How Stereotypes and Bad Jokes Dampen Your Love Life

Louis Vuitton Model, Godfrey Gao

By Pia Guerrero, Co-Founder/Editor

The other morning after a grueling 45 minutes at boot camp, my fellow campers (all white women ranging in age from 23 to 60) and I grimaced as we stretched our stiff muscles on the grass. We talked about the following week and how we were allowed to bring as many guests to class free of charge for “guest week”.

Peggy, a sweet and lovable actress excitedly rambled, “Ooooh, perfect. I’m going to bring my friend Jeff. He’ll love it. We’re gonna have so much fun. He’s staying with me for a week. He’s just a friend, not anything else, he’s really nice, but just a friend…He’s Asian.”

Just as quickly as the words escaped her mouth, Peggy turned bright red. “Uh, er, um…not that he can’t be more than my friend just because he’s Asian, it’s just…I don’t know. I feel so stupid. I don’t know why I said that. That was just dumb…” And she continued on as the whole crowd chuckled as if to say, Don’t worry, honey. We get it.

What I found interesting about her unintended confession was that what she said rings true for so many progressive women. In general, there is agreement in our culture that Asian men are not romantic or even sexual options for white, Black, Latina and even some Asian women.

I’ve known Wendy since high-school. She’s Korean and very much bi-cultural. When I first met her in 10th grade I remember her speaking Korean to her parents and being in awe of her two refrigerators—one for what I called at the time “normal” food and the other for Korean food which was stocked with jars of home made Kim-Chee.

A few months ago Wendy and I were talking about men. The subject of interracial dating came up. Both of us have consistently dated outside our race. But while I have dated some white men, she has never dated a Korean man.

“Why?” I asked.

“Because I’d feel like I was dating my brother,” she matter-of-factly replied.

A few year’s ago, I was led to look deeply into my white privilege and challenge my own bias as I realized I didn’t find Asian men attractive. Admitting this was mortifying, but necessary, for it demolished a big blind spot I hadn’t seen. My idea of Asian men had been completely constructed around what I saw in the media—not by my personal experience.

Ever since, I notice how my views were completely informed by:

Three prominent stereotypes of Asian men

1) The Evil Master Criminal
Based on the Fu-Man Chu character, this evil conniver is always scheming to rip someone off, sell innocent women/girls into slavery, and profit from the sale of drugs and guns. He’ll do anything for money and power, even kill.

2) The Asexual Friend/Sidekick
Like his predecessor, Charlie Chan, Long Duc Dong is the modern version of the perfectly harmless asexual immigrant. He has a thick accent, often mispronounces l’s and r’s, and is short with round cheeks. His is laughably silly and stupid. Despite being a man, he acts like an immature boy whose super horny and sexist remarks serve to strip him of masculine sexuality.

3) The Wise Old Man
Spouting fortune cookie wisdom, he is an oracle with a deep, and often mysterious message. He too is asexual, with a thick accent probably because he’s been sitting, meditating and waiting for the past century to give the white hero sage advice.

It is the Asexual Friend stereotype that negatively impacts our view of Asian men the most. (When I say ‘our’ I’m referring to Western culture’s view in general, and my friend Wendy’s, the bootcampers’, and my former view specifically.)

I recently viewed DirectTVs new commercial starring the latest incarnation of asexual and immature Long Duc Dong and was horrified. The caricature of the Asian man is too over-the-top and absurd to be taken seriously, yet at the same time it is sooo wrong. Not being able to name what I felt, I’ve turned to Adios Barbie friend and colleague Anita Sarkeesian from Feminist Frequency who explains this phenomena as Retro Racism.

“Retro Racism (and Retro Sexism) uses irony and humor as a way to distance [media portrayals] from the false representations and stereotypes they perpetuate. We see it a lot in ads, when advertisers and marketers create a scene where they want the audience to know that they are aware of their racist (and/or sexist) content, but since it is masked in irony it’s supposed to just be a funny joke that we are all in on together.

In the case of the DirectTV commercial, [the producers] are invoking an age-old stereotype that emasculates and desexualizes Asian men. The commercial drives this point home by demonstrating that this man is so impotent that he can’t even perform for the willing women that are by his side and instead would rather watch TV. Invoking a phony and exaggerated Asian accent and “Asian” symbolism such as bamboo, a huge koi fish and a giant panda is supposed to be ironic humor. Just because we may recognize the joke, doesn’t change the fact that [the commercial] is still making fun of Asian culture and Asian men.”

Wink-wink, nudge-nudge my ass. The key to understanding the true meaning behind the message is to look at who created it. It’s kind of like telling a joke about being bitchy during PMS. As women we can tell the joke, but if a man does it, it’s not so funny. So given that this commercial is made by people who are mostly anything but Asian, we have a problem. To make the example even more clear, it’s like complaining about your mother. You can do it, but the minute a “your mamma” joke is thrown out at you, heads will roll. Some Asians find this commercial funny. To explain this my friend Daniel thoughtfully noted that you have to be in the tribe to tell jokes about the tribe. I agree.

Accurate and diverse portrayals of Asian men (including sexy Asian men) are completely absent from mainstream media leaving only fictional caricatures to paint our view. We know the damage hyper-sexual portrayals of women have on women and girls, so I can’t help to think how these asexual portrayals negatively impact the self-esteem and identity of Asian-American men.

Mainstream media has recently crowned Godfrey Gao as the first Asian American male super model. I wonder, if he were around when I was coming up would I have dated more Asian men? Should we celebrate the expansion of representations of Asian men in the media? Or will portraying Asian men in the same Eurocentric mold of masculinity and sexuality really make a difference in how they are seen? All I know is that since fessing up to my own bias, I see Asian men for the complex and varied individuals that they are. How about you?

