Is there a stable balance of use for stereotypes in the media? Using the work of Richard Dyer, as well as multiple chosen media examples, I will be discussing all of these in accordance with the following statement – Stereotypes can be seen as equally useful and oppressive, as well as unavoidable. This statement contemplates the innocence of the topic of representations and allows for analysis of its’ benefits, downsides, and inevitability.
Richard Dyer is a professor of Film Studies at Kings College London, focusing attention on stereotypes within the media. These can be for groups of people categorised such as LGBTQ+ members, Racial minorities, women or men, etc. Using the work of Srividya Ramasubramanian as well as Richard Dyer, I needed to learn and define the key terms of this topic. Moreover, there are few words under the umbrella of a stereotype that I had not come across as yet. Dyer (2002:11) states, ‘The word ‘Stereotype’ is today almost always a term of abuse’. Interestingly, there are positive and negative outcomes from stereotypes in the media. Yet this statement is undeniably agreeable that either way categorising and generalising groups of people is a shallow and inconsiderate trait used in our society.
Although stereotypes are often being seen as negative, the term positive stereotypes is used to positively uplift categories of people. Ramasubramanian (2020: 1) states, ‘Some examples of positive stereotypes are when groups of people are generalized as intelligent, athletic, polite, hardworking, or sexy’ this shows the likeness of the people it is aimed at even though these general statements could not possibly be applied to everyone under that statement. Unveiling the dilemma of stereotyping in the media as there may be upsides to a more commonly known as a problematic societal system.
However, the term counter stereotype is used to describe the opposite of these long-kept stereotypes. As Ramasubramanian (2020: 2) explains, ‘Counter-stereotypes are ideas about a group that challenge, or counter widely held cultural beliefs and mental models of a group’. Therefore, an example of this could be an advertisement of a woman driving a car alone, going against the gender stereotype that cars are for men and are too masculine for women to be representing.
‘Women, ethnic minorities, gay people and so on are not the only ones to be social groupings: everyone belongs to social groupings; indeed, we all belong in many groupings’ (Dyer, 2002: 4).
Racial and cultural stereotypes have been rooted within the media and are recognised by both negative and positive tropes. Ramasubramanian (2020:8) states ‘Cultural stereotypes, including those within media spaces are not static entities but they do fluctuate both gradually and abruptly over time’ This is an interesting point as the use of events whether it be real-life, or a media piece can juxtapose a spike in the stereotypes aimed at a certain race or culture. Moreover, the series Orange Is the New Black (2013), created by Jenji Kohan, includes many racial stereotypes that are equally used as a balance to provide minorities with a positive outlook. The use of stereotypes is unavoidable, so the use of positive terms is light in a dark tunnel.
‘The image of women and Black America were the first to be stereotyped and the first to introduce counter and positive stereotypes after several decades of one-dimensional television and film representations’ (Ramasubramanian, 2020:6).
Ramasubramanian is explaining how the history of stereotypes became what it is now and that the controversial uses of these were once a promising uprise against the male-centered industry. Regarding female stereotypes, the portrayal of women in film has been flawed since the very beginning as well as non-white representations. Dyer (2002: 96) states ‘It is always a woman who is trapped, a woman without resources to help herself’, this is an accurate description of how women are typically represented in horror films and other genres. She has the overwhelming character trait of being helpless on her own, which controversially does not fit the characteristics of most actual women.
Easy A (2010) directed by Will Gluck and House Bunny (2008) directed by Fred Wolf are useful tools to witness female stereotypes in film. Common female themes such as the dumb blonde and the comparison between the adeemed ‘slut’ and ‘innocent’(virgin). Male directors typically choose these characteristics of women to portray to a male-dominated audience as it keeps the contrast between masculinity and femininity vastly apart. Therefore, allowing the toxic masculinity narrative for men to continue playing a heavy role in society. In the film Easy A,the main character Olive, played by Emma Stone, is a high school girl who is fighting against the pressure for her to become sexually active. So, lying to her friend she explains a false narrative of her being with a boy which becomes a vicious rumour known by her classmates and eventually is deemed a ‘slut’ and seen completely differently by her fellow students. This shows the male-created trope of women being either sexually liberated and known as derogatory terms such as ‘slut’ or being deemed innocent and prudish. There is no in-between and this controversial subject is squashed in the film by appropriate visuals and voice-overs on the female perspective of this. Likewise, the film House Bunny is similar in that it follows the well-known narrative of what Hollywood would call a ‘dumb blonde’ trying to find her footing in life. The main character Shelley, played by Anna Faris, has to leave the Playboy Mansion and find herself a life outside of that misogynistic world. Finding a sorority house that desperately needs help she becomes their house mother and provides these stereotypically smart but unattractive portrayals of women how to become popular and the idealistic version of a woman. Which eventually is realised that it isn’t idealistic only shallow and degrading. The film touches on important subjects that young women will benefit greatly from learning and understanding.
Within the film, Isn’t It Romantic (2019), directed by Todd Strauss-Schulson the director ironically analyses the stereotypes pinned on people, created for Romantic comedies and old-fashioned Hollywood films. The main character Natalie, played by Rebel Wilson, becomes a character in a romantic comedy film where instantly her characteristics change. Becoming, weaker, clumsier, and more prone to love, she walks her way through a new storyline that includes other typical depictions of minority groups. Her neighbour (who she had never spoken to before) is now entrapped in the role of her ‘gay best friend’. This is a stereotypical perception of homosexual men that is both problematic yet lies on a somewhat truthful concept. A positive stereotype for these men is that they are more stylish and emotional than heterosexual men. Which uses positive terms but is still a mis ingenious observation that cannot be applied to a group of people.
