Across all media types, women are frequently displayed in a stereotypic manner. However, the type of stereotypic manner has shifted from a traditional sense to one with an emphasis on sexuality. One can examine this shift most saliently in video games through the observation of the change from “damsels in distress” to sexy, often aggressive “visions of beauty”. These “damsels in distress” were often princesses who were dependent on a prince or hero to come and rescue them. This depiction of female characters as victims needing saving was exceedingly common, such as Princess Toadstool in the Mario Brothers franchise and Princess Zelda in the Legend of Zelda franchise, and perpetuated the concept of women being submissive and unable to save themselves. …show more content…
However, there are certain characteristics for men that are more ideal than others. Wade and Ferree describe this principle as hegemonic masculinity, which “refers to a type of man, idealized by men and women alike, who functions to justify and naturalize gender inequality”. They expand this concept and explain that “the hegemonic man is the “real man” in our collective imagination who theoretically embodies all the most positive traits on the masculine side of the gender binary” (2014:124). Other researchers examining hegemonic masculinity concluded that this concept supports a “social hierarchy where masculinity is hegemonic: where men dominate and women are subjugated” (Dill, Brown, and Collins 2008:1403). This dominance is particularly salient in gaming culture, where most, if not all, of the characteristics of games are geared to appeal to men. From the portrayal of men as strong heroes to the violence and aggression they are free to engage in within the game, these games are created with the hierarchy of men in mind. This hierarchy is “a rough ranking of men from most to least masculine, with the assumption that more masculine is better” (Wade and Ferree 2015:125). In order to perpetuate this hierarchy, men react negatively to anything that threatens their position. Researchers Michael Kasumovic and Jeffrey Kuznekoff explained this phenomenon of male reaction as evolutionary theory because by threatening the position a man holds in the hierarchy, one threatens his access to potential mates. They further expanded on this theory to “predict that a male’s behavior should be moderated by status and performance, such that only lower-status males that have the most to lose with a hierarchal reorganization by the introduction of a female competitor will be hostile towards female players” (2015:3). This theory explains why men tend to
In the past years, Disney/Pixar has revolutionized the premise of their movies by shifting away from princesses and portraying resilient male characters as the protagonists of their highly successful animated feature films. From 1995 to 2008, Disney/Pixar released eight films, all of which included a male lead, yet these characters are arguably unlike any other protagonist in early Disney animated films. In their essay, “Post-Princess Models of Gender: The New Man in Disney/Pixar,” Ken Gillam and Shannon R. Wooden call attention to the new manner Disney/Pixar use to depict their heroic male characters in their movies. Gillam and Wooden claim that Pixar is using their movies to promote the acceptance of a new standard of masculinity capable of embracing feminine traits, as conveyed by the male characters within the films. As a viewer, it is easy to recognize the emasculation of the male protagonists within Pixar movies, however, the authors’ claim is faulty; they fail to acknowledge that society now has room for a new sympathetic man because it is straying way from a patriarchal beliefs of the past.
Cassandra Stover explains in her Journal Damsels and Heroines: The Conundrum of the Post-Feminist Disney Princess, the dramatic shift with Disney princess at the peak of the late 1980s and early 1990s. She explains that the shift can derive from feminist movements and how the change can be directed to the third wave of feminism. She examines the original Disney princesses and decribes them to be more passively aggresive and unindependent, while the new princesses are more independent and brave. The author then explains if the shift from the old to new princesses are actually better, and not just different. Stover analysizes that Disney princesses evolve and are a part of the worlds change on feminism.
Authors James Poniewozik and Peggy Orenstein are both concerned with the increase of princess culture among young girls. Poniewozik’s article “The Princess Paradox” and Orenstein's article “Cinderella and Princess Culture” discuss similar aspects of princess culture that could be potentially harmful to it’s audience. Both Poniewozik and Orenstein take on a feminist perspective in their articles. Specifically, both authors discuss feminist themes in princess culture but Orenstein focuses on toddler to pre-teen aged girls while Poniewozik is more concerned with specifically teenagers.
