The show has a way of making the audience fall for “Queer baits”. I’ve notice throughout the season Castiel, the other angel who rebelled against heaven, gives Dean the same kind of unique look every time. I thought it was because that Castiel and Dean share an unbreakable friendship bond, but the audience says otherwise. I can only assume because Dean tells Castiel “…the last person who looked at me like that, I got laid” could have been the reason why people want a “Dean and Castiel” fandom. Another minor queer baiting is more incest.
The Good and The Bad Patrick Verona from “10 Things I Hate About You” (1999) and Landon Carter from “A Walk to Remember” (2002) are a few of the movie bad boys who have managed to have a change of heart after meeting girls who changed their lives. These movie bad boys have captured the hearts of their onscreen lovers and the hearts of many viewers. The explanation for the attraction and the dating of bad boys are associated to certain psychosocial concepts namely the Dark Triad Personalities, Game Changer Concept, Familiarity Concept and Alpha Concept. The term “bad boy”, as defined in Oxford Dictionaries, refers to “a man who does not conform to approved standards of behavior, especially in a particular sphere of activity.”
For example, both authors tell stories and give examples of racial discrimination that is partially caused by stereotyping based on clothing, or looks, and both articles were posted in magazines for an audience of 18-30 year olds. In Grace Hsiang’s “FOB’s vs Twinkies” regarding Asian discrimination, she says, “I 've heard ethnocentric Asians speak with disgust about Asians who wear Abercrombie and Fitch (which is viewed as the ultimate “white” brand), or make fun of those who don 't know their parents’ language” (343). In this article, Asian’s discriminate against other Asian’s based on the brand of clothing that they wear, regarding them as being “too white”. This is similar to the discrimination that Brent Staples personally received and writes about in his “Black Men and Public Space” where he states, “To her, the youngish black man-a broad six feet two inches with a beard and billowing hair, both hands shoved into the pockets of a bulky military jacket- seemed menacingly close” (346). In this article, the young woman discriminated against Staples because of what he was wearing and how he looked.
In "Two Ways a Woman Can Get Hurt," the author, Jean Kilbourne, talks about how women are sexualized and mistreated in the public eye by advertisements. She contends that men and women in the media are distorted as sex images and instruments: Women are portrayed as mediocre in contrast with men. For example, she states that the woman is “rewarded for her sexuality by the man’s wealth.” The media has aimed towards promoting either women or men particularly. In one advertisement, she clarifies how a tie organization publicizes ties by having ties laid in a botched up bed — as though showing that this brand of tie will help you get laid.
Thats he’s sleeping with both of them? Clearly the way to get beautiful women is to ignore them, perhaps mistreat them” (Kilbourne pg 489). “Two ways a woman can get hurt,” says an ad for shaving gel, featuring a razor and a photo of a handsome man. My first thought is that the man is a batterer or date rapist, butthe ad informs us that he is merely a ‘heartbreaker.’
Many of the characters almost expect Oedipa to have sexual relations with them simply because she’s a woman. Oedipa being nice to one of the male characters gets misunderstood for sex, “Miles closed the door behind them and started in with the shifty eye. Moving in on her. Do you want what I think you want?” (Pynchon, 17).
Further, institutions at play both create and perpetuate these controlling images and sexual scripts based on racially gendered stereotypes of Asian Americans. Overall, the limited representations of Asians in mainstream media and popular culture depict all Asians as overly feminine, a trait that oversexualizes women and desexualizes men. Such stereotypes and tropes are reinforced at Vanderbilt through Greek Life, which systematically polices appropriate sexuality amongst Asian American
Current Status Historically, the stereotype emerged from orientalism that was transcribed through film and literature. The mediated image of Asian women in western society is highly hyper-sexualized up to this day. Most of the representations from the media are infrequent and racist that mainly focuses on the false blinding images of these women. In addition, the china doll media portrayal has a negative mass effect on Asians and the rest. As a result of media consumption, these women continue to be victimized by discrimination and objectification in their day-to-day lives.
In the past, Asian women’s image was portraying in different stereotypes in film, and these stereotypical portrayals might damage what their true beauty images were, or underestimated their intelligence that they born with. Asian women were seen being damaged in various ways in professionally, emotionally, or sexually just because of their race and gender. The white filmmakers displayed their fantasies through these stereotypes on Asian women’s image, and they made these images becoming products of Hollywood that could entertain the pleasures of white men, subservient women to men, and limited the audiences in a same idea about Asian women through their film. According to Asian Women in Film: No Joy, No Luck, “In many ways, as females and Asians, as audiences or performers, we have learned to settle for less-to accept that fact that we either decorative, invisible, or one dimensional” (Hagedorn 351). With this quote, what she means is Asian women including normal female, singers, actresses, or viewers, were only products that white filmmakers used to portray any stereotypical characters that would appear and can damage Asian women’s image indirectly though
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.
Most of the ads relate to men abusing women or trying to sexually harass them. The author includes an ad that says “If your date won’t listen to reason, try a velvet hammer”, advertising an alcoholic drink and suggesting date rape. There are also ads discussed that bring up the idea that when women say no, they don’t really mean it. Multiple illustrations show a man ignoring a woman who is saying no. The author talks about how these ads are teaching young men that no doesn’t mean no.
Socio-linguist Deborah Tannen illustrates that communication differences within men and women in “Sex, Lies and Conversation: Why Is It So Hard for Men and Women to Talk to Each Other.” Tannen provides an anecdote to describe the same conversational problems that happen on married couples. Tannen states different communication styles of men and women cause misunderstanding or even ruin their marriage. Tannen also provides the solution of understanding “cross-cultural” differences can improve male and female relationship.
Misogynism in Taming of the Shrew ` A misogynist is a person who repels, dislikes, or mistrusts women. There’s been several debates about this topic in Shakespeare’s comedy, Taming of the Shrew. Some believe that his play is quite sexist, and feminist have been on top of that, and the others believe that people are just comparing his play to modern times, and women were treated like that back then. The two sides each have a point, just depends in what point of view you see it at. Let’s look at it through the eyes of the people who believe the play is misogynistic.
The video called stonewall was talking about mostly bad manners that some of the people are habitually such gay and lesbian. As human being, it is not good behavior when it comes marriage, we need to get marry man and woman. When I was watching the video, the problem of gay men and lesbian are getting worst and worst day after day. Historically, substance use problems were thought to be more prevalent in LGB population.
In chapter three of The Hypersexulaity of Race: Performing Asian/ American Women on Screen and Scene, Celine Parreñas Shimizu explains the historical and performative impacts of stereotypical oriental femininity in Hollywood. She presents her argument by analyzing the movie stars, Anna May Wong, Nancy Kwan, and Lucy Liu. Importantly, Shimizu goes beyond simply pointing out the issue of stereotypical representations and delves into analyzing the roles and responsibilities of the viewers and performers within representation. To begin, Shimizu directly addresses how hyper-sexuality has been tied to Asian/ American women with countless examples from the acting careers of Wong, Kwan, and Liu. An example is The World of Suzie Wong (1960).