Related posts:

When White Goes Wrong

Korean Star Speaks of Her Asian Bottom

 

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67 Sueños: Undocumented Youth Tell Their Stories to Change Perceptions

Photo by Amy Mejia

Photo by Amy Mejia

by 67 Sueños Collective

Lourdez, a 17 year-old student at Metwest High School, cares deeply about immigrant justice. “Some undocumented youth live in fear and are scared to speak out because of fear of being harassed or being deported.  I want to change that,” says Lourdez.

A daughter to undocumented parents herself, Lourdez believes what drives the fear is a misrepresentation of undocumented people in the media and a lack of pending legislation for a path towards citizenship. “The only thing happening in Washington DC to address undocumented youth and our needs for the last decade does not even include two-thirds of us—that’s unacceptable,” says Lourdez.

Lourdez is among the sixty seven (67) percent of undocumented high school-aged youth that are living in the United States who would not benefit from the proposed legislation known as the D.R.E.A.M. Act (Development, Relief, and Education for Alien Minors Act).  (DREAM Vs. Reality a report from the Migration Policy Institute)

Under the D.R.E.A.M. Act, undocumented youth would be eligible for a path to citizenship after completion of a college degree or two years of military service.

“Most of us struggle to graduate high school. Most of us can’t afford college. Many of us have to work in the fields and can’t finish school. Others are forced to work as day laborers as early as 14 years old.” says Javier.

Javier is a 15 year-old student who is also undocumented. The struggles facing migrant youth who want to continue their education post high school are present and real for Javier. This summer his sister is migrating back to Mexico because she cannot afford college without federal financial aid. Undocumented students living in the U.S. are not eligible for financial aid.

Last year, Lourdez and a handful of other migrant youth from Oakland, California’s public school system began organizing to learn about, and take action on, migrant justice issues. “We were gathering and learning about the immigrants’ rights struggle and watching the way it was handled on TV and news media. We quickly asked ourselves, where are we in this discussion? Where are our friends? Where are [the] young day-laborers and young farm workers?”

They formed the 67 Sueños (Dreams) Collective, a media activist group of high-school-aged undocumented youth.  67 Sueños aims to give voice to the undocumented youth community and address the needs of the sixty seven percent of migrant youth not being met by current legislation. “When we realized the media was not telling our stories, we decided to tell our own stories,” says Lourdez.

Javier believes the group can help change his sister’s future and possibly his own, “I chose to be in 67 Sueños to show the world what we as undocumented people have to go through to help our families.”

Ramon, a member of the Collective has experienced first hand the effectiveness of 67 Sueños . “Through our work I have found out that in order to help yourself first you have to help others who are in this struggle because if you don’t join in this struggle you are not going to be able to overcome it. Fear is one thing I am overcoming. I no longer stay in my house like being in prison closing the blinds and watching my childhood go by because of the fear of being discovered that we are an undocumented family.”

Since its inception last year, the 67 Sueños Collective has grown in size and boasts membership and support from adult allies and documented students.

Seventeen year-old Marta is a High School Junior with permanent resident status. Her family experienced the fear, dangers, and struggles of migration and being undocumented. Now she is using her story to express what others cannot: “I feel like I can be that voice for those undocumented people who feel scared to speak out. I can help make sure their stories are heard.”

But what moves Marta and the other members of the 67 Sueños Collective to action is bigger than story telling as Marta points out. “Undocumented youth should have the opportunity to speak out about the struggles they face and also to achieve their dreams. Knowing some youth cannot reach their dreams because they lack a social security number motivates me to do the work of 67 Sueños.”

This summer, the 67 Sueños Collective will be creating a 96-foot by 24-foot community mural just three blocks from San Francisco City Hall that will serve as the official debut of the group and their story telling project. A website as well as collaborations with NPR’s Storycorps, New American Media, and ColorLines Online Magazine are also underway.

The group hopes to document 67 stories by the end of next year using video interviews, audio recordings and partnerships with allies. Their goal will be to use the stories to raise awareness about their struggles and meet with legislators to make their mission a reality.

Marta speaks with valiant clarity about the importance the 67 Sueños mission. “When people’s stories are not heard, and their perspectives are not acknowledged, they don’t get to dream. We want to change the way the news talks about us, and the way Washington DC excludes us.”

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Walt Disney and Me (Black and Disabled)

Cinderella

By Cynthia Barram

I have an incredible love-hate relationship with Mr. Disney. The first time my dad wheeled me and my chair into a theater we watched The Little Mermaid. The lyrics from Ariel’s “Part of Your World,” pierced me. She equated so much of being human and happy with walking. But before Ariel, no one had articulated my secret childhood longing to dance, to move. And Iin could move so much easier in the water. I could swim, walk, jump, and hold my breath until adults made fools of themselves trying to save me from a pool. Ariel convinced me that a secret society of mermaids waited beneath every puddle for my orphan soul to rejoin them. Years later, I realized that Disney’s portrayal of Ariel as wearing only a bra for the first half of her movie, and as silent, lovingly clueless, and unrelentingly sexy for the second half was a serious problem from a feminist perspective. But honestly, if I woke up one morning with white skin, a petite build, an able body, and red hair I would train my voice to hilt, move to Los Angeles, force Disneyland to hire me, and sing that song with more conviction than anyone who had never been in a wheelchair ever could.

Cinderella presented me with other problems. I fell in love with her because of her ability to “buck up” under difficult circumstances. Mimicking her came in handy on days when Dad was irate, Mom was clueless, and my two sisters were evil. I would have swapped her housework for my surgeries in a heartbeat. Secretly I hoped that, like her, I could have mice and a fairy-godmother that would not rest until they had given me the means to accomplish all I dreamt of. I believed that at some point, the trauma I had suffered as a child, my scars, would vanish and give way to new life. Not exactly.

Cerebral palsy, though not unlovable, can be a clumsy thing. I would never acquire Cinderella’s ability to move and behave with absolute grace in every situation. And the other side of the mirror would never show me Cindy’s pretty blue eyes, blonde hair, hourglass figure, or perfect toeless Barbie doll feet. Never mind that my biological mother actually had blue eyes and blonde hair. My coffee with cream skin, midnight eyes, and black-cat no-I-will-not-get-into-braids-until-I-am-properly-stroked hair that I inherited from my biological father were having none of it. Cinderella indeed!

