FOCUS MEDIA JOURNAL VOLUME XXXIII 2012-2013

FOCUS STAFF

Editor-in-Chief Corie Anderson

Associate Editor Christy Zeeb

Copy Editors Bianca Beltran Grace Delia Paula Ersly Laura Horstmann Kevin Veltri Celeste Wong

Cover Design Rebekah Chon

Faculty Advisor Jennifer Holt

Staff Advisor Joe Palladino

A LETTER FROM THE EDITOR First of all, THANK YOU to everyone who helped on the 2012-2013 issue of Focus Media Journal, from the entire staff and me. We could not have published this edition without your support. We are especially grateful to the Film and Media Studies Department faculty members and graduate students who dedicated their time and expertise. This year’s journal revolves around the theme of “excess.” In mainstream - ered lowbrow or crude. As a media scholar, I believe this claim to be culture, film and media texts that are labeled excessive are alsoFocus consid to academically redeem excess. Every article published in this journal sup- portssuperficial this intent,and unsupported, all proving andthe Iconstructive hope to use use this of editionexcess ofin cinema, television, and new media. I hope the cover of Focus also accurately coveys the journal’s intent. In the foreground lays a “dead” television set, representing the growing pow- er of new media over traditional viewing platforms. Its screen projects a pair of female lips which show the persistence of issues of gender and sexuality in today’s society. In the background, zombies race toward the screen—which the back cover shows are escaping from a pile of discarded television sets—once again indicating changes in media technology and a cultural obsession with excess. A very special part of this year’s Focus Media Journal is an article cel- ebrating the 40th Anniversary of the UCSB Film and Media Department. Publishing this piece is the very least that we, as undergraduates, can do to recognize our remarkable staff and faculty. I would especially like to thank our staff advisor Joe Palladino for his con- tinuous guidance, patience, and for trusting me to run this issue. Finally, I want to extend gratitude to our faculty advisor Jennifer Holt, for her sup- port of Focus and all undergraduate endeavors. This year’s staff is excited to present to you the 2012-2013 edition of Focus Media Journal, enjoy! Yours Truly,

Corie Anderson Editor-in-Chief 2012-2013 CONTENTS

In Focus: A local perspective This Is 40: Creating Film and Media Studies History at UCSB by Laura Horstmann 11

Transcendental Trendsetters: Filmmakers and Generic Excess The Spectacle of the Female Abject: Postmodern Gender and Sexuality in Jennifer’s Body and Deadgirl by Corie Anderson 19

The Cultural Obsession With Zombies in Modern Media by Jennifer Lande 29

New Countries, New Selves: Travel as Metaphor for Personal Growth in Lost in Translation and The Darjeeling Limited by Halie Albertson 35

Sexual Surplus: Excessive Cinematic Displays of Gender and Sexuality Appealing to the Male: Melodrama and The Female Gaze in Black Swan by Kevin Veltri 48 Talking Schmidt: How Metrosexual Characters Subvert Gender Binaries In Contemporary Media by Sara Callahan 55 Questioning Heternormativity: She-Devil and Stereotypical Gender Roles of the 1980s by Alysson Feil 64

Expanding Mainstream Conceptions of Gender and Sexualtiy on Boy Meets World In the 1990s by Daisy Rogozinsky 71

Pride For Sale: Exploitation of the Gay Audience In Contemporary Advertising by Alexandre Eisenhart 78

Mass Media: Technology in the Digital Age of Excess Converging Convergence: The Complex Relationships of iCarly’s Convergent Culture by Christy Zeeb 89 The Damsels’ Quest: Breaking Down the Male Gaming Community by Ashley Armitage 100

Attracting Young People to Politics One Digital Tool at a Time by Marisa Endicott 109

In Focus: A Local Perspective

This is 40: Creating Film and Media Studies History at UCSB by Laura Horstmann ith shared, a passion that would only $10 billion average annual expand. Over the past 40 years, the domestic the U.S. marketfilm industry’s gross, program has grown into an incred- W social media’s multi- ibly respectable and dynamic de- faceted coverage of every major partment that is currently credited global event, and the omnipresence as one of the best in the country. and constant accessibility of the Though underfunded and internet in everything from our largely ignored by administrators homes to our pockets, media is - more prevalent and ubiquitous than est and recognition the program ever before. This constant presence receivedwhen it firstin the began, early national 1990s helped inter has made it incredibly important to recruit donors and expand into a understand not only the implications this permeation has upon our In 1978, Charles Wolfe became UC- society, but our own relationships full-fledged university department. with media. Over the past 40 years, Doctoral degree in Film, which he UCSB has cultivated a strong and receivedSB’s first fromfaculty Columbia member University. to hold a highly esteemed Film and Media Professor Wolfe would become one Studies department that strives to of several talented and dedicated explore these complex industries individuals, including many current and relationships. The department’s faculty members, that would shape passion, creativity, talent, and the Film and Media department into stimulating discourse makes what it is today. Other notable schol- celebrating its Fortieth Anniversary ars include Janet Walker, Constance a great honor for Focus Media Journal. Penley, and Edward Branigan, who UC Santa Barbara’s personal retired in 2012. This collaborative group’s goal was to create a de- began in 1973, when a small collec- partment that could offer the same tiverelationship of interdisciplinary with film andprofessors, media - each with a passion for cinema, col- search university, while retaining laborated to create a freestanding theaccess intimacy and benefits of a small of liberal a large arts re program—now academically re- college. With today’s current en- nowned. What the program lacked rollment rate of approximately 500 in institutional clout, it made up for undergraduates, a rigorous critical in the energy, enthusiasm, and cu- curriculum, and a dynamic faculty riosity its students and professors consisting of scholars, published

Focus 11 authors, archivists, curators, and student founders of Reel Loud in - 1991 can be found in the depart- ceeded their original goal. In 2005, ment’s current students as well, who thefilmmakers, department they expanded have definitely even fur ex- are just as excited to continue Reel ther by introducing a Film and Me- Loud’s legacy. Senior Hilary Camp- dia Graduate program. bell took on a tremendous amount The uniqueness of the depart- of responsibility as director for ment comes from its primary focus this year’s festival. One of her main on the analytical and theoretical goals was to involve as much of the student population as possible, in- to production, which according to stead of settling for the guaranteed Professorstudy of film Wolfe, and mediaaims to as help opposed stu- audience of Film and Media majors dents develop “a capacity for criti- that historically attend. To achieve this goal, Campbell introduced more pre-show awareness and fundrais- skills.”cal and1 creative thinking, using film ing events than ever before, includ- isas particularly a lens to hone important, and refine as media these ing a themed carnival, fundraising is a powerful This critical cultural analysis tool that of film re- - eties in any society. Current PhD eventsconcert, have, and a“paved film Triviathe way Night for ina studentflects the Maria dreams, Corrigan fears, andsays anxithat newIsla festival Vista. Campbellthat’s more hopes interactive these with the community.”4 thinking about and looking at histo- The Film and Media Depart- riesstudying that canfilm easily is a “beautiful be forgotten.” way2 of ment also hosts the annual Word Another unique and trea- Farm, a 3-day interactive screen- sured aspect of the department is writing conference where students the Reel Loud Film Festival, an an- are able to meet, exchange ideas, nual event exhibiting student-made and receive advice from working industry professionals. This year, by live musical acts, much within the student-run event celebrated its theshort tradition films, which of the are original accompanied silent 11th anniversary. Joe Palladino de- scribed Word Farm as something he The festival was founded by an en- wishes existed when he was a UCSB films and Vaudeville Theater acts. Film Studies undergraduate.5 Senior 1991, who were passionate and pro- Corie Anderson, who organized this activethusiastic about group investigating of film students cinematic in year’s event, says, “Word Farm is a history. Professor Wolfe and Under- unique experience because there graduate Advisor Joe Palladino both are few other places where screen- point to Reel Loud as their favorite writing students can directly inter- event of the department, and Palla- act with and receive feedback from dino recalls how incredibly excited - he is to witness the, “tremendous ers.”6 - successfulThe department film or television has undergone writ makers display every year.3 several transformations throughout amountThe of passion creativity” that studentdrove thosefilm its rich history. Most of which have

12 Focus come from the program’s object opened its doors in 2011, providing of study: the changing media in- an unprecedented classroom expe- dustrial structure and advances rience and public theater, and at- in cinematic technology. With the tracting students and community growing accessibility of tools for members alike. production, it seems we are enter- As technology has shifted, so ing an age of unlimited creativity has UCSB’s Film and Media Depart- in which almost anyone can make ment. One major change was the program’s expansion to include technological age as being remi- Media in its range of study (and niscenta film. Joe of Palladinothe Do-It-Yourself describes thisat- its title). From its inception, the titude of the punk movement of department has also strived to re- the early 80s.7 While the Film and cruit new and innovative faculty Media major only has a few produc- that would advance the depart- tion courses and just requires one ment and the future of the study basic skills class, this accessibility of cinema. Palladino argues that has allowed students to apply what “while there is a strong sense of - institution still in place, the intro- tory courses to their technological duction of fresh voices and talent andthey creative learn in pursuits—continuing film theory and his will hopefully quell the fear of stag- their critical study of cinema out- nancy that might come with having side of the classroom. a core, permanent faculty.”9 Maria One of the greatest education- al tools on campus is the recently doing this and describes being able founded Carsey-Wolf Center, a joint toCorrigan feel the, confirms “inspiring the character success inof creation of the UCSB Film and Me- the people who shaped the depart- dia Studies and Communication ment,” something which “can be Departments. The center is devot- seen in the level of education you ed to media research and teach- receive.”10 This winning combina- ing, made possible by donors well- tion can even be felt by one of the known in the industry such as Mar- department’s most recent faculty cy Carsey, Dick Wolf, and Dr. Joseph members, Ross Melnick, who de- Pollock. According to their mission statement, the Carsey-Wolf Cen- at UCSB as, “a dream for a new fac- ter offers, “an intellectual as well ultyscribes member.” his first11 Melnickyear and went reception on to as a physical space in which the express how inspiring it is that, “as university and media industries much as the faculty here are prolif- can interact through educational ic in their research, it’s obvious that activities, research projects, and they also care an enormous amount public programming.”8 This physi- about teaching.”12 cal space, and the crown jewel of No matter how much the en- the Film and Media Studies Depart- ment, is The Pollock Theater. While - plans for the theater began in 1994, diatertainment will never lose field its continuesvalue. In fact, to this state of the art facility recently thechange, increased the study importance of film andof new me

