Over the past few decades, classical Hollywood cinema has been criticized for the way women are portrayed through the screen. The majority gaze throughout mainstream cinema is quite masculine. One of the easiest ways to prove this is by examining how men and women direct their gazes through film. “Men tend to look at women, and women tend to look not at men, but at men looking at them.” (Horton) In a world ordered by sexual imbalance, pleasure in looking has been split between active male and passive female observation. One of the primary ways that this is conveyed, is through shot size.
Sexual preference and practice are common topics in popular songs, exploiting women primarily. Women in modern music, prominently the rap genre, has dramatized sexual experiences with vulgar descriptions and labels associated with the women involved, detrimentally influencing younger audiences and even older listeners to use such shallow and derogatory language in reference to women. The entertainment industry has rendered men with power and higher authority in cinematography, videography, comedy, and other forms of entertainment. The industry normalized men being leading roles, creating a preference for men, thus a norm is established. Historically men have dominated entertainment from Charlie Chaplin to George Clooney.
Women were treated as an object of male sexual desire rather than the whole person. Women objectification showed through media, such as advertising, magazine, poster and so on. Women were judged by men through media or publicity such as beauty contest. Moreover, women were placed in the plastic surgery reality show and judge whether she need plastic surgery or not. We choose Nivea’s advertisement as our advertisement to talk about women objectification.
With the influences of the media, society is bombarded with images of health, beauty, attractiveness, fashion and fitness. The super, skinny woman and the muscular and handsome man is plastered everywhere, thus adding pressure to conform to these ideals. When people compare themselves to persons different from them, they usually develop an inaccurate appraisal of themselves and their bodies. They may see themselves as lacking and engage in behaviours to emulate the bodies of those presented in the media. As noted earlier, failure to conform to these media images, results in persons regarding their bodies negatively and developing low-self-esteem.
Advertisements are the wide source of sex stereotyping, in light of the fact that they are adjusted to the particular, either male or female target. Men usually publicize auto, cigarettes or business items, while ladies are demonstrated rather in the publicity of cosmetics or products for a domestic use. They are additionally more probable depicted in the home environment, not at all like
Watching sex on screen is fascinating for me on many levels. At the most primal one is me also feeling sexually aroused as I allow myself to get immersed in the scene and identify with the characters doing the deed. Then I start thinking: what do these actors actually feel or think about while they are fucking? How difficult is it to act out this 'love' scene? Then beyond that, if I am watching the film with other people, I examine their reactions and compare it with mine, to "watch ourselves watch"  as Linda Williams (2008) would have put it.
Laura Mulvey’s article Visual Pleasure and Narrative Cinema was published in 1975, has set out the concept of visual pleasure and explains it under a system looks in cinema. Her theory points out that men looked at women, men are the subjects of women, and to look at the object position; (women) accept their role of being looked at and creating visual pleasures for men as well as in the social reality. Her approaching is to use the same “political weapon” (“psychoanalytic theory”) that “the unconscious of patriarchal society has structured film form” (the way men used to oppress women) (Mulvey 483), with the hope to leave “the past behind without rejecting it” (Mulvey 485). To analyze that the main bias of cinema lies in the obsessive psychological
For instance, there are those who believe that erotic dance is degrading and dehumanizing to women, those who believe that performing erotic dance is empowering for women, and those who simply view erotic dance in the context of labour relations. The feminist perspective that erotic dance is degrading and dehumanizing has been constructed by society, media, and also is mainly due to them being only informed “by cultural stereotypes” (Barton, 2002, p.585). Many of the mainstream films feature erotic dancers to be “not very bright, sleeps with her clients, and has a surplus of predatory, sexual power” (Barton, 2002, p.585) and because erotic dancers are “seductive and manipulative, she will steal your boyfriend or husband because she does not care about anyone but herself” (Barton, 2002, p.585). Due to the mainstream media portraying the characters of erotic dancers to have a specific personality, this causes feminists to believe that all dancers are not respected and are objectified by men and the media. In addition, mainstream media also portrays erotic dancers as “selfless mothers struggling to make money to support her children” (Barton, 2002, p.585), indicating that erotic dancers that have good intentions “actually hate dancing and only does it when driven to circumstances beyond her control” (Barton, 2002, p.585).
In the short story “Lust”, by Susan Minot, the author argues the differences between male and female sexual fluidity and the objectifications of the female body in a patriarchal system that favors male dominance. The intimate yet disconnected stories of the narrator and her male counterparts emulate a level of misguidance and disturbance between the participants involved. The young men are mentioned and described briefly, with specifications to their behavior and treatment of the narrator. Minot’s expositions reflect many moral and cultural issues that have emerged within mainstream media concerning sexual assault and blatant misogyny towards women. Similarly, in the USATODAY article, “Rose McGowan: It 's time everyone 'shut up and listen”, written by Alia E. Dastagir, the author details the experiences of women who have been sexually objectified and who are presently involved within the #MeToo movement.
She takes on the qualities of the spectacle instead of the kissing couple in the centre of the image. The woman becomes the object as well as the observing subject. She becomes both the image and the bearer of the look, which is quite different from the way Laura Mulvey describes pleasure: “been split between active/male and passive/female”. Visual Pleasure and Narrative Cinema”, Screen 16(3): 6–18, 1975. Both the male and female get caught by the instinct of getting pleasure out of looking at another person as an erotic object.