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Finally, studies of either type (scientific or humanistic)can take a specific value orientation—to fight social inequality, to criticizestructural inequalities (sexism, racism, classism, etc.) in the text. We willcall these studies that deliberately seek to change social structures or fightmediated forms of oppression . As examples, one study might present asystematic cross-cultural analysis of representation of women in rap musicvideos (Conrad et al., 2009). Another might look (scientifically) at the impactof repeated media exposure of Latina women on their self-concepts (Rivadeneyraet al., 2007). Humanistic studies might look at the representation of race in (Nakamura, 2009) orhow sexual activity in reinforces traditional sex and gender ideologies (& Cannon, 2009). In communication, seereason below)
Media representations of women who kill portray them as …
This essay will explain how the in such concepts as women being forced into unpaid labour, male dominance over females in employment, the sexualisation of women in the media as well as briefly looking into inequalities within violence.
Also interviewed are members of the Guerrilla Girls, who, dressed in gorrilla masks, work to promote greater representation of women and minority artists in art exhibitions.
Women and Gender Studies Videotapes in the Media ..
In studies of prime time entertainment reaching from the 1950's to the 1990's, we found that black representation has gradually increased and negative stereotypes have decreased. Blacks are more likely to be portrayed positively than are whites, and they engage in proportionately less violent and criminal behavior. An exception to this general pattern is the newly popular genre of reality based programming, which frequently casts minorities in criminal roles. Latinos are less visible in prime time television than they were in the 1950's. Their portrayals have not improved markedly since the days of Jose Jimenez and Frito Bandito. (Distorted Reality)
Native Appropriations | Representations Matter
The blaxploitation films of the 1970s provided the Civil Rights movement with a great medium for sending its message. These films targeted black inner-city youth and were meant to inspire these youth to fight the white system that oppressed them. These films served their social purpose well, and seemed to become obsolete by the early 1 980s. There have been a few good blaxploitation movies since then, but the ones of the 990s seem to glorify violence more than they cause awareness in blacks. Such glorification is a huge part of Menace H Society, which was made in 1993 by two black filmmakers known as the Hughes brothers. The protagonist of this movie, Cain, lives in a world of violence and cannot understand why he needs to get out of it. One of his closest friends is O-Dog, is a ruthless homicidal thug who first appears in the movie when he kills two Asian shop owners. The situation gets even worse when O-Dog is so proud of the murders that steals the surveillance video and plays it for all of his friends. O-Dog, unfortunately is the image that many non-blacks have of black males. O-Dog is a man without any compassion for his fellow man and who holds nothing sacred, least of all life. Blacks cannot really blame the media for enforcing such a stereotypical image when the creators of the film are blacks themselves who claim that this is an accurate portrayal of urban life. The Hughes brothers and their supporters would claim that the movie is written for a specific target audience, urban youth, and that only they understand the true message of the film. The message is that those young men who are in circumstances such as Cain's should get out as quickly as possible in order to prevent becoming like their crazy friends or getting killed because of them as Cain does. It is very similar to the cliche', "birds of a feather flock together." If Cain does not leave the ghetto and all of his crazy friends behind, his destiny will become the same as theirs: death or prison. The problem with all of this is that the gangster culture has become so popular through such media as gangster rap that many of the blaxploitation movies of the 1 990s have huge crossover audiences, composed primarily of young people. The only true exposure that many of these young people get to blacks is through these movies and the music. Therefore, their view of black culture and black people is skewed by such movies. Filmmakers are left with a huge dilemma, then, about how to reach their target audience of inner-city youth without giving credence to stereotypes.
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While media is being blindly applauded for their newfound glorification of women in power, there remains an underlying message of male supremacy in more than many broadcasted portrayals....