Gendered Structural Inequalities
Feminist Interpretive Framework. Conceptualizing Gender, Structural, and Symbolic Violence. Patriarchal Gender System. Structural Violence. The Media and Symbolic Violence against Women. Gender Representation in Films. Portrayal of Gender in Films.
| Рубрика | Журналистика, издательское дело и СМИ |
| Вид | дипломная работа |
| Язык | английский |
| Дата добавления | 09.08.2018 |
| Размер файла | 72,0 K |
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Overall, in “Stalingrad” soldiers are portrayed according to stereotypical gender traits and any deviation is condemned and even punished by death. The purpose of female characters' is to reveal the true characters of men, be saved, assaulted or both by them. The film promotes gender stereotypes, violence against women, and reinforces victim blaming.
6. Comparison and Discussion
The case-studies of UK and Russia can be compared by genres, as the films from both countries are associated with corresponding genres:
Table 6: Films Correspondence by Genres
|
Genre |
UK |
Russia |
|
|
War Drama |
Dunkirk |
Stalingrad |
|
|
Family-Oriented |
Paddington |
The Three Bogatyrs: Horse Course |
|
|
Fantasy |
Fantastic Beasts and Where to Find Them |
Viy |
|
|
Historical |
Les Miserables |
Going Vertical |
|
|
Adventure |
Spectre |
Viking |
The war dramas from the two countries are extremely different in their gender portrayal. The Russian “Stalingrad” depicts stereotypical hero soldiers condemning any manifestation of weakness, while presenting women as supporting characters and objects mainly fulfilling the nature of male characters. Moreover, “Stalingrad” uses violence against women as the plot driver, repeatedly blaming the victim and vindicating the perpetrator. On the contrary, the british “Dunkirk” denies stereotypical portrayal of soldiers, showing their vulnerable sides without demeaning them to the level of weaknesses. “Dunkirk” portrays masculinity from different angles, and tries to depict characters primarily as humans rather than emphasizing gender expectations. The comparison of these two films is a case when almost complete absence of female characters is more positive in terms of gender equality than inclusion of women in two supporting roles. For “Dunkirk” avoids sexist victimization of female characters and one-sided depiction of toxic masculinity.
Family-oriented films in both countries have both similar characteristics and distinctions. “Paddington” and “The Three Bogatyrs: Horse Course” generally portray characters through typical masculine and feminine traits, promoting traditional gender roles. In “Paddington”, apart from the villain character, we see typical nurturing, emotional and dependable female characters, as well as authoritative, aggressive and controlling male characters. However, we also see a powerful and resourceful female character in the role of a villain, breaking the rule of putting women mainly in the supporting roles and portraying them through their weaknesses. While in “The Three Bogatyrs: Horse Course” we only see typical male-heroes and male-villains as well as supporting female-wives, demeaning women to the sole role of spouses. Films of this genre can be considered of greater significance because there are targeted at children and are part of their socialization. Therefore, these films demonstrate how young generations are socialized into stereotypical gender roles and how gender inequality is reinforced.
The comparison of fantasy films from the two countries is also based on opposition. The Russian film “Viy” not only depicts characters through typical gender traits but also promotes rape culture and misogyny through the portrayal of victim blaming and basing the plot on violence against women. Female characters are introduced to the plot for the purpose of expression of leading and supporting male characters. The whole female gender is referred to as “witches” in the film, highlighting gender differences and demeaning women and placing men in position of power. However, the English film “Fantastic Beasts and Where to Find Them” challenges traditional gender roles, introducing sensitive masculinity in the protagonist, including women in the leading roles, portraying them as powerful and highly competent and promoting gender equality in general. The main male character defies hegemonic masculinity and is portrayed as nurturing and emotional. While the female protagonist calls into question emphasized femininity, depicted as independent, strong and self-determined.