Focus 13 academic study’s longevity. Maria Corrigantechnologies notes has onlythat solidified“people arethe often unaware of the level of inti- macy with which they engage with media,” further showing the sig- 13 The Film and Media department at UCSBnificance continues of this criticalto provide discourse. the op- portunity to not only embrace this incorporation, but to understand effect on our culture and ourselves. and critically analyze it’s significant

14 Focus Works Cited 1. Wolfe, Charles. Interview by 7. Palladino, Interview. Laura Horstmann. Personal Interview. Santa Barbara, CA, April 8. “Mission Statement.” Carsey-Wolf 29, 2013. Center. http://www.carseywolf. ucsb.edu/about (accessed May 21 2. Corrigan, Maria. Interview 2013). by Laura Horstmann. Personal Interview. Santa Barbara, CA, May 9. Palladino, Interview. 2, 2013. 10. Corrigan, Interview. 3. Palladino, Joseph. Interview by Laura Horstmann. Personal 11. Melnick, Ross. Interview Interview. Santa Barbara, CA April by Laura Horstmann. Personal 29, 2013. Interview. Santa Barbara, CA, May 9, 2013. 4. Campbell, Hilary. Interview by Laura Horstmann. Personal 12. Ibid. Interview. Santa Barbara, CA, May 22, 2013 13. Corrigan, Interview.

5. Palladino, Interview.

6. Anderson, Corie. Interview by Laura Horstmann. Email correspondence. Santa Barbara, CA, May 22, 2013.

The original art accompanying this article has been created by Laura Horstmann

Focus 15 16 Focus Transcendental Trendsetters: Filmmakers and Generic Excess

Focus 17 18 Focus The Spectacle of the Female Abject: Postmodern Gender and Sexuality in Jennifer’s Body and Deadgirl By Corie Anderson o male gaze and the abject, and whose on images of the body or as genre devoted of film to is arousing as fixed a space for wider cultural debate. N bodily sensations from deploymentThe postmodern in the films providehorror the audience as horror, except tradition is probably best known for perhaps pornography, both of its extremely self-referential nature, which are included in what Carol what Kendall Phillips describes as Clover terms “body genres.”1 “simultaneously highly derivative This focus on sensation, along and deeply aware of its derivative with the prominence of gender status.”3 This practice is evident in relations and sexuality, is especially the Scream series, which combines apparent in postmodern horror humor and terror to cleverly blur boundaries and break down the audience only to break them traditionalfilms, those modernistmade after 1960categories. which2 later.define The the genericmore recent horror rulesJennifer’s for Films like Night of the Living Dead Body also constantly references (G. Romero 1968), Halloween (J. formulaic horror practices, Carpenter 1978), The Evil Dead particularly in its refusal to inhabit (S. Raimi 1981), and Scream (W. Craven 1996) epitomized the genre for decades, paving the way for a anda specific slasher subgenre.tropes with Instead, the comedy the new batch of deeply postmodernist andfilm teencombines genres. rape-revenge, In the beginning occult, of movies to emerge. Two such and Anita “Needy” escape a burning concertthe film, inafter their best town friends of JenniferDevil’s writtenrule-breaking films,teen-horror-comedy drenched in Kettle, Jennifer is persuaded to Jennifer’sreflexivity, Body are (K. the Kusama Diablo 2009) Cody- leave in a creepy van with the band, and the cult indie-thriller Deadgirl Low Shoulder. This imagery, along (T. Haaga 2008). In this paper, I will with Needy’s comment about the examine how both Jennifer’s Body van looking like an “‘89 Rapist,” and Deadgirl successfully negotiate and Jennifer asking the all-male contemporary issues of gender band members if they actually are and sexuality through the use of rapists, explicitly allude to the rape- revenge subgenre. Her name even In particular I will argue that the references the protagonist, Jennifer, femalepostmodern characters horror of film Jennifer, techniques. Joann, I and Deadgirl Spit on Your Grave (M. Zarchi 1978). classic horror theories such as the Butof the instead subgenre’s of raping defining Jennifer film, in the reflexively embody Focus 19 woods that night, Low Shoulder teen context, set in high school and focused on young characters (like thinking she is a virgin— in order to most horror). From the title alone, becomeattempts famous to sacrifice musicians. her—wrongly Instead, Deadgirl makes reference to the Jennifer is turned into a demon, a Night of possession which serves as the plot the Living Dead (G. Romero 1968), The Exorcist (W. wherezombie “reanimated film, first seen corpses” in attack Friedkin 1973).4 For the rest of the and kill the living.5 This deadly of occult films like rampage is also typical of the rape- boys in her high school, a bloody revenge subgenre, that Deadgirl film, Jennifer viciously murders however,rampage typicalJennifer of isthe clearly slasher shown film’s themakes antagonist reference JT tobecomes in its more final masked killer. Unlike these films, andmoments. more obsessed Throughout with theDeadgirl, film, therefore does not rely on leaving cluesto be for the the murderer, audience andto speculate the film naked body and eventually tying who is killing and why the murders herfirst down exploiting and rapingher by exposingher multiple her are taking place. Jennifer’s Body is, times a day. JT even encourages at the same time, all of these subgenres and none of them, calling attention to horror’s formulaic structure with extreme imagery and humor. While Jennifer’s Body uses playful comedy to refer to horror traditions, Deadgirl hard-to-watch exploitation horror,aligns itself once moreagain firmlytaking withthese practices to the extreme in this new period of postmodernism. Like any genre, exploitation cinema contains many variations, including classic The Last House on the Left (W. Craven 1972), new cult hitsfilms like like The Human Centipede (T. Six 2009) as well as the “splatter” and “sexploitation” subgenres. Deadgirl’s contemporary context and subgenres, invoking zombie, rape-revenge,allows it to comment and allbody these horror films tropes in addition to the story’s

20 Focus sexual violence by his male friends, instead arguing that they “address who he brings to visit Deadgirl persistent problems in our culture” on multiple occasions. At the end and thus act as a “cultural form of problem solving.”7 Jennifer’s bonds and bites or kills everyone in Body focuses even more intently theof theasylum, film, except Deadgirl the escapesprotagonist her on the gender and sexuality of its Rickie who had consistently characters than its predecessors, refused to take advantage of her. successfully invoking Williams’ Nevertheless, Deadgirl ultimately argument and acting as a space places its focus on areas other for public communication about than revenge, such as images of the body, particularly Deadgirl’s even begins. The theatrical poster naked, dirty, and rotting corpse, forsex. Jennifer’sThis is obvious Body showsbefore theJennifer film shown in extreme close-up in many (played by pop culture sex symbol scenes. In one scene in particular, Megan Fox) seductively posing in a JT proves Deadgirl’s inability to die high school classroom, a smashed hand protruding from the desk she sits on. Her red tank top, high heels, oozesby pushing out and his Deadgirl finger intomoans a bullet with and skin-revealing short skirt, hole in her stomach. Yellow fluid horror, which aims to shock and something abundantly clear: this disgust“life.” Here viewers, the filmseen recallsfamously body in along with the film’s title, makes Videodrome (D. Cronenberg 1983). The posters for Deadgirl are All these elements are played out similarlyfilm is all suggestive. about the One female features body. a close-up picture of Deadgirl herself, cuts mainly between Deadgirl’s eyes rolled back and mouth open, dark,in a high abandoned school setting,mental asylumas the filmand a pose that can be read not only as the bright high school where typical lifeless but also as a woman in the teen drama occurs. This part of the sex and death are completely and of a boy in love with a girl who complexlyheight of sexual tied upecstasy. in the In character the film, film features the familiar storylines of Deadgirl. Another Deadgirl jocks and loners, and general boredomdoesn’t notice with him, school. conflict Deadgirl between uses close-up of a woman’s lips, which these cinematic tactics to not only areofficial pink, poster sparkly, includes and anseemingly extreme comment on the horror genre, but to alive, in stark contrast with the title’s promise of a “dead” girl. Both Postmodern horror also of these posters emphasize the create an entirely new type of film. themes, a combination of sex and to appeal to a larger audience in violenceharbors anthat affinitymany degrade for sexual as additionsexual over to its the targeted horrific, adolescent perhaps excessive, sensational, and low males. The posters also increasingly culture.6 Linda Williams refutes Jennifer’s Body and Deadgirl. In confirm the similarity between this condemnation of horror films, Focus 21 of Jennifer’s Body introduces their lead characters, women who Jennifer as the stereotypical high embodyboth cases, the the seductive, films are namedsickening, for school cheerleader: attractive, and excessive nature of humanity. dim, and only concerned about These two characteristics are her appearance and boys. More played to such extreme that the importantly, Jennifer is put on to viewers with only an image. in a revealing cheerleading uniform films’Traditionally, ideas can be horror communicated has been anddisplay then for in thea stomach audience, and first cleavage seen criticized by feminist theorists for showing cropped t-shirt. Here displaying women as “spectacles of feminine victimization,” a viewers, and they are encouraged position postmodernism rejects.8 Jennifer’s physique is flaunted for Feminist Laura Mulvey famously Mulvey would call the “traditional exhibitionistto look at her,role” fulfillingof women what in cinema.11 This spectacle of Jennifer’s gazewrote of about the passive, patriarchal exhibitionist influence Body, however, is full of textual female.on film9 formLinda and Williams the active argues male meaning and therefore does not against this modernist view, serve only to attract male viewers oscillation” in viewing pleasures, Instead, Jennifer’s hypersexuality oneinstead that reading includes a “new females fluidity too. and10 becomeslike a modernistan important film element would. Jennifer’s Body also recognizes of the plot, played to the extreme this feminist disagreement, and and used as a tool of seduction and aligns closely to Williams’ ideas murder. In one sequence, a boy from school, Collin, intends to drive to the character of Jennifer is both Jennifer’s house for a date. Instead theon postmodernistpassive spectacle flexibility, of female as of her own home, she gives him the form and the active, plot-driving address to an abandoned building force. However, this emphasis on and waits for him with candles and femininity and sexuality, in addition romantic music. At this point in the to the inclusion of a female title character, sets Jennifer’s Body and not feeding on humans and is in Deadgirl apart from postmodern needfilm, of Jennifer a kill. looksThis is haggard not a typical from sex scene. As Collin and Jennifer Through the use of cliché and become more intimate, the camera sexualfilms excess, of Jennifer’s earlier character decades. moves away from them, focusing successfully calls attention to on their candlelit shadows instead. historical cinematic representations Suddenly, Jennifer bites and kills Collin. Though the audience never taken seriously, instead forcing completely sees, it is clear from theof women. viewer to The critically film can analyze hardly the be the shadows that Jennifer castrates demeaning roles in which women are Collin with her mouth, blood so frequently placed. The beginning spewing from his genital region