Mom would smile at me through her wily green-eyes as she attempted to ameliorate some of this tragedy every summer:

“You’re getting tan faster than me. Stop it!” she would scold me in her play voice.

“You’re not going to beat me,” I would retort, “Give up.”

“Never!” she would howl before we both busted a gut. But Cinderella’s white-is-good-and-pure mentality still etched itself into my adopted brain.

One Christmas I asked my mother, “Black people don’t go to heaven, do they mamma?”

In utter shock, Mom asked me where I heard such a thing. I told her, “Well, I have never seen a Black angel. They all have blond hair and blue eyes.” She sent my father to Atlanta promptly and he returned with a framed picture of a Black angel and the same of a Black Jesus. Every couple of Christmases thereafter relatives would bring Black Marys, Black fairies, a music box where a Black girl held a bright red present, and even my first Black baby doll—a chubby, smiling little girl who I promptly named Natasha. Yet, these toys were often the first to end up horribly mutilated. I wasn’t killing them on purpose, but I would subject them to my inherent clumsiness a lot faster than my more fragile, white toys.

I spent a lot of time at the library in third grade investigating Cinderella. I found out that she had red hair, brown hair, and black hair. I found out that she was a lovely Black woman (also named Natasha) who grew up in Africa, and had “counterparts” all over the globe. I found out that other princess stories like Snow White, Sleeping Beauty, and Beauty and the Beast were similarly archetypal and had heroines from France, Italy, China, Egypt, Appalachia, everywhere. But all this cultural education did not stop me from making remarks like, “Oh my God! I have never seen so many Black people in all my life! They are everywhere!” When my father took me to see an Andrae Crouch concert, he told me, “You’re Black, now hush!” It was the only discussion Dad and I had about my race. That blue-eyed Cinderella was still the woman to conquer.

And things got worse. I used to watch Dumbo on Disney channel looking for the black crows. They are still my favorite part of the movie. In their defense (and mine) I never thought they were vicious—just jovial, excellent at wordplay, and a little sarcastic. I mean, let’s face it. They taught Dumbo how to fly, and stuck by him to keep him out of trouble at the end of the movie. Without them, Dumbo and his smart talking little mouse would be nothing. I took a Jazz, Pop, and Rock music class during my freshman year of college, and learned the origins of the blues and scat that made me love those animated crows. I also learned that associating any Black person with a crow, with Jim Crow in fact, was a horrible and hideous thing to do. Jim Crow was the name of a so-called code of conduct, which basically gave Whites pseudo-legal license to persecute and murder Blacks. No wonder Dumbo isn’t shown on public television anymore! And yet, may God help me, I still miss those crows. It’s not every day that a person meets friends who can laugh playfully at themselves and at you, and who have no qualms when it comes to teaching the down-and-out of how to fly.

My most shameful, and yet somehow most beloved Disney movie was Peter Pan. My favorite parts of this movie were the scenes with the “Indians”. As much as the chief terrified me when he promised to “burn ‘em at stake” if they could not rescue his daughter Tiger Lily, I loved watching the dignified way the young princess completely ignored Captain Hook as he screamed empty threats of death in her face to try and make her give up Peter Pan. I couldn’t believe her bravery and faith. She never cried out not even when she was about to drown. She knew that Pan would come for her and he did. And, when she was returned to the tribe, the same chief who had been ready to barbecue the Lost Boys earlier, invited everyone to a dance party to celebrate. It was very gracious of him I thought, and in the end he also turned out to have a sense of humor, which made him not nearly as scary. So, I made a note in my then very elastic seven-year-old brain: These red men are friendly and fun-loving people who throw better parties and can boogie down better than anyone you have ever seen. In sixth grade, a Native American dance troop performed at my school.  They did tricks with hoops and used feathers to make eagle shadows that swooped and soared across the gym floor. I was impressed, but not the least bit surprised.

Disney chose to draw the Indians in Peter Pan as bad caricatures—men as overly skinny, women as fat and toothless. What’s more, the word squaw is used three times in that movie. As a child, I asked my father what it meant and he told me it was the Indian way of saying girl. Similarly, my sisters and I used to play Indians after or during the movie. We had fake war cries and all, and those games are one of the only times I remember us running around with absolute abandon, and reveling in our ability to make noise. When my cousin’s kids met my family and I in South Dakota last year for a family reunion I remember remarking more than once, “Geez, they are like wild Indians,” as her home-schooled children whooped and hollered and stretched their bare limbs racing toward the swimming pool like their lives depended on it. They were free, yes. They were elated, yes. But did that make them “wild Indians” necessarily? Where had I learned to talk like that? My earliest and most overt teacher had been that old Peter Pan movie.

And so the queer play goes on in my head: Images of red men, black crows, and blonde Cinderellas swirl, their racist-sexist-classist messages intermingling with the pain and perfume of my childhood. What if Tiger Lilly had been able to speak? Would Dumbo be so different if the crows had been animated as cats? If Cinderella was just a little bit clumsy and perhaps had acne, would her film be ruined? And would it kill the Little Mermaid if Ariel at some point, kind of enjoyed her thinly-veiled wheelchairedness? Yet, I can never truly bring myself to hate Mr. Disney. Granted, should I have children I will not let my kids watch his dusty, old films—they lead to confusion. But part of me will always laugh at the crows in Dumbo. I’ll laugh at my fond memories of playing with my sisters. I’ll laugh because Mr. Disney introduced me to the concept of play and humor. I will laugh until somebody comes up with stories that are more engaging and entertaining, without being so off color.

* * *

Today’s contributor, Cynthia Barram is 26, an avid concert goer, an activist, and an English major. She lives with a cat who thinks she is both rich and human. Cynthia treats her wheelchair like a race car or a Queen’s throne depending on the day, and her second home is the bus station.

