The Womans Role in the Visual Adverts and Media with its Impacts - Report Example

Title: Sex and Film Student’s Name: Instructor’s Name Institution: Course: Due Date: Introduction Media and film are a taking tore all across the age divide in the contemporary society. Visualmedia has been found to having a bigrole in shaping of behavior, attitudes, and morals of people more so the young generation (Greeson, 1991, p. 1908). Television has a metamorphosis and is currently viewed as a teacher rather than a mere entertainer or informer and source of information to timid young adults (Chapin, 2000). However, the plight of women in the visual world is not understood and the female body sexual misrepresented by the media and film industry. This amount to bringing sex to media but not in the very explicit sexual sense in portrayals of intercourse or nuditybut involvesillustration that depicts or infers sexual actions, attention, or drive. Sex is widespread in promotion and ads for many for products like perfume, cologne, after-shaveor even for tires, vehicles, and kitchen sinks (Reichert and Lambiase2003). Post-Feminism: TheWoman’s Role in the Visual Adverts and Media With its Impacts According to Gill (2007), post-feminism is best not to be understood as an epistemological perception or as a chronological shift and backlash but considered of as a sensibility and responsiveness. It therefore calls for a critical look unto media by scholars and researchers. Gill further suggests that post-feminism should be multi-faceted including a feminist, a postmodernist and constructionist outlooks and pursues to observe the characteristic present-day articulations gender and media.  Post feminism comprises a number of aspects. These include the concept that femininity is a physical property; the move from objectification to subjectification the prominence upon self-surveillance, monitoring and chastisement; a focus upon individuality, choice and consent; the supremacy of a conversion paradigm; a revival in ideas of accepted sexual dissimilarity; a noticeable sexualisation of culture; and an emphasis upon consumerism and the commodification of difference (Ward, 2003). The Artificial Implication of Women The female beauty that surrounds product consumers is hard to come to the real world due to its lack of authenticity and touch of reality (Jean Kilbourne).  The images portrayed are as a powerful computer tools, studio lights and air brushing.Morover the models in the ads industry present only a small percentageof women at only 5% with characteristic erotic bodies of, long legs and narrow hips however due to pressure most of these bodies are subject to the current body shaping expensive technologies i.e. breast and butt implants. But despite of its statistical bias it is the common female body seen in the media.  This has led to a trend of laying an artificial an beauty standard upon which the female gender is now judged upon with most women in the present-day society now feeling to be beauty under-achievers leading unhealthy dieting.in the media, therefore, the woman is now changed and brought a view of a doll rather than a n original being and she is subject a number of manipulation in order to fit the modern, though false, standard of beauty. Disintegration  Women portrayal in media adverts is highly dehumanized to an artificial state whereby she is disintegrated to individual parts that can be manipulated at individual level hence losing her whole intended being i.e. of lips, limbs, breasts, butts, chests parts some of the images may lack the head which is an utter disrespect to their intellect but rather portrayal of women as tools of interest for their curves and external look. Hence women become like objects for consumption rather than human beings with a reasonable intellect when their body parts are dismembered (SutJhally) i. Commodification Women have been misrepresented as being of providing pleasure with some products in the market being symbolized to some female body parts e.g. alcohol beverages and cologne making the women and the product(s) in question interchangeable equals of pleasurable capacity.  ii.  The Feminine Touch  Erving Goffman contends that females have been depictedunreasonable and impractical by media .they are seen as to be disengaged utilitarian chores unlike for being tender, soft and delicate. iii. Relative size Body displays are communication tools as they tell the audience of a person’s orientation to agiven stimuli. Goffman in his work argues that “interactionism behavior”, an individual's conduct and appearance can be communicative and emblematic indicating their social identity and plight social identity, their inner situations, moodspurposes and prospects and their interpersonal interactions. He further indicates that the shown images hence become culture indicative codes for women various social and personal aspects and attributes. For example when females and males are shown together, males are typicallydepicted taller than females, on the contrary of which it shows that the tall woman has power over a short man in display hence become an indicative code. vi. Ritualization of Subservience Goffman defined a number of emblematic manners in which are revealing conduct displays the subservience of ladies to males. They are: The Kiss: ladies are commonly shown at a lean-back position, succumbing to the male’s approach. Male are however, depicted as the initiators of an encounter while the female are passive and on the receiving end.  SutJhally's study of MTV videos concluded that are not aggressively coaxed numerous by males but that, they themselves depict signs of wanting to be chased.  Their preliminarydenial is depicted as a mask hiding the yearning to be pursued and is often finally subdued and shows a submission to kissing with a burning want and sensation.  