal of Freedom to commend her on the work she did with UNICEF. Women in entertainment must not only be remembered for their beauty and scandals; their accomplishments must also be highlighted by the media. Books, documentaries, and other forms of media need to bring to light the achievements of these women to preserve their legacies and prevent their other achievements from being diminished.
WHY ARE PERIOD PIECES SO WHITE?
Written by Ani Tonoyan It’s Time We Stop White Washing Our Movies Whether you fantasize about being swept off your feet in a full length ball gown or are a history buff with a taste for drama, period pieces are the perfect escapist romance. Period pieces have been a staple of the film industry since the beginning of the 20th century, giving viewers an opportunity to disconnect from the current era and subsequent problems and a feeling of comfort and nostalgia. However, as Hollywood strives to achieve inclusivity, this genre should not be exempt from the movement to include diverse stories. While Little Women and Pride and Prejudice are magnificent films, it’s time to create more period dramas that are inclusive to BIPOC and queer women. There are already countless period pieces with majority white cast because: white casting directors in this genre tend to limit representation to keep the pieces “historically accurate.” At a Creative Industries Federation event, David Oyelowo, star of the Martin Luther King historical drama Selma, expressed his frustrations with the casting of UK period dramas: “Look at the beautiful buildings in London – the blood of my ancestors [is] in those bricks.
Why is that story not being told when we love a period drama? It doesn’t make any sense. Black people did not turn up in the UK at Windrush.” BIPOC have always existed in every part of the globe. Period pieces being majority white is by design to avoid the grim realities of marginalized peoples who were either brought to Europe and the Americas through the slave trade or systematically murdered for existing in North America first. When these atrocities are addressed, it is usually through a white savior’s perspective (Greenbook, The Help) or handled with little regard for the minorities themselves. Though they claim to be aiming to achieve historical accuracy, filmmakers disregard obstacles faced by minority groups to avoid the discomfort of racism. While it may be uncomfortable to see depictions of brutality and violence toward racial minorities on screen, it’s important to acknowledge the historical context of issues like racism and slavery in period pieces.
Some filmmakers have completely ditched the “historical accuracy” excuse and gone with color-blind casting to make period dramas still set in European society. There are examples that are well done, such as Hollywood, because the plot is conscious of the characters’ races and adjusts the story to be inclusive to different stories. However, in Netflix’s Bridgerton, what at first appeared to be color-blind casting turned out to be a historical fiction version of race relations in King George’s England. The queen, who is of African descent, marries King George, which magically ends the discrimination of Black people, at least in high society. This obviously oversimplifies the grim reality of racism in the UK in the 17th and 18th century.
However, it is equally important to see BIPOC outside of the context of subordinate racial hierarchies and struggle. In several movies set in the Old South, such as the film Gone with the Wind, the romanticized portrayal of slavery dehumanizes enslaved people and minimizes the horrors of this practice. In these movies, enslaved characters only exist to serve their white masters and move the plot along with no character arc of their own. Not only are these movies disrespectful and harmful, but they also limit the roles BIPOC can play to simply minor characters who are discriminated against in order to advance the white protagonist’s character arc. The viewer’s understanding of very real and horrific aspects of Western history, such as slavery, genocide, and imperialism, is skewed when films are centered around a white protagonist. The impact of this media extends beyond the screen. Slavery reparations are a contentious topic in American politics. Many of those who are against reparations do not understand the generational trauma that is specific to African Americans. White audiences are misled to believe falsehoods about the country’s history due to a media and education system that does not portray the topic with historical accuracy.
Thus, color conscious casting should be used to adapt stories to include a diverse cast, but should not give audiences false realities about the appalling treatment of BIPOC people in Europe and the West. Along with color-blind period pieces, lesbian period pieces have been gaining popularity. LGBTQ+ representation in general has increased with Oscar-winning films like Moonlight and Call Me By Your Name. While this representation is a step in the right direction, the film industry has a long ways to go as it continueshyperfixate on very specific, often traumatic parts of LGBTQ+ lives, such as a transgender person’s transition (The Danish Girl) or a gay person’s coming out (Love, Simon).
While these stories are important to tell, it minimizes the LGBTQ+ experience into a singular moment in a queer person’s life. When queer romance is depicted, it is too often done so in a fetishizing manner that continues to reinforce the patriarchy and heternormativity. Lesbian period pieces provide viewers from a break from oversexual or traumatizing homophobic content. They are a breath of fresh air from the male gaze, which dictates how women are viewed in every piece of media. Movies like Portrait of a Lady on Fire, follow two women who discover what love is for the first time, which is confirmed when Heloise asks “Do all lovers feel as though they are inventing something?” In these movies, the female gaze is introduced to audiences through deep emotional connect and the hand motif.
