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.
Women being depicted as passive sexual objects is nothing new in the media or in the patriarchal society we live in but what is, is the shift over the years from women being as passive objects of the male gaze to now sexually agentic in their sexualisation (Halliwell et al., 2011). With the help of the feminist movement, sexism and sexual objectification of women was brought to attention and thus traditional advertisements were heavily critiqued for their sexist and objectifying images of women. Although we still have sexist advertisements that objectify women, most contemporary or post-feminist advertisements now depict women as not only independent and powerful but also encourage women to partake in their own sexualisation in the name of
As comics have evolved, the female superheroes have been written to become solid characters independent of their male counterparts. However, despite this progression, women in comics continue to be illustrated as sexy, voluptuous, and alluring. They demonstrate strength and independence, but for the male reader, mostly sexual appeal. “If anything, the comics of today are more blatantly sexist and provocative than ever. For every positive female role model, two negative ones can be found” (Lavin 97).
The roles for both male and female characters are always similar, the men are gang members and the woman are just submissive to the men. Although both roles that man and woman are supposed to play, the woman is specific have a challenging task. In the hood, women are seen as sexual objects that can be discarded at any time, and the movie Straight out of Compton really exemplifies these views. Throughout the film, women are called hoes, and bitches, these women are treated poorly, get cheated on, and have no opinion of their own. Luckily there are a few films that show a different side of the hood, films like Set it off show how women in the hood can be strong individuals, who can also do the roles that primarily take.
Looking past the obvious presence of gender roles (male and female) that just so happened to be a part of the social norm during that time, Hitchcock sought to represent women with having more depth, realism, and independence than ever before in women in Hollywood. Contrary to the common expectation for the female characters to be somewhat complimentary to the male lead in films, Hitchcock established characters who were a complete deviation from those standards. In The Man Who Knew Too Much, Josephine McKenna; a singer, mother, and wife, plays a huge role in the film as she and her husband search for clues leading to the retrieval of their kidnapped son. Although our first impression of Josephine is nothing more
The role of a female is to be the “maid”. The females are told to do whatever the male tells them to do. They have to do anything and everything, even if it is sexual. If the male makes the female do something sexual that she does not really want to do, then it is called rape. Some females end up scarred for life from a man sexually abusing her.
Men will use words to discredit a women’s intelligence and make her sound that her own thought was not her own but came from someone else. Men will use something along the lines of “oh you are just saying that because, your (strong male figure) told you to think like that.” This silences anything else that woman may have had to say about the topic because now, she has to prove that that thought was not only her own but, she actually used her brain to form it. Stanley uses the example from Catherine MacKinnon article about how pornography silences women. Women who want to say and actually mean no are seen as saying yes to men. It has brainwashed men into thinking no means yes and yes means no.
While the treatment of women nowadays is considerably better than during Homer’s time, there are still some aspects that have stayed the same. Women in the media and today’s culture are sexualized to fit the public’s demand. Gender inequality and stereotyping was an ongoing theme in Homer’s classical epics, but it is still prevalent in today’s culture. In “The Iliad,” the conflict with women starts out at the opening of the story. Two women are kidnapped and kept as war prizes from their families, one for Agamemnon and the other for Achilleus.
The purpose of this quotation is consistent with the aforementioned one. Society’s superficial viewing of women is also reflected in the poem’s wring, as it may seem that this poem is strictly concerned with a prostitute, but in fact it describes all females. The male representative in the poem, Georges, then asserts his superiority, despite their similar conditions of being poor. Although he is sexually attracted to her as he “stiffens for [her] warmth”, suggesting an erection, he is unwilling to accept her as a human being as he deems her question “Why do you do this?”
The triumphant conclusion to “The Bloody Chamber” deconstructs the patriarchal roles by acknowledging female curiosity, despite previous warnings. Carter also introduces the strong female heroine, the bride’s mother, who saves the bride, instead of the traditional male brothers in “Blue Beard”. Sheets (1991:644) is of opinion that
Max sees women as sexual beings and nothing else unless they spike certain interest in him. When reminiscing on the women he slept with in the past, he makes crude comments about their bodies. “There were a few tough hairs on (Fredericka’s) breasts that made love making somewhat uneasy. And that thing, that ugly, dangling, crippled labia; it felt like taking hold of a piece of warm chitlin (Williams 175).” Fredericka, like the other women Max has slept with, has put herself in a vulnerable position by allowing Max to see her