These images therefore send a message to the male that the female should be submissive to the former’s sexual aggression.  Licensed withdrawal: Women have been withdrawn from active participation.  They have been looked down upon insteadof beingdepicted as dynamic, commanding, they are shown in a licensed withdrawal manner, uninvolved in internal issues, and stunned with sentiments. The Woman’s Sexualized Dressing The society has often misunderstood more so by men to be sexual advances and perceptions brought forth by women which has led to sexualization of dressing with a belief of sexual intent even the contrary holds true. Reasons that have led to a sexualized clothing are in line with the growing objectification, hence, women’s beauty of late has a been based upon their sexuality and ‘sex appeal’. The media and celebritysensation has flooded the world with sexualized portrayals of women with clothes revealing sensual parts of their body, which has been now been regarded beauty or ‘sexy’ (Aubrey, 2006; Choma, Foster, & Radford, 2007). Hence for a contemporary woman wantsto be considered beautiful then she is compelled to follow suit and adopt such an sexualized cladding. The objectifying fashion brought about by media and modeled ads have resulted to such body-revealing attire to be standard fashion for a modern lady that call for adherence (Wood 1999). Moreover , in the present disempowerment of women has led them being valued on the basis of their looks, hence many find that a sexualized depiction becomes an asset of self-representation to the public (Fredrickson & Roberts, 1997).This makes women lacking options but to turn to being sexual objects in order to create attention from those in power (Ward, 2003). Furthermore, due to the present societal set up, women are mainly praised with regard to how “sexy” they appear, which is very oppressive, rather than being judged or praised according to their inner being or intelect.this has however filtered down to individual levels whereby self-appraisal is based upon once look in pursuit of esteem (Engeln-Maddox, 2006).Hence a sexualized look brings about praises from one’s peers, which an essential ingredient to self-esteem. The Child Sexualization Debate It is impossible to run away from the truth natural innocence is a fantasy and that learning or rather teaching children about them is difficult task full of mystery and uneasy minds (Wittels 1933: 129–130). By finding a scientific-backed process with guidelines on child rearing will be a sure way in teaching children about sexuality.it is conditional that a child well conversant with sexual function makes a sexually proficient adult .Despite the hopefulness on the outcome and the belief of the need to “sexualize” the children this way, it becomes too complex and conflicting since the intended outcome is not assured (Ward, 2003). This unpredictability is articulated in the dilemma of the parents and professionals who provide the teachings, the manner in which to convey good training without propagating indignity and ignorance, or inspiring unsuitable or hasty growth of sexual awareness. The risks of unawareness and sex disapproval coexist with the reliance. A properly trained parent is the best person of assuring a sound mind of a child with regard to sex (Holt 1894: 28). Holt provides a one-dimensional equivalence of “well-trained mothering equal’s well- taughtchild”. This was yet tested by the development of behaviorism propagated by John Watson .he took a limited positive view of the influence the mother (well-trained or not).In his view, mothers were unable to control their indiscriminate love for their children. Here a more concealed worry on entrusting the parents in educating the children became clear. The marginalization of maternal affection was matched by the “desexualization” of the permissible sexual discourse. Reduced to the right knowledge or trivialized as sex play, the absence of the argentic sexual child speaks to the unresolved (and irresolvable?) dilemma. The sexuality of the child was characterized as either inherently present or inherently absent. The identification of the sexual instinct as in need of proper training directed attention away from the possibility of addressing an independent sexual consciousness (Ward, 2003). Similarly, the insistence on training good habits for the acquisition of healthy sexual ideas and on the lack of an inherent sexual capacity rendered erotic independence unattainable in both theory and practice. Yet despite this, both theoretical approaches were committed to a level of sexual enlightenment of the child from a very young age, much younger than is generally thought necessary today (Gamble, 2006). Despite the fundamental differences between the two interpretative frameworks by Holt and Wittels, the striking feature was that they both agreed on the endpoint and the means by which this should be achieved. Both recognized implicitly in their formulation of the problem and the solution, that shaping the direction of the child's sexuality was an essential precursor to sexual stability in as an adult. In both cases the possibility of an inherent and specifically childish sexuality was nullified. At the same time, absurdly, the issue of the child's sexuality, actual or potential, could neither be left to chance nor nature. In both cases, the consequences would be catastrophic for the child-as-adult. In both cases, this sexual potentiality with all its perils was effectively defused and rewritten through a range of strategies, while at the same time avoiding assiduously any negative associations with ignorance or shame. Despite, or perhaps because of, the commitment to scientific training of the child; and to effective translation of expert advice into amateur practice, the