3 - Distorting Sex and Gender: Influence of Sex on Youths in the Media

Prints, such as well-known magazines Playboy, FHM, Maxim, using sex as a central theme

The media plays a crucial role in commoditising the female body and promoting the ideal physical appearance, influencing what we adopt today as the benchmark for perfection. As is the case with desensitization to violence, flamboyant displays of these sexual images in magazines and advertisements create a similar desensitization to sex.

The sanctity of the female body is degraded in vivid implicit and explicit portrayals of sex in television and movies. Sex scenes invade platforms of media, especially movies and games – a commercial tactic too often camouflaged as a primal representation of emotions. The Media Development Authority of Singapore intervened and banned the game Mass Effect in 2007, because of its controversial sex scene depicting lesbianism but reversed its ban after an uproar from gamers.

http://www.joystiq.com/2007/11/14/mass-effect-banned-in-singapore-over-lesbian-scene/

Television series promoting promiscuity in a light-hearted manner, from left : Gossip Girl, Vampire Diaries, The Tudors, Desperate Housewives, and Sex and the Ciy

Movies focusing on the superiority of males while females take a backseat as damsels in distress.
(From Top-down, left to right) Spiderman, Thor, Batman Begins, Superman Returns, Iron Man 2, Green Lantern)

The portrayal of women in films as the softer gender also indirectly promotes the stereotype of females as "media representations tell us who we are, who we should be and who we should avoid" (MacKinnon, 2003, as cited in Robertson, 2010).  Women are often portrayed as weaker and inferior, leading to misogynistic views that cause feminists to flip. This is evident in recent superheroes movies, as seen above. Central characters are men saving the world while women take the backseat, often only seen as 'eye candies', merely for visual pleasure. 

An informative video about the detrimental effects of the image of women in the advertising world, with significant amount of real-world examples and a effective passionate speaker.

The bombardment of these materials on so many platforms observed above can increase sexual callousness towards women, trivialising assaults and distorting perceptions of sexuality. Social dynamics between genders become shrouded in inaccuracies and unnecessary stereotyping, promoting in women the compliance and acceptance of their gender as truly secondary and weak. “We become what we consume, media-wise" (Salzman, Matathia and O'Reilly, 2005).

Female-centric roles (Left: Kate Beckinsale in Underworld 2, Right: Angelina Jolie in Lara Croft: Tomb Raider) continue to embody the image of sex symbols. Notice the similarity with Megan Fox in FHM (centre)

However, there has been a substantial rise in female-centric roles in the movies, such as Lara Croft: Tomb Raider and The Underworld, where masculine character traits are shared. Media has constantly revived its portrayal of the sexes depending on societal and cultural trends of the time and does not totally stereotype the female gender.

Entertainment value is unavoidably catered to the preferences of its viewers. While female protagonists command a certain level of respect and leadership, they usually still do it with a show of flesh.

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References

Brown, J (2006). Sexual & Reproductive Health; Sexual content of media affects teens' sexual behavior. Health and Medical Week, April 27, 2006, p. 1651)

Robertson, E. (2010). Media gender stereotypes and interpretations by female Generation Y. Forum on Public Policy: A Journal of the Oxford Round Table.

Salzman, Marian, Ira Matathia, and Ann O'Reilly (2005). The Future of Men. New York, New York: Palgrave MacMillan.

2 - Emulating Violence: The Blurred Line between Fantasy and Reality

Today’s media envisions a world that fulfils fantasy and dreams. With such optimism comes a realisation that reality can reach greater heights, unaware that we are trying to reap more than we can sow. For the youth in particular, this blurred line between fact and fiction becomes even more ambiguous.

Violent snippets of gameplay in 'Call of Duty: Black Ops' that may be justified as themes of war but can be easily emulated; especially if the actions are accepted and 'ethical'

Children are likely to see 8,000 murders and at least 100,000 other acts of violence prior to leaving elementary school at 12 years (Huston et al., 1992). Murder is depicted as a normal outlet for the impulsive and emotional. Youths without a fully-developed sense of morality are at risk of emulating these fictional murderers, believing it to be justified because of the media's ambiguous acceptance of violence.

A fan-made trailer of Dexter. This shows the increased interactivity of viewers with new media, encouraging more participation and ownership of the video that can lead to a distortion of reality.

Dexter, a television series about a forensic investigator moonlighting as a serial murderer, focuses on the inner mind of a sociopath and his hunger for revenge-killing of criminals. This serial murderer-protagonist compels viewers to pity rather than criticise him as he struggles with his ‘dark side’.

