And The Winner is......

We are now officially in the Oscar season with the announcement of the films and actors nominated to take home the motion picture industry’s most coveted prize. When considering Talpade’s article Under Western Eyes as well as post- modern feminism as discussed in Gill’s article one of the nominated films "The Help" strikes me as an example of the concepts discussed in this week’s readings. As I read Chandra Talpade- Mohanty's piece Under Western Eyes: Feminist scholarship and Colonial Discourse, the concepts and theories she presents immediately resonate with me. She defines colonization through the appropriation of scholarship and the feminist policy that tends to come out of that scholarship. Mohanty examines the tendency of feminist discourse to categorized and homogenize women from cultures and social economic groups that are not considered to be "mainstream" or Western.

Mohanty begins by discussing the construct of the Third World Woman—she defines this woman as complex and multilayered, however, when feminist rhetoric addresses this group it is done so in a monolithic manner that could be considered global hegemony in which Western women serve as the patriarchal figure in text and scholarship as it relates to defining and addressing the "situation" of the Third World Woman. Mohanty writes that --by the homogenization and systemization of the oppression experienced by woman, the Western feminist discourse exercises power over these very women. Mohanty contends that grouping women by their victim status or the shared experience that somehow makes them an inferior group, not only in that woman’s experiences as it relates to her local situation, but also to the implicit Western standard.

Mohanty examines the idea that women by nature of their gender have some type of bond of sameness that binds us all together as a powerless, exploited and sexually harassed group tied together as “sisters” in this struggle for equality and relief from our victim status. Like Mohanty, I believe that this assumption of “sameness” is not only historically inaccurate it allows for Western feminist to serve as international “superhero” who swoops in and rescues her sisters from their perpetual victim-hood. In American media this theme is evident in various fiction and documentary films along with television shows in which an independent powerful and intelligent White woman serves as the feminist model of strength. However in order for her to be seen as powerful and wise she has to “save” someone. Very often the object of her effort and desire to display strength and independence is a woman of a different race, or social status. In Mohanty’s writing she illustrate the idea that an image of a “typical third world woman” is derived from the Western feminist grouping women together based on their struggles and negative experiences. I believe the same could be said regarding how the media through its stereotypical depiction of Black woman against an image of the well educated, modern white woman could lead one to incorrectly believe that there is an image of a “typical poor black woman.” In my opinion the 2011 book and film adaptation "The Help" illustrates this idea in a manner that I find problematic and quite disturbing.

They Cannot Represent Themselves, They Must Be Represented,


"The Help" was written and the screenplay adapted by Kathryn Stockett. The book and subsequent film tell the story of a White empowered journalist, Skeeter Phelan, who comes back home to Jackson Mississippi after graduating from college to pursue a journalism career and to think about what she wants to do next. Once she returns to Jackson, Skeeter decides to write a book from the point of view of of the Black maids which are cleaning and raising the children of these families. Much like Skeeter in the book and film Stockett supposedly wrote the book to give a voice to the voiceless African American domestic workers of US South during Jim Crow. Stockett writes in the epilogue of the book that she wrote the book to honor her family’s maid who died before she could tell this story. Stockett felt the story of domestic workers had to finally be told and she was the only one capable of telling it— apparently, having a black maid living in her home until the age of 16 provided her with enough insight to write this story. This book and film, sparked a great debate in the African American community and beyond regarding “who” is qualified to tell the story of the African American experience.


Kathryn Stockett Is Not My Sister and I Am Not Her Help
Association of Black Women Historians-An open Statement to the Fans of the Help,


The issue that I have with the film is the fact that Stockett decides to write a book in a way that defines all of these African American women by the term that Mohanty refers to as their object status, the victimization tie that binds them. As noted in this week’s reading, if the only tie that binds this group of African American poor domestic s is their subordinate and victim status, they remain powerless without the assistance of the White woman who comes to their rescue. According to the interview below with the film’s director , Tate Taylor maintains that this film was created to “tell the truth” about this topic. Taylor speaks of how, up until this point, no one has spoken up for these poor women, without a voice.