child was marginalized; acknowledged only as the passive receptor, not the active agent (Gamble, 2006). Nevertheless, the child's educability and malleability was central in the “cure” for the perceived problems. Knowledge is the key to a healthier future and knowledge here is equated simultaneously with freedom and obligation. In the discourse of development, the normalization of the sexual child it is suggestedto be both conditional and limited. It is conditional on the boundaries of two opposed theoretical assumptions that variously accepted or denied the presence of an inherent force that required direction (Choma, Foster & Radford, 2007). It was conditional also on the view that the future adult could be planned through the present child. Finally, it was conditional on the primary justification for “speaking about sex”; the scientifically sourced advice and the “sacred role” of rearing healthy children for the future.Conclusively, the potential for an open acknowledgement of the sexual child is shortened by the very conditions that allow it to be spoken of as a positive not a negative social phenomenon. The sexual child is discussable only in the context of the pathway to the properly sexual adult, its subjectivity muted and marginalized. Normalization however, can be articulated through the prism of purpose and of the role of the child in the formation of a healthy and well-socialized reproductive heterosexual adult. Sexualization in Music Music videos depict a highly level of sexual graphics and female objectification .it is so unfortunately because media has turned to be the educator for young people hence their tends to be a behavioral inclination towards what’s depicted by their celebrated artists dancers. Male artists objectify women in their videos, but many female artists take part in self-objectification, whereby present themselves in a way that invites the male gaze in a sexualized way. Furthermore, male artists are much more likely to portray women in their videos as “arm candy,” with their only role being to satisfy men’s needs. Some may consider this a form of avoiding the social embargo, where women pick to do with themselves what they want and are proud of their sexuality while others may see this as proof that women are trapped by enduring stereotype and see no other way to be successful in today’s market (Victor C Strasburger). Many critics argue that music videos and performances by pop artists are becoming increasingly explicit and inappropriate for young people. They demonstrate a high level of sexual images within music videos. Moreover, sexuallyevocative non-dance styles and provocative clothes; More explicit categories such as ‘simulating group sex’ and ‘sadomasochism’ were displayed less often.   i. Keri Hilson "The Way You Love Me.": In the video, Hilson plays post-feministrole, gun-tossingladyout to let her into charge. The video's sex factor ascentshastily, as Hilsonremoves clothes one by the other, twisting around as she is singing about her loving her man. ii. Lady Gaga and Beyoncé’s "Telephone”: Lady Gaga is a post-feminist. She portrays women asprevailing, self-governing, even treacherous. The video has a lot to do with sex, sexiness, and sexuality but some scenes portray outrageous sex information through cage-confineboogying, bras and thongs, weightymaquillage, tight and lustrous clothesthat are not pleasing to conventional appetite.  The romance depicted shows lesbianism which is postfeminist in just the way Gaga's makeup and Telephone's prison scenes are.  Notably, it is oriented to both men and women it isn't even really about women with protracted reflection on friendship to force such a flick to be about a team of people. iii. Britiney spears, “I wonnago”: In her dressing (short skirt, showing her cleavage), Britney supports the main argument that women are depicted sexual objects. When she takes out her bra as men desire over her suggest it proves further the notion that women are sexual objects made to please the sexual desires of men. She walks past a man with a bay in one act, they both turn to her, and perhaps suggesting she is still has to play the role of the mother. Further influences of Britney as a sexual object is checked out by men continually and towards the end is “dominated “ by a man as he puts his arms around her. Even though she is outrageously dressed in the music video Britney has power and control throughput and she is placed in position of height which suggest superiority and high significance. She fumbles a man the way men are supposed to conventional do to woman and so she does go against the stereotype. This shows feminist. Conclusion Recurrent disclosure to sexual material can result to desensitization toward vehemence against females. To the contrary do not help teenage boys understand the reality of how to relate to girls and women. Most people believe that othersare more influenced by media and media ads than they are; this is the same holds true about the superficial impacts of sexual media. As society embraces progressively overt sexual constituents, no one is safe from their influence. The stimulus is much more far-reaching than the teenage lad’s transient inclination from playboy. Sexuality is learnt perpetuated by media and media is with us to stay hence some regulation and control is warranted in order to mitigate the harsh perception about women in the contemporary society. Bibliography Berger, J. (1972). Ways of seeing. London, British Broadcasting Corp. and Penguin Books. Chapin, J. (2000). Monkey See, Monkey Do? Sexual Attitudes and Risk Taking among Media Users. Reichert, T., &Lambiase, J. (Eds.), (2003).Sex in advertising: Perspectives on the erotic appeal.Mahwah NJ: Lawrence Erlbaum Associates. Schneider, J. P. (2003). 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