Here are the collection of notes, I had to gather up in preparation for my final essay. I chose to do the subject theme of ‘Gender’, as I had quite a lot to say about gender and how images, or designs could influence gender or could connect to the subject. I also felt pretty comfortable talking about the topic, due to having quite a few items around my house that easily slot in to this topic.
The James Bond phenomenom- a critical reader – edited by christopher lindner
“Michael dennning qualifies the argument about gender relations in Flenning’s fiction. situating the bond novels in the particular social climate of the 1950’s and 1960’s, he argues that they articulate ‘the new organisation of sexuality in a fetished mode that continues to surbordinate and oppress women.”
ian fleming and james bond the cultural politics of 007
imagining women cultural representations and gender
edited by frances bonner, lizabeth goodman, richard allen, linda janes and catherine king
Ed: Jane Pavitt page 180-181
“Sanrio describes their products as ‘small gifts that bring big smiles’, and as such they play a part in the complex protocol of gift giving in Japanese culture. “
“Although hello kitty is marketed at children, in Japan many consumers (particularly women) have grown up with the brand and still identify with it in adulthood. The merchandising available confirms this view. “
“There are toy household and beauty products, for example, but these are also available as full size, proper working domestic products, such as toasters, vacuum cleaners and microwaves. “
“Hello kitty is a brand that marks out some of the rituals and behaviours of a contemporary lifestyle: the character appears on credit cards, mobile phones and even wedding dresses. Arguably, in this context, the hello kitty brand sells itself as a form of transitional for the young woman, where the equipment necessary for adult domesticity is reminiscent of the accoutrements of childhood. “
“t’s important to first distinguish that “gender” is different than “sex.” In short, sex refers to your biological differences, which is equal to male and female. And gender is a social construct that society reinforces through assigning roles, activities, expectations and behaviors to males and females and labeling them “masculine” or “feminine.” Gender is not only a social construct but also a performativity – behavior creates your gender.”
If forcing stereotypes on little children wasn’t bad enough, gendered toys can also redirect the interests and development of kids.
From the second we are born, we are gendered based on our appearance. From the initial swaddling in either a blue or pink blanket we are taught what is “normal.” Many people know which color signifies male (blue) and which color signifies female (pink). But many people don’t know that this wasn’t always the case.
The reason is that pink being a more decided and stronger color is more suitable for the boy, while blue, which is more delicate and dainty, is prettier for the girl.” It’s also said that since pink is closer to red, it was more appropriate for boys because red is a “fierce” color, whereas blue was associated with girls since the Virgin Mary is customarily dressed in blue.
Others suggest that the now current color consensus, which appears to have materialized in the 1950s, came from the Nazis branding gays with pink triangles in their concentration camps.
The gendered object
Edited by Pat Kirkham
Relationships between objects and gender are formed and take place in ways that are so accepted as ‘normal’ as to become invisible. Thus we sometimes fail to appreciate the effects that particular notions of femininity and masculinity have on the conception, design, advertising, purchase, giving and uses of objects, as well as on their critical and popular reception.
Objects are highly, though differentially, affective and amongst the strongest bearers of meaning in our society. –page 1 intro
Which media personalities like Madonna and Schwarzenegger, invoked as ‘the icons of sex and violence’, become ironic and self-referential.’
The suit presents an image which purposefully divests the wearer of the personal in order to issue a statement of competence and efficiency. It is an example of the inscribed surface of events, where clothing is the externalised landscape of the terrain of gender. Perhaps its primary concern as an object is its association with roles and in particular a male and masculine culture within which all genders may operate and, within that, the world of work. It reflects gender and deflects sexuality as well as constructing the masculine and deconstructing femininity.
Gender in communication: a critical introduction
Victoria pruin defrancisco
Catherine helen palczewski
The gazes- page 230
Men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only the most relations between men and women but also the relation of women to themselves. The surveyor of woman in herself is male: the surveyed female. Thus she turns herself in to an object— and most particularly an object of vision: a sight.
Television and gender representation – Barrie Gunter
“This socio-cultural normalizing of displayed, acceptable characteristics and behavioural roles for males and females has been found to develop among children at an early age (Fauls and Smith, 1956) and many influence a child’s choice of activities as early as nurseru school (Fagot and Patterson, 1969). “
“Society defines what is male and what is female. “
“A common thread running through various disciplines’ definitions of gender-role socialization is the notion that socialization is a social process representing the way that people learn about their culture and acquire some of its values, beliefs, perspectives and social norms. In short, socialization is the way in which an individual comes to adopt behaviour and values of a group. “
“all known societies assign certain traits and roles for males and others to females. In western society, for instance, aggressiveness, competitiveness, independence, and self-confidence were long considered to be traditional masculine traits; neatness, tactfulness, gentleness, and talkativeness, were long considered to be feminine traits (Brovermanet al, 1972)l in terms of role differences, women have historically been cast as homemakers with responsibility for child care, and men as the providers or breadwinners.”
“many advertisers still appeal to such gender-linked roles, and consumer tastes are frequently influenced by gender role factors.”
“Traditionally, the role of women in our society has primarily centred on nurtruring and family life. In fact, for a long time, motherhood was the only acceptable role for women (Friedan, 1963). “
“The media—especially television—can contribute to children’s gender-role socialization by providing models for observation. “
“the media are seen as principle instruments in conveying stereotypical, patriarchal and hegemonic values about women and femininty. “
Feminine, sensual and daring—that describes Jean Paul Gaultier’s Classique Eau de Toilette (100ml) to a tee. An extravagant combination of oriental florals with bursts of spicy Indian ginger and citrusy mandarin, this timeless scent brims with temptation and guilty pleasure. A true fragrance classic, this irresistible scent is a passionate and sensual floral for both the traditional and modern woman.
Soft and sophisticated, bold and confident, the Classique woman has an undeniably seductive presence. She is captivating and timeless and, like her choice in fragrance, she has classic style at her core. This luxurious fragrance for her opens with beautiful notes that are fresh, floral and fruity, combining orange blossom and rose with the spicy oriental influences of provocative star anise, ginger, amber and plum. An intoxicating, warm vanilla beautifully unites the entire composition.
An expert in celebrating the female form, Jean Paul Gaultier incorporates gorgeous, feminine elements into the Classique Eau de Toilette fragrance and package. Sensual curves and a sexy corset grace the pale peach bottle, which exudes feminine appeal.
The James Bond phenomenom- a critical reader – edited by christopher lindner
“Michael Demning qualifies the argument about gender relations in Flenning’s fiction. situating the bond novels in the particular social climate of the 1950’s and 1960’s, he argues that they articulate ‘the new organisation of sexuality in a fetished mode that continues to subordinate and oppress women.”
racing the world of Bond and temporarily becoming part of this liminal landscape, fans create the opportunity to embody and perform an imagined masculinity
No. 67 (Spring, 1999), p. 111