22 Focus Sexually-Aggressive Jennifer challenges traditional femininity. rat, and lets Jennifer take the lead by from the expected sexual act. kissing him and pulling off his pants. Thissimilar not toonly the shows fluids the producedintensely It is clear how willing Jennifer’s sexualized nature of everything Body is to confront cinematic Jennifer does (including killing), but portrayals of gender and sex. Deadgirl challenges Laura Mulvey’s critical modernist toemphasizes the emerging fluid gendersexual rolesidentities and readings of female passivity, ofrecognizes its… spectators.” “horror 12 films’ Throughout appeal exhibition, and spectacle in the sequence, Jennifer acts as the classical narrative cinema in a sexually experienced, masculine slightly different way. Instead of partner and forces herself onto reversing these stereotypes, the Collin. Conversely, Collin seems to be the more passive, feminine partner In particular, Deadgirl embodies and is nervous when driving to meet Mulvey’sfilm consciously idea of inhabitsscopophilia, them. or Jennifer, screams at the sight of a “pleasure in looking,” which asserts

Focus 23 a spectatorship position that appeal to male desire.14 Deadgirl is indulges in taking another person as object and projecting a “repressed longingly at women. In the very desire onto the performer.”13 This is filled with male characters looking evident in the sequences where JT Rickie stares at the beautiful Joann and the other boys are shown raping acrossfirst scene, the high the school film’s quad. protagonist When Deadgirl. Here, she comes near him audience members to retrieve a ball, she may accept the “Look at notices his look and asks with annoyance, “What c i r c u m s t a n c e s are you staring at?” This becausefilm’s it horrificallows postmodernist moment them to safely her, she’s not only calls attention experience to moments of looking the fantasy of possessing a refers to the position of woman and having beautiful.” spectatorship,later in the film butforcing also sex with her at any time. The viewers to analyze what they are degrading events in these scenes looking at, which is of course the seem to reinforce Mulvey’s claims, as the men see Deadgirl as only their staring at Joann occurs many sexual object. However, Deadgirl’s timesfilm. Thein Deadgirl same , imagevisually of showing Rickie cinematic style contradicts these his romantic aspirations and views. This is most explicitly seen in alluding to the twist ending where Joann is bitten by Deadgirl and images of Deadgirl. During these becomes Rickie’s undead sex slave. the film’s commitment to showing Another one-side “romance” of the excited boys and the woman is seen in the association of looks theyscenes, are the raping. film cuts Close-up between shots images of between JT and Deadgirl. When they her body reveal dark bruises, bullet holes that have not healed, and limbs out and wants to leave while JT is in unusual positions, all covered calmlyfirst find fascinated. Deadgirl, RickieHe pulls is freakedoff the plastic to reveal her face and breasts, images of Deadgirl reject any erotic smiling while he says “Look at her, connotationsin a layer of grime.to the These“sex scenes,” horrific she’s beautiful.” As he exposes the rest of her body, the camera shows the sick actions of JT and the others. it to the audience, becoming JT’s Here,proving Deadgirl the film’s makes refusal clear to that condone rape gazing eyes for a moment. Here, once should be no one’s sexual fantasy. again, the sight of her body is a tool On the surface, Deadgirl of disgust, not arousal. In the scenes also reinforces typical uses where JT comes to see Deadgirl with of the male gaze, the idea his friends, he is masculine and that female characters are hypersexual. However, later when displayed and erotically coded to he is alone with her, he whispers 24 Focus while raping her, “Look at me, look Julia Kristeva terms “the abject.”16 at me.” This moment reveals JT’s twisted romance with the corpse of abjection, including those of the and gives power to the female gaze, corpse,Horror thefilms wound, are filled blood, with and images waste. as Deadgirl denies the look that JT It is also a concept central to the so desperately desires. Rickie also monster, literally “the place where shows this female power when he meaning collapses,” threatening has a disturbing sex dream where the stability of the symbolic order.17 Deadgirl is staring into his eyes. Firstly, Jennifer is a literal corpse, He nervously asks JT, “She been looking at you like she knows and only brought back to the world something?” Here, the woman’s look ofas theshe isliving sacrificed as a demon by Low who Shoulder feeds is associated with knowledge and on humans. Her abjection is best control, or an oscillation between female victimhood and active Needy’s house after she is killed. In empowerment that Williams calls exemplified when she comes to 15 The alone at night and goes downstairs totrue investigate horror film a strange fashion, noise. Needy She is references“bisexual” to identification.looking calls attention tofilm’s the victimized excessive cinematic eye imagery positions and in blood and looking lifeless. When women are typically placed in as Needyfinds Jennifer tries to in talk the kitchen,to Jennifer, covered she well as the privileged site of the can only respond with animalistic audience. Though many could argue noises and screams, revealing her that Deadgirl simply reinforces nonhuman nature. After ravaging the degrading male gaze in horror, Needy’s refrigerator, Jennifer then throws up a thick, sticky (and these tropes proves the opposite. supernatural) black matter. Here, Withoutthe film’s such explicit obvious consciousness markers of postmodernism such as comedy, corpse, bloody wound, and ejection its commentary is hard to read. ofJennifer waste represents all at the the same abjectified time. However, I argue that this confusion Abjection also emphasizes the is productive, as Deadgirll’s denial of borders, positions, and controversial nature will hopefully rules, a rejection of authority that provoke conversation about gender 18 In and sexuality in new settings this respect, the abject can be read with entirely different viewers. notdefine only postmodernism in the character as of well.Jennifer, The modernist assumption but more widely in Jennifer’s Body, of victimization is also challenged the postmodernist movement, in Jennifer’s Body once Jennifer is and the entire horror genre. transformed into a monster and Deadgirl similarly embodies the becomes the plot’s main active force. abject, as like Jennifer, she is literally After being turned into a human- a corpse who is reanimated to action, eating demon, Jennifer’s character on the border of the “condition as a is the perfect embodiment of what living being.”19 Because Deadgirl

Focus 25 does not heal, much like a zombie psychosexual motives for murder.21 and unlike Jennifer, her appearance This is completely reversed in Jennifer’s Body, as Jennifer is consistently associated with raped,moves towardand shotliteral onabjectification numerous masculinity and homosexuality and throughout the film as she is beaten, is shown seducing her male victims of Deadgirl’s bruised body and before killing them. It is in this occasions. The film’s frequent shots retreat from convention and greater role as the abject (and to disgust the emphasis on sex where Jennifer’s disfigured face are used to prove her Body attempts to examine cultural attitudes about sexuality more heraudience). animalistic Deadgirl’s (and signified therefore death than any previous postmodern inhuman)is further noises exemplified and actions through as well in the dark, underground asylum. andhorror attraction. film. This In ishis apparentwriting on in Theseas the film’straits choice prove to her only difference show her hyperreality,the film’s foregrounding Baudrillard of claims desire that the “discourse of desire” is an as Deadgirl refuses to be labeled important tool in convincing people asfrom either the rest“alive” of theor “dead.” film’s world, This of true reality.22 Jennifer wholly acts ambiguity is the most threatening as this discourse, being the object trait of the abject, as without an of attraction for every boy that she adherence to a system of rules, kills and even Needy, demonstrated society disintegrates.20 Deadgirl’s when they make out in her bedroom. character is also contrasted with the Jennifer overtly tells Needy, “I go live boys who visit her, each vibrant both ways.” Though she is talking and full of color, and her setting about the sex of those she kills, this (the asylum) is juxtaposed with the can also be read as an admission daytime scenes at the high school and Rickie’s house. Even though others (obviously) desire Jennifer Deadgirl has little physical agency sheof bisexuality. also desires In thethem, film, a thoughsexual of it), unlike the very active Jennifer in theJennifer’s film (she Body is, tiedher function down for as most the urge that is intensified when she is abject is still the main plot-driving onturned gaze. into Though a flesh-eating Deadgirl demon isn’t force. The movie’s inciting incident necessarilyand displayed beautiful in the film’s or desirable,emphasis her immobile and verbally Deadgirl and its climactic ending is unresponsive state turns her into is when Rickie and JT first find an object that the male characters it out for viewers when he says, “She’swhen shepretty finally active escapes. for a dead JT spells girl.” however, Deadgirl makes JT and According to Carol Clover, hisdesire male to control.friend theBy theobject film’s of end,her female killers in horror, the few desire when she breaks free from there are, show no gender confusion her restraints and bites both of the and usually do not have overtly boys, feeding on and killing them.

