sexISM
RESEARCH
CONCEPT Why have I decided to do the publication about sexism in the mass media? Because I feel like everyone is talking about women empowerment and feminism but no one shows how important is an appropriate woman representation in the mass media. Nowadays we grow up surrounded by the media and they have enormous impact on our vision of the world. And I really don’t like THE kind of image is given to women. In my work I will analyse representation of women in three main entertainment industries: music, film and advertising. I will present the negative impact of them, but I will ALSO DO THE research of people participating in these industries that try to give women the place that they deserve. After doing all this research I will visualise my own ideas - what to include and how to represent women in the publication that I will be doing next semester.
MANIFESTO
I do the publication concerning the theme of sexism... BECAUSE we should be treated equally regardless of our gender. BECAUSE women should be not treated as sexual objects. BECAUSE women have right to dress up any way they want. BECAUSE women have right to make whatever they want without thinking whether this is suitable for a woman or not. BECAUSE I want to say ‘stop’ to gender stereotypes. BECAUSE assigning gender roles is not ok. BECAUSE saying “You’re good for a girl” should not exist. BECAUSE women must know their value. BECAUSE there is no place for a sexual harassment. BECAUSE being a girl does not mean to be worse, weaker, less important.
HOW CAN FASHION FiGHT SEXISM? IS THE MASS MEDIA’s INFLUENCE POSITIVE on YOUNG GIRLS? WHy MEN CAN BE NATURAL AND WOMEN MUST PUT A TONE OF MAKEUP? how to fight gender stereotypes?
does media bias women empowerment?
WHAT HAVE BEEN DONE TO FIGHT SEXISM? WHAT ELSE MUST BE DONE?
Are women well represented in the media?
WE WE WE BUILD BUILD THE THE SOCIETY SOCIETY WE WE LIVE LIVE IN IN
B O Y ?
G I R L ?
Busting Gender Stereotypes: The Pink Versus Blue Phenomenon
Did you know that blue was originally the color for girls? It’s true: Blue used to be for girls as it was seen as more “dainty,” while pink used to be associated with boys as it was seen as the stronger color. It didn’t change until the 1950s when some big advertising campaigns pushed pink as a feminine color exclusively for girls. There is a double bind that exists with what we call the “blue versus pink stereotype” that is driving gender inequality. If you ask people who is better suited to “launch a high stakes project” or “lead a massive organizational change,” the majority will say a man, according to The Unstereotyped Mindset study conducted by The Female Quotient for Unilever. On the flipside, if you ask people who is best suited to
“plan events for fellow coworkers,” the majority will say a woman (85% of women and 70% of men agree). We have so many examples of stereotypes that are holding both men and women back from being their true, nuanced selves and living up to their full potential, including the most recent headlines poking fun at Prince George practicing ballet. It’s clear that we have to eliminate these stereotypes: Those headlines sparked a social media storm with the trending hashtag #boysdancetoo. It became a teaching moment about stereotypes and inclusion: 300 dancers, many of them male, responded by gathering in Times Square to hold a massive dance class. If boys can’t dance ballet, girls can’t
play baseball. Why are we judging, and how do we evolve as people if we are putting these old-school frameworks on gender in today’s modern times? The research backs up that gender stereotypes are still very much alive. Why can’t men show their vulnerability? More than one-third of boys think society expects them to be strong and tough, “be a man,” and “suck it up,” according to a survey by Plan International USA. Why do parents save more money for boys’ education than for girls’? One study found that 50% of boyonly households had money saved for their children’s college compared with only 39% of parents of girl-only households. Why is it that when women talk about their kids at work they’re seen as distracted, while when men do the same they’re seen as great dads? The motherhood penalty is real: 72% of both working moms and dads agree that women are penalized in their careers for starting families, while men are not, according to Bright Horizons’ annual Modern Family Index. Why is it that when men are assertive they’re perceived as confident, while women who do the same are labeled as bossy? Men still make up the majority of leadership positions, but research shows that women leaders who emulate a masculine leadership style are viewed as less effective. The verdict is clear, we’ve still got a long way to go. So the question becomes, how do we get there?
One of the best things we can do as a society is stop looking at gender as binary opposites. Conversations around what it means to be masculine or feminine often start with an either/ or approach: boys are tough/girls are nice, boys are good at math/girls are good at English, boys are rational/ girls are emotional, boys like blue/girls like pink, etc. We have to start a new conversation that allows both men and women the freedom to identify with aspects of their personality without feeling too “feminine” or too “masculine.” By confining men and women to limiting gender stereotypes, we could be missing out on amazing achievements. If Karen Uhlenbeck, a mathematician and a professor at the University of Texas, had listened to naysayers telling her that girls weren’t good at math, she might have given up on her studies instead of going on to win one of the highest prizes in mathematics. If Serena Williams had let critics who said her body was too muscular for a woman interfere with her game, she may not have become one of the greatest athletes of our
SEXISM IN MUSIC, FILM & ADVERTISING INDUSTRIES 1. Women appearance is much more often judged than the appearance of men. 2. Producers, song writers, compositors - mainly men, very little percent of women. 3. Much more rumours about female star’s private life. 4. Much more female nudity in films, advertising and especially in music videos. 5. Objectifying and sexualization of women in the advertising industry. 6. Very little female leading roles in films. 7. Women represented in stereotypical roles in films. 8. Women are almost absent when it comes to film production: no film directors, scenographers, sound operators etc. 9. Oscar Academy composed only of men. 10. Red carpet - why women must wear all these dresses and men come in a suit and it’s fine. 11. representation of women in the media: always thin & pretty. 12. Sexist songs’ lyrics.
Gender Discrimination in the Past
During the early years of this country, women were not entitled to the same rights and privileges as men. Women were not allowed to vote and were usually required to surrender control of their property to their husband upon marriage. Moreover, their educational and occupational opportunities were severely limited. It was commonly believed that a woman's place was in the home, raising children and tending to domestic affairs. The first real efforts to achieve equality for women occurred in the 1800s. During the early part of that century, coeducational studies at the university level were offered for the first time. State laws were passed which allowed women to retain their property after marriage. Also, the first women's rights convention was held. Many who supported women's rights became active in the abolitionist movement during the Civil War era. Some even became well-known public orators, an uncommon occupation for women at the time. The quest for equality continued after the Civil War. In 1869, the Wyoming Territory passed a law which allowed women to vote and serve on juries. Several other western territories and states subsequently granted women the right to vote. Women's rights advocates were outraged that the Fifteenth Amendment, which was ratified in 1870, prohibited the states from denying voting rights on the ground of race, but not on the basis of sex. In 1878, Congress considered a Constitutional amendment giving women the right to vote. Although the amendment failed, it was revitalized every year for a period of 40 years. The movement for women's suffrage was led, among others, by Susan B. Anthony, who was arrested for voting in a presidential election, and
by Lucy Stone, who was one of the first American women to retain her maiden name after marriage. In 1920, women were finally given the constitutional right to vote in the Nineteenth Amendment, which provided that "[t]he right of citizens of the United States to vote shall not be denied or abridged by the United States or by any State on account of sex." The women's rights movement lost its impetus after the ratification of the Nineteenth Amendment. It was not until the 1960s that it regained its momentum. With more women rejecting the traditional role of housewife and entering the work force, there was an increased demand for equal rights and opportunities. In response, Congress passed the Equal Pay Act of 1963, which prohibits employers from discriminating against employees on the ground of sex with respect to the terms of compensation. The following year, Congress enacted Title VII of the Civil Rights Act of 1964, which bans discrimination in employment on the basis of sex, among other grounds. Males, as well as females, have been granted protection against sex discrimination under both the Equal Pay Act and Title VII. In 1972, Congress submitted the Equal Rights Amendment (ERA) to the states for ratification. Basically, the ERA barred all discrimination on the ground of sex. However, the ERA suffered defeat after the necessary number of states failed to ratify it within the mandatory tenyear deadline. To date, women are still struggling with the issue of equality in their personal and professional relationships. Thirty-five years after the passage of the Equal Pay Act, women have still not achieved equality in wages.