Disney-Related Content on Adios Barbie:

Tangled: Going Beyond the Disney Mold

Disney’s First Black Princess Makes Us Wonder

Are Your Roots Bad for Business?

Finally! The Truth About “Happily Ever After” Revealed

 

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Help Expose the Real Illusionists

Illusionists

By Sharon Haywood, Co-Editor

“To men a man is but a mind. Who cares what face he carries or what he wears? But a woman’s body is the woman.” Filmmaker Elena Rossini cites this quote from writer Ambrose Bierce as her third reason out of 30 for creating The Illusionists, a full-length documentary about how the body has been transformed into the “finest” consumer object worldwide. As www.theillusionists.org explains, author Germaine Greer referred to women as illusionists “as they ‘fake the roses in their cheeks, the thickness, color and curliness of their hair, the tininess of their waists, the longness of their legs and the size and shape of their breasts.’” But the real illusionists—the beauty industry and mass media—are exposed in Rossini’s documentary as the culprits who unscrupulously sell unattainable beauty:

“They create, shape and maintain our shared beliefs, values, and rules, promoting aspirational ideals of female beauty that are very difficult – if not impossible – to achieve, in order to create new needs and apprehensions that fuel a 500 billion dollar industry.”

Rossini and her team have set up a fundraising campaign that needs your backing. They have chosen Kickstarter, an incredible online fundraising platform that provides creative projects the opportunity to reach out to like-minded folks like you for support. The ask? $33,000 in 43 days. At the time of writing this, $16,000 has been donated and 29 days remain. An amazing amount of money in two weeks. But Kickstarter has a catch—the project abides by an “all-or-nothing funding method.” In other words, if the project fails to reach 100% of its funding goal by August 5th, all pledges will be lost.

With footage from around the world, including Europe, the United States, India, and East Asia The Illusionists will present a truly global close-up at “how mass media, advertising and several industries manipulate people’s insecurities about their bodies for profit.” The film’s list of experts is impressive: Psychotherapist and author of 11 books, including Fat is a Feminist Issue and her latest, Bodies, Susie Orbach; author and filmmaker Jean Kilbourne, most recognized for her groundbreaking film series about women and advertising, Killing Us Softly; and the founder of Women in Media & News and author of Reality Bites Back, Jennifer Pozner. Plans are in the works to interview others, such as the famed writer and philosopher Umberto Eco and the controversial photographer, Oliviero Toscani well known for his multi-racial Benetton ads. What’s more the film will also include testimony from advertising executives, magazine editors, scientists, historians, and sociologists.

I can think of a few more solid reasons why we need to see The Illusionists: it will act as an invaluable educational resource “making viewers more empowered consumers of media,” provide people with a tool to help them reject the self-esteem crushing messages from marketers, and it might even act as a catalyst for change in how women are represented in the media. But none of that can happen without your support.  Rossini explains that,

“there is a lot of censorship surrounding these issues. Funding the film independently, through people’s donations, is the only way we can be completely candid about these topics, without interference from media companies.”

That’s where you come in. With only 29 days and $17,000 to go, Rossini and her team are relying on you. The last but definitely not the least important reason Rossini has chosen to make (and fund) The Illusionists is number 30 on her list: “Because I feel inspired by this quote by Margaret Mead: ‘A small group of thoughtful people could change the world. Indeed, it’s the only thing that ever has.’” Be part of the change. Extend your support and help the Illusionists team meet its goal. The repercussions are bound to be long lasting.

* * *

Visit The Illusionists Kickstarter campaign to make your pledge (which also comes with cool rewards like a DVD of film).

More about the filmmaker: Rossini’s previous work is outstanding. At just 25, she wrote, produced, and directed the full-feature narrative fiction film, Dove Sei Tu. She was also commissioned by the Louvre museum and ARTE Web to create the powerful short documentary, Ideal Beauty in which she compares and contrasts how beauty has been expressed via art with mass media’s current version of the physical ideal. More recently, notable projects include being the cinematographer for Three Days to See (director Garrett Zevgetis) and filming Lili’s Journey, in which she interviewed the Her Majesty Queen Rania of Jordan.

 

Related Content:

In the name of girls: The AMA calls for magazine ads to end photoshopping bodies

 

 

 

 

 

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In the Name of Girls: The AMA Calls for Magazine Ads to End Photoshopping Bodies

In 2001, two media literate students produced this image  to raise awareness on the media and body image.

By Pia Guerrero, Co-Founder/Editor

When we first launched the Adios Barbie website 12 years ago, I had to explain what the term ‘body image’ meant to friends and family when they asked what I was up to. I was leading a lot of media literacy workshops at the time where I often had to prove to skeptical teachers and students that the media affects our perceptions and self-esteem.  Many didn’t believe they were impacted. But eyes and minds opened when they saw examples of body after body in magazine ads that had been digitally altered. “It’s impossible to look like that!” they’d finally exclaim. And I’d smirk, in a self-congratulatory way, thinking that my work was done.

In 2001, two media literate students produced this image to raise awareness on the media and body image.

 

Today, a lot of awareness has been raised around the digital and plastic manipulation of models and actresses in magazines. The likes of Kim Kardashian no longer hide the work they’ve had done and instead flaunt their new bodies on anything they can plaster their image across. Regardless, thousands of girls and women continue to hate what they look like and strive for the impossible–to look like women that don’t actually exist.

The primary message that most ads send to girls is that above all else their most valuable quality is their body and appearance. The most prominent image girls see of women and teens in the media is one that is hyper-sexualized and centers on an unrealistic ideal of beauty and size. As a result, studies show that mass media consumption is linked to obesity, eating disorders, and poor body image. According to the National Eating Disorders Association, 42 percent of girls in first through third grade want to be thinner, 81 percent of 10-year-olds are afraid of being fat, and 51 percent of 9 and 10-year-old girls feel better about themselves if they are on a diet.

The good news is that the American Medical Association (AMA) announced they’ve adopted a policy against what I’d call false advertising.

