| The most famous models, artists and actresses like Gisele Bunachen, Yamila Diaz, Laetitia Casta, Kate Moss and Carmen Electra are presented as the epitome of a woman's body. They are professional runway models for chic designers who grazed the covers of numerous fashionand fitness magazines. By popular culture's standards, these models envelope what is considered adored by society?
The metaphor "36-24-36" symbolizes the ideal measurements of a woman's body--- bust, waist, and hips. The actresses and models referenced above have these exact or similar measurements. Unfortunately, it's an unpeaceful metaphor because not every woman can attain this "voluptuous" shape. Instead, many women may perceive their bodies as their own"worst enemy." A small amount of research has been conducted outlining the parallels between woman and these images. From research collected over a twenty-year period, sociologist Dr. Jean Kilbourne says these advertisements do affect women in profound ways. However, Kilbourne, who has analyzed numerous advertisements content argues: "almost everyone holds the misguided belief that advertisements don't affect them, don't shape their attitudes, don't help define their dreams" (Kilbourne 1999: 27). The question can be redirected: What types of messages are being delivered to influence women?
"Thin is in!" is a metaphor that reverberates through magazine and print advertisements. Magazine covers visually represent the airbrushed stereotypical values imposed upon women. The most recent issues of Cosmopolitan and Elle display demure women virtually free of cellulite. These women are slim, tall, and attractive by society's standards. What is "thin" and "attractive"?
What if advertisements had the following warning label: "Warning: this woman eats less than 600 calories per day and the digital images is actually superimposed and modified for your viewing pleasure? "
Kilbourne argues that it is through these idealized images those women are encouraged to make self-destructive decisions.
"No wonder it's hard to find a woman, especially a young woman, in America today who has a truly healthy attitude towards her body and toward food" (Kilbourne 1999: 135). The images are blatant. The images are destructive. The images have a strong effect on women altering their perceptions of their own bodies and what society expects of women.
Critics and advocates alike debate the effects of advertising on impressionable women. However, both sides conclude that many of "these images certainly contribute to the body-hatred so many young women feel and to some of the resulting eating problems, which range from bulimia to compulsive overeating to simply being obsessed with one's appetite" (Kilbourne 1999: 136).
As a personal anecdote, a childhood friend recently confided that she had suffered from anorexia. I couldn't believe that my sweet mannered confidant voluntarily inflicted extreme torment on her body. When she was asked why she decided to starve herself, she said it was hard to compete with other women who were thin and attractive at her university. Her plight was between her internal body image and the scale. The more weight she lost, the more compliments she received from the opposite sex, she said. She thought that being "thin" had made her more socially accepted by society's standard of "thinness." At the worst stage of her disease, her 5'10" frame weighted 98lbs. Before anorexia, she weighted 150lbs.
Why did she need to change her body so that it became malnourished and sickly thin? Why did she think that she felt better about herself when she lost weight and compulsively exercised?
Anorexia is a psychological disorder. "Anorexia is both the result and a protest against the cultural rule that young women must be beautiful. In the beginning, a young woman strives to be thin and beautiful, but after time, anorexia takes on a life of it's own (Pipher 1994: 174)." My friend became society's victim. She thought society wanted her to be beautiful although it involved starving herself.
When young women journey to find their selves, some are easily influenced and insecure. The metaphor of "thinness equals beauty" is accepted. These women view tangible success by equating thinness with acceptance.
Visiting a public high school in Ohio, many young female students walked down the crowded halls in a midriff baring t-shirts and flare blue jeans. Like The Day of the Triffids their paper-thin bodies and wispy arms engulfed the hallway. Unlike the science fiction classic film, the women looked exactly like the young women on the cover of Teen, Seventeen, and Young and Modern magazines.
It's an advertiser's dream. What happened to wearing clothes displaying one's individuality? The fact remains---impressionable women are influenced by the contrive concept that attractiveness equals thinness. The images are channeled through the bombardment of media prevalent in daily life.