Unfortunately, many of LGBTQ+ period pieces reflect a lack of intersectionality when it comes to the intersection of race and sexuality. Casting all-white lesbian period dramas functions to make their queerness palatable. There are racial stereotypes at play in these casting decisions that specifically target the hypersexuality of Black women. So, casting white women means directors use their race as a tool to show their purity and virtueinstead of making that clear in the plot- enforcing the harmful notion that white womanhood is somehow more respectable. While LGBTQ+ people experience homophobia in their daily lives through legislation and attitudes, for white people in the community, their whiteness remains a shield against systemic racism and oppression. In this sense, while white members of the queer community may face heterosexism, they still benefit from systems of white supremacy in similar ways to cishet white people.
These systems of white supremacy help create the facade of representation by including white queer characters, but will actively subjugate Black and Brown members of the same community. Although steps are being taken in the right direction, representation at the intersection of race and sexuality is still lacking and must be achieved. There are entire continents of untapped potential in the film industry; audiences want to see more of the world than just pre-Civil War America or Victorian England. Films that explore BIPOC stories outside the West include Frida, The Handmaiden, and The World Unseen, which are set in South America, East Asia, and Africa respectively. There is a significant gap in the average American’s knowledge of the history of racism due to an education system and entertainment industry that focuses on American history from the perspective of a white man. Adding more BIPOC stories in period pieces gives an audience more context on different groups as well as adds a richness to the story, which only comes with intersectionality. Not only should minorities be included, but their narratives should not be limited to their trauma, as their characters aren’t solely shaped by their struggles. As Hollywood experiences more pressure to include a diverse cast and crew, future period dramas should have all the flare and romance that we love with the diversity that we need.
LET’S TALK ABOUT SEXIST TROPES IN THE MEDIA
MISOGYNISTIC MEDIA TROPES by Laasya Babbellapati and Yawen Xue
The Misogynistic fine-tuning of our Media Mainstream media is full of these tropes—recurring characters, plots, and other elements of storytelling. The woman who says romance doesn’t interest her but gives in to a male pursuer in the end, the girl who “isn’t like the other girls,” the woman who dies in a horror movie for no apparent purpose -- the books we read and the movies and TV shows we watch are full of them, and they contribute to a misogynistic social dialogue. Time and time again, research has shown that the media has a significant impact on people’s perception of themselves and each other, and it’s even more blatant on youth. Misogynistic TV tropes can cause society to normalize various aspects of sexism. It can cause women to internalize gender roles and romanticize misogynistic scenarios. In this article, we’ll examine the harmful impact of several categories of sexist tropes.
THE FAIRYTALES THAT HARM US The Misogyny Our Childhood Stories Teach Us
Attacking Feminity Perhaps the most well-known trope that recurs throughout the decades in the media is the girl who’s “not like other girls” — her defining characteristic is that she does not prescribe to traditional femininity. . Usually, this girl hates stereotypically feminine hobbies, such as wearing makeup, shopping, partying, and instead differentiates herself through being interested in “unconventional” hobbies like video games and reading books. The “different” girl is typically the main character and is portrayed as relatable and genuine, as compared to the other shallow female characters. To males, she is seen as a “cool girl” with sex appeal. Some notable examples include Bella Swan from Twilight, Stargirl from the novel Stargirl , and Arya Stark from Game of Thrones . This trope effectively degrades women
who do enjoy traditionally feminine activities and portrays any female who partakes in them as girly, vain, and ditzy. Furthermore, it discredits the vast majority of women who indulge in both traditional and unconventional hobbies, which reconfirms gender binary stereotypes in separating “girls” hobbies and “boys” hobbies. While it is great that the media gives attention to girls who may feel like they don’t fit into mainstream society, the trope pits young girls against each other by antagonizing the differences among women. In reality, all women are complex and have a character beyond stereotypical interests—and no woman should be degraded based on what they enjoy. Moreover, the negative depiction of femininity suggests a much larger idea – it associates femininity with weakness. By portraying more feminine girls as bullies, “dumb blondes,” or seductresses, children who watch these tropes on television may come to associate femininity with a lack of intelligence and individuality. The misconception that feminine characteristics, such as delicateness, sensitivity, affection, and feminine hobbies, like cosmetics, fashion, and arts, makes a person inferior to others is used as a justification to withhold women from positions of power. It also prevents men from embracing stereotypically feminine characteristics which exacerbates toxic masculinity
Destroying Female Solidarity & Independence Media tropes that devalue women’s independence also include the strong, independent woman who eventually gives in to a male protagonist’s relentless pursuit and engages in a romantic relationship with him despite displaying no prior interest. This is a common theme in Hallmark Christmas movies — the soulless, capitalistic, ambitious woman falls in love with a small-town man and quits her money-making job because she learns the “true spirit of Christmas.” This devalues women’s choices, romanticizing the idea that no does not mean no, and that dogged pursuit of a sexual relationship despite rejection is a successful and admirable strategy. In reality, that is non consensual.Furthermore, this trope reinforces the idea that a woman needs a man to be happy, ignoring the fact that many women, regardless of their sexual orientation, are completely fulfilled without prioritizing romantic and sexual relationships with men.