26 Focus In both Jennifer’s Body and Deadgirl, the female characters oscillate as the objects and subjects of desire, calling attention to the scarcity of this trait in modernist—and even previous postmodernist—female horror characters. On the surface, the portrayal of women in Jennifer’s Body and Deadgirl seems problematic. However, postmodernist techniques like humor and generic excess are used to call attention to traditional representations of women and thus promote a site of social discussion. Additionally, the intense focus on issues of

(more than any others in classic orgender postmodern and sexuality horror) in theseshows films just how important this discussion is in today’s changing culture.

Focus 27 Works Cited 1. Clover, Carol. “Her Body, Himself: 10. Williams, “Film Bodies,” 9. Gender in the Slasher Film.” Misog- yny, Misandry, and Misanthropy, Ed- ited by Bloch, Howard R. and Fergu- son, Frances. (Berkeley: University 12.11. Mulvey,Williams, “Visual “Film Pleasures,”Bodies,” 7. 19. of California Press, 1989), 189.

2. Pinedo, Isabel Christina. Rec- reational Terror: Women and the 14.13. Ibid,Mulvey, 19. “Visual Pleasures,” 16-17. Pleasures of Horror Film Viewing (Albany: State University of New 15. Williams, “Film Bodies,” 7. York Press, 1997), 11. 16. Kristeva, Julia. “Approaching 3. Phillips, Kendall. “Scream Abjection,” Powers of Horror. (New (1996),” Projected Fears: Horror York: Columbia University Press, Films and American Culture. (West- 1982), 1-4. port: Praeger Publishers, 2005), 168. 17. Ibid, 2.

4. Clover, Carol. “Opening Up,” Men, 18. Ibid, 4. Women, and Chain Saws. (Princeton: Princeton University Press, 1992), 19. Ibid, 3. 65. 20. Ibid, 4. 5. Bishop, Kyle. “Raising the Dead: Unearthing the Nonliterary Origins 21. Clover, “Her Body, Himself,” 196. of Zombie Cinema,” Journal of Popu- lar Film and Television 33:4 (Winter 22. Baudrillard, Jean. “Simulacra 2006), 196-205. and Simulations.” Modern Criticism and Theory: A Reader (3rd Edition). 6. Williams, Linda. “Film Bodies: Edited by Lodge, David and Wood, Gender, Genre, and Excess,” Film Nigel. (Harlow: Pearson Education Quarterly 44:4 (1991), 3-4. Limited, 2008), 427.

7. Ibid, 9.

8. Ibid, 6.

The original art accompanying this and Narrative Cinema,” Visual and Other9. Mulvey, Pleasures Laura.. (Bloomington: “Visual Pleasure article has been created by Indiana University Press, 1989), 14-19. Victoria tsai

28 Focus The Cultural Obsession With Zombies in Modern Media by Jennifer Lande “ omney is the candidate that lures us in or it may stem we need to usher in the from deeper fears. The zombie zombie apocalypse,” genre successfully entertains and R shocks people with playful horror writer/director Joss Whedon said and more importantly, it resonates in his satiricalfamed filmendorsement and television for with current cultural and political Mitt Romney. “Let’s all embrace the anxieties, making it especially future. Stop pretending we care relevant in today’s society. about each other and start hoarding Greg Nicoterro, co-executive canned goods. Because if Mitt takes producer for The Walking Dead, knows a thing or two about will come for all of us.” This video harnessing this zombie obsession hasoffice, now sooner received or later, over the 7.3 zombiesmillion and why record-breaking numbers views on YouTube, showing how far- of viewers tune in to watch the reaching the current zombie craze putrid monsters on his show has become.1 Even my interest in every week. The Walking Dead politics is overtaken by references has the most viewers in the 18– to these undead monsters. 49 age demographic (the most Comparisons of candidates to desired audience on television) zombies and debates over which than any other show this year.2 Its policies will bring about the zombie Season 3 premiere was the most- apocalypse have consumed the watched basic cable drama telecast 2012 United States presidential in history.3 Matt Gutman and election. Zombies now overwhelm Lauren Effron from ABC Nightline everyday conversation and evade asked Nicoterro why he thinks every corner of popular culture, The Walking Dead ratings have a pervasiveness that is becoming harder to escape. The Walking Dead, “It’s the threat of losing humanity currently the highest rated cable againstflourished, a lifeless to which group he of responded, monsters. drama on television, has captured As a superior race, humans fear the attention of zombie fans of something that can physically all ages, and new zombie feature match us, let alone have an enhanced hunger, drive, and instinct to kill.”4 rate (Warm Bodies, World War Z). Fear excites people enough to Whyfilms hasare emergingthis morbid, at ancannibalistic increasing stimulate adrenaline and provide monster secured a place in the the perfect amount of enjoyment. minds of teenagers and adults alike? Still, there must be a deeper It could be an innate psychological root to this demographics’ zombie drive within each human being craze. The online podcast The Psych

Focus 29 Files recalls Freud’s theory that ‘already dead’ we can be free of “humans have an innate aggressive guilt, gleefully watching them be drive” that they harbor underneath killed in every way possible—no a socially desirable front and “every matter how grisly.7 After forcing day we restrain ourselves from myself to watch a few episodes of expressing these true emotions.”5 The Walking Dead—searching for an This is a popular argument—that explanation as to why all my friends zombie storylines in the media are so entranced—I did experience allow a societal catharsis, and by pleasure and relief witnessing killing them, we unleash our pent humans shoot the zombies dead, up hostility. “Killing zombies, or at one by one, right through the head. least watching people kill zombies, Maybe humans have latched allows for that instinct to express onto the undead trend simply be- itself,” Britt suggests.6 It is as if cause it’s fun to feel afraid. Just one addressing this uncivilized side of our psyches gives us more sanity. our bodies, change our chemical Britt references Jeff Greenberg, a make-upbite and theand infection revert our can entireinfiltrate in- researcher on Terror Management sides—our previous minds and Theory: “Because zombies are souls—into blood-sucking, rapa-

30 Focus cious monsters. My friend, Natalie, Invasion of watches The Walking Dead reli- the Body Snatchers (D. Siegel). The giously and when I asked her why storyseen infollows the 1953a small film town doctor she loves it, she said, “I get angry who learns that all the residents of when one of the main characters his community are being replaced dies, like why? But then I’m just, eh, by emotionless alien duplicates. The glad it’s not me.” Many people like Internet Movie Data Base (IMDB) Natalie love zombies, The Walking Dead in particular, because they can 1950s warning against those “Damn experience these bloody and gut- Commies,”describes theor as film a metaphor as a paranoid for the wrenching tragedies through some- tyranny of McCarthyism.10 For audi- one else. They can feel this extreme ences, the widespread fear of a pow- fear from the safety of their own erful, unknown enemy seems to be living room—watch the emotional - trauma of a fellow human succumb- ting, where is it easy and expected ing to the undead while snacking on thatmore the manageable “good” characters in a fictional will riseset popcorn and ice cream. against and defeat the bad, which The appeal of zombie horror doesn’t always happen in real life. is understandable. People enjoy - watching heroic humans prevail over carnivorous monsters; it’s the was Whilegenerally in an 1950s element science outside fic classic theme that good always pre- oftion U.S. and authority, horror today films zombies the enemy are vails. Zombies provide people with increasingly used to represent a mistrust of our own government or agreeable and unreal evil. The UGO large corporations. “Sadly we could articlean appropriate titled “The figure History to despise, of Zom an- imagine a government that causes bies,” traces this hatred back to the and covers up toxic spills, danger- ous pandemics, or even zombie out- in the similarity in the terms “Com- mie”Vietnam and “Zombie.” and Cold 8 Wars,They add, apparent “Peo- “Obsessed with the Undead.”11 The ple jumped from terrorist to walk- breaks,”past decade Kelley of war, B. Vlahos deceit, arguesand a de in- ing dead in an instant.”9 America’s creased sense of security have all wartime involvement in Iraq and contributed to the resurgence of this Afghanistan today could in fact ex- zombie obsession. Joss Whedon’s plain the need to project hatred of a popular YouTube video perfectly - captures this mentality. The radical strous “other.” Watching characters political propositions by Mitt Rom- killforeign zombies enemy provides onto a fictional the satisfac mon- ney and, in particular, his running tion of watching an enemy die, a real mate Paul Ryan, created a strong situation over which people other- political resistance among liberal wise have no control. Hollywood and its loyal fan base. An early movie manifestation Fearful of what the next four years of this foreign enemy trope can be could potentially bring, people be-

Focus 31 gan to imagine the worst, compar- poularity. As long as people’s fear of ing the current political sphere to and fascination with the enemy ex- stories. With uncertainty perma- and novels will continue to top the nentlyHollywood’s plaguing horrific, American manufactured politics charts—andists, zombie films,their endtelevision doesn’t shows, seem and deceit continually occurring to be in sight. behind closed doors, people have Zombies scare audiences begun to blame the government’s enough to physically excite them past mistakes, and even its pres- and satisfy their need to indulge in ent and future blunders, entirely on fear. People imagine themselves in the line of action and ponder how of American unrest. they would deal with a mob of ap- zombies—theMax Brooks’ fictional popular scapegoats post- proaching ravenous sub-humans, or apocalyptic horror novel World War maybe on the other end of things, at- Z explores just what would happen tacking a society they have deemed to a government-less civilization in worthless. Though it is likely just the face of a zombie invasion. Told another trend, never before has from the perspective of Brooks, an a presidential candidate been so agent of the United Nations Post- wrapped up in popular culture, be- war Commission, the book gathers ing compared to a force ushering - in the impending apocalypse. The dotes detailing the ten-year post- a collection of first-person anec zombie craze has infiltrated every

apocalyptic war against zombies. - Themes such as government inepti- sion—and has even begun its attack tude and the survivalist mentality onform politics. of media—films, What’s next? books, Since televi Rom- run through the novel, explaining ney didn’t win the election, accord- why people are revering it today, in ing to Joss Whedon, that buys us - some time before the zombies come for us. But when it does, the readers adaptationa time of similar of the conflict book, also and nameduncer and viewers of The Walking Dead Worldtainty. WarThis Z summer,and starring a feature Brad Pitt,film and World War Z will be aptly pre- will be released, once again prov- ing the zombie genre’s widespread pared to fight back and save us all. 32 Focus Works Cited 1. “Whedon On Romney.” You- 8. “The History of Zombies.” UGO Tube. http://www.youtube.com/ Entertainment. http://www.ugo. watch?v=6TiXUF9xbTo. com/movies/zombie-guide-history.