50s MEN’S WORLD
50s was the time when women were honored back then when they stayed in their lane — mostly at home, raising children and performing domestic chores, sometimes on the job in such stereotypically female professions as nursing, stenography or teaching. They couldn’t get credit cards on their own, compete in marathons or, in some states, serve on juries. Their horizons along with their agency were drastically limited. In general, maledominated culture patronized, exploited and suppressed women. Sexism in 1950s was, however, normal and both men and women tolerated it. Despite how insulting advertisements were toward the female population, people tolerated it and accepted stereotype of being the housewives. Because of broadly accepted stereotyping and gender bias during the 1950s, as well as idea that a woman should live for her husband and family became a dominant image. Consequently, this led to debates concerning female rights and roles. “Often feminists, due to their biases and personal/political agendas, identify the 1950s as the pinnacle of gender inequality. Furthermore, they claim that mass media especially advertising in women’s magazines perpetuated the denigration of women. According to them, ads during this time period portrayed women as stupid, submissive, purely domestic creatures.” Advertisements in the 1950s most commonly were advertising wives as being influenced and controlled by their husbands. Furthermore, Advertisements targeted women, showing them in the kitchen, using feminine products in order
to impress their husbands, having a conversation with their children, cleaning or expressing the joy of receiving the latest house appliance so that they can improve their home. Because women had substantial influence on purchasing decisions, advertisers attempted to make it easy for women to relate, so to effectively market and sell their products. Moreover, advertisers as well as film industry emphasized roles of women in the domestic sphere so that they can relate more to them. As for film industry women in the past were underrepresented in films and often had less important roles. There were no female directors, script writers, camera operators. The film industry was significantly dominated by white men.
Gr I G N a r es p SP D a NS i hi IR e ph g s c i PI n AT i c g RA IO n TI N ON
EbeLing
Lauren
Alessandro
LEAZZO
LAST STUDIO
POST STUDIO
M35 STUDIO
CLEA FORKERT
STEF MICHELET
HORT STUDIO
Colour palette
FONTS
Heebo Anton Bebas neus Mukta Rubik mono Permanent marker
AUDIENCE
The TARGET AUDIENCE OF MY MAGAZINE are WOMEN IN ANY AGE, who are interested in the theme of feminism and female empowerment. Women who don’t accept the image that is given to them in the mass media and have non-conformist spirit. for women working in creative industries my publication can be a useful source of visual inspiration to create content that is purly feminist.
COMPETITORS
gal-dem
GIRLS LIKE US
GIRLS CLUB
SUKEBAN
LYCRA
COMPETITORS
WOMANKIND
BBY
LADYBEARD
Feminist magazines available on the market touch various aspects of feminism and women empowerment. However, none of them focuses on the representation of women in the mass media, while my publication will be mostly focused on this subject. Moreover, the existing magazines are less fashion related than the publication that I’ll be doing.
PRIMARY CAREGIVERS
SEXY, THIN, PRETTY LIKE PINK
HOUSEWIVES
ARE BAD MANAGERS
GOSSIP
Girl&w stereo presente mass m EMOTIONAL
LESS-INTELIGENT THAN MEN
TALK A LOT THEY ALWAYS WANT TO BE MOTHERS
woman otypes ed by the media
UNDECIDED
DON’T LIKE SPORTS
WEAK OVERALLY CONCERNED WITH ROMANTIC RELATIONSHIP
ARE BAD DRIVERS
G GANG After brainstorming process in which I tried to find words related to feminism, female empowerment etc. I have finally came up with the name “G GANG” that is coming from “GIRLS GANG”. The logo design is cohesive with the aesthetics of the magazine that will be bold and clear.
E M P O W E R E D
s
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x
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I started Lone Wolf Magazine out of a feeling that more good needed to be done within fashion media to offset some of the negative impact the industry was having on women. The goal was to “inform and empower women through the language of fashion” (that, by the way, is the official slogan). But this isn’t about selling you our mission statement, actually, it’s the story of how I lost faith in the cause. Five years ago, amidst all the excitement of starting a magazine, a tiny seed of doubt began to take root. I couldn’t articulate it or make sense of it at first, but as it grew, its outlines became clearer and pretty soon the industry I once loved felt, well, like it no longer fit right. I started to notice a strange incongruity between the fashion images passing through my office, and what I understood to be true about those images: I saw objectification dressed up as luxury, sexism passing as empowerment, and materialism masquerading as self-care. I saw women stripped of their identities only to become walking advertisements for the brands they worshipped. I’ve seen models wither away to nothingness, while their agents and
I saw objectification dressed up as luxury, sexism passing as empowerment, and materialism masquerading as self-care. photographers stood by watching with wideeyed elation, as if the slow destruction of a young girl’s body was the fucking aurora borealis. I saw literally thousands of fashion editorials in which this kind of physical vulnerability was presented as a feminine ideal. I couldn’t get away from this thought that we were all somehow drinking the KoolAide. Rewind to the Spring 2015 Chanel Show:
Models walked down an artificial Parisian street in a mock-feminist-riot, shouting “What do we want!? Tweed! When do we want it? Now!” The models looked embarrassed as they waved signs with profound statements like “Free Freedom” and “Boys Should Get Pregnant Too.” The message was muddled. Was shopping somehow a feminist statement? Was looking good somehow tied to women’s empowerment? Were women in designer clothing more powerful than those in mere polyester? Chanel’s substanceless protest at once made feminism look completely frivolous while also suggesting that being decorative was a legitimate form of power for women. The legendary fashion house appropriated the very vehicle for Our identities as women are coopted and shaped by an industry that relies on connecting fashion with personal empowerment for profit. Nowhere can you see the effect of this kind of “inspired” industry coaxing than on Instagram and Pinterest. Both platforms are a microcosm of yearning. Every photo you pin, every photo you like and share, serves as a small reminder of the kind of person you wish you were. Behind every board you’ve ever created was the belief that, this isn’t who I really am, if I had enough money and/or time and/or hustle, I would be this other person, and I would live in this other apartment, with this other better furniture, and my hair would look better, then and only then will I become the person I was always meant to be. Obviously this is bullshit. No amount of furniture or mascara will change who you are. But the dream of change is infinitely more powerful than the reality of self-acceptance. Especially if “change” is meant to look like the images from the social media.. Consuming copious amounts of fashion and cosmetics isn’t so much a personal choice as a socio-professional one. When we look across the fashion, beauty and lifestyle
