Scripted Stereotypes In Reality TV

Diversity, or lack thereof, has always been an issue in both television and film for years. But another great issue that ties in with the lack of diversity is misrepresentation, or a substantial presence of stereotypes in media. While stereotypes often are commonplace in scripted television and film, the possibility of stereotypes appearing in a program that claims to be based on reality seems unfitting. It is commonly known that reality television is not completely “unscripted” and is actually molded by producers and editors. While reality television should not consist of stereotypes, they have curiously made their way onto the screen and into our homes. Through content analysis this thesis focuses on Latina/Hispanic-American and Asian-American contestants on ABCs’ The Bachelor and whether they present stereotypes typically found in scripted programming

Scarlet-Letter Politics: The Rhetoric of Shame in the Campaign to Unseat President Barack Hussein Obama

This essay considers the politics of racial shaming as deployed against Barack Obama, arguing that it targeted black and foreign bodies as threats to the American body politic

Subverting the racist lens: Frederick Douglass, humanity and the power of the photographic Image

Frederick Douglass, the abolitionist, the civil rights advocate and the great rhetorician, has been the focus of much academic research. Only more recently is Douglass work on aesthetics beginning to receive its due, and even then its philosophical scope is rarely appreciated. Douglass’ aesthetic interest was notably not so much in art itself, but in understanding aesthetic presentation as an epistemological and psychological aspect of the human condition and thereby as a social and political tool. He was fascinated by the power of images, and took particular interest in the emerging technologies of photography. He often returned to the themes of art, pictures and aesthetic perception in his speeches. He saw himself, also after the end of slavery, as first and foremost a human rights advocate, and he suggests that his work and thoughts as a public intellectual always in some way related to this end. In this regard, his interest in the power of photographic images to impact the human soul was a lifelong concern. His reflections accordingly center on the psychological and political potentials of images and the relationship between art, culture, and human dignity. In this chapter we discuss Douglass views and practical use of photography and other forms of imagery, and tease out his view about their transformational potential particularly in respect to combating racist attitudes. We propose that his views and actions suggest that he intuitively if not explicitly anticipated many later philosophical, pragmatist and ecological insights regarding the generative habits of mind and affordance perception : I.e. that we perceive the world through our values and habitual ways of engaging with it and thus that our perception is active and creative, not passive and objective. Our understanding of the world is simultaneously shaped by and shaping our perceptions. Douglass saw that in a racist and bigoted society this means that change through facts and rational arguments will be hard. A distorted lens distorts - and accordingly re-produces and perceives its own distortion. His interest in aesthetics is intimately connected to this conundrum of knowledge and change, perception and action. To some extent precisely due to his understanding of how stereotypical categories and dominant relations work on our minds, he sees a radical transformational potential in certain art and imagery. We see in his work a profound understanding of the value-laden and action-oriented nature of perception and what we today call the perception of affordances (that is, what our environment permits/invites us to do). Douglass is particularly interested in the social environment and the social affordances of how we perceive other humans, and he thinks that photographs can impact on the human intellect in a transformative manner. In terms of the very process of aesthetic perception his views interestingly cohere and supplement a recent theory about the conditions and consequences of being an aesthetic beholder. The main idea being that artworks typically invite an asymmetric engagement where one can behold them without being the object of reciprocal attention. This might allow for a kind of vulnerability and openness that holds transformational potentials not typically available in more strategic and goal-directed modes of perception. As mentioned, Douglass main interest is in social change and specifically in combating racist social structures and negative stereotypes of black people. He is fascinated by the potential of photography in particular as a means of correcting fallacious stereotypes, as it allows a more direct and less distorted image of the individuality and multidimensionality of black people. We end with a discussion of how, given this interpretation of aesthetic perception, we can understand the specific imagery used by Douglass himself. How he tried to use aesthetic modes to subvert and change the racist habitus in the individual and collective mind of his society. We suggest that Frederick Douglass, the human rights activist, had a sophisticated philosophy of aesthetics, mind, epistemology and particularly of the transformative and political power of images. His works in many ways anticipate and sometimes go beyond later scholars in these and other fields such as psychology & critical theory. Overall, we propose that our world could benefit from revisiting Douglass’ art and thought

The Search for Irishness (Chapter One of Buffoonery in Irish Drama: Staging Twentieth-Century Post-Colonial Stereotypes)

Excerpt: A striking feature in Irish culture since at least the late 19th century is an impulse to define what constitutes Irish, seemingly to establish the qualifications of those who claim to be Irish. It is an impulse that manifests itself in literature as diverse as George Bernard Shaw\u27s play, john Buff\u27s Other Island, James Joyce\u27s A Portrait of the Artist as a Young Man, or Seamus Heaney\u27s Station Island. The same impulse is at work in the public lives of figures like Oscar Wilde, who while exiled created a fascinating persona for himself; Patrick O\u27Brian, who refashioned himself as an Irishman despite no Irish background at all; or Martin McDonagh, who has only summered in Ireland but who represents himself as an Irish playwright writing about Ireland. One\u27s proximity to Ireland, whether through heritage or other association, is used both to embrace identity and to gain distance from it