2. Andreeva, Nellie. “’The Walking 9. Ibid. Dead’ Return Draws 10.9 Million, Sets More Basic Cable Ratings Re- 10. “Invasion of the Body Snatch- cords, Tops All Broadcast Series ers” (1956). The Internet Movie Da- in 18-49.” Deadline. http://www. tabase (IMDB). http://www.imdb. deadline.com/2012/10/the-walk- com/title/tt0049366/. ing-dead-return-shatters-more- basic-cable-ratings-records/. with the Undead.” Antiwar.com. 3. Ibid. http://original.antiwar.com/vla11. Vlahos, Kelley B. “Obsessed - hos/2012/10/29/obsessed-with- 4. Gutman, Matt, and Effron, the-undead/. Lauren.“Move Over ‘Twilight,’ Zombies Are Creeping Up as the New Horror Obsession.” ABC News. http://abcnews.go.com/ Entertainment/move-twilight- zombies-creeping-popular-horror- obsession/story?id=14837225#. UXmjzCvuX3l.

5. “Episode 138: Zombies – 6 Reasons Why We Are All So Fascinated By Them.” The Psych Files Podcast. http://www. episode-138-zombies-6-reasons- why-are-we-so-fascinated-by-thepsychfiles.com/2010/12/ them/.

6. Ibid. The original art accompanying this

7. Ibid. article has been created by Sonia Virgen

Focus 33 New Countries, New Selves: Travel as Metaphor for Personal Growth in Lost in Translation and The Darjeeling Limited by Halie Albertson he modern American condition can more Coppola and Wes Anderson. These filmmakers including Sofia T what it lacks than what it is. Lackaccurately of spiritualism be defined brought by andfilmmakers view of arethe definedworld; although by their about by consumerism, and the particular approach to filmmaking

critics have judged their films for

Bill Murray as bob lost in the void of japanese Culture. lack of depth in interpersonal being overly stylized, the stylistic familial and romantic relationships in modern America contribute to a doesn’t automatically indicate a sense of alienation and an inability lacknature of substance. of American1 Backed Eccentric by major film to connect with others. Nowhere are these phenomena more vividly mainstream appeal yet manage tostudios, retain theythe Independent create films Cinema with of the “American Eccentrics,” a termdepicted coined onscreen by Armond than in Whitethe films to Younger and set apart from earlier describe a group of young American sensibilities of their early films.

34 Focus filmmakers, the American Eccentrics treat uniquely modern issues, such as globalism and alienation, with not contingent upon their settings fresh eyes, frequently using foreign (Japanachieved and throughout India, respectively), the films is settings as cultural foils against which serve as a form of Orientalist which to delineate the values that entertainment rather than as a modern America lacks. According trigger for self-discovery. According to Jesse Mayshark regarding to Mark Browning, not only does the American Eccentrics, “Their Limited give India a cursory—and overriding concern is a sort of at times offensive—glance, but yearning for connection, but one it also lacks the sort of spiritual that is colored by an awareness enlightenment that the Whitmans, of all the things that get in the way—the misunderstandings and are seeking: “Perhaps India could be deliberate or indeliberate injuries saidthe brothersto be a catalyst portrayed to some in the change film, that mark human relationships; to [the] dynamic [of the relationship the barriers of sex, race, class, and between the three main characters], culture; and, most of all, the simple but this might just have equally been and ceaseless inability to transcend achieved in America.”3 However, the the boundaries of body and relationships that build in the two consciousness.”2 These barriers are Lost in made abundantly clear in the works Translation, Charlotte, an aimless recentfilms beliecollege this graduate, notion. Inand Bob, who highlight not only cultural barriersof Sofia Coppola but also and the Wes interior Anderson, ones is now reduced to appearing in that prevent their characters from foreigna once-successful whisky advertisements, film star who achieving meaningful relationships. would likely have never met under Lost in Translation different circumstances and, even and The Darjeeling Limited show if they had, their age difference howThe travel films abroad can serve as a would probably have prevented any catalyst for personal growth. This relationship from forming. They are personal growth in turn proves drawn together by their common that the struggles experienced Americanness, which would not outside one’s native country be unique or compelling in any contribute to a realization of the other setting. The three estranged shallow nature of the American Whitman brothers of The Darjeeling way of life, both spiritually and Limited who had avoided each other interpersonally, and how building in the United States, are forced relationships and communities can to join together as a family once rectify this modern predicament. more to seek their absent mother Lost in Translation and The who has gone to live as a nun in Darjeeling Limited suffered heavy the Himalaya mountains. Seeking criticism upon their releases, Mrs. Whitman is the catalyst for bearing the charges that the the rebuilding of the brothers’ heightened sense of self-awareness relationship and, as she is physically

Focus 35 displaced in another country, it setting of Tokyo, but also regarding would be impossible to reach the their own self-realization. As Todd

With regards to accusations of to penetrate below the surface of the Orientalismfilm’s conclusion directed any towards other way.the JapaneseMcGowan Other notes, is “The at once film’s its failure great - success.”6 For Coppola, “the Other ther Coppola nor Anderson explores does not house a wealth of strange Asianfilms, itsociety is fair toin recognize any meaningful that nei or even exotic content—it is not a way. Both directors even employ mystery to be solved—but is simply Japanese and Indian characters as a void.”7 This void is particularly visible in Charlotte, whose lethargic numbness is equally brought about Caucasiancaricatures, main at odds characters. with the films’Here, by alienation from her husband, criticsfleshed-out, fail to emotionallynote the directors’ complex, in- who seems to have assimilated tentions. Nandana Bose argues that into Japanese society easily (he The Darjeeling Limited attempts to even picks up his cell phone with attack Orientalism rather than ex- Japanese greetings), as alienation ploit it.4 Bose discusses the long- from her surroundings. Her time Western tradition of exotify- aimlessness comes to a head when ing Asian cultures and presenting she visits a Buddhist temple, about India as the mysterious “Other;” by which she remarks that she “felt exaggerating these elements, An- nothing.”8 Once again, McGowan derson is actually criticizing them. underlines the fact that this is less According to Bose, Anderson also condemns “American materialism, emotional vacuity, and lack of spiri- “Farof a reflectionfrom indicating on Japan the and failure more tualism,” through his over-exag- of a reflection on Charlotte herself: Japanese culture, Charlotte’s failure elements, thereby making a farce of toof thefeel filmanything to go demonstrates deep enough intothe Westerngeration ideasof the of film’s Indianness most “Indian” and the depiction of India in earlier Western Orientalist manner.”9 Yet while 5 Anderson turns Orientalism McGowanfilm’s refusal correctly to treat asserts Japan that in the an on its head by emulating it to such afilms. comical degree that it forces the - emotionalsuperficial, surfaceshallowness, survey ofCoppola Japan canness of the characters in con- doesis meant treat to Japan reflect in Charlotte’s an Orientalist own trastviewer to the to reflectIndianness upon of the setting. Ameri manner in her use of Japanese In the case of Lost in Translation, character tropes such as the waiters Japan serves less as a source of humor at the restaurant, the old man at and more as a method for forcing the hospital, and the stripper who the characters (and by extension speaks incomprehensible English. the viewer) to recognize their own However, like Anderson, she inverts lack of comprehension, not only Orientalism in order to highlight linguistically or culturally in the its inconsistencies. The use of

36 Focus Orientalism in an atypical, ironic beginning of The Darjeeling Limited, manner further highlights that the a harried, unnamed businessman is seen running through the train serving as exotic locales meant station chasing after the Darjeeling forfilms’ entertainment, two settings, are rather crucial than to Limited. He isn’t able to make it the development of the characters onto the moving train, while Peter and their collective sense of feeling alienated, feeling outside of manages to keep up and jump onto themselves, and feeling American. theWhitman, train just younger in time. Francis, and fitter, the Anderson and Coppola paint oldest Whitman brother employs two portraits that, while very a personal assistant, Brendan, to different from one another, manage perform tasks such as tracking to accurately depict the incomplete down a power adaptor (symbolizing nature of modern American life. overreliance on technology) The struggle to keep up with a and passing out laminated and fast-paced society forces people to overlook what is most important and thus, exhausted, to settle into chronic dissatisfaction. Jesse Mayshark asserts that the roots of these phenomena are mired in the United States’ ambiguous role in the modern world and that American certain restlessness and insecurity thatEccentric seem like films apt expressions “represent of a American uncertainty on the cusp of what will almost certainly not be an American century.”10 Mayshark notes that our “complicated way that directors like Coppola andpresent” Anderson is a defining shape factorthe worlds in the of their characters.11 One of the most important features of this present is the haste with which modern life is carried out. At the Bob’s character channels Charlie Brown’s social loafing.

