Gender and Sexuality Flashcards
(12 cards)
How do symbolic interactionists view media representations of men in the public sphere, and why might these be harmful?
Symbolic interactionists argue that the media public sphere (TV, film, music) promotes stereotypical portrayals of men—e.g., ‘the joker’, ‘the jock’, ‘the strong silent type’—which discourage emotional expression. A 1999 study (Children Now) found over ⅓ of boys had never seen a man doing domestic chores on TV. Connell’s concept of hegemonic masculinity—emphasising stoicism and toughness—suggests these portrayals may cause men to avoid seeking help, contributing to mental health stigma. However, increasing representation of single fathers hints at a slow cultural shift.
How does the ‘masculine myth’ and media portrayal of violence reinforce harmful gender norms?
Interactionists argue that media normalises the idea that masculinity = strength and aggression. Easthorpe notes this myth is widespread in films and games, with the action hero as an ideal men can’t reach but internalise. McNamara (2006) found 80% of male media depictions were negative, often showing men as violent thugs. These portrayals marginalise emotionally expressive male roles and uphold the false idea that violence is biologically natural for men, limiting emotional diversity and reinforcing toxic norms.
What is retributive masculinity and how do media representations sustain it?
Retributive masculinity refers to the media-fuelled reassertion of traditional male dominance, popularised by lads’ mags like Nuts and Loaded in the 1990s–2000s. Pluralists argue this reflects consumer demand. These portrayals symbolically relegated women to sex objects and reinforced masculine ideals like “birds, booze, football” (Rutherford). Beyond print, shows like Top Gear promoted laddish culture. Edwards adds that such portrayals encourage male consumption (e.g. gym supplements, grooming), constructing masculinity through power and appearance, reinforcing outdated norms and emotional suppression.
How does symbolic annihilation in traditional media support the view that media representations of women are outdated?
Tuchman argues women are symbolically annihilated—either invisible or reduced to roles like sex objects or housewives. Pluralists claim this reflects societal attitudes. E.g., sports coverage downplays female achievement, and shows like Loose Women trivialise female voices. Cochrane (2011) found 84% of BBC Radio 4 Today guests were male, reinforcing men as breadwinners. Becker (Interactionism) suggests this lack of female role models may create a self-fulfilling prophecy—women internalise low expectations, limiting their ambitions and societal roles.
What role does the male gaze and beauty standards play in shaping women’s media representation?
Mulvey’s male gaze theory argues women are portrayed for male pleasure, especially in film and tabloid media. The 2012 Just the Women report found national newspapers objectified women’s appearance. Wolf describes how media promotes unattainable ideals (thinness, beauty), reinforcing the beauty myth. Orbach links this to eating disorders, and Banyard found that just 5 minutes of exposure to idealised bodies lowers female self-esteem. These objectifying portrayals sustain patriarchal values, suggesting female worth lies in appearance.
How has symbolic annihilation persisted in new media, and what are its effects?
Despite the interactive potential of new media, Dietz (1998) found 41% of video games excluded women, while 28% portrayed them as sex objects (e.g., GTA). Online spaces often reflect sexist values—Diane Abbott received racist/sexist abuse in the 2017 election, and 45% of hate comments targeted female politicians. Green & Singleton note that platforms like Mumsnet reinforce traditional roles (e.g., emotional labour). Thus, digital media still symbolically annihilates women, shaping both public perception and potentially even political participation.
How does the media render homosexuality invisible, and why is this harmful?
Interactionists argue homosexuality is often invisible or reduced to token appearances, creating anxiety and reinforcing heterosexual dominance. Batchelor found lesbianism is shown only briefly before returning to heterosexuality. Dyer noted stereotypical signs of ‘gayness’ are exaggerated, making queerness visible but mockable. Craig highlights how gay men are stereotyped as deviant or predatory. This can lead to labelling (Becker), social exclusion, and bullying of those who do not conform to heteronormative expectations.
What is symbolic annihilation, and how does it affect LGBT media representation?
Symbolic annihilation refers to the media ignoring or misrepresenting LGBT identities. Stonewall found that out of 126 hours of programming, only 5h43m focused on LGBT issues, and just 46 minutes portrayed them positively. LGBT characters are often confined to the trope of the likeable, unthreatening, middle-class ‘gay best friend’ (e.g., Sex and the City). This restricts role models, limiting accepted sexual identities and reinforcing a narrow, often oversexualised or comic view of LGBT people.
How has media generated moral panics around homosexuality and what impact has this had?
According to Cohen, moral panics exaggerate deviance to reinforce social norms. Homosexuals were portrayed as morally deviant, especially during the AIDS crisis (‘gay plague’). Cricher noted media bias in AIDS coverage, framing the LGBT community as the problem. This aligns with Hall’s idea of Othering—portraying groups as deviant or different. Though EastEnders countered this by showing a heterosexual character die of AIDS, overall media depiction intensified stigma and fear.
What evidence suggests positive change in LGBT representation in media?
There’s growing diversity in LGBT characters, especially on US TV (e.g., Grey’s Anatomy, The L Word), including transgender and lesbian portrayals. In 2020, CBBC aired a kiss between two girls on The Next Step, praised by LGBT organisations. These representations help young viewers feel seen, normalising diverse sexual identities in mainstream content and reducing stigma.
How has the rise of the ‘pink economy’ affected LGBT representation in media?
The pink economy recognises the LGBT community as a lucrative market, particularly gay professionals with disposable income (the ‘pink pound’). Companies increasingly court LGBT consumers through inclusive adverts, especially during Pride Month (e.g., M&S’s ‘LGBT sandwich’). Critics argue this is often pinkwashing—a superficial PR tactic—but it does signal commercial and social acknowledgment of LGBT identities in public culture.
How has new media empowered LGBT communities and challenged stereotypes?
New media allows user-generated content and citizen journalism. LGBT organisations (e.g., PinkNews) support identity formation and resistance. Hashtags like #LoveWins (used by 3.2M people in 2015) showed mass mobilisation around same-sex marriage. However, 56.6M homophobic tweets tracked between 2012–15 highlight ongoing hostility. Still, new media gives LGBT individuals a voice, often missing in mainstream platforms.