media landscape, the girls who look good always seem to win. They’re the ones with the perfect apartments, exciting careers, idyllic relationships and muse-worthy wardrobes. It’s no longer simply about having the perfect body or getting the guy, now it’s about having the perfect life, apartment and career as well. We’ve now moved away from merely “sex sells,” now it’s about becoming the ideal version of you. And that shit runs so much deeper than sex. It has the power to fundamentally reprogram your entire way of being. Billions of corporate dollars go into understanding what makes you tick. Women’s fashion and beauty industries are worth about a trillion dollars combined, the apparel industry alone accounts for two percent of the world’s Gross Domestic Product. These industries are not about to gamble that immense share of the market on compassionate people-focused marketing strategies that may not go anywhere. They want to get to the heart of what matters most to you. They want to know your deepest fears and aspirations, because that’s the most obvious way to make a sale. When Dove executives figured out that most women do not like to refer to themselves as beautiful, they launched the #RealBeauty campaign and raised their profits by 2 billion dollars. Similarly, when Always (a tampon company that spends nearly 10 billion dollars on advertising a year) realized that fifty percent of girls report a drop in confidence after their first period, they quickly launched their award-winning #likeagirl campaign and doubled their purchase intent. It’s the same story with Pantene’s #StrongIsBeautiful campaign, American Eagle’s #AerieReal campaign, and Spanx new slogan “Reshape the way you get dressed, so you can shape the world!” As well as many many others. These advertising practices have given rise to what some companies are calling
fem-vertising, the idea of using female empowerment to sell products. And when you consider that women control 85 percent of household purchasing decisions, it makes perfect sense. Let’s just stop and think about what it means to sell empowerment for a second. What does empowering someone even mean? Originally the term was socio-political, and referred to the process of giving disenfranchised groups (blacks, women, gays ets) a voice. Empowerment is about casting your vote, fighting for your basic human rights and gaining upward mobility, and has absolutely nothing to do with the kind of soap or shampoo you use. Contrary to what Dove or Pantene may have us believe, women can’t wash gender inequality away in the shower. Women aren’t stupid. We’re surrounded by images that show us what kinds of women
Empowerment is about casting your vote, fighting for your basic human rights and gaining upward mobility, and has absolutely nothing to do with the kind of soap or shampoo you use.
get rewarded in life, and which one’s lose out. Take Pantene’s #StrongIsBeautiful campaign which is about “women rising above society’s expectations and proving once and for all that strong is always beautiful.” So…in other words, they’re aiming to show us that a woman’s power comes from her strength not her beauty by showing us that her strength is beauty. Come again? And what about Wrangler’s recent #MoreThanABum campaign, what was meant as a “rallying cry against female stereotyping” (their words) reduced a group of talented women to a single body part:
Their ass. The video is presented against a soundtrack of women repeating the word “bum” while Kimbra sings “Ain’t about what’s behind me” juxtaposed over footage of women’s denimed asses. In other words, we are told that women are “more than a bum” by being reduced to just a bum. Again, what? This shit is so confusing. This kind of circular reasoning is not unusual. We’re not really supposed to think too much about it. It’s not meant for your mind but for your gut. One look at the video below and some deep emotional part of you just wants to shout, “FUCK YES!! Let’s break that glass ceiling!!” But the rational part of you, the part that you are choosing to bury in that moment, thinks “Great, strong is beautiful, I better make sure my hair is strong, I wouldn’t want anyone thinking it’s not beautiful.” Your emotional reaction may be louder in that moment, but the other message is just as, if not more important. It’s the thing that unconsciously connects your feelings with your purchasing actions. We all dream. We all want a better life. Can we really blame the fashion and beauty industry for capitalizing on those collective dreams? Definitely not. But I do think we should be aware of how they operate. When brands sell you this story of empowerment it resonates somewhere deep inside you, in the place you keep all your hopes and dreams for the future. Whether you call yourself a feminist or not, there isn’t a single woman walking this earth who doesn’t want to feel powerful, respected, and accomplished. There isn’t a woman alive who doesn’t aspire to something great. To have someone tell you that you can be everything you’ve ever wanted if you simply look the part, well, who wouldn’t want to believe that fairytale? There is a clear financial incentive for brands and tv networks to offer women this narrative of “you can have it all as long as you look the part.” Women by default buy into these
messages. We’re invested in them heart and soul. We will stand behind any brand, tv show, ad campaign, and movie that shows us this fantasy of women in power. We so badly want to believe we’ve achieved equality. But that’s sadly not the world we live in.
We so badly want to believe we’ve achieved equality. But that’s sadly not the world we live in. A woman is raped every six seconds in America, a country where women can still be fired for both being too hot and not hot enough. On average, globally women earn 11k a year, while men earn an average 21K. 39 thousand girls are married off as child-brides every single day. In rural parts of China baby girls are still murdered because parents consider sons to be more economically valuable. 3 million girls are at risk of undergoing female genital mutilation every year. According to the U.S. State Department, over half a million people are trafficked across international borders every year, 80 percent of which are female. Equality isn’t even on the horizon yet. Women currently hold a mere 4 percent of CEO positions at S&P 500 companies. 90 percent of the world’s board seats still belong to men. In fact, there are more CEOs named John than all female CEOs combined. In Hollywood 77 percent of the films produced in 2015 had no female writers, 92 percent had no female directors, 79 percent had no female editors, and 96 percent had no female cinematographers (see the full report here). In the fashion industry, a mere 14% of major brands are run by female designers (despite the fact that the majority of fashion design graduates are women). In government 80 percent of the Senate as well as the House of Representatives is male, and there are currently only six female governors in the US.
And in case you need reminding, there still remains a total of zero female presidents in American history. Though it has never been as easy to feel empowered as it is today, there still remains a major chasm between feeling empowered and actually being empowered. Fashion magazines often depict a reality in which women exude an image of immense power and success. And we ARE powerful in the nebulous put-it-on-a-postcard sort of way. Women have made incredible strides over the last four decades. But what we decidedly are not, is powerful socially and politically. Our voices are simply not getting heard because we have painfully little female representation out there in the world. Women may be progressing, but we are progressing at a snail’s pace. In fact, at this rate it will take another 170 years before we have achieved actual equality between the sexes. Contrary to what you may see on Pinterest or Instagram or on TV, and regardless how empowered you feel by the images of strong females you see around you, we are not there yet. And certainly, buying a new “empowering” shade of lipstick or a dress made with organic cotton isn’t going to get us there. Getting a seat in the senate will. But it’s so easy to feel like women have made it. The proof is in the media pudding. It’s literally everywhere we look, on every TV show and movie and magazine we like to read. We see women like Olivia Pope (Scandal), Claire Underwood (House of Cards), Meredith Grey (Grey’s Anatomy), Daenerys Targaryen (Game of Thrones) and Julia Louis-Dreyfuss playing Vice President (Veep) on practically every TV show made today. Not to mention the cultural prevalence of fashion powerplayers like Anna Wintour, Phoebe Philo and Vera Wang. This, of course, is totally wonderful, it’s amazing that strong women are finally being seen. But as wonderful as it is, it’s also inaccurate. What you see in the
buying a new “empowering” shade of lipstick or a dress made with organic cotton isn’t going to get us there. Getting a seat in the senate will.