Focus 37 meticulous schedules among the future, and [Lost in Translation brothers (symbolizing obsession uses] Tokyo to epitomize alienation with punctuality and the view that and amorality as a product of “time is money”). The brothers seem modernity.”13 The lights and sounds to deal with these anxieties with of the cityscape are overwhelming cigarettes and suspicious “Indian to Bob and Charlotte; Charlotte muscle relaxers, tranquilizers, and is frequently seen idling by her painkillers.”12 Likewise, Bob and hotel room’s window, her listless Charlotte in Lost in Translation seek to alleviate their insomnia by self- of the city below her, a study in medicating with cigarettes and contrasts.reflection If layered the Whitman over the brothers skyline Suntory whisky at the hotel bar. discover their own emptiness as a result of the richness around them their foreign setting to accentuate in India, Bob and Charlotte discover the paceHowever, of life, while India both and Japanfilms useare it in the excess of emptiness in presented as two very different ends Tokyo. As Todd McGowan explains, of a spectrum. In India, life seems to “Neither character gains any move at a gentler pace. When the positive content from the events we Whitman brothers are stranded in a small Indian village, they see three encounter with Tokyo causes both boys caught in the raging current characterssee depicted to in therecognize film; instead, the void the of a river and attempt to save them. Jack and Francis each manage to save a boy, but the one that Peter contentthat defines in Japan, their Bobexistence. and Charlotte Instead had attempted to save dies. His discoverof finding an a self-repleteabsence of withcontent. new funeral procession is shot in slow Tokyo reveals to them their own motion, the camera traveling with fundamental emptiness.”14 Thus, the the Whitman brothers who amble hurried existence of life in Tokyo forward to pay their respects, is just as empty as in the United each swathed in traditional white States, which Coppola proves in Indian garments. The slow speed her images of Tokyo sidewalks and of the funeral scene stands out in Pachinko parlors. In these scenes contrast with the speed of the river that had claimed the boy’s life. In constantly bobbing forward against the Tokyo of Lost in Translation, the ashe backdrop fills her of city frames stimuli. with As people Brian city surroundings move at a faster L. Ott and Diane Marie Keeling pace than the characters, rather aptly assert, “Tokyo has functioned than slower. As Anita Schillhorn van not so much as a setting… but as a metaphor for modern life.”15 If this is the case, one can also note “SeenVeen statesas embracing in her analysis consumerism of the that India functions as a foil for anddepiction technological of Tokyo progress in modern without film, modern life. According to Nandana reservation, Japan is the site of Bose, “The Indian landscape Western fantasy and fear of the performs a choric function, a

38 Focus primordial, timeless presence.”16 strippers and call girls who beg Both Anderson and Coppola identify him to consume. Even in the States, the constant activity of modernity Bob lives in an environament that as one of the shortcomings of equates capitalist consumption American life and as one of the root with femininity— his wife sending causes of chronic dissatisfaction. him carpet samples.”17 As a result, Next, Anderson and Coppola Bob becomes complacent, allowing each suggest that modern consumer others take action for him: letting culture causes one to misplace a his wife decide the carpet color, sense of self. Coppola depicts her sitting through the stripper’s characters as being uncomfortable performance until Charlotte with the consumerism that arrives, and passively letting the surrounds them. Upon his arrival prostitute sent as a “gift” by the in Tokyo, Bob is bombarded with Suntory whisky company (herself a gifts from his hosts—perhaps a commodity) try to seduce him in a Japanese cultural custom, but one fantasy of rape—symbolizing male that leaves Bob uneasy. Bob is domination. In being surrounded by an abundance of choice, advertisements for Suntory whisky; Bob loses his ability to choose. thefiguratively celebrity commoditizedthat Bob symbolizes in his In The Darjeeling Limited, in the billboards is a product itself, the role of consumerism is less much like the whisky he advertises, subtle. Rather than being confused as both are waiting to be consumed by consumerism as Bob is, the by the masses. Lydia, Bob’s wife, is Whitmans embrace it. Although the determined to redecorate while her three brothers are meant to be in husband is away, going so far as to India on a “spiritual journey,” they ship a ridiculous amount of fabric seem to spend more time shopping and carpet samples to his hotel. The for useless items (Peter buys a overwhelming array of choices that poisonous snake that belongs in spill out of the FedEx box from Lydia the wild) at their pilgrimage points mirror the inundation of choices on than praying. And when they do the streets of Tokyo. In an article pray, spiritualism does not come discussing femininity in Coppola’s at one of the altars, Francis accuses that Bob’s unease stems from the Peterfirst inof their stealing minds; his later, $6,000 kneeling belt. lackfilms, of Todd traditional Kennedy masculinity suggests Afterwards, Francis becomes that surrounds him: “Part of the incensed when one of his $3,000 reason Bob seems so out of place loafers is stolen. Furthermore, in Tokyo, for example, is that he is Anderson frequently employs surrounded by a consumer culture objects to symbolize characters, in which the men around him showing how these people have (such as the Japanese commercial become commoditized by their director) all seem feminine, in possessions. Alice, Peter’s wife, addition to his encounters with is represented by her homemade

Focus 39 candle and Jack’s unnamed ex- on behalf of luxury leather-goods girlfriend is represented by a bottle of perfume. As Stefano Baschiera symbolizing the “baggage” of the explains in his article on the role brokenbrand LouisWhitman Vuitton, family, the luggage,weighs the brothers down until the very “[Baschiera wants] to be conscious of the objectrole played in Anderson’s by the objects films, shed each piece of luggage to keep that Wes Anderson carefully places upend with of thethe departing film when train. they In must this in front of the camera, and their agency over the characters of the to let go of their consumerism in additionscene, the to Whitmans the sense ofare loss finally for their able deceased father and absent mother. emptyfilm. The by the idea failings is that of the the objectsfamily Anderson and Coppola also andin his by cinemathe disruption fill the of space the most left highlight the isolation caused by important object in people’s lives: the demise of traditional family the house.”18 As Baschiera explains, structures in modern America. In the case of the Whitman brothers, criticized for their clutter, each familial relationships are marked although Anderson’s films are often by confusion. They literally do power over his characters. For not know where their mother is, example,object bears only significance when Jack and destroys holds they squabble over their father’s his ex-girlfriend’s bottle of perfume last words, and Francis asks Jack can he begin to move past their and Peter, “Did I raise us, kind of?” failed relationship. Perhaps more Later, Jack conjectures, “I wonder importantly, the Whitman brothers if the three of us would have have immortalized their late been friends in real life. Not as father through his objects which, brothers, as people.” The brothers’ according to Baschiera, are all adult attitudes towards family “undoubtedly linked to the topic of travel.”19 In an attempt to assuage breakdown of their own household. the sense of abandonment they Peterlife are notes clearly that ahe reflection “always thought of the feel, having effectively lost both of [he] would get divorced,” a fatalist attitude likely a result of his father’s belt, his glasses, his car, mother’s unreliable presence in andtheir his parents, numerous they pieces fight of over luggage. their his life and his father’s death. In an article discussing paternity in Wes never actually learns anything aboutThroughout the Whitmans’ the film, thefather, viewer as argues that the director employs if the importance of the objects aAnderson’s kind of ironic films, humor Joshua to explore Gooch has superseded the importance issues of fatherhood. The viewer of the man. Anderson makes this hopes for a reconciliation and particularly clear in his use of the elaborate set of luggage. Made for reinstatement of the father figure at the end of the films but this dream the40 film Focus by designer Marc Jacobs usually remains unfulfilled. As a result, Gooch notes, “No wonder of Japanese culture rather than audiences do not know when to the director’s. Bob’s home life is laugh.”20 They want nothing more somewhat more complex than than to be on the side of the Father’s Charlotte’s. He loves his children, knowledge, and instead they only and says, “it’s the most terrifying moment of your life, the day the lack.”21 Stefano Baschiera sees the lossfind of themselves the family home confronted as a means by its of want to be with them. And they emphasizing this lack.22 turnfirst oneout to is be born… the most [but later]delightful you the Indian village serves to show the people.” Yet his relationship with Whitmans what they are In themissing; film, them is marked by indifference: he here “it is the idea of community forgets his son’s birthday and his more than that of family that daughter doesn’t even want to talk characterizes the domestic space.”23 to him on the phone. Perhaps, it is In Lost in Translation, Japan the physical distance between Bob similarly puts in perspective and his family that brings out the the missing familial aspects of emotional distance between them. the characters’ lives. Charlotte’s Their interactions are exclusively via fax or phone, symbolizing the own niche within Japanese society, wedge of alienation that modernity whichhusband, makes John, her is feel able more to finddistant his and technology drive between from him than ever. According to people. Truly it is Charlotte and Todd McGowan, this is because, Bob’s physical proximity that brings unlike Charlotte, John is able to embrace the Japanese excess would certainly have never met in otherthem circumstances, together in the owing film. to Bob’s They feels in his own culture: “For John, celebrity and Charlotte’s age, yet Tokyosurrounding represents him and an fill opportunity the void he they are both drawn to the presence for the kind of total enjoyment and tangibility of one another, that he doesn’t have at home. He in the same way that the trip to embraces aspects of the culture – India forces the Whitman brothers he earns a greeting in Japanese and to rekindle their relationship. wears Japanese clothes – because they allow him to immerse himself Anderson and Coppola see as in the exotic.”24 In Kyoto, Charlotte lackingThe from final American major facet life thatis sees a traditional Japanese wedding religion. While much more overt in and she stares at the couple, perhaps The Darjeeling Limited than in Lost meditating on what she doesn’t have in Translation, the lack of spirituality in her own marriage. Charlotte’s idealization of a foreignness she translates into a lack of feeling doesn’t understand (the wedding) is in both films’ characters ultimately once again an example of Coppola’s the order of the world. Anderson Orientalism, which serves to show and anCoppola, inability again to find calling meaning upon in Charlotte’s lack of understanding Orientalist traditions, paint rural