Multi-billion dollar pop singer, Britney Spears has become an icon of American culture. In a New Business News survey, Britney Spears was the most searched phrase on America On Line (AOL) in 2001. Posing for Rolling Stone, Cosmopolitan, Vogue, and New Woman magazine covers, critics say Spears has outgrown the "girl next door" persona. Instead, they argue that Spears is a "contrived manicured pop creation" (Vernon 2002: 17). However, many of Spears' supporters call her "sinfully sexy" (http://www.aol.people.com).
Much of Spears' success can be attributed to her "pretty face" and relentless marketing campaigns. Adolescent girls emulate her. Is Spears what impressionable teens view as the pinnacle of American society? She scoffs at role model status, yet beneath the layers of make-up and dance routines--the mantra exists. "If one has a thin body, then one is beautiful."
If the typical child watches 28 hours of television and 385 commercials per week, its difficult to ignore the messages delivered via advertisements. As Jean Kilbourne has proclaimed for decades, advertising does influence audiences. In one of her books, Deadly Persuasion, Kilbourne says: "If you're like most people, you think that advertising has no influence on you. This is what advertisers want you to believe. But, if that were true, why would companies spend over $200 billion a year on advertising? Why would they be willing to spend over $250,000 to producer an average television commercial and another $250,000 to air it?" (Kilbourne 1999: 33-34).
Kilbourne's research indicates that advertising affects personal decision-making. There are several ways that advertising persuades us to think and feel a certain way in order to be accepted in society. "Almost everyone holds the misguided belief that advertisements don't affect them, don't shape their attitudes, don't help define their dreams" (Kilbourne 1999: 26).
Objectification of Women
Objectification of women is a prominent phenomenon misrepresented in modern society. The female gender is presented as a "tangible being," not a person with the ability to be independent, in control, and as strong as her male counterpart.
Music as an entertainment medium has many illustrations of the "dependent, submissive female." Since the emergence of Music Television (MTV), music videos are an important component to music promotion. However, women are misrepresented in videos with stereotypes (Gunter 1995: 28).
A recent study found that countless music videos depicted submissive, passive, physically attractive women as "decorative objects" in concept videos. "Men, on the other hand, were in control of the presented relationships" (Gunter 1995: 28). Focusing upon concept videos, in which more than fifty percent of the screen time was devoted to a story, dramatization or narrative and not to performance, character portrayals were analyzed to reveal a number of gender differences. Gunter's major findings:
• Men were represented in 75 percent of the solo acts and 82 percent of group acts.
• Women were portrayed in a condescending manner. The woman was presented as less than a person. Females acted in roles like the "dumb blond, the sex object or the whimpering victim."
• When women were not acting out the above stereotypes, they were in a romantic relationship where they acted in traditionally subservient roles (Gunter 1995: 30).
With 6 out of the 10 top spots on the Billboard Music chart occupied by male artists, it reinforces the idea that men are more dominant in music videos.
The "sex object" metaphor is defined as an individual who is regarded primarily as the focus of sexual attraction. Many women in these videos are depicted under this casting light. They are "decorative objects" that enhance the visual image presented in these videos.
In several rap music videos currently on MTV rotation, women are depicted contemptuously. In the Marshall Mathers' (Eminem), "Without me" music video the introductory montage presents the signer underneath the covers with two curvaceous women. What message is the viewer perceiving wit h the juxtaposition of these images and lyrics? Feminist advocates would argue that this demeaning portrayal does not enhance a sense of equality and respect towards the female gender. The image represents these females as low-class, inferior acts who easily engage in sexual acts for entertainment purposes.
The metaphor extends beyond the Detroit rapper's videos. In other rap videos Puff Daddy, Nelly and Snoop Doggy Dog also stretch the metaphor that women's bodies are "sex objects." These males routinely appears with an entourage of women behind them dancing in revealing attire. Men grabbing women and dancing provocatively are a common spectacle.
In Nelly's "Batter Up" music video the women are dressed in thin bikini and high heels playing baseball. While it intent may be visually aesthetic, the message is blatant. What type of message is represented in this scene? Clearly, if the women were actually playing baseball, it would be rather difficult to field a ball while wearing stiletto heels, don't you think?
Although some men use the stereotypical image to promote their careers, woman also embrace the "sex object" concept. Britney Spears' videos have enhanced her popularity by her seductive wardrobes and sensual make up. In her music video, "Oops, I did it again," she dances in a single piece, red vinyl body suit. In another video, she wears a bikini and cut-off jeans on the beach.