And to be clear, it’s not that there’s anything wrong with female nudity, but in the words of cultural critic Naomi Wolf, “to live in a culture in which women are routinely naked where men aren’t is to learn inequality in little ways all day long.”
media is not a reflection of reality, but the over-representation of a teeny tiny sliver of the world. How do we square the persistence of female inequality with all those images of female power we see around us? Overstating women’s gains and accomplishments in the media renders feminism obsolete at a moment when we need it most. It paints the picture that full equality has been achieved and that the work is done when in fact we still have a long way to go. “The odd, somewhat unintended consequence,” writes Enlightened Sexism author Susan Douglas, “we are getting images of imagined power that mask, and even erase, how much still remains to be done for girls and women, images that make sexism seem fine, even fun, and insist that feminism is now utterly pointless…and while the scantily clad or bare-breasted women may have seemed to be objectified, they were really on top, because now they had chosen to be sex objects and men were supposedly nothing more than their helpless, ogling, crotch-driven slaves.” As a result, we are bombarded by these contradictory images of women being simultaneously objectified while also empowered, successful and strong, but only as long as she keeps all her hair appointments. How are we supposed to make sense of these messages? The truth is, most of us don’t. Today’s average woman is so confused about what it means to be empowered that she ends up leaning further into a sexist culture that equates objectification with self-expression. “You think you’re being brave, you think you’re being sexy,” writes activist Susan Brownmiller, “you think you’re transcending feminism. But that’s bullshit. Reality star Kim Kardashian for example, who frequently posts nude photos to her massive online following, has defended the practice explaining, “I am empowered by my body. I am empowered by my sexuality. I am empowered
by feeling comfortable in my skin.” There is a subtle but important distinction to be made here: That sense of empowerment is not coming from actual empowerment (i.e. gains in socio-political power), but from the immense collective admiration showered upon her every time she appears nude online. It’s not hard to imagine why this would feel good, but it’s not empowerment so much as it is buying into the traditional sexist system of exchanging your body for self-esteem and financial profit. And to be clear, it’s not that there’s anything wrong with female nudity, but in the words of cultural critic Naomi Wolf, “to live in a culture in which women are routinely naked where men aren’t is to learn inequality in little ways all day long.” This type of empowerment has nothing to do with breaking the glass ceiling, it’s exclusively about breaking what author Ariel Levy called the sexual ceiling. But how empowering is that really? How is our sexual liberation going to get us closer to closing the wage gap for example? “Being able to have an orgasm with a man you don’t love or having Sex and the City on television, that is not liberation,” wrote Levy in Female Chauvinist Pigs, “If you start to think about women as if we’re all Carrie on Sex and the City, well, the problem is: You’re not going to elect Carrie to the Senate or to run your company. Let’s see the Senate fifty percent female; let’s see women in decision-making positions–that’s power. Sexual freedom can be a smokescreen for how far we haven’t come.” From where we currently stand in this postBrexit, post-Trump-vs-Hilary world, reality seems to have split into two distinct realms: On one side we have everything we see and believe, and on the other side is that which is unacknowledged but true. Media outlets, realizing how much women want to feel empowered, give us a seemingly endless stream of strong, confident women to live
vicariously through. The problem is that by over-representing women in positions of power, we’re seeing a beautiful but fictional portrait of the world we actually live in. We feel that the fantasy is real because it is everywhere we look. The tragic irony her is that if you truly believe that equality has been achieved, if you truly believe that the fight is over, that women are as powerful as men, you are going to be more tolerant of sexism. Because when you feel that you are standing from a position of power, those kind of “small” jabs seem trivial. Standing from a place of perceived-power, women have embraced trends that are, at the end of the day, bad for women as a whole. We’ve become blind to what’s right in front of us: The fashion industry’s sexualization of little girls, their core message that materialism is empowering, their use of children to sell clothing to adult women, their liberal use of porn-inspired imagery to add “edge” to their ad campaigns, the reduction of a human being to just her sexual parts, the general cultural blindness to the fact that we are, in fact, regressing.
So the question is, where do we draw the line between “owning our sexuality” and objectifying ourselves for the benefit of the viewer alone? Who is the implicit viewer of images like these? And most importantly, are we selling ourselves short? Given all this, perhaps it’s not surprising that a recent study by The Harvard Business Review found that women who spent a higher portion of their income on cosmetics felt more satisfied, successful, and powerful,
even if they weren’t. Contrast that with findings from a poll by PerryUndem Research that, while most people know that society has a long way to go before women will be fully equal to men, few people are properly informed about how much actual power women have and where they currently stand in the world. We are slowly resurrecting tired old sexist stereotypes because now we believe that, as long as we ourselves choose to be objectified, it’s totally ok. We’ve been spoonfed these mixed-up empowering-but-alsosomehow-sexist images for so long, we really can’t tell where the line falls anymore. So the question is, where do we draw the line between “owning our sexuality” and objectifying ourselves for the benefit of the viewer alone? Who is the implicit viewer of images like these? And most importantly, are we selling ourselves short? These are not easy questions to answer, but there’s a heavy need for change in the air. We’ve spent far too long equating fashion and beauty with female empowerment, and it hasn’t done a thing to move us forward. If anything it has cost us precious time and money. “I could be rich (or at least get richer faster) if I gave up my beauty routine,” writes Molly Faulkner-Bond in Why Vanity Keeps Us Poor (Sirens Magazine). “Currently, my daily selfprepping involves the following: shampoo, conditioner, shower gel, face wash, toothpaste, body lotion, face moisturizer, blusher, a bit of glimmer for my cheeks, eyeliner, mascara, lip gloss, and perfume. And I’m a basics kind of gal. Most American women also add in regular salon and spa stuff like spray tanning, waxing, highlights, haircuts, manis, pedis, microdermabrasion and Botox.” We can keep the blinders on and tell ourselves that it doesn’t really matter, but the truth remains that this particular cocktail of empowerment-objectification is
women’s value will forever remain tied to their appearance. Realistically, we may never break free from that shackle, but we owe it to ourselves to try.
bad for women, even if done consciously and willingly and happily by the person being objectified. Even if it looks glamorous and edgy in an ad campaign. The short-term gains are obvious. You become the thing that society likes to call attractive, they’ll say you dress well, and that you’re a real woman for doing so. But in the long term, it means that women’s value will forever remain tied to their appearance. Realistically, we may never break free from that shackle, but we owe it to ourselves to try.