A 17-year-old teen, Andrew Conley, reflected this very pitfall by murdering his younger brother, believing the hunger for killing existed within him. "Andrew stated that he watches a show called 'Dexter' on Showtime, about a serial killer," prosecutors said in an affidavit. "He stated, 'I feel just like him.'" [URL: "Prosecutors: Ind. Teen Felt Hunger To Kill".]

World Wrestling Entertainment (WWE) and its portrayal of violence as pure entertainment. Fights and moves are easily emulated and problems seem to be solved in the wrestling ring.

However, this blurred line between fantasy and reality is often mediated by the media’s active role of censorship. A motion picture rating system classifies films based on suitability for audiences. In Singapore, the range of ratings from General (G) to Restricted-21 (R21) reflects the careful analysis given to each film before distribution. This will greatly reduce the young’s exposure to violent materials. Furthermore, warnings before television shows such as ‘Please Do Not Try This At Home’ directly draw the line between fact and fiction, emphasising that there is a difference between the virtual and physical world.

Still, ratings like Parental Guidance (PG/PG-13) remain the responsibility of parents. While parents are important role models to their children, differing views on effective parenting may provide a less than unified response to media violence. This will be further elaborated in the fourth post where perspective of media takes a turn for the better.

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References

Huston, Aletha C., Donnerstein, Edward,  Fairchild, Halford, Feshbach, Norma D., Katz, Phyllis A.,

Murray, John P.,  Rubinstein, Eli A., Wilcox, Brian L., & Zuckerman, Diana M. (1992). Big world, small screen: The role of television in American society. Lincoln: University of Nebraska Press.

Tompkins A. , 2003, The Psychological Effects of Violent Media on Children, http://allpsych.com/journal/violentmedia.html Accessed February 14, 2012.

1 - Desensitization Demystified : The Influence of Violence in Media

A splash of pictures depicting violence in media materials associated with extensive violence

The onslaught of violence has been relentless especially in its portrayal in the mediasphere. Over sixty percent of television shows aired during prime time contain some form of violence (Tompkins, 2003).  Such brutality and savagery are celebrated extensively by the very idols that youths immortalise.

Violent movies ("Saw" and "Final Destination" Series) featuring intense gore. Ironically, they have both appealed to a niche market as their subsequent sequels are numerous and successful.

Morality is called into question as such portrayals of violence undermine the moral growth of youths – youths who are only beginning to solidify the foundation of their identities. Studies have shown that exposure to media violence increases the likelihood of physical and verbal aggression in both children and adults (C.A Anderson et al., 2003).

The trailer for Spartacus : Vengeance, a hit TV series that focuses on Spartacus and his struggle to abolish slavery. This series promotes extensive blood, gore and sex to 'realise' the actual circumstances in ancient Rome.

Spartacus: Vengeance, the second season to a series on Singapore’s local Channel 5, exemplifies the epitome of violence. The catchphrase “The Fight for Freedom is fuelled by Vengeance” and accompanying scenes of blood and gore immediately evoke the vehemence we have long grown accustomed to.

The movie '300' and its flamboyant display of blood and aggression. These posters can be seen everywhere during its screening, allowing masses to preview media violence in its full glory.

Through such constant exposure, youths gradually become immune to the media’s graphic content. Studies have shown that media violence decreases helping behaviour and desensitizing viewers to violence (Carnagey, Anderson, & Bushman, 2007). This lack of sensitivity propagates a culture of recklessness and immorality that can ultimately reverse the ethical progress of modern society.

The infamous gameplay in the first-person shooter "Call of Duty: Modern Warfare 2" allowing players to kill hundreds of innocents in an airport as an act of terrorism. (Massacre starts at around 1:35)

However, this is not entirely true. The correlation between media violence and aggression can reflect a variety of underlying causal relationships. It is possible that aggressive children are naturally drawn to violence or the genetic predisposition to aggressiveness leads to both the preference for violent shows and high aggressiveness. (Weiten, 2007) Our concern is therefore unfounded because this may apply only to children with innate aggressive tendencies.

Still, the broadcast of media is widespread so even a small consequence from media violence can have unintended repercussions. Its presentation can escalate into an actual emulation of the aggression.

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References

Carnagey, N. L., Anderson, C. A., & Bushman, B. J. (2007). The effect of video game violence on physiological desensitization. Journal of Experimental Social Psychology, 43, 489-496 

Ivory, J. D. and Kalyanaraman, S. (2007). The Effects of Technological Advancement and Violent Content in Video Games on Players’ Feelings of Presence, Involvement, Physiological Arousal, and Aggression. Journal of Communication, 57: 532–555.

Tompkins A. (2003). The Psychological Effects of Violent Media on Children, http://allpsych.com/journal/violentmedia.html Accessed February 14, 2012.

Weiten W. (2007). Psychology: Themes and Variations, Eighth Edition, p. 263