In Kyle Minogue's "Can't get your outta my head" video, she's in a sheer white t-shirt. While dancing around enticingly, she sings "Boy, your lovin' is all I thinking about." Feminist advocates would argue that viewers are encouraged think about sex.
The metaphor that these videos propagate is that the female should still be viewed as an "object of desire" and "inferior to men."
Beer commercials also extend stereotypes and gender inferiority metaphors. In one beer advertisement scenario, three men sit on bar stools in a pub. Before sipping the froth off their mugs, a women wearing a tight black dress walks by diverting their attention. The group mutters a few words as she walks by before one man captures her attention. The distraction prevents her from entering the woman's lavatory. A bit embarrassed, she slides through appropriate door. The commercial ends with the beer manufacturer's logo and jingle. Playing the role of "dumb woman" in this vignette, the woman is easily distracted and doesn't recognize her mistake until the lavatory door closes.
Other alcoholic beverages utilize sexuality and the objectification of women to promote products. According to Kilbourne, this concept isn't old. Print advertisements for Kahlua liqueur depict scantily clad women at a cocktail party. In another erotic ad, a milkmaid lasciviously pours milk over her leg with the subtext of "anything goes" (Kilbourne 1999: 243).
Music videos and beer commercials are not the only forms of entertainment that perpetuate unpeaceful metaphors. Television advertisements warrant s scrutiny. A study conducted by the National Organization for Women (NOW) of 1,200 television commercials that were content analyzed over a period of one-and-a-half years by 100 NOW supporters in 1972 yielded the following: "Of these commercials, over one third represented women as domestic and dependent on men. Over 40 percent of the commercials portrayed women as housewives promoting household cleaning and kitchen products" (Gunter 1995: 34).
Although women are more prevalent in car and cosmetic commercials, this gender stereotype is still used today. Notwithstanding the fictitious advertising character, "Mr. Clean," women still advertise numerous bath tissues and paper towel brands. Women are still pigeonholed into traditional gender role portrayals. Statistics, however, indicate that more women seek outside opportunities outside the home, even though the number of full-time parents has increased significantly over the past two decades (2000 Census).
Television programs also propagate stereotypes, particularly in the female sex. Lisa Kudrow's character on the sitcom, Friends, depicts "Phoebe" as a stereotypical "dumb blonde." Courtney Cox's character, "Monica" embodies the stereotypical woman as "obsessed with organization and cooking."
The award-winning sitcom is not the only show that has undertones of stereotypical roles. WB's Seventh Heaven, attempts to represent the "wholesome, well-rounded family." The teenage character, actress Beverly Mitchell's character, "Lucy," is obsessed with adolescent magazines and boys. Are the majority of teenage girls fixated with these obsessions in American society?
Conclusion
The metaphors highlighted in the preceding sections are phrases are identified by sociologists as items used to corrupt impressionable women. The repercussions of engrained ideas disrupt the progressive natural discourse of the female gender in numerous ways.
Certain metaphors encourage women to conform to unrealistic standards. By urging women to believe that she will be accepted only on the basis of her body's size hinders self-confidence and self-appreciation. Sociologists declare that society continues to perpetuate standards causing women to hate their bodies. Women have naturally different body sizes and shapes. Yet, advertisements encourage women to perceive their bodies as their "own worst enemy."
Some common metaphors found in advertising media disrupt women's perceptions and thoughts. The plethora of advertising, women are cowed to believing that these portrayals are accepted. Women mutate their bodies and alter their mannerisms to conform to this standard. Anorexia is one psychological problem stemming from the concept that "thin is in." If the same image pervades, women who do not easily conform to this standard feel that they are outcasts. Conversely, the image is detrimental to women who seek comfort in their own skin.
A number of metaphors perpetuate stereotypes. The images of women "objectified" in a sexual manner do not contribute to women striving to be independent. Many sociologists say images of women in stereotypical roles are not positive. They argue that by depicting women as "dumb," chauvinists fail to embrace women as intelligent and dignified counterparts. Sociologists like Kilbourne, Gunter, Pipher argue that these ingrained stereotypes will take direct and targeted effort to produce change. |