Both films based on historical events reinforce gender stereotypes. “Going Vertical” (Russia) consists of an exclusively male leading cast and present it through typical masculinity. The film also places women in supporting roles in dependable positions with no power or decision-making authority. Similarly, “Les Miserables” (UK) portrays women through their weaknesses and introduces them for the reinforcement of traditional masculinity of powerful and influential male characters. In both films, the female characters are a clear representation of emphasized femininity - tolerating male dominance and not questioning their subordinated positions. While hegemonic masculinity is reinforced by leading male characters through the oppression of women and non-masculine men.
Films of the adventure genre are traditionally concentrated on a heroic male character and includes female characters for his motivation or for the development of his personality, rarely as a female protagonist. “Spectre” (UK) and “Viking” (Russia) fall under this tradition and portray characters by typical gender traits, reinforcing damsel in distress stereotypes about women through weak and dependent feminine characters and hero stereotypes about men through toxic masculinity of leading male characters. Almost all male characters in “Viking” are warriors and all of them, especially the protagonist, portray traits of hegemonic masculinity, described as self-serving, violent, and assertive. Female characters drive the plot by being victims of male violence, not questioning, but accepting and adapting to the established gendered power hierarchy. Men in “Spectre” also correspond with characteristic of hegemonic masculinity and hold all the positions of authority. James Bond is one of the main role models for hegemonic masculinity nowadays not only in national but also in a global culture. Accordingly, he is emotionless, highly competitive and the objectification of female characters is integrated in his identity. Bond girls also became part of the culture, portrayed through the traits of emphasized femininity - young, attractive, always in supporting roles, and dependent on male characters. However, women in “Spectre” do have a value for the plot, although accompanying the male protagonist. Despite a generally subordinated position, the characters of Dr. Swann and Moneypenny are depicted as strong, capable and intellectual. Thus, both films portray characters through gender stereotypes. However, “Spectre” does include relatively strong female characters and portrays non-hegemonic masculinities, while the plot of “Viking” is largely driven by violence against women, promoting victim blaming and rape culture.
Evidently from the analyses, both genders are portrayed through typical gender traits in the selected films. However, in every genre we see a tendency of UK films being less discriminative against women than Russian films, corresponding with the level of gender equality in the countries. None of the Russian films includes women in leading roles or portrays them as equal to men. In all of them, female characters are portrayed according to characteristics of emphasized femininity - weak, emotionally unstable and incompetent. Moreover, they are introduced to the narrative for the purpose of supporting, inspiring and developing male characters. At the same time, all of the UK films in some way or another do challenge traditional gender roles, from “Fantastic Beasts and Where to Find Them”, which completely denies gender stereotypes, hegemonic masculinity in particular, to explicitly sexist “Spectre”, which still gives its female characters more capabilities, then all female characters from selected Russian films have combined. Therefore, the hypothesis can be confirmed: Russia ranked 71 by the Global Gender Gap Score and Russian films portray more stereotypical gender traits than films from the UK, which ranked 15 by the same Score (Ranking by Global Gender Gap Score, 2017).
However, the analysis confirms all three themes of discriminative gender images in the media, suggested by Julia T. Wood - the absence of women on screen, gender stereotypes and traditional roles (Wood, 1994). In all the analyzed films, the leading characters and most of the cast in general are males, women are highly underrepresented on screen and men are portrayed as the cultural standard. Moreover, in general both genders comply with stereotypical traits, which also contributes to the maintenance of gender inequalities, normalizing discriminative power relations and hegemonic social order. Finally, relationships between men and women are mostly showed through traditional gender roles. Particularly Russian films demonstrate cases of normalization of violence against women through basing and driving the plot on the account of such violence, excusing the perpetrators and blaming the victims.