The AMA adopted a new policy to encourage advertising associations to work with public and private sector organizations concerned with child and adolescent health to develop guidelines for advertisements, especially those appearing in teen-oriented publications, that would discourage the altering of photographs in a manner that could promote unrealistic expectations of appropriate body image.

To drive the point home, Dr. McAneny of the AMA states, “We must stop exposing impressionable children and teenagers to advertisements portraying models with body types only attainable with the help of photo editing software.”

This institutional stand is definitely a cause for celebration, but don’t put on your party hat just yet. While the first step is always the most important, I hope AMA doesn’t end at only “encourag[ing] advertising associations” to stop their practices. Because it’s not just the advertisements in magazines that are the problem. It’s ads everywhere. In fact it’s other media like billboards, commercials, music videos, movies–even cartoons. I applaud the AMA for taking this first step. It’s powerful and important and will hopefully lead to great strides towards long-term change in how women and girls are portrayed everywhere.

 

Related Content:

Help Expose the Real Illusionists

Is Airbrushing On Its Way Out?

Putting “Proper” Clothes on Mariah Carey

Debenhams Breaks Fashion Protocol Again

Editor of Self Gets Her Photoshopped Ass Handed to Her

Warning Labels on Photoshopped Models? “Oui” Say the French

Kardashian’s Cellulite: A Complex Controversy

 

 

 

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What Can The X-Men Teach Us About All Kinds of Stereotypes?

hugh_jackman_wolverine

By Melanie T of Psysociety

This [month] marked the opening of X-Men: First Class, prequel to (and assumed reboot of) the wildly successful X-Men movie franchise.

For those who are unfamiliar with the X-Men series, the stories revolve around groups of ‘mutants,’ super-powered beings who supposedly represent the next stage in human evolution and whose powers run the gamut from telepathy to cellular regeneration. Apart from stunning visual effects and fun action sequences, one of the most compelling aspects of the X-Men movies is how easy it is to understand and relate to the prejudice faced by the X-Men and other mutants at the hands of the frightened, non-mutated humans. In fact, there’s quite a lot that the X-Men movies can help us understand about the nature of stereotypes, how we form them, and what makes us activate them in our everyday lives.

How Do We Form Stereotypes?

What makes us form a stereotype? And why are some stereotypes different from others?

According to the Stereotype Content Model, we form stereotypes of social groups based on where our perceptions fall on two dimensions – warmth and competence.

We perceive groups to be high on warmth when we see them as likable, friendly, and/or unthreatening; if others are perceived as competitors, we knock that social group down on the ‘warmth’ dimension.

We perceive groups to be high on competence when we see them as ambitious, successful, and/or high status. If groups are low on the social status ladder, we view them as incompetent.

The idea behind this model is that we experience different emotions in response to each group’s perceived level of warmth and competence. Here is what the model might look like with the typical emotional responses filled in:

We usually consider our ingroups (or cultural majorities, like Whites and Christians in America) to have high levels of both warmth and competence; as a result, this combination elicits feelings of pride and admiration, along with a tendency to actively or passively help members of this group (by directly helping them or merely by wanting to associate with them). On the other side of the spectrum, groups like drug addicts or the homeless are often perceived as being low on both warmth and competence. This produces feelings like disgust and anger; people’s typical behavior in response to these emotions involves wanting to harm these group members via neglect or direct attack. High levels of warmth combined with low levels of competence is characteristic for groups like the elderly and disabled; when we encounter groups that we deem likable yet incompetent, our stereotypes are based on pity, and this elicits a mixed behavioral response: while people will sometimes try and actively help them, they are often passively harmed through neglect.

But where do our X-Men lie? With their superpowers, they are quite competent; in fact, the very basis of the humans’ fear revolves around the mutants’ potential for utter control and destruction. Yet their extreme ‘otherness’ (in both pheno- and genotype) and perceived competition for resources places them squarely on the ‘low warmth’ side. High competence/low warmth people seem to encapsulate the worst parts of all worlds – they have the high status of the “admired” group without the likability, and they have the cold, exploitative nature of the “disgusting” group without the incompetence to prevent them from succeeding.1 Groups like the X-Men mutants are perceived as over-privileged outsiders, and this elicits a distinct emotional response: Envy.

If the ultimate goal of total mutant eradication running through the X-Men series evoked an unsettling mental parallel to the Holocaust, there’s a good reason why – and it’s not just the fact that sometimes-villain Magneto is a Holocaust survivor. Envy is the most dangerous emotional base for stereotypes; it fuses begrudging respect with intense dislike, which is a volatile, complex mix of emotions that can lead to passive admiration under nonthreatening social situations and violent attacks as soon as your surroundings become slightly unstable. In fact, envied groups are the most frequent targets of genocide and mass murder. People don’t necessarily want to eradicate the groups that they pity, or even the groups that make them angry – they want to eradicate the groups that make them jealous.
When Do We Activate Stereotypes?

To a certain extent, people automatically (and spontaneously) classify other people into groups based on stereotypes all the time – but it’s not as if we all walk around using stereotypes as our only basis of judgment and decision-making. Typically, we have the presence of mind (and cognitive control) to know that even if we are aware of certain stereotypes, we should not go around applying them without exception to everyone that we meet. However, there are several conditions that make it more likely that we will rely on stereotypes.

1. You’re Tired. When people’s cognitive capacities have been drained – because they’ve been thinking a lot, putting a lot of effort into other tasks, or are simply tired – they are more likely to rely on stereotypes. If you’ve been sitting in a boring committee hearing for hours debating the relative merits and flaws of the Mutant Registration Act and straining your attention until you’re cognitively drained, you’re more likely to rely on stereotypes when forming a decision about your vote.