Focus 41 “doesn’t feel anything.” This calls and thus superior to America, to mind the scene in The Darjeeling whetherIndia and or Japan not asthis beatific, is actually spiritual, the Limited in which the Whitman case. Although Coppola uses the brothers attempt to perform some Tokyo cityscape as an example of sort of religious ceremony, with the modern excesses of capitalism, the immediate response being this fault does not extend beyond “Do you think it’s working? Do the city limits. Stereotypically you feel something?” This quasi Japanese and Buddhist images make results-based quest for spirituality epitomizes the criticisms that further highlighting Charlotte’s Anderson and Coppola both make ownappearances emptiness. throughout Imagery the film,of about modern society: our constant Charlotte in Kyoto, demands for as well as of the “Do you think a n s w e r s arranging class in prohibitd e f i n i t i v e thetraditional Tokyo flower-hotel, it’s working? us from underscore the attaining inner mindfulness that spirituality. Charlotte seems Do you feel In a way, this to lack. However ties back to much she seems to the earlier be indifferent to something?” d e s c r i b e d spirituality and the world around criticisms on capitalism; her, it is clear that Charlotte wants everything, even spirituality, has to escape this state but she simply become an exchange of goods. In cannot. In her hotel she is seen exchange for their efforts on their listening to a series of self-help tapes spiritual journey the Whitmans called “A Soul’s Search: Finding Your True Calling,” to which Bob, in the should make them happy. However, likeshould Charlotte, find their they are mother, incapable which of replies, “I tried that.” According to grasping the concept of a spiritual Karasame Lynn floating Andersen, state asthis Charlotte, lack of discovery, despite their claims understanding is exacerbated by the otherwise. When the brothers foreign environs of Tokyo: “[Bob and discover that their mother is living Charlotte] remain observers who as a nun in the Himalayas, it is want to break free from the surface immediately asserted that “she’s stereotypes of Japan, but cannot obviously suffered some sort of mental collapse.” Quite at odds with more nuanced understanding.”25 their supposed spiritual goals, it is Charlottefind an entry is ultimately point to aonly deeper capable and unfathomable to the brothers that of being an observer of spirituality someone could actually experience rather than an active participant. a legitimate religious awakening. At the Buddhist temple, she Beyond the issue of religion,

42 Focus Anderson seems to highlight— memorable lines, Bob tells Charlotte, once again—the self-centeredness “Can you keep a secret? I’m trying to of the brothers, which includes organize a prison break. I’m looking this inability to understand the for, like, an accomplice. We have actions and intentions of others. Ultimately, the characters in hotel, then the city, and then the country.to first get Are out you of in this or arebar, you then out?” the the emptiness that occupies their The tacit understanding that builds lives,the two with films varying attempt levels to escape of success. from between the two is mirrored in One way is through the adoption the ultimate state of the brothers’ of a new persona. While living in a relationship in The Darjeeling new place it can seem easy to mask Limited, who have been forced to oneself in an attempt to escape the forge new relationships due to the pain of alienation. For example, foreignness that surrounds them, when Charlotte is singing karaoke, resulting in a renewed and different surrounded by the unfamiliar, she sense of identity. Essentially, what Anderson and Coppola aim of self by wearing a pink bob wig to reveal to the viewer is that, –completelyfinds it easier todisconnected adopt a new sensefrom despite the vacuity of modernity, her normal self. As Diana Diamond notes, Charlotte is situated on the gulf between adolescence and demandthere is a still sort hope of participation. for fulfillment. By adulthood, “that treacherous and More importantly the filmmakers elusive developmental terrain.”26 of the American condition against Finally, the only way she can bridge disconcertingreflecting the Orientalist moral vacantness themes, this gulf is through the relationship Anderson and Coppola force the she builds with Bob, as he seems to viewer to recognize his or her implicitly understand Charlotte’s own similarities to Charlotte, ungrounded state of mind and Bob, and the Whitman brothers. alienation. In one of the film’s most

Focus 43 Works Cited

1. Mayshark, Jesse Fox. Post-Pop Anderson. Los Angeles: Twentieth Cinema: The Search for Meaning Century Fox, 2007. in New American Film. (Westport: Praeger, 2007), 6. Floating World: Representations of 2. Ibid, 8. Japan13. Schillhorn in Lost in van Translatio Veen, Anita.n and “The De

3. Browning, Mark. Wes Anderson: Why His Movies Matter. Edited by monlover,” Asian Cinema: A Pub lication of the Asian Cinema Studies Praeger, 2011), 88. Society 17:1 (2006), 190. Vincent LoBrutto. (Santa Barbara: 4. Bose, Nandana. “The Darjeeling 14. McGowan, “There is Nothing Limited: Critiquing Orientalism on Lost in Translation,” 60. the Train to Nowhere,” Mediascape: UCLA’s Journal of Cinema and Media 15. Ott, Brian L. and Diane Marie Studies (2008). Keeling. “Cinema and Choric Con- nection: Lost in Translation as Sen- 5. Ibid. sual Experience,” Quarterly Journal of Speech 97:4 (2011), 372. 6. McGowan, Todd. “There is Noth- ing Lost in Translation,” Quarterly 16. Bose, “The Darjeeling Limited.”

(2007), 59. 17. Kennedy, Todd. “Off with Hol- Review of Film and Video 24:1 7. Ibid. Feminine Auteur,” Film Criticism 35:1lywood’s (2010), Head: 47. Sofia Coppola as Lost in Translation. 18. Baschiera, Stefano. “Nostalgi- Universal8. Coppola, City: Sofia. Universal, 2003. cally Man Dwells on this Earth: DVD. Directed by Sofia Coppola. Objects and Domestic Space in The 9. McGowan, “There is Nothing Lost Royal Tenenbaums and The Darjeel- in Translation,” 60. ing Ltd.,” New Review of Film and Television Studies 10:1 (2012), 119. 10. Mayshark, Post-Pop Cinema, 12. 19. Ibid, 127. 11. Ibid, 14. 20. Gooch, Joshua. “Making a Go of 12. Anderson, Wes. The Darjeeing It: Paternity and Prohibition in the Limited Films of Wes Anderson,” Cinema . DVD. Directed by Wes 44 Focus Journal 47:1 (2007), 46. 21. Ibid.

22. Baschiera, “Nostalgically Man Dwells on this Earth,” 127.

23. Ibid.

24. McGowan, “There is Nothing Lost in Translation,” 55.

25. Andersen, Kara Lynn. “’My Stock- ings. Lip Them’: Consuming Japan Post Script – Essays in Film and the Humani- tiesThrough 28:2 (2008),Film and 90. Video Games,”

Marie Antoinette: Costumes, Girl Pow- er,26. and Diamond, Feminism.” Diana. In “Sofia Fashion Coppola’s and Film , edited by Adrienne Munich. (Bloom- ington: Indiana University Press, 2011), 206.

The original art accompanying this article has been created by Justin Chou

Focus 45 46 Focus Sexual Surplus: Excessive Cinematic Displays of Gender and Sexuality

Focus 47 Appealing to the Male: Melodrama and The Female Gaze in Black Swan by Kevin Veltri

n her work Visual and Other Pleasures, Laura Mulvey of erotic contemplation.”2 Linda Williamsfreeze the combinesflow of action the indiscussion moments “male gaze”—the male’s of the male gaze and the female I defines and discusses the active pleasure in looking at the body in her analysis of the appeal passive female—and the use of the of visual excess for spectacle in the female body and visual spectacle genres of horror, pornography, and in relation to the normative melodrama, where she argues that 1 these genres of excess often display Mulvey argues that while the woman presentations of heightened human isdevelopment important to of both a film the narrative. spectacle emotions (ultimately, of a female and the narrative in classical subject) to attract the gaze and Hollywood cinema, her presence provoke such heightened emotion or creates tension; she explains that sensation on the part of the viewer.3 this presence “tends to work against Black Swan (D. Aronofsky the development of a story-line, to 2010), based on the ballet Swan