The analysis answered positively to the research question of whether the films contribute to the maintenance of structural gendered inequalities. Portraying women almost exclusively through the lens of emphasized femininity and men through hegemonic masculinity, films became one of the key channels maintaining stereotypical gender roles and expectation imposed by a patriarchal social order. Films are part of the naturalized discrimination mechanisms placing women in initially lower positions than men, portraying them as completely dependable on men with no potential for growth in terms of available life opportunities. Moreover, women in the films do not question structurally discriminative social system and accept imposed roles of subordination. This way the global system of male domination is maintained through history and structural violence manifested through unequal life opportunities is concealed even by the oppressed themselves. In the analyzed films, this is especially evident in “Les Miserables” and all the Russian films, women are marginalized socially and culturally, often deprived of basic social benefits and subjected to physical and emotional violence, which is often presented and perceived as a social norm and natural position of women. Therefore, it can be confirmed that films do contribute to the maintenance of structural gendered inequalities.
This intercountry analysis allows to distinguish this paper among the literature on gendered structural inequalities in the media, which focus mostly on exclusively national studies (Fernбndez, 2016; Collins, 2011; Sharma, 2012). In general, this thesis contributes to the previous scope of literature on the subject, adding the evidence of media's contribution to maintenance of structural violence and patriarchal social norms, focusing on films as channels with one of the most extensive reach and strongest influence on the audience.
Conclusion
Focusing on gendered structural inequalities, this thesis has analyzed the distinctive portrayal of gender in films from two countries with different levels of gender inequality - Russia and the UK. The emphasis on structural violence - therefore, on unequal life chances available to individuals, which imperceptibly create and maintain social inequalities - allows to depart from the common lens of interpersonal violence in gender discrimination studies and to include broader contexts of historic, political, and socio-economic institution of our society to the analysis. Research of such covert and normalized forms of inequalities is one of the first steps towards shifting the system of global male domination and towards empowerment of historically marginalized social groups, not only women, but all the dominated social categories on the intersection of race, age, orientation and other elements forming social identity.
The analysis demonstrates how films maintain the accepted patriarchal order and legitimate unequal gender positions. The images of powerful heroes and powerless heroines are pervading in the analysis. Females are prescribed to meet the characteristics of emphasized femininity and males are expected to comply with hegemonic masculinity traits. Through such a representation, films, naturalize and reaffirm these assigned traits, depicting images of stereotyped gendered standards for behavioral patterns, physical appearances and social order in general.
Having the potential and resources for facilitating social change and promoting equality, the media is yet working for the benefit of dominators. As they hold all the positions of authority and manage such channels of communication and socialization, they may establish cultural standards and conceal the discriminative practices. Moreover, they are portraying such practices as socially accepted norms and preventing members of subordinated social groups from power or any decision-making capacity through structural violence in particular.
Through different portrayal of gender, such as present in “Fantastic Beasts and Where to Find Them” and “Dunkirk”, which defy traditional standards of hegemonic masculinity and emphasized femininity, it is possible to alter discriminative gender dynamics through promoting alternative gender roles and attributes, without limiting individual's life chances by their gender. Inclusion of the issue of structural violence into the political, academic and social discourse is imperative for the purpose of exposing and questioning patriarchal gender hierarchy and discriminative social consensus accepting male domination.
Overall, the current social order is a result of a historical process and is susceptible to changes. However, as long as the positions of power belong mainly to a dominating social group, it will continue to successfully covert and reassert structures of hegemony, portraying men as the cultural standard, while excluding and demeaning women, as well as normalizing gendered violence.
However, this analysis does not provide a complete image of gender systems in the two countries, not only due to the fictional nature of films, but also due to the time limit, and therefore, film sample size. The analysis is also narrowed by including only one media type - films, and by focusing on the content of pictures, excluding the analysis of audience's perception, as well as the production side of the filmmaking.
The future research can follow the interpretative feminist framework and theory of structural violence, covering the effects of stereotypical gender portrayals on the actual audiences, including more communication channels, such as the Internet and social networks, for example. Moreover, it is important to consider structural violence beyond gender dichotomy, focusing on other disadvantaged social minorities. Finally, keeping the focus on structural inequalities in the film industry, it is relevant to deepen the analysis by focusing on the production aspect of cinema and gender dynamics “behind the camera”, which have the potential to foster social changes.
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