2. Your Self-Esteem Just Took A Hit. When your self-esteem has been threatened by a certain social group, you are more motivated to apply stereotypes to this group in an effort to compensate. So, imagine you’re in a museum and you see a group of young students. In this group of students, there’s a boy tossing around a lighter and a cute girl named Rogue. If you are rebuffed both when you ask for a light and when you attempt to hit on the girl, the ego-blow has probably knocked your self-esteem down a few pegs. If you then realize that you were just rejected by a group of mutants, you are even more likely to apply stereotypes when you begin fighting them, maybe hurling epithets like “Freak!” in their direction along with your punches.

3. You’re Competing For Resources. When you perceive that there is a limited pool of resources and you’re competing for them against another group, you are more likely to stereotype the other group as competitive and (as a result) less warm, leading to the types of emotions (like disgust, anger, or envy) that would invoke violent reactions. So, if Senator Kelly pushes the Mutant Registration Act by painting a picture of an “us vs. them” world where mutants are competing with humans for resources, jobs, mates, and overall survival, the constituents are more likely to adopt negative stereotypes of the mutants and carry out the violent, harmful behavioral responses that arise from envy.

So What Can We Learn From The X-Men?

X-Men can teach us three things about the way that we form and apply stereotypes in our everyday lives.

1. Be wary of how you view social groups that you might consider competition. The two “low warmth” social groups (regardless of competence) are the most likely to provoke harmful behavioral responses, but stereotyping a group as “low warmth/high competence” can lead to particularly dangerous outcomes, especially when the sociopolitical climate is unstable. If you are faced with X-Men, try not to be jealous of their awesome powers – it will only lead to trouble.

2. Try not to be tired, threatened, or low on self-esteem when a situation arises where you have the opportunity to rely on stereotypes to form judgments or make important decisions. If a mutant tires you out, steals your job, or insults your haircut, it will be especially hard to avoid judging him/her using group-based stereotypes.

3. Stereotypes are not an accurate way to judge every single member of a social category – they are group-based social categorizations based on societal perceptions, not necessarily based on reality. The perception of “mutants” as a low-warmth group, for example, does not mean it is accurate to extend this judgment to an individual mutant like Nightcrawler, who is very friendly and quite harmless (when not being controlled by William Stryker).

But even so, you probably shouldn’t make Wolverine angry.

 

1 I want to be very clear that I am not trying to imply that any of these perceptions of exploitativeness, coldness, incompetence, etc. are accurate for the indicated social groups that I’ve provided as commonly used examples. I am merely explaining an existing model of stereotype formation (which represents cultural biases and group-based generalizations, not to be confused with any one person’s individual opinion, including my own opinions and, I’m assuming, the opinions of the model’s authors). This is not a model of individual attitude formation, nor should it be interpreted as in any way indicative of any single person’s attitudes towards elderly people, disabled people, homeless people, drug addicts, or mutants.

2 There have been several wonderful blog posts recently on the science of X-Men and the X-Men movies. For two of my favorite recent examples, please see Erika Salomon’s post at A Theory of Mind on evolution as it is portrayed in both X-Men and Planet of the Apes (Mutants, Apes, and Evolution – Oh My!) and John Rennie’s post at Scientific American on what the X-Men movies don’t quite get right about how evolution really works (The Evolutionary Errors of X-Men). If you have also written a blog post about X-Men, please link to it in the comments!

References

Harris, L. T., Cikara, M., & Fiske, S. T. (2008). Envy as predicted by the stereotype content model. In R. Smith (Ed.), Envy: Theory and research. New York: Oxford University Press.

Fiske ST, Cuddy AJ, Glick P, & Xu J (2002). A model of (often mixed) stereotype content: competence and warmth respectively follow from perceived status and competition. Journal of personality and social psychology, 82 (6), 878-902 PMID: 12051578

Cuddy, AJC, Fiske, ST, & Glick, P (2007). The BIAS Map: Behaviors from intergroup affect and stereotypes. Journal of Personality and Social Psychology, 92, 631-648 DOI: 10.1037/0022-3514.92.4.631

Govorun, O, & Payne, BK (2006). Ego depletion and prejudice: Separating automatic and controlled components. Social Cognition (24 ), 111-136 DOI: 10.1521/soco.2006.24.2.111

Sinclair, L., & Kunda, Z. (2000). Motivated stereotyping of women: She’s fine if she praised me but incompetent if she criticized me. Personality and Social Psychology Bulletin, 26, 1329-1342 DOI: 10.1177/0146167200263002

Staub, E. (1989). The roots of evil: The origins of genocide and other group violence. New York: Cambridge University Press.

Fiske, S. T. (1998). Stereotyping, prejudice and discrimination. In D.T. Gilbert, S.T. Fiske, & G. Lindzey (Eds.) The Handbook of Social Psychology (pp. 357-411). Boston: McGraw-Hill.

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Originally posted at Psysociety. Cross-posted with permission.

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What Reality TV Taught Me About Sluts, Waifs, Douchebags and Angry Black Women

The Apprentice’s Omarosa Manigault-Stallworth by Glenn Francis
The Apprentice’s Omarosa Manigault-Stallworth by Glenn Francis

The Apprentice’s Omarosa Manigault-Stallworth by Glenn Francis

By Melanie Klein at Ms. Magazine Blog

Is every woman either desperate to get married (Bridezillas), a slut/bitch (Rock of Love) or a beauty-obsessed waif (America’s Next Top Model)? Is every man either a despicable douchebag (Tool Academy) or a thugged-out gangsta (again, Tool Academy)?

If we were to judge from the reality TV shows that have populated our cultural landscape over the last decade, the answer would be a resounding “yes.”

Reality TV is replete with regressive portrayals of men and women–what Jennifer Pozner, author of Reality Bites Back: The Troubling Truth About Guilty Pleasure TV and director of Women in Media and News, dubs the “genre’s most overused, egregious, and cliched stock characters.”

Given the ever-increasing hordes of “reality” shows and their influence on our perceptions of what is “real,” I’d say it’s high time for some lessons in media literacy.