Sexualizing Women The objectification and sexualization of women is another recurring theme in media. An American Psychological Association study, for example, reveals that the media portrays girls in a sexual manner much more frequently than they do boys. Advertising also frequently depicts women as sexual objects. Sexualizing women is a glaring problem in the film industry. Movie posters depict scantily-clad women while directors argue that giving men the same treatment would be impractical for their protagonist roles. On-screen, in movies including the blockbuster franchise Mission Impossible, women are shown naked and in sexual positions much more often than men are. While some argue that it’s empowering to normalize female sexuality, objectification in media does not accomplish this. The same movies that sexualize women often depict them negatively, as “promiscuous” or a “slut’ just because she has an active sex life. The sexualization of women in media sends a message that women’s value lies in their sex appeal to men. Many female characters are portrayed as subjects of attraction rather than real people with real personalities, and as a result, characterization is often lackluster. Many female leads are depicted as attractive and perfect characters with little flaws. This portrays women as objects of desire rather than people with human struggles and flaws, contributing to the narrative of objectification. Combined with the fact that most women play supporting roles to male protagonists in such movies and that most directors are male, this devalues women’s worth as individuals with their own values and goals and reinforces the patriarchal idea that a woman’s role is to please men. Yet another common trope in the media is that young girls are forced to appeal to the audience by seeming more grown-up. In Stephen King’s novel It , Beverly Marsh is the only girl among the group of preteen main characters. She is the only one who is not described as childish or funny, rather as very pretty and mature for her age. Eventually, Beverly becomes the love interest for everyone in the group. This trope perpetuates the social standard that girls must be more mature, more perfect, and loved by men.
Devaluing Women’s Lives Directly tied to the objectification of women is the devaluation of women’s lives. A lot of visual media gratuitously and carelessly portrays violence against women without depicting any consequences, normalizing and desensitizing us to it. Since these crimes go unchallenged in fictitious worlds, real-life incidents of rape and violence against women cease to generate shock or outrage. A common horror movie trope is the pointless death of or extreme violence against a woman in the very beginning. She is often conventionally beautiful and sexualized, and her death also does nothing to advance the plot. Instead, they only serve to “set the tone.” Even worse, many of these deaths are painted in a vaguely sexual light, which not only normalizes but also sexualizes violence against women. In movies, scenes of outright sexual violence against women are also common and fail to acknowledge the lasting damage sexual violence causes. They are there for cheap shock value at best and come off as a distasteful attempt at fanservice. A related trope is romanticizing relentlessly pursuing a woman even after she says no, a theme that occurs in much more mainstream movies targeted to a broad range of audiences. This dismisses women’s right to decide what to do with their own bodies and lives, perpetuating the patriarchal attitude that men can make decisions on women’s behalf. This contributes to both patronizing attitudes and the belief that it is okay to ignore women’s personal boundaries. It also contributes to the normalization of abuse and violence.
Far too often, media tropes perpetuate misogyny, causing people to internalize it. Film and TV show giants such as Hollywood do little to dispel these misogynistic ideas in their products. To avoid creating a societal discourse that normalizes sexism, it’s vital to have media with characters and themes that challenge these misogynistic notions. The good news is that there is increasing positive and empowering representation of women in media. Single women who stay single and are happy, as well as TTropes such as the independent woman who stays independent and traditionally feminine characters who become strong protagonists without losing their femininity give girls inspiring examples to look up to. In fact, more recent teen movies, such as the To All the Boys I’ve Loved Before franchise, explore a positive
dynamic between the female protagonist and her bully. It took me a while to recognize the misogyny that I’ve internalized as a result of media tropes and social constructs. However, after years of dismantling these thoughts, I have grown profoundly to identify confidently with my womanhood.
WOMEN & ROCK MUSIC: A NARRATIVE OF ACTIVISM AND MISOGYNY FEMINISM & MISOGYNY THE DUAL NATURE OF ROCK MUSIC
WHAT ROCK MUSIC TELLS US ABOUT FEMINISM WRITTEN BY YAWEN XUE
Speaking out against the “establishment” — the prevailing social and ideological beliefs embedded in our society — is a common theme in rock music. As a result of this tendency to push boundaries, rock music has become a vehicle for breaking
Eventually, the Riot Grrrl movement evolved into a DIY, female-focused and LGBTQ-supporting subculture that encouraged women to artistically express their identity and individuality. The movement reinvented punk rock in a way that
down social barriers and challenging deep-rooted patriarchal
empowered women and normalized “taboo” topics
ideals. However, music has the potential to act as not only a
related to femininity.