Someone in my theatre group posted a video of Cardi B - WAP feat. Megan Thee Stallion. I was very disturbed by these images (not being pop culture savvy). I wondered - are these women sexually liberated and enjoying their work? Do they feel good about themselves at the end of the day, going home to partner and kids, satisfied at the new norm they're creating in behaviour and dress for their daughters? Or are they pawns, exploited by a male-dominated industry? Do they have any say in how the cameras are angled or in what positions they pose, or what they wear? Is it art that motivates these women or poverty? Is it a form of sexual slavery or just a bit of fluff entertainment?
Sexual liberation
OR reinforcing sexism?
Katy Perry’s “Roar” vs Nicki Minaj’s “Anaconda” In fact, I’ve seen the video for Katy Perry’s “Roar” around 30 times. This isn’t because I’m a weirdo (for the record, I am). It’s just that I have a young daughter and “Roar” is a solid party favorite among children and parents because the song, like Gloria Gaynor’s “I Will Survive,” is a hymn to selfempowerment. But I haven’t heard any Nicki Minaj blasting out at children’s parties, even though she’s also for self-empowerment. Minaj says of her “Anaconda” video (main image): “[It] was important for us to show [me toying with a banana, then chopping it up] in the kitchen scene, because it’s always about the female taking back the power … and if you want to be flirty and funny that’s fine, but always keeping the power and the control in everything.” To that end, she twerks furiously at the camera, even drumming on the posterior hemispheres of a fellow Amazonian in celebration of big bottoms and curvy bodies, before leaving Drake with serious blue balls after a private dance. Sure enough, “Anaconda” provoked a lot of media discussion and controversy.
Minaj was accused of hypocrisy for claiming that the song and video were honoring biggersize female bodies against an alleged trend in rap videos to feature very slim, size-zero women—one trend I haven’t noticed myself. Katy Perry’s “Roar,” meanwhile, only caught a little flak from PETA for its use of wild animals, even though Perry wears a revealing pushup jungle bikini outfit through most of the video. The difference, though, is obvious: while “Roar” is about becoming a stronger woman following a failed relationship, “Anaconda” is straightforwardly about sex, and about possessing the kind of body that turns men on. In fact, while “Anaconda” cheers the fuller backside, it’s actually titled after the male member: “My anaconda don’t want none unless you got buns, hon,” opines a sampled male voice throughout the song. I guess I’d be pretty disturbed if I went to a children’s party to find a clown and a group of under-10s twerking away to “Anaconda.” But I would also be pretty freaked out if The Exorcist was broadcast on TV at teatime. Minaj’s music
is not meant for children, even if some children listen to it or watch her videos. Her themes are certainly of an ‘adult nature’ and she raps frankly about the joys of male objectification: “He said he don’t like ’em boney, he want something he can grab.” Her videos frequently involve performances that, even if directed towards female viewers, are at least partially subsumed into a dominant patriarchal culture where women’s bodies are only objects for male pleasure.
focus less on women’s bodies?
and perform whatever the hell they like. But perhaps all songs and videos, by female and male artists, should
Ideally, women in music videos should be able to sing
NOTICE THE DIFFERENCE
TOP 4
NOTICE THE DIFFERENCE
TOP 5 As individuals in a pop group, The Beatles were reduced in terms of personality: John, the cheeky one; Paul, the mother’s favorite; George, the quiet one; Ringo, the funny one. The Spice Girls were reduced simply to how they were styled: Ginger, Sporty, Scary, Baby, Posh.
So, hit me up when you pass through I’ll give you something big enough to tear your ass in two Swag on ‘em even when you dress casual I mean, it’s almost unbearable In a hundred years not dare, would I? Pull a Pharcyde, let you pass me by Nothing like your last guy, he too square for you He don’t smack that ass and pull your hair for you (you like it) So I’m just watching and waiting For you to salute the truly pimping Not many women can refuse this pimping I’m a nice guy, but don’t get confused, this pimping Shake your rump Get down, get up-a Do it like it hurt, like it hurt What you don’t like work? Hey! (Everybody, get up) Baby, can you breathe?
Now I ain’t sayin’ she a gold digger (When I’m in need) But she ain’t messin’ wit’ no broke niggas (She gives me money) Now I ain’t sayin’ she a gold digger (When I’m in need) But she ain’t messin’ wit’ no broke niggas Get down girl, go ‘head get down (I gotta leave) Get down girl, go ‘head get down (I gotta leave) Get down girl, go ‘head get down (I gotta leave) Get down girl, go ‘head.
You gotta know how to treat me like a lady Even when I'm acting crazy Tell me everything's alright Dear future husband Here's a few things you need to know If you want to be my one and only all my life Dear future husband If you wanna get that special loving Tell me I'm beautiful each and every night After every fight just apologize And maybe then I'll let you try and rock my body right Even if I was wrong You know I'm never wrong Why disagree, why, why disagree You gotta know how to treat me like a lady Even when I'm acting crazy Tell me everything's alright
You're back now at the jack-off hour this is DJ, Eazy Dick On W-Balls, right now, something new, by Snoop Doggy Dogg And this one goes out to the ladies, from all the guys A big bow wow wow, 'cause we gonna make it a little mystery Here tonight, this is DJ Eazy Dick, on the station that Slaps you across your fat ass, with a fat dick When I met you last night baby Before you opened up your gap I had respect for ya lady But now I take it all back Cause you gave me all your pussy And ya even licked my balls Leave your number on the cabinet And I promise baby, I'll give ya a call Next time I'm feeling kinda horny You can come on over, and I'll break you off And if you can't fuck, that day, baby Just lay back, and open your mouth
FEMALE NUDITY IN MOVIES
Females were over two times as likely as males to be shown in sexually revealing attire (24,8% vs. 9,4%), thin (38,5% vs.15,7%), and partially or fully naked (24,2% vs. 11,5%) Think back to the last time you saw a movie – do you remember how much nudity was in the flim? Was it male or female nudity? The thing these days is for women to appear nude more often than men in movies. Female nudity is just more acceptable than male nudity. And heaven forbid a man actually strips. Suddenly, the whole scene becomes comical. Take “Forgetting Sarah Marshall,” for example. Jason Segel stands naked swinging his hips and it’s funny.It seems that in our society, female nudity has become more normal, or at least more prominent.The Motion Picture Association of America has even shown the double standards of the film industry by warning viewers when there is male nudity, but labeling female nudity as just nudity. Brian Patrick Thornton from Spangle Magazine claims that female nudity is less controversial because “straight men are turned on by the sight” and “women aren’t turned off.” So female nudity is okay because guys want to see it? I don’t think women would oppose seeing a little male nudity in movies. However, I don’t think most females wants to see topless women every 10 minutes. The issue here is that our society has made female nudity common and male nudity taboo, which isn’t fair to either gender.The male body is slowly becoming more acceptable, mostly on a comical level. Is this not offensive to the men? Is this not suggesting that male sexuality is not attractive, and therefore it’s shown to make people laugh? We are desensitized to female nudity, since it has occurred in excess in the media over the past few decades. Even I just shrug it off as normal when I see a nude woman in the movies. But women like to have a sense of mystery about themselves, just as men do. The film industry strips this away. Women have gradually become more equal in our country. So why does it seem they are nude way more than men? Women no longer have to just sit back and look pretty, so why not integrate that into the film industry as well?
