‘To what extent do you agree with Judith Butler’s theory that Gender roles are socially constructed? Use examples from the media in your response.’

Within the Media, both traditional and modernized values reinforce Judith Butler’s theory that gender roles are constructed. These ideologies can be conveyed through various platforms as a way to reinforce the distinct link between females and males interests and hobbies.  Yet, this gender differentiation used by institutions, can be connoted as providing the audience with traditional iconic stereotypes that our society has become use to. However, as society has become more diverse, these stereotypes can be thoroughly challenged as institutions take pride in displaying outdated stereotypes as a way to attract a majority of older and younger targeted audiences.  These main media platforms include moving image, such as; series, films and even television advertisements.

Initially, Perfume adverts have one of the highest reinforcements of Gender roles and representations seen on television, mainly because of institutions aiming to target both men and female. One of these adverts that reinforce Butler’s gender roles is the Paco Rabane, 1 million fragrance commercial. The way the institution clearly has an advert differentiated for both female and male fragrances can reinforce the idea of gender being socially constructed because of the different representations and props used in both adverts. Whilst, this could also create an oppositional reading that by having two different advertisements, the institutions are clearly targeting and entertaining the different audiences with different perspectives, further attracting a diverse audience.  During the male version of the commercial, the institutions mainly focus on a ‘typical’ dark haired white actor (attracting the female audiences (voyeurism, Laura Mulvey)). The use of the model being of a coacaisan background, links to Edward Said’s theory of orientalism (east vs. the west) as the white couple within the advertisement reinforces the idea that the west is seen superior to the east. The equilibrium starts with a close up of the actors face. Whilst, top lighting and back lighting is also used to accentuate his figure and highlight his dominating expression, making him almost seem intimidating. This then subverts the stereotypes of white men being conveyed as menacing. Then throughout the disruption we get a variety of close up images of him clicking his fingers. When he clicks his fingers the audience views close ups of dice dropping and him playing at a casino. This then reinforces how men are stereotyped to desire the power of money. Whilst, the medium shot where a women’s hands envelopes his bare chest connotes how desirable he is, making male audiences aspire (Blumler&Katz) to be like him. The props included such as fast cars, paparazzi and women reinforce the desired but unrealistic life men want. This is conveyed by his branded clothes and how he dominantly struts around, posing in front of the camera. The institutions have conveyed him to seem almost threatening to other men, dominating and ordering. Whilst, by the click of his fingers he can be portrayed as making women beg at his knees and undress in front of him, further reinforcing the Butler’s theory, as throughout the age’s men have been conveyed to be overbearing and desired by vulnerable women. This further sexualizes them and making them looks predominantly weaker than men. The institutions reinforce this as a way to sell their fragrance, syringing (hypodermic model) the audience psychographic with the idea that if they buy this perfume, just like him, they will be powerful and enviable.

 

 However, the social construction is then reinforced during the Lady million advertisements.  The female model is taking more of an independent role by the way she is conveyed as desirable, yet out of reach by men as she clicks her fingers and makes them disappear. She similarly, owns expensive cars and has paparazzi flashing camera in her face. Yet, the social construction bears in as instead of clicking her fingers for more dominating related items, she orders shoes, diamonds and short Charleston type dresses. This then further emphasizes how stereotypically femine and ‘girly’ she is, whilst these props are iconic symbols of defying women’s stereotypical interests. The shot of the gambling machine display’s hearts instead of dollar signs, like seen in the male version of the advertisement, further reinforcing the vulnerable soft-hearted female looking for love. Whereas, her ditzy open mouthed expressions and curly volumised bleached blonde hair, traditionally stereotypes herself as airheaded. Especially, when she giggles when the male actor appears during the equilibrium, almost making herself look inferior to him. Towards the resolved ending of the advertisement, the female contradicts her playing hard to get as she’s swayed by the good looking male actor as he proposes to her and she accepts. Yet, within the male version, the actor displays no functional relationship with the women, further conveying the traditional values of women wanting to depend and settle down with a man and having a family.

