Anne McClintock wrote her essay “Gonad the Barbarian and the Venus Flytrap: Portraying the female and male orgasm” to examine pornography and how it has changed throughout history and its effects on how women perform as sexual beings. McClintock focuses on the various roles of pornography such as its emphasis on voyeurism, pleasure, and the male ego. She wants her readers to know that women are still not represented in pornography to satisfy their own desires, but they are there to cater to men and their subconscious. I will analyze how McClintock argues that due to the history of sexism towards women, the roles that men and women have in pornography are inherently different because of the societal belief that women are only seen as objects of sexual desire and are solely there to satisfy the male audience.
She agrees that the objectification of anyone is not a good thing while still supporting her initial assertion that the objectification of women in ads is more harmful. One way she shows this is by having the reader reverse images that depict the objectification of men and asks whether the implications are the same. For example, she describes a coke ad where women ogle at a half clothed male construction worker. To a viewer this scene is funny. The reverse of that (businessmen leering at female workers) would be far more concerning and according to Kilbourne this is why: “And why is the Diet Coke ad funny?
Both virgin and slut shaming happen frequently throughout the movie, conveying the message that women should be sexually accessible to men, but not be too available. The message of virgin shaming is strongly carried through this song with lyrics such as “Elvis, Elvis, let me be, keep that pelvis far from me” and the opening line “look at me I’m Sandra Dee, lousy with virginity”. The whole song consists of lyrics to mock Sandy’s views on drinking, smoking and being sexually active, but the worst thing is that it is coming from girls who are supposedly her
When Jimmy and Crake are teenagers they get addicted to porn, and Jimmy’s perception of a woman is formed through this. They state that Atwoods uses media culture which, “complements and promotes the image of women as “body,” a sexual commodity” (588). I agree with this statement, because many of the women in the novel, who are not close to Jimmy, are only seen as a form of sexual pleasure. The only other women Jimmy had been around are his mother and Ramona, so now he is presented with this new view that degrades women, treating them like
in English from Wellesley College and a doctorate in education from Boston University, Jean Kilbourne is a more than credible author. Kilbourne proposes the idea that women are sexualized and degraded in modern society by sexually aimed advertising. “When a beer ad uses the image of a man licking the high-heeled boot of a woman in clad leather, when bondage is used to sell neckties in the New York Times, perfume in The New Yorker, and watches on city buses…” (460). Kilbourne uses a large array of ads from beer to perfume to show that this is not just present in a few advertisements, but many advertisements seen almost everywhere. While mostly throughout the article Kilbourne bashes men, she also admits to some limitations and expresses good will.
For a long time, the focus of sexual pleasure has been solely men. The recent sexually liberating stance has brought vibrators and sex toys to be purchased at mainstream drugstores, however, the fact remains women are still fighting for equality. Open discussion on women’s sexual pleasures have many reasons it remains rare. For example, the Madonna/whore dichotomy where women are expected to shine as pure and chase while remaining eager to please a man. This juxtaposition of the Madonna and the whore demonstrates how the sexual being only is to emerge in secret with a man.
In chapter 6, Callero illustrates the power of mass media and how women are dehumanized on social media. He mentions that most media present sexist stereotypes of women, and consequently, “it can mean the trivialization of sex and relationships, a warping of body image and self-esteem.” (2013, p.145) The early music video Material Girl, which was first released on 1984, is typical of Madonna’s works. In the video tape, Madonna dressed up as an upper-class, modern, Marilyn Monroe style character who worship material comforts and hedonism. She danced around a bunch of man, giggled and flirted and thrown hundreds of bills into the air. The Lyric line also says that “Cause the boy with the cold hard cash is always Mister Right”, and” If they
These African American women face a stereotype because they are seen as aggressive, loud, crazy, and dumb. These women do not want to be labeled as angry black woman because it is a “scarlet letter, which tarnishes the wearer.” These women are not allowed to express their opinion because they are afraid to be seen in a negative light. Phoebe Robinson uses an example where a male comedian introduced her using a sexual joke; she confronted him afterwards saying it was inappropriate. The man proceeded to tell her that she was angry black woman. All Phoebe did was express her feeling in a polite manner, and this man who made a sexual joke is making her feel like a bad person.
This form of objectification is often used as a means to appeal to men's sexual desires in order to promote and attract consumers, because marketers still latch onto the old “sex sells”, or so it would seem (Rowland, 2016). Music videos, magazines, fashion commercials, are all channels through which women are exploited and put out to be headless objects isolated for their bodies solely for sexual pleasure and viewing purposes. Rowland explains that although this charade may allure and trap most men, this is not the case for women. Emma Rooney cites in The Effects of Sexual Objectification on Women's Mental Health, “the sexual objectification of women is a driving and perpetuating component of gender oppression, systemic sexism, sexual harassment, and violence against women”. Jessica Vanlenti writes in ‘Worldwide sexism…Women’, that researchers from The University of Missouri-Kanas and Georgia State found these forms of objectification to be linked to women’s psychological distress, and are leading causes of suicide among young adolescent women.
And since the customers in strip clubs are also men, the idea that “men are more powerful and dominant than women” is further reinforced because they are the ones being served at in strip clubs; they were the ones paying the female strippers. These lead men to treat women as weaker and lower than them. Prostitutes and whores are words which pertain to women who do this kind of ‘job’. In countries like the Australia and New Zealand, the term sex work is the most accepted term they use to pertain to this kind of job, however here in the Philippines, the term prostituted woman is used to pertain to those who strip and dance in strip clubs (Ditmore 2006). Because of these, women who participate in this line of work were seen and considered as low individuals in the society.
Pascoe splits this chapter into two factions – The Basketball Girls and the Gay/Straight Alliance Girls. The Basketball Girls section starts off with a review of tomboy pasts: young girls that behaved like boys. This state of mind is often reviewed upon as revered, while the opposite (boys who behave like girls) is usually met with shame. These girls embody masculinity like straight white boys do: “taking up space, teasing girls, and positioning themselves as sexually powerful.” (133) The GSA Girls played with the line between masculine and feminine identities through gender maneuvering. “Gender maneuvering refers to the way groups act to manipulate the relations between masculinity and femininity as others commonly understand them.” (116) These girls were politically active in their approach to masculinity and sexuality, something that caused friction with school administration.
The obvious fact is that all the women are sexual provateurs in their own fashion, but what alot of people watching the video didnt notice is that the video is titled "Blurred Lines" The lines are representations of boundaries in sex life. Blurred lines are implying that the man, or woman cant say no,
The girls from the hook up culture don 't have any self respect for their body. it 's so immature that the girls from the hoop up culture have sex without think about all the negative consequence. furthermore the girls are not having a bad reputation, but also they can get STD 's or undecible
Happy is aggressive and goal-oriented, however these feelings are misled. Happy 's way to deal with ladies is very hateful. Instead of attempting to settle down with somebody, he experiences one girl after another. All that he thinks about is having intercourse with girls, not about having a relationship. Happy boasts to his sibling about his success of having sex with girls who are about to be married.
Songs like Or Nah provide a stark example of issues which western society faces today, in particular, the objectification of women and the cultural obsession with gaining power and money. Despite there being a “clean” version of this song available, the subject matter within is definitely geared towards a mature audience, being rife with aggressively sexual content—connotations, suggestions, and favors all stated with the intent to coerce females into sexual situations. In spite of the explicit language and demeaning presentation of women, the song is highly viewed on YouTube and popular among teenagers and college-aged adults ("Ty Dolla $ign - Or Nah ft. The Weeknd, Wiz Khalifa & DJ