SEX
SELLS
WOMEN SEXUAL OBJECTIFICATION IN ADVERTISING
I was walking on campus the other day when, out of the corner of my eye, I noticed the following advertisement on the back of a Texas Direct Auto cab: Don’t you just want to slap that bumper? My shock and disgust were immediate. It was astounding that something such an obvious sexual innuendo could make it out of a corporate office, or that the company would even want this sort of publicity. However, my surprise did not last long. Women have always been, and
continue to be, sexualized in all forms of promotion, and these sorts of images are ubiquitous and normalized. No matter how much progress it feels like we’ve made, men — and the companies targeting the male demographic — continue to portray women as sexual objects, implying that male dominance over females is the most powerful advertising tool. Advertisements that degrade women to the level of the object they are attempting to sell further entrench
our society with blatant rape culture. This culture is one where the female body has been degraded to such an extent that our society accepts and normalizes the abusive sexualization of the female gender. This is done through ads that distract from a woman’s humanity and accentuate her value as an object. Ads from the ’50s portray women as existing to service the man, both physically and sexually. These ads spread the idea that women’s roles are exclusively domestic: to cook, clean and care for her man. While ads now do not promote this outdated sexism as openly, advertisers have found another way to force women into the submissive stereotype. In the 2000s, ads from Carl’s Jr. used women to imply a perverse and uncomfortable relationship between sexual pleasure and their products. The fast food chain has repeatedly released ads that show explicit and degrading content, such as Kate Upton grinding on a burger bag or lingerie-clad Paris Hilton washing a Bentley for no particular reason. The message is the public is drawn so heavily by the female body that the most effective form of publicity is the type that feeds off of this desire: the male mind seeks pleasure from females as much as he seeks the pleasure of food. As a consequence, the female body is reduced to that of an object for the satisfaction of men. We cannot attempt to counteract rape culture when advertisers value the female body no more than a one-dollar burger. The ad I saw the other day promoted this idea that the man cannot control his desire for the woman, that there is no shame in wanting to slap that bumper — a very dangerous idea to promote around a college campus. All these similar advertisements make it
clear to men that if they want to satisfy their appetite for the female body, it is socially acceptable and justified because, just like physical hunger, sexual hunger cannot be helped. If these advertisements are spread on campuses, the already prominent sexual harassment will only worsen. When our gender is paraded in this way, when society is bombarded with hypersexualized images and no one bats an eye, it should come as no surprise that sex crimes among college campuses have increased by 50 percent in the past decade. Clearly, no matter how insignificant an ad might seem, these images solidify the coercion of women into submissive states. Not only are young men told there is no shame in satisfying something as natural as their sexual urges, but women are actively reduced to objects explicitly for that satisfaction. Advertisements sexualize women in entirely unnecessary ways. The female body, within this perverse culture, is as accessible for male satisfaction as the nearest fast food restaurant. The cyclical idea of boys will be boys continues and is even encouraged in our society by propaganda that justifies this dehumanizing behavior towards women.
EXHIBITION EXHIBITION EXHIBITION EXHIBITION EXHIBITION EXHIBITION
Inversion of roles that a man and a woman have in the society and family according to the gender stereotypes.
Showing the radical clothing of female superheroes.
Illustration of male and female roles in films. According to the statistics women’s clothing is much more sexually revealing than the one that men wear. Also the roles they play vary from their male collegues. It’s not often when they play leading characters. And also much more often they play prostitutes, secretaries, nurseries etc.
It the pop culture it has became kind of standard that a man is surrounded by pretty and young girls that give him pleasure in exchange of money.
In the pop culture it is often presented that for a women the appearance should be the most important. Instead of being persuaded to develop their knowledge they are told to change their bodies to achieve the perfect body. A French artist has presented the unrealistic beauty standard that women try to achieve and the consequences that it causes.
Why are we more used to see a woman with makeup than without it? It’s horrible. Does really a woman need to cover her face to be accepted by the society? The photos is from Tylor Swift’s “The Man” music video.
Do women must be BRAVE to not wear the makeup?
When we watch films, advertisments and music videos, why do we see that it’s usually a woman that is created to please a man?
Why male celebrities can wear on the red carpet simple and classy suits, while when it comes to women we consider puffy fancy dresses as a standard? There is nothing bad in imaginative dresses, but do reality always women need to be decorated?
Women in rap music videos are usually presented as busts and butts, does it reduce sexism? I don’t think so.
Why all the female stars on the red carpet wear high heels? Was it really such a big event when Kristen Steweart took off her heels? There is not many men that wear high heels...
Does this German suits brand really need to use a naked woman dominated by a man to boost their sales?
The advertisments from 50s/60s were very sexist and clearly stated the roles of men and women in the society. It’s time to change these roles!
No comment.
I’m wondering, why male nudity is much more shocking then female nudity? In my opinion something went wrong.
Completely dressed man and nude woman. It doesn’t seem to be fair.
Woman in many films is presented as the one that needs help and could not survive on her own. She needs a man that will take care of her. And she will be his decoration. Is this the image of woman that we want to see?
The poster of the film reinforces stereotypes that a woman always take care of children and a man doesn’t care.
GENDER ROLES ARE old fASHIONEd
Look at minds not at pants
“I’m so sick of running as fast as I can, wondering if I’d get there quicker if I was a man.”
ELISABETTA SIRANI
Elisabetta Sirani (8 January 1638 – 28 August 1665) was an Italian Baroque painter and printmaker who died in unexplained circumstances at the age of 27. She was a pioneering female artist in early modern Bologna, who established an academy for other women artists.
Like her Bolognese forerunner, painter Lavinia Fontana, Sirani tended to focus on bold, outstanding female subjects. SHE PRESENTED WOMEN AS POWERFUL AND INDEPENDENT what was unusual at this time.
E L L E N A J ONĂ€E M Janelle MonĂĄe is an American musical recording artist, actress and model signed to her own imprint, Wondaland Arts Society, and Atlantic Records.
That simple yet complex nugget of nuance is what makes “PYNK” soar. The song celebrates femininity and femme identity absent of any male, masculine or cissexist gaze. In a bedroom party scene, the femme revelers wear tight white briefs with messages on the crotch — not on the rear — that push back on sexist assumptions about feminine bodies. One phrase says “Great Cosmic Mother,” a nod to Monáe’s celebration of the vagina as a life source for humanity, while a different phrase plays on the infamous “grab ‘em by the pussy” quip to say, in no uncertain terms, “I grab back.”
T
TAYLOR SWIFT Grammy Award-winning singersongwriter Taylor Swift made a splash in the country music world in 2006 and has gone on to become one of the top acts in popular music.