Media literacy education has been deemed essential preparation for children and adults alike in our 21st century environment, in which hardly a moment of our life goes unmediated. Media literacy advocates aren’t stumping for censorship, or discouraging popular media consumption entirely, but rather encouraging consumption with a critical eye. As Pozner recently said on AOL’s TV Squad:

If you enjoy reality television, I’m not here to tell you to dump ‘The Bachelor’…[Media literacy is] about learning to keep your critical faculties engaged, and that’s difficult because we turn on the television seeking entertainment, and we assume that entertainment means we don’t have to think.

Pozner has some creative ways to increase media literacy. She tells Bitch:

On the Reality Bites Back website there are Reality TV Mad Libs that are designed to increase media literacy. There is also a “Deconstruction Guide” with questions that people should keep in mind when they’re watching reality shows—or when they’re engaging with any other kind of media. There are tips for parents about how you can talk with your children about media literacy and how to let the kids guide that discussion. There are a lot of how-tos that make it fun to explore media literacy, so it’s not just medicine that you take.

My favorite of Pozner’s media literacy tools is her “Reality Rehab” web show, a hilarious, SNL-like spin on “Celebrity Rehab with Dr. Drew” that borrows you-can’t-make-this-stuff-up dialogue and scenes from reality TV shows (“I would be a servant to you”). In each webisode, “Dr. Jenn” helps one of reality TV’s most persistent stock characters (“The Slutty Bitch,” “The Angry Black Woman,” “The Top Model,” “The Real Housewife”) break out of his or her stereotype. After completing a stint in Reality Rehab, which combines “media literacy therapy” with “confessional cam” monologues, the characters emerge fully-dimensional human beings once more. Here’s Douchebag Dude, webisode 6:

 

In the process, the characters share insights into the machinations of reality TV: how producers use casting, “Frankenbite” editing and various production tricks to turn fully dimensional beings into one-dimensional tropes. By revealing these mechanisms, Pozner aims “to get people to become more critical media consumers, especially in relation to the regressive gender, racial, class and sexuality tropes hawked within the reality TV genre.”

When I incorporated the webisodes into my own women’s studies curriculum this semester, they did just that, to judge by my students’ comments:

From explaining to the “top model” that she is never going to be a top model because she does not fit the extremely limited and one-dimensional mold that America’s Next Top Model makes their girls fit into, to telling “the bachelorette” that she should not waste her time settling for sloppy, egotistical men who have stuck their tongues down twenty-five girl’s throats, Jenn is definitely helping the “stars” and viewers make sense of this reality show world that has completely consumed them. - Andrea S., a 19 year-old Sociology major

As a reality television viewer, it is so easy to get sucked in and believe that what I am watching is real footage of people’s lives. Jennifer Pozner, and her websidodes, help to effectively use media literacy to expose how reality television warps the idea of “real” and alters it into something completely different. It was nice to get some reality rehab for myself! Chandler R., an 18 year-old Anthropology major

Indeed, everyone could use some “reality rehab.” To assume that we’re immune from the regressive tropes and values espoused by reality TV is to be ostriches with our heads buried in the sand. Whether we watch or not, everyone else does, and the lessons are insidious. It behooves all of us to sharpen our media literacy skills in order to challenge the toxic tales churned out by reality TV–and Pozner is leading the way.

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Photo of The Apprentice’s Omarosa Manigault-Stallworth by Glenn Francis. Reused under Wikimedia Commons.

Originally posted at Ms. Magazine Blog. Cross-posted with permission.

For more information about the author of this post, Melanie Klein, check out her bio here.

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Pop Culture’s Relentless Battle with Body Image

The Reality Behind the Quest to be “The Biggest Loser”

Khloe Can’t Keep Up with the Kardashians’ Body Standards

TV’s Fat and Happy. Not Quite.

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Adios, Superman?

Superman in 1941

By Crystal Smith

Superman in 1941

Superman in 1941

Chris Godsey, author of the article “Men & Body Image,” notes that body image is no longer an exclusive female problem. Believing that we can fix body image issues he asks, “Where do we start?” In answer to his question, I say we begin by looking at the toys and media images that surround our young sons—specifically superheroes and action figures.

The issue of male body image is not an entirely new one. Since the time of Charles Atlas in the 1930s and 1940s men have aspired to a more muscular physique. (See how Charles Atlas’ ads cajoled men into trying his fitness regimen by calling them “skinny” and “weaklings.”) The trend continues today but the age at which body dissatisfaction first occurs has dropped.

Recent research has shown that boys as young as 8 struggle with body image, 25% of boys between the ages of 10 and 14 are dieting to lose weight,[i] and 41% of boys aged 13 to 19 are dissatisfied with their bodies. A study conducted by the authors of The Adonis Complex indicated that when given a choice between body types, more than half of boys aged 11 to 17 chose a figure that possessed about 35 pounds more muscle than they possessed themselves—an ideal that for most males can only be attained by using steroids.[ii]

Where does male body dissatisfaction originate? Researchers point to “the lean but muscular male ideal increasingly portrayed in advertising and other media,” which could be “as harmful for men as thin ideals are for women.”[iii] Studies also note that many of the earliest messages boys receive about the ideal male body come from television, movies, and toys.[iv]

Superman in 2001

Superman in 2001

Superheroes, as the epitome of masculinity in children’s popular culture, shoulder at least some of the blame for boys’ body image problems. Whether flying through the sky, swinging on a web between skyscrapers, or tackling a criminal to the ground, their physical feats take precedence over any other attributes they may possess. Carrying out such heroic exploits requires a certain physique—one that was evident in the muscular superheroes of my childhood but has reached new extremes in today’s animated heroes.

A comparison of images from the 1970s series Super Friends and today’s Justice League shows how much these characters have grown. Today’s incarnations of Superman and Batman are significantly larger in the chest and shoulders than the older versions, with one author claiming that Batman’s shoulders have “morphed from one fourth of his height to almost half of his height.”[v] Even B-list Justice League hero Aquaman has changed from a fit and defined half-man/half-fish to a hulking Neptune-like character with gigantic biceps.

