Feminist Perspective on the Media

In Van Zonnen’s  article “Feminist Perspective on the Media” she introduces three kinds of feminist viewpoints: Socialist, Radical, and Liberal. Each deals with a different way of examining the representation of women in media, but all three are focused on the way that Media represents the female person and the idea that gender depictions in media cause the audience to assume the norms of gender roles in society. There is no question that media influences the masses, but I believe the “brainwashing” is not as direct as a two step process from media to audience.

In the first place while many programs follow a stereotypical depiction of gender roles in media, many attract their audiences by the fact that they do not follow assumed gender roles. A notable example is the television show Maude starring Bea Arthur that aired from 1972-1978. The program focused on Maude Findlay a upper-middle class, liberal activist, and her appliance salesman [fourth] husband, Walter. Maude’s divorced daughter lived with them with her child out of wedlock and provided another generation’s representations of the same feminist activism of Maude. It tackled timely and typically taboo topics around the lives of women specifically in the first season where an episode centers on Maude deciding to and undergoing an abortion operation (the episode aired two weeks before the Roe vs. Wade supreme court decision).  The program not only addressed gender-role issues directly, but also tackled social issues through the actions of Maude. For example one episode was in direct response to new marijuana possession legislation and centered on women in Queens banding together to fight the unfair regulations

On one hand the show seems like the answer to all feminist outcries for non-stereotypical representation, but after becoming intimate with this show I have noticed some very interesting qualities that perpetuate the female myth. For example Maude herself, being married four times, still takes the last name of her newest husband, Walter Findlay. However small the namesake may be, it is still a grand gesture to lose a piece of your identity in marriage. Also, the divorced single parent daughter, though with agency of her own, cannot support herself and must live in her mother’s house to maintain her life. Another example is the fact that Maude hires a female African American maid, Florida. While the issue of racial equality is addressed directly since Maude makes a big deal about hiring the maid- insisting they were “equals” and that she use the front door to the house. In this example, Florida’s race is addressed, but not her gender. It is assumed that a maid should be a female; and while two other maids replace Florida, they are also both female, post-middle-age women.

The show did great things for the roles of women in the media and household there is no question about that, but  it was being broadcast on a national network and trying to maintain  a widespread audience. I’m sure that some sacrifices were made so that the program would not be seen as a radical feminist piece so that it could be consumed by audiences just enjoying a situation comedy as well.

Racism and the American Way of Media

     In “Racism and the American Way of Media,” Ash Corea uses television as a platform for an examination of the depiction of African Americans in American media culture. In an effort to illuminate the topic, Corea expands on how statistics in the media industry show a lack of African American representation both on camera as well as on the production side of things. While the argument may be a dated one, the principle of the matter is definitely one to be considered. Do minorities by nature of being minorities, have less representation in media due to sheer numbers of minorities in the workforce or is there some “glass ceiling” being perpetuated in the corporate world of media that stifles their presence in mainstream culture.

     I wanted to find an example that broke the barrier and I stumbled upon director/producer Paris Barclay. Barclay started his career in music videos in the early 90’s by directing for recording artist LL Cool J. He was subsequently offered the directorial position for some predominantly African American films such as “House Pary” and “White Men Can’t Jump.”  After these films he began a venture into television directing and focused on primetime dramas. He directed regularly for ER and NYPD Blue, eventually becoming a producer the latter. He went on to create the series City of Angels which was a medical drama with a primarily African American cast (it received to NAACP awards). In his recent career, Barclay has directed episodes of Weeds, Glee, Smash, The Goodwife, and Sons Of Anarchy (producer and lead director).

     Barclay success is a rare occurrence for any director, but specifically for an African American director. He has managed to direct both media focused primarily on African American audiences as well as mainstream media for huge broadcasting companies. There is still a disparity between African American and white Americans in the media workforce, but there are signals that indicate things are changing and blending together for the future.