One of the key concepts detailed by Pringle (2007), is the idea of hegemonic masculinity, which was originally coined by Connell (1995). Connell suggest that the concepts of hegemony and masculinity have been intertwined, which has created a social form of a masculine ideal, developed around male dominance, power and patriarchy over groups who are deemed “weaker” such as women and homosexual men. Hegemonic masculinity is essentially a socially elite or desirable status, with which the “performance of ‘masculinity’” can be legitimately practised within society.
In the past, there have been countless princess movies or so-called “Cinderella” films. However, the general message that each one of these movies have given has changed as time has progressed. With this change, expectations placed on the princesses have been modified as well. This change in expectations has been thoroughly discussed by two authors, James Poniewozik and Peggy Orenstein. Poniewozik, a media and television critic for Time magazine, wrote an article entitled “The Princess Paradox” where he discusses this evolution of expectations. As well as him, Orenstein, a contributing writer for the New York Times Magazine, wrote an article with the title of “Cinderella and Princess Culture” where she also discusses the development of the expectations on girls. Even though Poniewozik and Orenstein discuss the evolution of expectations portrayed on girls, Orenstein is able to illuminate the more complex ideas that Poniewozik is attempting to express based on the expectations of girls.
Bartyzel’s wide array of evidence to support her claim that princess culture narrowly defines what femininity means to young consumers makes her argument compelling. She used Disney’s unfitting princess makeover of the character Merida from Brave - who desperately fought against princess ideals in the movie - as an example of how Disney has a habit of backtracking their own progress. Bartyzel also provided accounts from mothers who support her claim by expressing that their daughters’ behavior had been shaped by princess culture. Additionally, Disney routinely overshadows the darkness of traditional fairy tales with overly idealistic narratives and has a history of depicting harmful racial stereotypes, problematic female characterizations, and unrealistic storylines (Bartyzel, 2015). Bartyzel examined these stereotypes and problematic characterizations with the design alterations made to Disney princesses; specifically, princesses of color. Finally, Bartyzel reinforced her argument by conveying that women are diverse and to overlook these differences affects how young girls view themselves. Bartyzel’s professional presentation, the various forms of evidence, her counter-arguments, and her examination of the different issues tied to princess culture helped convey a strong argument.
Disney makes over $3 billion on their Disney Princess products every year and now have over 25,000 items in their princess collection (Orenstein 2). Disney has played a big role in shaping not only societal viewpoints on what young girls should like, but also what little girls believe they should enjoy as well. Gender stereotypes have been around for a long time, but now with technology advancements, such as media in western society is able to play a bigger than ever role in influencing people’s perspectives. Not only do we see gender roles and stereotypes in television shows, but also in advertisements and in children’s toys. Although many readers of Peggy Orenstein’s “What’s wrong with Cinderella” have argued that the princess culture is corrupting today’s young girls and making them more dependent on men, a closer examination shows that many girls grow out of the princess phase with no negative repercussions and choose whatever passions they want.
Patriarchy is a social system where men dominate and govern most of the world’s economical, educational, familial, health, political, and religious systems. This political social system that insists that males are inherently dominating, superior females, has been taking it toll on different demographics. To maintain dominance, men exude their sensitive, inferior “masculinity” through various forms of psychological control, manipulation, violence, and terrorism. The subservient role-playing woman has to orchestrate to patriarchal chime by being nurturing, obedient, passive, and weak
What young girl does not dream of becoming a princess and living in a castle happily ever after? Virtually every young girl identifies with princesses and has watched at least one Disney Princess movie. From the first movies of Snow White and Cinderella, to the later movies of The Little Mermaid and Beauty and the Beast, to the most current movie Moana, Disney Princess movies permeate not only the movie theaters, but also our culture. In fact, “becoming a princess is as easy as purchasing a tiara and hosting a princess-themed birthday party or buying a Halloween costume and playing pretend” (Garabedian, 2014, p. 23). Nonetheless, as declared by Princess Merida in the movie Brave, “there comes a day when I don’t have to be a princess. No rules, no expectations. A day where anything can happen. A day where I can change my fate” (Andrews & Chapman, 2012). In other words, does the life of a princess measure up to the expectations of little girls everywhere? The Disney Princess brand has grown incredibly popular, especially with young girls. In spite of this, the franchise has also become extremely controversial due to potential gender stereotypes in the films. “Gender is one of the most discussed topics in today’s society…[it] represents and also reproduces certain attributes, expectations and roles which are associated with male and female…influencing the views and opinions of future generations” (Maity, 2014, p. 31). Yet, is the Disney Princess brand harmful to young children due to gender stereotypes? Two essays that contemplate the Disney Princess brand and gender stereotypes with opposite viewpoints on this controversial issue are “Girls on Film: The Real Problem with the Disney Princess Brand” by writer Monika Bartyzel and “In Defense of Princess Culture” by writer and mother Crystal Liechty. However, Liechty’s essay “In Defense of Princess Culture,” is the most effective article in convincing the audience of her point of view due to the claim, support, warrant, language, and vocabulary employed.
