This is the same man.
This works quite nicely at debunking the “beefcake guys in comics are objectified for women just like women in comics are for men!”, imo. On the left: a magazine tailored for a male audience, showing him in full beefcake-type mode with headlines about how you, too, can look like this. On the right: a magazine tailored for a female audience, which has a headline about romance and shows him looking more or less like a normal dude.
Tell me again how comic book guys are designed for female sexual enjoyment, completely equivalent to anatomically-improbable spines and giant tits with their own individual centers of gravity, and totes aren’t just male power fantasies.
This is what the diversity breakdown of best director nominees for the Oscars looks like. This year provides a big opportunity for a breakthrough, as Buzzfeed’s Adam B. Vary explains:
At this year’s Academy Awards, Alfonso Cuarón could be the first Latino man to win the Oscar for Best Director (for the sci-fi film Gravity) — and given that he’s won the Directors Guild of America award, he is by far the odds-on favorite to win. If he doesn’t, however, the man who has a strong chance of scoring an upset is12 Years a Slave’s director Steve McQueen — who would be the first black man to win in this category.
And this would be a very big deal: More than perhaps any other people in the world, film directors have had the greatest first-hand influence on how we see ourselves for over a century, as they’ve steered tens of thousands of film productions big and small, driving and defining one of (if not the) most influential representation of our culture for just about 100 years.
But when one looks at the nominees and winners for the Academy Award for Best Director — the best barometer we have for whom the film industry regards as the finest film directors of their respective years — an overwhelming majority of them have been white men.
By the way, that sliver of the pie shown that makes up people who aren’t white and male represents just 17 people.
The decision of who gets to be represented is most often made by those at the top, and this is most often, as the statistics show, white men. The report shows that when women are in charge (i.e. are casting directors of films, news reporters, etc.) then there are almost always greater numbers of women either hired by them or quoted by them in news stories. The same generally applies specifically to the hiring of women of color by women of color. This demonstrates the urge to construct our own narratives among historically marginalized groups. I feel the same way when I write for SPARK: taking control of the way we are perceived and the ways in which our stories are told is paramount to how we help shape the minds of young girls; it isn’t just visibility in and of itself that will determine our positive impact. How we are represented and who represents us plays a crucial role. Who is telling our stories? Are we speaking for ourselves, or are we being directed by others? And when directed by others (i.e. in a film), how are we being represented? Not a single person of color, nevermind a woman of color, was in management at the four TV stations in Little Rock, Arkansas, where 42 percent of the population is black and the Latino population is almost 7 percent (and growing).
Project for my Social Psych class last semester. This poster series was created to 1) challenge these internalized stereotypes by bringing them to the viewer’s attention and 2) expand the range of role models by including a diverse group of women. Each poster follows the same basic pattern: a woman who has demonstrated her competency in a particular area refutes the stereotype that appears above her in the form of “Girls can’t …”. While the posters target girls ranging from children to young adults, I expect the message would also cause people outside that demographic to question their own beliefs about women and power. I designed each aspect of the posters with several principles of social psychology in mind:
“I remember when I played the character in Doubt. It was a character that not a lot of black people embraced. Because they didn’t like her. I think a lot of women face that, in general. A lot more than men. Black women really face it. We are always overly-sanctified in movies. Overly-nurturing, overly-sympathetic. And to find that place where you’re “messy” is very difficult. It’s even difficult to negotiate it with a director on set. When you’re coming from a place of being a trained actor and you understand human behavior, and you understand that it’s your job to create a human being, that when people sit in the audience they just need to connect the dots. They need to be able to say this is a person that’s driven by needs and this is what drives them. And it’s hard to create that human being because there’s so many facets of your personality they want to stifle because of this [gestures to the skin of her arm].”
— Viola Davis [watch]
I don’t know if some of you have been to these live reads at LACMA, where a classic film is read live on stage by actors who just sit and read the script. We did one recently of American Pie, but we reversed the gender roles. All the women played men; all the men played women. And it was so fascinating to be a part of this because, as the women took on these central roles — they had all the good lines, they had all the good laughs, all the great moments — the men who joined us to sit on stage started squirming rather uncomfortably and got really bored because they weren’t used to being the supporting cast.
It was fascinating to feel their discomfort [and] to discuss it with them afterward, when they said, “It’s boring to play the girl role!” And I said, “Yeah. Yeah. You think? Welcome to our world!
You are a woman. Skin and bones, veins and nerves, hair and sweat. You are not made of metaphors. Not apologies, not excuses.