LGBTQ+ members have been conveyed particularly and in many ways. Crshd (2019), directed by Emily Cohn is a brilliant film that is a powerful step forward for both women and members of the LGBTQ+ community. This is shown from the feministic morals and behaviours of the diverse set of characters. Within the film, the use of female body hair and non-heterosexual representations is immense and a unique perception of youth that is rarely shown. Bisexuality has always been conveyed as another heterosexual male fantasy within the media. Likewise, the concept that bisexuality is not another form of validation for men can be reflected through films such as this. Which is mentally strengthening for young audiences to learn and understand, that these heterosexual male-driven views are outdated and incorrect in our modern society.
‘We are invited to enter the fictional world of the story from scene to scene so as to see things from the male point of view, and to see things through a particular sexual sensibility, that of the dominant notion of male sexuality’ (Dyer, 2002: 95).
This quote deliberates that the camera is typically being filmed with the eyes of men in mind over all others. Commonly known as the Male Gaze it explains how men have always been the top priority of an audience for film and media creators. This is irritating as the most common themes for this audience include damsel-in-distress and masculine heroic tropes which are outdated and can be harmful to younger viewers trying to express themselves however they feel. This is known as toxic masculinity. Toxic masculinity is a stereotype within men that is a reoccurring issue within our society and media representations of men. ‘Masculinity, whiteness, hetero-sexuality and able-bodiedness are just images of identity alongside all others’ (Dyer, 2002: 4). Within pieces of media, heterosexual white men are perceived as perfection. Yet, these men have standards and stereotypes that they must uphold in society. This being well-known as toxic masculinity and is a big form of corruption for male-identifying people. Toxic masculinity is the unwritten rules they feel they must live by, such as not showing emotion or mental health weaknesses, dressing and appearing masculine, and being dominant/stronger over women.
She’s the Man (2006), directed by Andy Fickman includes excellent examples of toxic masculinity as well as gender roles for women. There are multiple scenes in the film that involve male characters hiding their true emotional feelings to keep their college football player persona. In particular, the character Duke, played by Channing Tatum, is at first depicted as the strong, charming, Casanova style of a teenager. However, after the main character Viola, played by Amanda Bynes, becomes a close friend of his, he shows his true colours of being emotional and wanting love. This being an under-rated side of men that directors are reluctant to show as emotional behaviours have always been presented with female characters, hence a feminine personality trait. Which is completely false.
‘There are variations in skin colour, there are genital differences, there are different sexual practices – representation is the organization of the perception of these into comprehensibility, a comprehensibility that is always frail, coded, in other words, human’. (Dyer, 2002: 4).
Furthermore, in this quote, Dyer is evaluating how we are human to be perceiving differences within each-other and comprehending/ coding these into stereotypes. These stereotypes if they are human, are unavoidable as they have been used so often that they could not be forgotten anytime soon. As well as the fact they are based on somewhat of truth. If we are human to be creating these codes within each-other, then we cannot avoid the inevitable labels we place on people whether spoken or not.
To summarise, the statement – Stereotypes can be seen as equally useful and oppressive, as well as unavoidable – is a good observation and is accurate in that stereotypes come both negatively and positively, which Dyer (2002: 14) suggests ‘the stereotype is taken to express a general agreement about a social group, as if that agreement arose before, and independently of, the stereotype’. This implies that stereotypes were created from collected perceptions of society, which Dyer then goes on to discuss who the power figure is that constructs these ideas and televises them. From this, are we coming together as a society? or is this dividing us? The controversial answer is both. Stereotypes may not be completely balanced but they do include benefits, however small they are. So, concerning the statement, I believe the use of stereotypes has been a downside of the straight male orientated media industry. However, the creation of these generalisations, according to Dyer, is human and so I believe this inevitability of divisions within society is both inclusive and exclusive. Therefore, containing both positive and negative qualities.
In conclusion, stereotypes have been used throughout history and could not be changed, their influence in society has been a negative pattern but also, they have allowed for further diversification in media forms. However, these diverse characterisations are not accurately depicted thus enhancing false narratives of minority groups’ lives.
Bibliography:
- DYER. R. 2002, The Matter of Images: Essays on Representation, 2nd edn, Routledge, London.
- RAMASUBRAMANIAN, S., WINFIELD, A., RIEWESTAHL, E., 2020, Positive and Counter Stereotypes: Examining their effects on Prejudice reduction and favourable intergroup relations. Texas: Texas A&M University.
Filmography:
- Crshd [film]. 2019. EMILY COHN dir. USA: ESC Productions.
- Easy A [film]. 2010. WILL GLUCK dir. USA: Screen Gems.
- House Bunny [film]. 2008. FRED WOLF dir. USA: Columbia Pictures.
- Isn’t It Romantic [film]. 2019. TODD STRAUSS-SCHULSON dir. USA: BRON Studios.
- Orange Is the New Black [series]. 2013-2019. JENJI KOHAN creator. USA: Tilted Productions.
- She’s the Man [film]. 2006. ANDY FICKMAN dir. USA: DreamWorks Pictures.
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