In her new music video, released on YouTube, the singer transforms into a man. She enters an alternate reality where she is given the corner office, ‘manspreads’ all over the metro and is praised as the ‘world’s greatest dad’ for merely showing up. Swift, the male version, is rude with reckless abandon and sleeps with whoever she wants, when she wants – without consequence, only lots and lots of high fives. In true Swift-style, the four minute-long clip is peppered with Easter eggs: from the subtle nod to Leonardo DiCaprio’s modelladen yacht on the French Riviera to an on-court meltdown after losing a tennis match, which is undoubtedly a sly dig at the sexist reaction to Serena Williams throwing her racket at the US Open in 2018. There is a graffiti wall with a sign banning scooters, a likely reference to her feud with her ex-label executive Scooter Braun, who she famously called out on Twitter for holding her music hostage and preventing her from performing her own songs at the American Music Awards. Braun denied her allegations.
G
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The Guerrilla Girls are feminist activist artists. Over 55 people have been members over the years, some for weeks, some for decades. Our anonymity keeps the focus on the issues, and away from who we might be. We wear gorilla masks in public and use facts, humor and outrageous visuals to expose gender and ethnic bias as well as corruption in politics, art, film, and pop culture. We undermine the idea of a mainstream narrative by revealing the understory, the subtext, the overlooked, and the downright unfair. We believe in an intersectional feminism that fights discrimination and supports human rights for all people and all genders.
G
S
GLORIA
STEINEM Gloria Marie Steinem (born March 25, 1934) is an American feminist journalist and social political activist who became nationally recognized as a leader and a spokeswoman for the American feminist movement in the late 1960s and early 1970s.
GloriaSteinemfirstgarneredattentionfor“ABunny’s Tale” (1963), an exposé of Hugh Hefner’s Playboy Club published in Show magazine. In 1968 Steinem began writing a political column, “The City Politic,” for New York magazine. In 1972 Steinem cofounded Ms., the first nationally circulated women’s magazine to bring feminism into the mainstream.
Yoko Ono, Japanese Ono YĹ?ko, in full Yoko Ono Lennon, (born February 18, 1933, Tokyo, Japan), Japanese artist and musician who was an influential practitioner of conceptual and performance art in the 1960s.
YOKO ONO
Yoko Ono has become well known for her 1964 art performance titled Cut Piece. In this performance, she sits silently and passively on a stage, allowing members of the audience to approach her and cut off pieces of her clothes. Ono herself has attributed her artistic demonstration to be a rebellion against ableism, sexism, racism, and violence (Concannon, 83). She has continued to perform this demonstration until the age of seventy, acknowledging the feminist connotations behind it. Yoko Ono established herself as a radical feminist through her article in Sundance Magazine, called The Feminization of Society. Published in 1972, the article discusses the various issues she had found with the feminist movement of the time, especially in the fields of lesbianism, childcare, and women’s freedom. She also discusses the issues she found with the patriarchal society, in which men have failed to run the world peacefully. She believes, that through a radical reorganization of society, a world with more feminine than masculine characteristics will prevail.
B
EILISH
BILLIE Billie Eilish, in full Billie Eilish Pirate Baird O’Connell, (born December 18, 2001, Los Angeles, California, U.S.), American singer-songwriter who first gained recognition in 2015 for the song “Ocean Eyes” and became, in 2020, the youngest person ever to win a Grammy for Album of the Year.
She reflects freedom, The indie-pop artist is free from all the social standards that force girls to dress in a certain way to attract. Her style screams rebellion, saying that women are more than beautiful faces and hot bodies. We don’t have to be sexy or attractive to be successful. Makeup shouldn't be our second skin. Eilish's style made everyone see women as what they really are. Funny, elegant, carefree, determined and successful human beings. Nowadays, It’s easy to judge women based on how they look or dress, which in return leads to sexism and unfair treatment of women, particularly in the entertainment and music industry, and that brings us to a very special thing about Eilish, her inner fire.
AS JE TA SS IN IC A
Jessica Michelle Chastain (born March 24, 1977) is an American actress and producer. Known for her roles in films with feminist themes, her accolades include a Golden Globe Award and nominations for two Academy Awards. Time magazine named her one of the 100 most influential people in the world in 2012.
Jessica Chastain has always been known for speaking her mind when it comes to women in film, even explaining last month that she herself has received backlash for voicing her views. Whether it’s condemning the mistreatment of women at work or calling for more representation of women in Hollywood, Jessica is at the forefront, just as she proved this week when she explained how she chooses her film roles, hinting at a need for better roles for women. In her new film Molly’s Game, Jessica Chastain plays power woman Molly Bloom, who known as the ‘poker princess’ finds herself running the most exclusive high stakes poker games in the world. While this strong self-made woman is an interesting role, it’s certainly not a surprising choice for Chastain who almost exclusively plays powerful complex women, from Miss Sloane’s Elizabeth Sloane to Murph in Interstellar – she was even recently announced to be starring as Jane Vasko in the upcoming action film, Adventure Jane. Opening up in a Sky News interview with the film’s writer and director, Oscar-winning Aaron Sorkin, Jessica explained how this is no coincidence, explaining how she chooses her roles. ‘I feel like I just want to play well-written women,’ the 40-year-old explained. ‘I think when people see the characters that I play they feel very powerful, but I think that’s because it’s not normal in the film industry to have such strong female characters, well-written female characters. She continued: ‘Women who aren’t defined by a relationship or man in their life but about what they say and what they do. That’s what I’m interested in playing. That’s what I seek out.’
Frida Kahlo was born in the year 1907 in Coyoacan, Mexico. For a large portion of her life, she was known as her husband Diego Rivera’s wife but she soon carved out a separate identity for herself as an artist and is now, fondly followed and remembered by not just the artistic community but by women and feminists alike.
FRIDA KHALO
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Simone de Beauvoir was one of the most influential feminist thinkers of the 20th century. A novelist, political activist, memoirist and philosopher, she is most well-known for writing the 1949 text ‘The Second Sex’ which was revolutionary in its discussions on the role of women in society.
INTERVIEW Brison: Yesterday, you agreed that it's not enough for women to put themselves in exactly the same situation as men in order for them to be liberated. But you didn't say what you think we need to do now. I'd like to ask you the same question that you asked Sartre, a question it seemed to me he avoided: “Should women completely reject the masculine universe or should they find themselves a place in it? Should they steal their tools or change them? I'm thinking of science as well as language, the arts. Every value is marked with the seal of masculinity.” de beauvoir: That’s a lot of questions in one. I think that feminists, at least those I’m involved with, want to change not only women’s situation but also the world. That is, these are women who would like to see a certain dismantling of society and who think that if feminism were victorious, if the oppression of women were completely eliminated, well, society would be shaken to its foundation. This cannot be accomplished without other kinds of action, for example, actions supporting class struggle and immigrants, in other words, all the actions one can imagine in favor of society. They must all be linked. So, it’s a matter not of women taking men’s place in this world, but of their being emancipated in such a way as to simultaneously change this world.
COCO CHANEL
Coco Chanel, byname of Gabrielle Bonheur Chanel, (born August 19, 1883, Saumur, France— died January 10, 1971, Paris), French fashion designer who ruled over Parisian haute couture for almost six decades. Her elegantly casual designs inspired women of fashion to abandon the complicated, uncomfortable clothes—such as petticoats and corsets—that were prevalent in 19th-century dress.