Action figures have also bulked up. Although not a superhero in the conventional sense, G.I. Joe is a popular male action figure whose 1964 version, when translated into human terms, had a 44-inch chest and 12-inch biceps. By the mid 1990s, Joe’s chest had expanded to 55 inches and his biceps to a highly unrealistic 27.2 inches.[vi] One version of the Wolverine action figure, when translated to a man of 5 feet 10 inches tall, would have biceps of 32 inches—just one inch less than his waist. Newer action figures based on wrestlers and martial arts fighters have similar proportions.

Physiques like these put action figures into or beyond bodybuilder range—not exactly the average man. By way of comparison, bodybuilder Steve Reeves—a man who was considered to have had the most perfectly proportioned (and drug-free) body ever—had a chest measurement of 52 inches, a waist of 29 inches, and biceps of 18.25 inches each.[vii]

According to The Adonis Complex, the danger of exposing young boys to such extremes is that children are not old enough to stop and question whether the level of muscularity in their favorite action heroes is realistic. This constant, distorted messaging about the ideal male body, present in boys’ lives from preschool age through their adult years, can have a considerable negative impact. Body image is closely tied to self-esteem in boys, especially among those who are short in stature or late developing. In fact, appearance is more important for most teenage boys than academic or athletic achievement, or even peer acceptance. Some studies have also shown that boys with a negative body image are more prone to depression.

Adding to the problem is that most parents are unaware of body image issues in their sons. They may be attuned to similar problems in their daughters but many assume that body dissatisfaction does not affect boys. Cultural imperatives dictating that boys should not talk about their concerns exacerbate the problem. As boys get older, they often internalize their worries about their bodies and, “in the absence of feedback from their families … listen to other voices,” including television and other pop culture outlets that perpetuate the over-muscled masculine ideal. [viii]

Is it time for our sons to bid adieu to Superman and other action heroes? I wouldn’t go that far. But it is time for parents and caregivers to increase their vigilance and mediate the negative messages pop culture sends young boys about manhood, masculinity, and body image.


[i] Hall, Joseph. “Young children feel the weight of body image.” The Toronto Star. August 27, 2009.

[ii] Pope, Harrison et al. The Adonis Complex. (New York: Touchstone, 2000), 28, 174.

[iii] Tiggeman, Marika. “Media Influences on Body Image Development” in Body Image: A Handbook of Theory, Research, and Clinical Practice. (New York: The Guilford Press, 2002), 96.

[iv] Corson, Patricia Westmoreland and Arnold E. Andersen. “Body Image Issues Among Boys and Men” in Body Image: A Handbook of Theory, Research, and Clinical Practice, 193.

[v] Etcoff, Nancy. Survival of the Prettiest. (New York: Doubleday, 1999), 179.

[vi] Pope, Harrison et al, 41-42.

[vii] Biography of Steve Reeves, accessed March 14, 2010, http://www.stevereeves.com/bio-bodybuilder.asp.

[viii] Pope et al, 46, 179, 193-194

Crystal Smith is a social media and marketing writer who, after being regularly disappointed by the film and television offerings available to her two young sons, decided to write about the impact of kids’ popular culture on young boys in her upcoming book The Achilles Effect and on her blog at www.achilleseffect.com.

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Why Moms of Boys Need to Care About the Body Image of Girls

Ads Featuring “Average Joes” Just as Effective

Deprivation and Dehydration Standard for Male Models

Dove: Redefining Male Beauty

Media Causing More Men to Pursue “Ideal” Body

Dove and Diversity: Not Just for Women

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In the Media, As a Black Man You’re Still Guilty Even if Proven Innocent

Guilty even when proven innocent.

Guilty even when proven innocent.

Photos included in coverage of Hofstra rape case after defendants were cleared.

Yesterday morning I was checking out the Huffington Post‘s piece on the dropped Hofstra gang rape case and was not surprised at the sloppy coverage by the media of the innocent young black males falsely accused of the crime. “Journalists” are still running the mug shots (on the left) along with the Hofstra gang rape case story DESPITE the fact that the accuser has recanted her claims.

Later in the day, I noticed that the Huff post changed the photo from the morning’s glowering mug shots to the more sympathetic one of the wrongly accused (on the right). But unfortunately, this still lives on their site.

Here’s a another piece on how the LA Times portrayed some LA Bruin athletes who were recently suspended. The good news is that pressure from bloggers about the portrayal led the Times changing the photo.

Was this photo of Morrell Presley run in the LA Times?

Was this photo of Morrell Presley run in the LA Times?

Or this one?

Or this one?

But this trend isn’t new. The research paper Race to Judgment: Stereotyping Media and Criminal Defendants shows that one study showed Black defendants were more likely to be shown in mug shots and,

(TV) stories with mug shots of defendants of color increase fear among all viewers. In a similar experiment, researchers found that students rated Black suspects as more guilty, deserving of punishment, more likely to commit future violence, and less likable than the White suspects, about whom they were given precisely the same information…

Such messages not only stereotype the blacks and Latinos who are featured in them, but also contribute to a stereotypical association between blacks, criminality, and guilt that can influence evaluations and behavior. Moreover, these stereotypes arise not merely from the news, but from TV and film entertainment, advertising, and sports programming as well.

I don’t think we need any more proof of media bias, but it keeps on coming. Incidents like these feed into the minds of the masses who possess no critical thinking skills. Just another reason why so many folks find our President so threatening (and young black men for that matter). Now, more than ever we are in desperate need of media literacy education that examines the media’s representation of race and its impact on our perceptions of self and others, in addition to our access to civil rights, democracy and ultimately justice.

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Open Thread on Advertising and Body Image

markisadumbass

During my career as a media literacy expert, I have squirreled away a number of advertisements over the years that I think are great examples of how the media dictates how women (and men) are supposed look and feel. Below is an ad that ran a few years back for Candies perfume and shoes.

Instead of telling you what I think, I want to hear from you. What do you think of this ad? Especially knowing that it was in such magazines as Cosmo, Maxim and Elle.

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