This past week was interesting for me, as the
content I read from Brian L. Ott and Robert L. Mack’s textbook Critical Media Studies: an Introduction actually
came face to face with me in my own life. The authors suggest that gender is an
element of a cultural or societal viewpoint which stipulates what will emanate
from the two sexes, illustrating this conception within the realms of what
males and females consume for instance, which I assume extends to media
selection, while the authors also reference gender’s voice in the explanation
of the drills of life which the differentiated bodies of male and female
dedicate themselves to (178). In offering explanation, Ott and Mack suggest
that it is the conception of gender that is illustrative of the woman as a manifestation
of the beneficial forces of support and guardianship, depictions which do not
have a relationship with sex, which the authors denote as the true elemental
divergences between males and females which harken to the explanations of
biology (178). Last Monday I was in a class where films are an integral
element, and in the viewing a group presentation from my colleagues, I will
generalize an important question of theirs with a relevant complexion to Ott
and Mack’s material. One of the group members inquired as to why a wealth of
filmic situations which illustrate the defeating of villainy issue forth a man
in the undertaking of the physical or psychological combat, while these heroic
scenarios do not imagine the woman.
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| The Dark Knight Cover Source: HMV.ca |
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| Mission Impossible/ Special Collector's Edition Cover Source: HMV.ca |
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| Skyfall Cover Source: HMV.ca |
I then shared my response, suggesting that combative
films have a relationship with purchasers of movie tickets or the films themselves
which illustrates the admiration emanating from men with greater strength than
from the opposite sex (Brym et al. 272). Soon after, a female colleague bluntly
questioned “is that fair?” This left no ambiguity for me that my suggestion
which was permeated by the conception of gendered pleasantries within the media
realm had an offending quality (Ott and Mack 178), though throughout my formulation
of the opinion and articulation, I did not believe that my opinion fell into
any arena of offence. As I had not yet read “Feminist Analysis” before my Monday
lecture, the words of Ott and Mack, however, depict my suggestion in class as attaining
a perception of proper suggestion from the hands of the realm of gender, which
the authors acknowledge as disadvantageous (179).
Works Cited
Brym, Robert J., et al. "Sexualities and Gender Stratification." Sociology: Your Compass for a
New World. 4th ed. Toronto: Nelson Education, 2010. 265-298. Print.
Dark Knight Cover. Warner Home Video. HMV.ca. Web. 3 Nov. 2013.
Mission Impossible/Special Collector's Edition. Paramount Home Video. HMV.ca Web. 3 Nov.
2013.
Ott, Brian L., and Robert L. Mack. "Feminist Analysis." Critical Media Studies: an Introduction.
Malden: Wiley-Blackwell, 2010. 177-196. Print.
Skyfall Cover. MGM/United Artists. HMV.ca. Web. 3 Nov. 2013.
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