Another way genders have become socially constructed is within the form of television series. An example of this would apply to British shows, such as: Doctor who. The protagonist (Doctor who) is stereotypically displayed as the dominating male figure, who is always depended on for saving the world. This is conveyed in one of the episodes as he says: ‘it takes one man to save the world’. This could then reinforce the idea that saving people is considered ‘manly’ as men are connoted as being much more ‘powerful and strong’. Whereas, the doctor has all female companions who are portrayed to be quite airheaded and vulnerable, whilst fully desired and dependent on him. The oldest one, Sarah Jane is always represented as waiting around for him to visit, making him almost the centerpiece of her life. She tells her family stories about him, and focuses her life around the good old days when she used to travel with him. Nonetheless, this reinforces the traditional gender stereotypes of women being dreamy and fantastical, always relying on their man of their dreams. Another of The Doctors female companions was Rose Tyler, who was conveyed to be the typical ‘white chav’ who lived on an estate with her mum, living by her humorous ways (Alvarado’s theory) and hopeless dreams for the future. This can be stereotypically reinforced by her blonde hair and blue bomber jacket.  Although, she was represented as The Doctors one true love, subverting the idea that Rose was his drive in life, she was fully represented as a morose character, driven by his affection and travel. This could then lead to the preferred reading of this being because it gave her a sense of escapism (Blumler&Katz), away from the reality of her life back home. However, an oppositional reading could suggest that him being her weakness, lead to the carelessness of her death. Nevertheless, reinforcing the stereotypical representation that a female’s vulnerability of love can almost be self-destructive.

Similarly, this relates to the American series of Nikita. Where unlike, Doctor Who, the women seem to be represented with more of a dominating powerful role. The series focuses on the Protagonist Nikita, a rogue agent. Within each episode, the institution focuses on her rogue missions where she orders her followers at her command and successfully accomplishes missions. Yet, her weaknesses have been recently establishes, such as; her emotional attachment to her co-workers, friends (Alex) and her fiancé. An example of this is: “Is it because I care too much. That’s the only thing that doesn’t make us different from the rest of the world” when her fiancé gets shot. Another example of this is how she reroutes her missions due to her love for her family and friends, resulting in the antagonists using this against her by killing and kidnapping the ones she loves. This similarly reinforces the susceptibility of females that they aren’t as stereotyped as strong a men.

Lastly, Moving image is a very dominant way for institutions to represent gender stereotypes. Rom-com’s are probably the most defiant genre for this as it not only targets more of a female audience, but allows understanding from the different generic perspectives. An example of a Rom-com that stereotypically challenges Butlers idea of social construction is ‘The Backup Plan’ focusing on Zoe (Jennifer Lopez) who is represented as being an independent women, who owns her own company and does very well for herself  within the heart of New york. The equilibrium focuses on her making the decision to get artificially inseminated, subverting the traditional values of women needing a man to start her family. The disruption then occurs when she falls in love with Stan (Alex O’loughin), a farmer, a maker of cheese who is resitting college. In contrast, this then subverts the representation of men being the breadwinner within the family. This is emphasized as Stan worries about not being able to support Zoe- ‘Zoe, I’m still at school, do you know how much schooling costs here. I don’t know how I can support you’ and she has to reassure him she has money saved, further subverting his dominance. Yet, the institutions then represent a degradation of her independence as she constantly worries and looks for signs where he’s going to leave her. This reinforces her dependence on him, as she asks him for advice and confides him about the death of her mum and the disappearance of her father. When she then loses him, she crumbles until she makes up with him and accepts his help. This is further emphasized when her friend Mona says, ‘I never thought I’d see the day when you finally depended on a man and settle down” .Overall, this reinforces the stereotypical ideologies of women needing a man in her life to live. Therefore, relating to Butlers theory.

However, this is then similarly represented By Andy Tennants Rom-com, Sweet home Alabama, where protagonist Melanie Smooter leaves her husband to become a New York Socialite and becomes engaged to a barrister in New York. The equilibrium and disruption occurs when she goes back to her home town to force her ex to sign the divorce papers. During the equilibrium, she is represented as quite respected, by being her own boss. Her independence is reinforced by the use of background actors who are at a socially lower ranking then her. For example, the two men opening the shutters of the shop behind her as she walks down the street. This then subverts Butler’s theory and the stereotypical representations of a ‘blonde American’ becoming rather successful. Whilst, reinforcing the idea of Mcrobbies theory of empowering women as she’s predominantly taking a more dominant role.  However, as she flies back home, her independence is subverted on several occasions. An example of this is when she gets drunk and makes a fool out of herself in their local pub. Her ex then has to carry her home to bed, reinforcing the ideas that a man is needed by women for protection and that he’s the more mature older man. This then links to their childhood when he protects her from a shooting star, further reinforcing him as the protector- ‘don’t touch the fire, it’s too hot for you” and how he wants to marry her so he can ‘can kiss you anytime I want’. Further portraying a girl’s dream of love. This then emphasizes the traditional stereotypes of each gender and how they are represented throughout American films. Whilst, the way the narrative is taken from the female perspective further reinforces the stereotypical weakness of a women.

In conclusion, I believe gender differentiation have been stereotyped as a way to establish the traditional values of both gender roles. However, I believe that doing this isn’t purposely done to compare both men and women, but give audiences of both genders their own originality and authenticity. However, to some extent, institutions go too far by differentiating audiences, leading to confusion and sexism that should be eradicated.