Creating Racial Identities Through Film: A Queer and Gendered Analysis of Blaxploitation Films

This paper examines how racialized knowledge is reproduced through film. Through an analysis of twenty blaxploitation films, this paper examines how gendered and sexualized discourses are used to shape Black identity. Discussed are the two typologies of queer images found within these films, the jester and the scoundrel, and how these images are used to frame Black identities. Consequently, we argue that queer images in blaxploitation films contribute to how racialized knowledge is produced

From toothpick legs to dropping vaginas: Gender and sexuality in Joan Rivers' stand-up comedy performance

This is the author's accepted manuscript. The final published article is available from the link below. Copyright @ 2011 Intellect.This article employs sociocultural analysis to examine Joan Rivers’ stand-up comedy performances in order to reveal how she successfully operates in a sphere of artistic expression that has been, and continues to be, male-dominated. The analysis uncovers how Rivers’ stand-up comedy performance involves a complex combination of elements and how it fuses features that are regarded as ‘traditionally masculine’, such as aggression, with features frequently used by other female stand-up comedians, such as self-deprecating comedy and confessional comedy. Furthermore, the analysis exposes the complex ways in which constructions of gender and sexuality are negotiated and re-negotiated in Rivers’ stand-up comedy performance, and illustrates how dominant ideological identity constructions can be simultaneously reinforced and subverted within the same comic moment

The perils of parody : joking with stereotypes in a postcolonial context in Cien años de soledad

This article examines the comic treatment of the characters in Cien años de soledad. It challenges the previous studies of the novel’s comedy, which have tended to conclude that its comic formulas are necessarily subversive and carnivalesque. Employing Susan Purdie’s theory of comedy and Edward Said’s, Homi Bhabha’s and Walter Mignolo’s postcolonial theorisation of othering, the article analyses the ways in which Gabriel García Márquez’s comic depictions function as parodic exaggerations of certain stereotypical representations of the Latin American “other.” However, it is also argued that the diffuse nature of parody and of the technique of exaggeration open up these jokes to multiple readings. Moreover, according to Stuart Hall’s and Richard Dyer’s work on stereotypes, references to the “other” in jokes or in other types of narratives inevitably enter into an intertextual dialogue with established discourses, over which the author or text has little control. In this respect, the article aims to map the possible meanings of these jokes within the context of the novel’s global popularity. It investigates the possibility that certain comic representations of the “other” in Cien años de soledad run the risk of confirming certain discourses just as much as they have the potential to subvert them

Effects of Porn: A Critical Analysis

The impacts of pornography are varied and complex. Performers are often thought to be victims of abuse and exploitation, while viewers are regularly accused of becoming desensitised to sexual violence. Further, porn is held by some to perpetuate damaging racial and gender stereotypes. I contend that these accusations, though not entirely baseless, are undermined for two reasons: they rest on questionable empirical evidence and ignore many of the positive consequences porn may have. In this article, I organise my analysis from the screen outward, critically examining the effects porn has on performers, viewers, and wider society, and finding that in each domain it may have both positive and negative outcomes. Following this, I evaluate porn as a form of Bakhtinian carnival and discuss how online porn may offer a mode of resisting hegemonic cultural norms. On the whole, therefore, I argue that the harms attributed to porn have often been overgeneralised and exaggerated, and that porn has a range of effects unable to be captured by a mere pro/anti dichotomy

Nation branding: what is being branded?

Nation branding and nation brand are two different concepts. A nation has a brand image with or without nation branding. This paper examines the concept of nation branding, focusing on the central question of what is being branded. It differentiates nation branding from product branding, and draws comparisons between nation branding and product-country image. Paradoxical issues around the concept and the wider context in which nation branding can be applied are also discussed. More research is needed to find out if and how nation branding could help the economic development in a country. As many other non-marketing factors also affect a nation’s image the role played by nation branding may turn out to be only a modest one

Seafarers, seafaring, and occupational identity : 'Jack Tar' and its contemporary uses in Britain c.1815-1914

This is a paper about how maritime workers were perceived in the past. In 1968, in a very influential paper, the American historian Jesse Lemisch lamented that ‘Maritime history, as it has been written, has had little to do with the common seaman.’ (1) In prefacing his paper with a description of the archetypal sailor or ‘Jack Tar’, Lemisch argued that, as historians, ‘surely we can do better than these stereotypes’. At that time, this was an important proposition. Others seem to have agreed, for with the passage of time a lot of work has been done to understand the seafarer, though not necessarily as a direct response to Lemisch’s challenge. Space does not permit a discussion of the relevant literature, but without doubt a more rounded – if not fully formed – historical view of seafarers has resulted. (1)Jesse Lemisch, ‘Jack Tar in the Streets: Merchant Seamen in the Politics of Revolutionary America’, William and Mary Quarterly, 25/3 (1968), 371-407, at 372