tool of rebellion but also a perpetrator of cultural beliefs,
Today, many rock artists such as Kathleena Hanna
reflecting the way our society treats women and making the
and Alice Bag continue to challenge misogyny
industry a breeding ground of misogyny.
through loud, bold, and obscene art. Siouxsie
From artists who advocate for social equality and vehemently
Sioux, one of the pioneers of the post-punk genre
condemn rape culture to songs that openly speak of taboo
and perhaps the most well-known female gothic
subjects such as menstruation, female sexuality, and effects of
rock artist, has been praised for her onstage
gender-related trauma, rock music is filled with both anti-
presence and androgynous self-expression, both of
misogynistic social commentary and celebrations of femininity.
which challenge traditional femininity and
The Riot Grrrl movement, an underground punk movement that
encourage girls to have confidence in their
promoted feminist ideas in the 90s, quickly spread from the
autonomy. Lyrically, she has openly sang about
US Pacific Northwest to the rest of the world. Bands
female sexuality and her own sexual trauma in
associated with the movement, such as Bikini Kill, L7, and Joan
songs such as “Candyman.” As role models that
Jett & the Blackhearts, were groundbreaking in their direct addressing of patriarchy, domestic abuse, sexual violence, and female empowerment in their songs.
many young girls look up to, these musicians show us that women, too, can openly express themselves and advocate for others even in a predominantlymale music genre.
However, in a culture steeped in gender roles and sexism, rock music is not immune to sexism. In the controversy-hailing punk and industrial genres, extreme misogyny coexists with ardent activism. A common lyrical theme of hypersexualizing and attracting women, which is present in almost all mainstream music genres and especially apparent in ‘70s classical rock such as AC/DC and Van Halen, both reinforces toxic masculinity by perpetuating the idea that women can be reduced to sex objects. These same songs that glorify promiscuous men often demean promiscuous women, imposing a double standard. In many rock music videos, women are scantily clad and depicted in a sexual manner far more often than men are, contributing to a discrepancy in how society views men and women. Internalized, this practice normalizes objectification, which lowers girls’ self-esteem and can even increase sexual violence as society continues to subconsciously view women as less than fully human.
Some musicians make art graphically depicting trauma they have experienced as a result of the objectification and violence they face. This is viewed through the same veil of controversy and obscenity. However, done well, this kind of artistic expression can be cathartic for victims with similar traumatic experiences. The difference is that it has a clear intention to destigmatize conversations about their trauma, not to exploit it for aesthetics or gratification. Misogyny in rock music is exacerbated by the industry: as a male-dominated music genre, many performance and lyrical elements appeal to toxic ideals of masculinity. This contributes to the exclusion of women, and even when they are included, they are often sexualized and serve to elevate male musicians’ status. Furthermore, the industry sometimes pushes female musicians to dress in revealing clothes and act in sexualized ways in an attempt to appeal to an audience that is often predominantly male. While
Shock rock is a genre that utilizes imagery society considers to be obscene to convey artistic messages. While it can be a tool for challenging established social order, far too many musicians use it as an excuse to gratuitously portray violence against women through lyrics, music videos, and onstage performances. Often, the victims are sexualized and the violence is mingled with sexual themes. For example, sexual violence is a recurring theme in Lindemann’s Frau & Mann album, particularly in the music videos. While some of it does contain meaningful social commentary, its primary focus on the violence itself rather than the circumstances. Additionally, its impact on the victims eventually makes it jaded and exploitive. Exposure to both sexual and nonsexual violence against women in music desensitizes audiences. As a result, when they encounter real-life incidents, they view it as a normal occurrence and don’t express as much indignation to this issue as they should. “Art should comfort the disturbed and disturb the comfortable,” goes the famous saying by Cesar A. Cruz. So why is portrayal of violence against women such a grave issue? Many argue that these shocking portrayals provide an aspect of grim realism and sometimes even raise awareness to the ordeals women go through. However, a pattern of gratuitous depictions of objectification of and violence against women does not empower anyone. While many musicians graphically portray objection of and violence against women, they shyflinch away from showing the aftermath and the gravity of the situation. This shows that they use these tropes for cheap shock rather than any real attempts at social commentary.
mainstream portrayals of female sexuality can be liberating, it’s only empowering when it occurs by intrinsical choice. When an industry pressures women to sexualize themselves, it, once again, sends the message that women’s worth is based on their sex appeal. Despite the mountainous shadow of misogyny, rock music still has a legacy rooted in feminism and is continuing to break barriers on the front of gender equality. By supporting artists who advocate for equality and being aware of problematic aspects in rock music, we can increase the impact of feminism in rock so that it prevails loud and clear over the misogyny.
