David Gauntlett: academic reading
1) What examples does Gauntlett provide of the "decline of tradition"?
Today, it seems more appropriate to emphasise that, within limits, the mass media is a force for change. The traditional view of a woman as a housewife or low-status worker has been kick-boxed out of the picture by the feisty, successful 'girl power' icons. Meanwhile the masculine ideals of absolute toughness, stubborn self-reliance and emotional silence have been shaken by a new emphasis on men's emotions, need for advice, and the problems of masculinity.
2) How does Gauntlett suggest the media influences the way we construct our own identities?
The social construction of identity today is the knowing social construction of identity. Your life is your project - there is no escape. The media provides some of the tools which can be used in this work. Like many tool kits, however, it contains some good utensils and some useless ones; some that might give beauty to the project, and some that might spoil it.
The mass media has become more liberal, and considerably more challenging to traditional standards, since then, and this has been a reflection of changing attitudes, but also involves the media actively disseminating modern values. It therefore remains to be seen whether the post-traditional young women and men of today will grow up to be the narrow-minded traditionalists of the future.
4) Why does Gauntlett suggest that masculinity is NOT in crisis?
The self-help books for men also refuted the idea that changing gender roles had thrown men into crisis. The problem for men was not seen as being their new role - or lack of one; instead, men's troubles stemmed from their exaggerated and pointless commitment to men's old role, the traditional role of provider and strong, emotionless rock. Where men had a problem, then, it was not so much because society had changed, but because they as individual men had failed to modernise and keep up. Happily, the books took the view that people can change, and that troubled men would be able to create a satisfying and more relaxed life for themselves if they put in a bit of effort.
5) Does advertising still reinforce the "conventionally rugged, super-independent, extra-strong macho man" that Gauntlett discusses? Offer examples for both sides of the argument from the wider advertising industry.
Images of the conventionally rugged, super- independent, extra-strong macho man still circulate in popular culture. And as incitements for women to fulfil any role proliferate, conventional masculinity is increasingly exposed as tediously monolithic. In contrast with women's 'you can be anything' ethos, the identities promoted to men are relatively constrained. We noted evidence in chapter one that, whilst young females are taking
to the full spectrum of school subjects and jobs, their male counterparts still generally avoid subjects and work that they see as 'female'. These things are continually crumbling, though. It is worth remembering, as we noted in chapter four, that even that archetype of masculine strength and independence, James Bond, cannot be too hard and self-reliant in today's Bond movies without being criticised for it by another character.
6) Gauntlett discusses the idea of 'girl power' and offers examples from music and film. Does advertising provide evidence to support the idea of 'girl power' or is the industry still reinforcing traditional representations of men and women?
Magazines for young women are emphatic in their determination that women must do their own thing, be themselves, and/or be as outrageously sassy and sexy as possible. Several recent movies have featured self- confident, tough, intelligent female lead characters. Female pop stars sing about financial and emotional independence, inner strength, and how they don't need a man; and the popular mantra of self-help books is that women can become just as powerful as these icons, if they cultivate their confidence and self-belief, and draw up a plan of self-development.
7) Do you agree with Gauntlett's argument under 'Popular feminism, women and men' where he suggests that younger generations are not threatened by traditional gender roles and are comfortable with social changes? Does advertising provide examples either reinforcing or challenging this idea that younger generations are more comfortable with changing gender roles?
The magazines are often centred on helping men to be considerate lovers, useful around the home, healthy, fashionable, and funny - in particular, being able to laugh at themselves. To be obsessed about the bits which superficially look like 'a inscription of masculinity' is to miss the point. Men's magazines are not perfect vehicles for the transformation of gender roles, by any means, but they play a more important, complex and broadly positive role than most critics suggest.
8) What examples from advertising does Gauntlett provide for the changing nature of gender in society ?
Some advertising - such as the sexually charged but androgynous imagery promoting the
CK One fragrance 'for a man or a woman' - had reminded viewers of the similarity of genders, hinting that it wouldn't matter which of the attractive male or female models you chose to desire. Other ads (such as ones for Impulse deoderant and Kronenbourg lager) playfully teased heterosexual desires only to reveal that the lust object was more interested in their own sex, pointing audiences to the unpredictability of sexualities. In this book we have discussed further cases of films, TV shows and magazines which have also celebrated non-traditional visions of gender and sexuality.
9) Why is advertising such a good example of the 'contradictory elements' that Gauntlett discusses with regards to the mass media? In other words, how does advertising continue to both reinforce and challenge gender stereotypes?
Contradictions are an inevitable by-product of the drive for multiple points of excitement, so they rarely bother today's media makers, or indeed their audiences. The contradictions are important, however, because the multiple messages contribute to the perception of an open realm of possibilities. In contrast with the past - or the modern popular view of the past - we no longer get singular, straightforward messages about ideal types of male and female identities (although certain groups of features are clearly promoted as more desirable than others). Instead, popular culture offers a range of stars, icons and characters from whom we can acceptably borrow bits and pieces of their public persona for use in our own. In addition, of course - and slightly contradictorily - individuals are encouraged to 'be yourself', and to be creative - within limits - about the presentation of self. This opens the possibilities for gender trouble, as discussed above. Today, nothing about identity is clear-cut, and the contradictory messages of popular culture make the 'ideal' model for the self even more indistinct - which is probably a good thing.
10) Finally, Gauntlett makes a clear case that things change and modern identities are increasingly fluid. What is your opinion on this debate - do you agree that the media reinforces the changing attitudes towards gender and sexuality in society?
People are changing, building new identities founded not on the certainties of the past, but organised around the new order of modern living, where the meanings of gender, sexuality and identity are increasingly open. Different aspects of popular media can aid or disturb these processes of contemporary reorientation.
Media Magazine: Andrew Tate - Masculinity in crisis?
1) What is misogyny and how does it link to Andrew Tate?
Misogyny is a dislike of, contempt for, or ingrained prejudice against women. Tate claims to be ‘absolutely a misogynist’. He has stated that women ‘belong in the home’, that they ‘can’t drive’, and believes that in marriage, women are ‘given to the man and belong to the man’. He has also claimed that most men prefer dating 18-19-year-olds because they have had sex with fewer men.
2) How does the article suggest Andrew Tate used social media to build up his reputation and following?
Tate dangerous is that impressionable minds may look at the lifestyle he purports to lead, hear the views he espouses, and quickly come to think that one has led to the other. Whilst some people may experience idyllic high school years, many readers may remember them as a hellish time where being kind or virtuous has little impact on your place in the social hierarchy
with those at the top being prone to bullying or exploitation of those at the bottom. Andrew Tate’s views do nothing to alter this status quo.
3) Does Andrew Tate's popularity suggest there is in fact a 'crisis in masculinity' - disagreeing with David Gauntlett's view?
Tate gives his audience tools to exploit anyone weaker than themselves whilst at the same time, exploiting those same young boys and men to make himself more successful.
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