Throughout the world women are depicted to be oversexualized among forms of media such as video games and comic books. The idea of oversexualization towards female characters is that they have been often drawn and animated in hypersexual ways. Even going as far as viewing them as a sex object, their revealing body images are eye candy through the eyes of men. Hence women found in comic books and video games are frequently emphasized by their excessive physical appearances, objectification, portrayal, and character role.
Masculinity, a seemingly simple concept. Yet, when examined more closely, it is clear that masculinity is constantly changing in its definition as well as in its most basic essence. Throughout the years, one can see this evolution firsthand by looking back at the men who have been portrayed in popular media in the United States of America. From the suave Don Draper types of the 1950s to the more casual, educated, and easygoing men- with perfectly chiseled abs, of course- that are portrayed in media today, the difference is clear. This drastic, yet unsurprising, shift in ideals, as well as the exponential increase of media consumed every day, has led to a change in how “masculinity” is perceived, as well as how it is enforced by society in the modern day. Alarmingly, this trend has led to the birth of so-called “toxic masculinity”, a bastardization of the original ideas behind masculinity which has created an enormous, detrimental effect on society as a whole. As defined in the article The Difference Between Toxic Masculinity and Being a Man, toxic masculinity is “manhood as defined by violence, sex, status, and aggression. It’s the cultural ideal of manliness, where strength is everything… where sex and brutality are yardsticks by which men are measured,” (O’Malley) This is a clearly displayed truth, and it’s astounding to see how even from a young age boys are taught not to show emotions other than anger, conditioned to believe that being “like a girl” is the worst possible
First, hegemonic masculinity is the ultimate description of a male and anyone who does not fit this description is seen as inferior and unworthy (Kimmel, 2012). In America, the hegemonic men are described as being white, middle class, married, straight, church going men that provide for their families (Kimmel, 2012). The problem with hegemonic masculinity is that it is largely unobtainable and is more of an idea that is held up because many may never achieve it (Connell and Messerschmidt, 2005). People that don’t feel like they fit the standard definition of hegemonic masculinity still feel like they have to subscribe to it in order to avoid being degraded or
In order to fully understand a more in depth evaluation of both why and how men conform to this social phenomenon, one must know how hegemonic masculinity is defined. This term was made popular by Connell’s work Gender and Power which critiqued the male social role and how hegemonic masculinity has developed (Connell 830). Scholars agree that hegemonic masculinity is characterized by “being emotionally detached and
Once upon a time in a land not so far away, the society of man created the idea that it was a woman’s job to conform to the ideologies generated in fairy tales. From women depending on their prince charmings all the way to romanticized sexual abuse and lack of consent, stories like Cinderella and Snow White radiate sexism within an array of scenes of the stories and films. Not only does this affect the way that men view women, but it has had a relatively negative effect on the ways that many women view themselves. Many fairy tales have made their way into mainstream culture, and today many young girls and boys grow up hearing and seeing the subliminal messages in fairy tales. As more and more fairy tales make their way onto the big screen, it can be seen that all princesses seem to share a common feature other than their crowns and lack of self worth without a man by their side; their tiny waists. In recent years during the 21st century more and more people in the media have been calling out fairy tales for their anti-feminist attitudes with sexism, body standards as well as societal comments about women being dependent on men.
In contemporary society, hegemonic masculinity is defined by physical strength and boldness, heterosexuality, economic independence, authority over women and other men, and an interest in sexual relationships. While most men do not embody all of these qualities, society supports hegemonic masculinity within all its institutions, including the educational institute, the religious institute and other institutes which form the ideological state apparatus.