This stance of telling the truth which is repeated in every interview by both the writer and director of this film is problematic since the plight of the African American domestic worker of the south was told in several books prior to "The Help". Works that address the this topic include : Like one of the Family: Conversations from A Domestic’s Life, Alice Childress, and Living In, Living Out: African American Domestics and the Great Migration by Elizabeth Clark-Lewis.
The book and film illustrate a theme that is quite prevalent in contemporary media, that of the powerless poor black woman that must be saved and supported by often white hero or heroine. The fact that this type of rhetoric is so often depicted in films, provides a basis for characteristics of the victim and the hero which become deeply ingrained in our minds as art depicting real life.
This stereotypical treatment of women is also relevant to the Gill article on post-modern feminism. Gill’s article discusses the fact that post modern feminism as it relates to media is a sensibility and that our ideas regarding feminism and roles is derived from the stereotypes that are reinforced. Postmodern feminism encompasses the layers of femininity that go beyond just pursuing equal rights but the concept additionally includes the ideas of race and social class. If we look at this film from the perspective of the gender/race this movie seems to reinforce the ideas of race and gender and social class that society is most comfortable with seeing. Granted this film is a period piece and certain aspects of race/gender that are portrayed are reflective of the time. In Gill’s article she specifically notes that the notion of choice and being oneself are central to the post-modern sensibility. In the film this luxury of choice is afforded to the White character, since both of the maids are fired and don’t seem to have the ability to choose anything that empowers them. The men is the film are additionally presented in ways that are quite stereotypical however the one African American man in the film is portrayed as a cruel , wife batterer who doesn’t understand or support his wife as if being poor and black and male equates to cruelty and abuse.

"The Help" is a confusing beast. Despite what several African American and Gender scholars say is WRONG with the book and film, the story continues to resonate and make lots of money. The truth of the matter is, a story does not have to be accurate or "politically correct" to get an Oscar nod. The film's story just has to be clearly communicated, entertaining and preferably something the "committee" has not seen before - original. But I am an African American woman who is the daughter and grand-daughter of a domestic worker. Unfortunatley, we lose again in our quest to shape our own image before it is broadcast to the world.

She's A Lady....But Is He A Wimp?

In The introduction of Mary Celeste Kearney’s book The Gender and Media Reader, she provides an overview of the way in which the book’s subsequent essays address the roles and images that are typically associated with the portrayal of gender in the media. Kearney shares insight into feminist based activism and gives an overview of the waves of feminist theory. Kearney also shares theories surrounding and the evolution of LBTQI activism relative to gender and media issues. Kearney provides a thorough introduction into the field of Gender Studies. In this article Kearney asks and answers the question"Why study Media & Gender?" Kearney introduces the major themes explored in the book including, feminism, queer theory, and This article provides a framework to begin considering media with a more gender critical eye. As a woman, I have always been aware of the fact that women are typically portrayed in the media in a manner that reinforces stereotypes and detracts from their power and or wisdom. However, I have not typically considered specific gender roles and consumed media from a feminist perspective. I thought it might be interesting to watch a film that I have seen before, and to watch that film through the eyes of gender roles.