Chanel’s designs of fluid jersey suits and dresses were considerably more practical and allowed for easier movement in a working environment. Her clothes were durable, did not require a servant’s help in putting them on and were created using cheap and easily accessible fabrics in a time when the war had caused a shortage of other materials. Hence, Chanel’s modification of the construction of women’s clothing to fit more comfortably and affordably was welcomed by women who were striving to be part of and remain with ease in the workplace and thus, become more independent and liberated. Even though the incredibly unconventional colours, shapes and fabrics introduced by Chanel were not immediately welcomed due to their unusualness, they gradually and consistently gained increased popularity because of this unspoken need amongst women at the time to be freer and break from the norm.Therefore, this becomes an example of how Chanel used her designs as a way of challenging and eventually changing society’s perceptions of what the paradigms of fashion and femininity should be. Her clothing enabled women to perceive themselves and thus, all of society to perceive and approach the female gender in a more progressive way, allowing women to both look and feel more confident and liberated in a society that tended to repress them. In a nutshell, Chanel not only wanted women to free themselves of physical corsets but also of mental ones. This reflects on not only her incredible creativity as an artist, but also her acute sense of vision and shrewd intelligence in terms of successfully shaping her business according to the social atmosphere and then using that power to re-shape that social atmosphere towards the better.
AT EM SO M N A
Emma Charlotte Duerre Watson (born 15 April 1990) is an English actress, model, and activist.
PROVES THAT SHE’S A FEMINIST In 2014, Emma was announced as a U.N. ambassador, where she would work with a focus in gender equality. She was also the first person to be appointed underneath Phumzile Mlambo-Ngcuka, the Under Secretary-General and executive director of U.N. Women. Definitely a huge accomplishment.
Emma helped launch HeForShe, a gender equality campaign. HeForShe aims to raise awareness about violence and discrimination that women and girls experience all around the world. Emma also took her campaign to college and university campuses, in order to create policy surrounding sexual assault, violence, and the gender gap in academia.
The actress thinks that some men have trouble taking in films with female leads because they're simply used to watching movies about men. She explained, "It's something they're not used to, and they don't like that ... Anything that deviates from the norm is difficult to accept. I think if you've been used to watching characters that look like, sound like, think like you, and then you see someone [unexpected] up on the screen, you go, 'Well, that's a girl, she doesn't look like me. I want it to look like me so that I can project myself onto the character.'" Emma also points out that it's just as important for young girls to see themselves on screen, and films that empower women are definitely needed.
Missy Elliott is an American rapper and music producer who made a mark on the male-dominated hip-hop world with her talents for writing, rapping, singing, and music production.
MISSY ELLIOTT
FIGHTING THE STEREOTYPES Before Beyoncé performed in front of a neon “feminist” sign, before Lady Gaga had an artist throw up on her on stage to expose sexism and before Nicki Minaj twerked her ass to subvert the male gaze, Missy Elliott was bringing feminism to mainstream music. Over her impressive 25-year career, Elliott’s message has been clear, and that’s that women, whether conforming to heteronormative gender binaries or not, are equal to men, as important as men, and as powerful. She’s been devoted to promoting the idea that women can act, rather than just appearing, and that a noisy woman with an opinion is a valuable thing, and moreover, that this woman has nothing to apologize for. Elliott has always favoured personal style and self-confidence over male-dictated beauty ideals. As a result, she makes beauty something highly individualistic, and in the process, empowers body image to be whatever the wearer of that body chooses it to be. At the same time as actively seeking to break rules associated with the feminine aesthetic, Elliott has always been a champion for women, prescribing to the “all boats rise” theory of success. By building other women up, Elliott did something that few other artists have done, and that’s really cultivating the talent of other women. In that same vein, Elliott also supports autonomy in female sexuality. As a survivor of sexual and domestic violence, her sex positivity reads almost like a war cry, and as such is both powerful and profound, reclaiming her own body as well as encouraging other women to reclaim theirs.
ANGĂˆLE
Angèle Van Laeken; born 3 December 1995), better known by her stage name Angèle, is a Belgian singersongwriter, musician, pianist, record producer and actress.
Belgian pop star Angèle continues to explore a engaged and pop universe with her last clip directed by her friend Charlotte Abramow. Balance ton quoi (literally “denounce your what”, where ‘what’ is replacing the word ‘pig’ meaning the ‘assaillant’, as a reference to the French #metoo movement called “denounce your pig”) is a single from Angèle’s debut album “Brol”. This title is inspired by the third feminist wave beginning, reminding the major social networks scandals that enhanced this movement, such as #metoo. The clip explores the notion of “consent”, by imagining a world in which men could take lessons about how to be anti-sexist. A funny, impertinent and strong video bringing a very urgent message with the positive and optimist touch of Charlotte Abramow.
Anja Rubik is a Polish model, activist, philanthropist, and businesswoman.
ANJA RUBIK
Supermodel Anja Rubik could be a symbol of any modern, progressive European country. After joining a campaign to defend women’s rights, she started tackling school sex education and published a book for teenagers that sought to counter the teachings of the Catholic Church. In 2018, she published a book entitled ‘#SEXEDPL: Anja Rubik talks about puberty, love and sex’. She also runs the non-governmental organisation #SEXEDpl. She was awarded the ‘Good Deed’ award for her activity in the field of sexual education of youth and has been involved with Gals for Gals foundation, which fights for gender equality and women’s rights. Many young girls look up to her and support what she stands for.
MANIFESTO MANIFESTO MANIFESTO MANIFESTO MANIFESTO
I do the publication concerning the theme of sexism... BECAUSE we should be treated equally regardless of our gender. BECAUSE women in the media should not be objectified and sexualized. BECAUSE women have right to dress up any way they want. BECAUSE women have right to make whatever they want without thinking whether this is suitable for a woman or not. BECAUSE I want to say ‘stop’ to gender stereotypes present in the mass media. BECAUSE assigning garner roles is not ok. BECAUSE saying “You’re good for a girl” should not take place. BECAUSE women are not objects of male gaze. BECAUSE there should be less attention put on women’s appearance in the media. BECAUSE being a girl does not mean to be worse, weaker, less important.
END OF RESEARCH
MOCK-UP
G GANG
look at minds not at pants
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Yes, I am a feminist.
No, i don’t hate men.
H
GENDER STEREOTYPES NOW AND THEN ihdbvshvbkjn jsnkjcbab iuiywqgfiu qhwi hkBH Kbw habha bvkhbvkjsakhbvhsabv khs abvkjsna vkjabskhvb skhvbshvhdhviydgiyvsbkhjnsufaw yufguhbehvhbisqbjqhbvjhqsbvhqvhiudajoiwjdouwuqhdiewgjhbkhashcysgvyugsviuashj a haawhvsiausv wuhiviwyh hiyq giuv hs siu ihdbvshvbkjn jsnkjcbab iuiywqgfiu qhwi hkBH Kbw habha bvkhbvkjsakhbvhsabv khs abvkjsna vkjabskhvb skhvbshvhdhvi-
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BRAIN IS THE POWER.
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