I have always been fascinated by the idea of the makeover films that portray women as more socially acceptable once she becomes pretty and embraces traditional feminine qualities. Rosalind Gill refers to the makeover paradigm in the article Post-Feminist Media Culture a concept that requires women to believe that their life is lacking or flawed in some way and that they need to be reinvented or transformed by following the advice of an image consultant or relationship expert. I searched to find a film that specifically dealt with this makeover theme to determine how gender plays out in these films. This genre of films includes Pretty Woman, The Princess Diaries, Clueless and The Devil Wears Prada. The film Miss Congeniality is a makeover film with a gender twist, in that the central character seems to identify with men and is portrayed as heterosexual but extremely masculine in her manner of speaking, thinking and doing her job. In this clip from Miss Congeniality with Sandra Bullock—Bullock’s character Gracie initially displays extreme masculine qualities which seem to contribute to her seemingly lonely and pathetic life. In this clip, gender roles are blurred and Benjamin Bratt’s character Eric Mathews actually treats Gracie as a man. Gracie asks if the chief selected her for an assignment because she is a woman, Bratt’s character asserts, “We never think of you that way. “



Even though Gracie accepts the assignment, receives a makeover and learns to behave in a more feminine manner she still seems to continue to resist femininity. Throughout the film, Gracie continues to allude to the fact that displaying any feminine characteristics would make her less effective as a professional, a familiar theme with women both in the media and in reality. All of the women competing in the pageant seem to be weak and ditzy without very much depth. Although the film presents gender in a sort of reverse way throughout, it still manages to reinforce stereotypes and portray women as less intelligent and less powerful than their male counterparts. The gender reversal becomes a little uncomfortable by the end of the film and as the case with most commercial films --of course she cries and falls in love in the end as Tom Jones is singing, “ She’s a Lady”..



The Wimp Factor

In Hegemonic Masculinity, Rethinking the Concept, R.W. Connell suggests that concept of masculine hegemony should be reconsidered to allow for the incorporation of newer ideas and to consider the expansion of others. The consistent theme in the Connell piece is the idea that masculinity is complex and that not all masculinity manifests in a way that subjugates women. Connell also shares the interesting assertion that some men, especially professional athletes, have a career that is very masculine and virile, but those same men live lives outside of the job in ways that are in some ways the very opposite. In the media, especially in citizen journalism, any show of emotion or exhibition of qualities that are not typically masculine might get a man labeled a wimp.

An example of this concept that immediately comes to mind is American football star, Tim Tebow. As a fan of the sport, I am amazed by the reaction to Tebow as a man and as an athlete. As starting quarterback for the Denver Broncos, Tim Tebow’s job represents the epitome of masculinity. However in a lot of ways Tebow’s demeanor off the field seems to be the exact opposite, he is considered a humanitarian and is openly Christian. Because of his openness about his faith and his demeanor, Tebow is often criticized for not having the “killer instinct” necessary to succeed in football, he is often called a wimp for showing emotion.
The idea of a man who is sensitive or nurturing to his family being labeled as a wimp was also addressed in the Wall Street Journal article as it reviews the new television shows that aired at the beginning of the television season. In the article attached below, Wall Street Journal media reporter, Amy Chozick, labels the men of the 2011-2012 television line-up as a bunch of “wimps.”

A New Generation of TV Wimps

He is happy. He respects his wife, loves his kids, helps around the house. So how come he feels like a total loser? Welcome to the new sitcom.
By Amy Chozick, Wall Street Journal - June 10th, 2011

The shows featured this season all seem to have the common theme of men taking on gender roles that are typically reserved for women. These roles apparently did not resonate well with viewers since the vast majority of the shows listed in this article were cancelled based on ratings halfway through the season. Although these shows were initially created to be breakout comedies that would challenge our ideas about gender and a man’s place in this society, it seems that these shows missed the mark.

In the clip below a female doctor and a CBS Morning Show reporter discusses the wimp factor as it relates to men and how they deal with the common cold or the flu. The remarks made by both the anchor and the doctor would very much be considered sexist if they were made toward women by men. Therefore, in this case the women are sharing stereotypical remarks about men. Although the term wimp seems to be very carelessly used to describe any qualities in heterosexual men that remotely resemble feminine qualities.



It seems in both of the examples that there is a certain level of comfort with traditional and often stereotypical roles of men and women as they are portrayed in the media. It is my aim, in this course, to further examine and deconstruct those roles and to stereotypes.