48 Focus Lake predominately “feminine” material. 6 and challenges this tension that “We all know the story… the presence, both cinematically of a female exemplifies creates. Swan Lake, done to death I know, but not like this. We strip Nina, who is shown in intertwining, it down, make it visceral, and heightenedThe film stars emotional Natalie state Portman that are as more conventionally incorporated Thomas, the director of the into the three separate genres of productionreal.” - Thomas of Swan (Vincent Lake Cassel) excess that Linda Williams details. articulates his own demands for These heightened emotions— the ballet’s visual spectacle, in the rightfilm, sadness, fear, and sexual arousal— after describing the entire ballet’s are seen by many to interrupt or storyline (and subsequently, the delay the development of a coherent story. However because Black Swan summarizing the entire plot in less intertextualizes its foundation in thanfilm’s) a duringminute. theThis first “highlighted audition, Swan Lake, a familiarity of the story parallelism” of Swan Lake within is already enforced, in addition to its multiple representations footing for the viewer, and thus coincidesthe film’s ownwith plot Rick offers Altman’s familiar analysis: “Unmotivated events, of the real acting as signifiers of4 rhythmic montage, highlighted Theidentifiable characterizations genre conventionsof excess parallelism, overlong spectacles— thatwithin Black other Swan Hollywood seems to utilize films. these are the excesses in the and draw from are adherent to a classical narrative system that alert collection (and collision) of those us to the existence of a competing from, as Williams describes “these logic, a second voice.” 7 The movies” that “...both fascinate familiarity of the story can therefore and scare.”5 Ultimately, Black direct the viewer’s focus to its Swan distorts Mulvey’s discussion spectacle, primarily shown through of the male gaze through the Nina’s despair, fear, and orgasm. representation of its central Laura Mulvey constitutes the female character Nina, who gazes male gazing on himself (especially at her peers as a representation of herself and is also subjected as a connection of the visual to the desires of her directors’ representationhis first look of inself thelayered mirror) with gazes (Thomas’, Aronofsky’s, and the characteristics of the male’s even ours as the directors of our surroundings and others with whom Black he can identify.8 With the consistent Swan could additionally be seen to use of mirrors to show Nina’s attractchoices the to male—and watch the adolescent— film). representation of herself, it becomes spectator by incorporating the relevant to discuss the female spectacle of female body and the look—especially the woman’s look heightened emotion of ecstasy at herself in reference to other within its melodramatic context, females (such as her mother)— Focus 49 as she is passively subjected to of identities is symbolized by Lily’s the male tendency to also look. Frequently when Nina is alone on- room—a room full of mirrors. When screen, the viewer is given a visual Lilyflowing mouths movement the words through Nina relays the representation of Nina’s world, not to her mother, it is as if she and Nina of reality (such as when she grows are the same person (are they, in the wings, her “objective” of the toes become “ultimately, the meaning of w e b b e d , of the female and she sees woman is sexual difference, the body?).film’s depictionA sense herself and of women being Lily in places visually ascertainable absence of interchangeable where they the penis... thus the woman as icon, are not). Its prominent (e.g. a pa ra l lelism displacyed for the gaze and enjoyment manwithin at the the film club is within the tells the two girls story, laid out of men, the active controllers they look the for the viewer same, Nina often by Thomas of the look, always threatens to evoke the mistakes Lily through Swan anxiety it originally siginified.” for herself, Lily Lake, draws becomes Nina’s attention to “alternate,” and Nina’s gaze in -Laura Mulvey comparison line, “How about to a male spectator or a male I dance the Black finallySwan for you”). Lily’s Not only is she being looked-at by While Mulvey explains that a viewers via the projection of images maleprotagonist will see himself within represented a film. of her on screen, but within the as what he actually looks like along story of Black Swan, Nina is watched with a sort of ego he has gained by the other dancers, Thomas, her from his environment, it contrarily mother, and eventually an entire seems that the female—as depicted crowd. Is the woman’s look at through Nina—sees herself as what herself and others a manifestation she is, what she strives to be, and or a succumbing to a pressure frequently compares her perceived of constantly being looked-at? It is also important to note women with whom she interacts Mulvey’s analysis of the male’s view (possiblyreflection in to attempts those traitsto transcend of the her passive role).9 Nina’s ability to conscious of his surroundings, distinguish herself from others asof hisNina’s mother mother when heplays first becomessuch a becomes increasingly blurred as the narrative progresses. In the scene actively works to transcend her when Nina thinks she takes Lily mother’ssignificant expectations role in the of film. her, Ninaseen home and sleeps with her, a mixture in her increasing opposition and

50 Focus consciousness of their dysfunctional There is a persistent presence relationship as the plot progresses.10 of a controlling gaze from the male Nina exploits the ways in which characters within the story, though she believes herself to be closer this gaze does not exactly unify to “perfect” than her mother: “I’m with the male spectator’s gaze. The the Swan Queen, you’re the one viewer is to believe that the men who never left the corps;” “What career [did you give up to have me]? representations—in their everyday You were 28.” This idea is related existences—ofin the film experiencereality, yet accurate the to the female’s representation of subjective, sometimes intrusive, use herself in a competitive comparison of handheld camera distorts reality to those other women around into Nina’s (female) perception her. To Nina, being “perfect” is of it. The camera often moves not something that can actually with Nina, not in a “reactionary” be measured or calibrated, but sense, but rather adherent to a “choreographed” method, similar in her company, Beth. When Beth to the technical nature of Nina’s declaresinstead isto personifiedNina that her by own a dancer ideas craft. If the camerawork were more of perfection are skewed, she no reactionary in its intrusiveness, longer has a direct comparison it would be more applicable as a of herself with who she thinks is “following” of the male spectator’s ‘better’ when she looks in the mirror. eyes on the female body, but its

Nina succumbs to the pressure of being looked at by her Swan Lake audience

Focus 51 choreographed nature grounds to Swan Lake) that exists to it within Nina’s view of reality. develop beyond the spectacle and In relation to the male gaze and projections of images of excess? 13 the female’s typically passive role Linda Williams perceives of being looked-at: Are we given that melodrama’s portrayal of a visual representation of her— female despair is primarily aimed the female protagonist—reacting at “passive women.” Black Swan to being looked-at? Additionally, draws from key images of women because of the heightened in melodrama, but also incorporates other genres of excess to evoke fear onto the unsuspecting spectator and sexuality. Consequently, its withsensations its focus the on film female could despair, translate fear, uses of “sobs and anguish” typically and pleasure: Are male audience seen in a female “weepie” can still members able to “share” (not share correlate to the interests of the male as in a full mimicry of emotion, but in spectator.14 Here, the dichotomies the sense of some sensory affection between the Black Swan and the by the material) Nina’s experience White Swan, and thus the characters of succumbing to the pressure of Nina and Lily—both female— being looked-at?11 Nina’s particular case of this pressure manifests as idea of masochism and sadism in physical acts of self-masochism, represent a modification of Mulvey’s consistent with depictions of two women, ideas of the passive human fear and violence in horror, femalefilm. In theare sexdistorted scene betweenwhen Lily the and even visually complies with the assumes an unusually active role.15 male anxiety of gender roles, the However, Mulvey could argue that female representing the “bleeding since nothing is really happening, wound.”12 and a true story is not developing, While visual elements of Black both women may still submit to Swan rely heavily on the depiction passive roles (although Lily does of the female body and the woman’s actively “force a change” in Nina).16 excessive cinematic expression as a Asking Nina to ‘become’ the Black visual spectacle, the main premises Swan is like asking her to transcend of its subject matter—as well as the the passive role of the White Swan highlighted use of melodrama— whilst also still submitting to the would actually be of general passive nature of her craft, which feminine interest. In comparison to requires her to constantly be a classical Hollywood narrative, in looked-at and take direction from which the male is ‘used’ on-screen the presence of a dynamic male. to develop the story, and the female In these contexts, it can be primarily for exhibition, Black observed that Black Swan contains Swan’s central focus is subjectively on Nina—and so—does the female develop the story in this case, or emphasizea mixture ofhuman generic emotionfilm elements, over is there no active concrete story particularly from films that (other than its noticeable parallels contains many opposing elements narrative development. The film also 52 Focus that, if observed exclusively from one female body. In turn, Laura Mulvey’s another, would function to appeal discussion of the female body can also be cautiously applied, as Nina is appeals to both males and females often looking at herself and others, whileto opposing containing genders. such Ifa themixture film perceiving them to be real. Rather of excessive content, then which is than ‘hiding’ “…a tension between a the tying element that overlays its mode of representation of woman in form, functioning as an ‘apparatus’ to carry such excess? The answer the diegesis,” Black Swan draws lies within the spectacle itself, as attentionfilm and conventionsto them.18 surrounding the spectacle is what attracts the this by effectively showing the viewer Nina’s reality, The which film often does place. “The spectacle is the main blurs the development of what is productionpleasure of of present-day looking in society.” the first17 actually happening in the story’s Aronofsky’s Black Swan successfully adheres to conventions of the melodrama, horror, and challengesown fictional the context.ability of By the favoring viewer pornography genres on some level. toNina’s mentally point recreate of view, the thecomplete film Simultaneously, it subversively story, since it is sequentially layers these conventions in primary comprised of segments that depict favor of the spectacle (and maybe, this central female character (and the visual representation of her body) primarily in moments of her abilitythe watch-ability to both pleasure to generaland frighten film elevated sadness, pleasure, and theaudiences). male spectator—who In effect, the film canhas thebe terror, showing her own tendencies drawn even to its melodramatic to look while exhibiting her body for moments—with the emphasis on the multiple audiences to view.

Focus 53 Works Cited and Narrative Cinema.” Visual and Film Theory Today,” 150. Other1. Mulvey, Pleasures Laura.. (Bloomington:“Visual Pleasure In - 13. Altman, “Dickens, Griffith, and diana University Press, 1989), 21. 14. Williams, “Film Bodies,” 4.

2. Ibid, 19.

3. Williams, Linda. “Film Bodies: 16.15. Ibid,Mulvey, 22. “Visual Pleasure,” 18. Gender, Genre, and Excess,” Film Quarterly. (1991), 4. 17. Bukatman, Scott. “Who Pro- grams You? The Science Fiction of 4. Baudrillard, Jean. “Simulacra and the Spectacle,” Liquid Metal: The Sci- Simulations,” Modern Criticism and ence Fiction Film Reader. (London: Theory: A Reader. (Pearson Educa- tion, 2005), 423. Wallflower Press, 2004), 229. 5. Williams, “Film Bodies,” 2. 18. Mulvey, “Visual Pleasure,” 21. 6. Ibid, 7. and Film Theory Today,” Silent Film. (London:7. Altman, Athlone Rick. “Dickens, Press, 1996). Griffith,

Narrative Cinema,” 18. 8. Mulvey, “Visual Pleasure and 9. Ibid.

11.10. Mulvey,Williams, “Visual “Film Pleasure,”Bodies,” 12. 18.

12. Newton, Judith. “Feminism and Anxiety in Alien,” Alien Zone: Cultur- The original art accompanying this al Theory and Contemporary Science Fiction Cinema article has been created by 2003), 85. . (New York: Verso, Slater Ellis

54 Focus Talking Schmidt:How Metrosexual Characters Subvert Gender Binaries In Contemporary Media By Sara Callahan

here is a surprising lack In order to critically analyze the of ‘gay vague’ effeminate location of metrosexuals on Jeffrey T male protagonists in Weeks’ Spectrum of Sexuality, it television. A stylish male is either makes a man metrosexual, as declarativelycontemporary homosexual, film or and a wellis first as necessarythe history to discussand cultural what determinants through which consideration, this lack could imply these characteristics developed.1 ametrosexual missed opportunity womanizer. to use At such first The term Metrosexual is characters to explore themes of relatively new, used to describe homosexuality by projecting queer straight men that take pride in a qualities onto a character and using stylized appearance. Academia has sexual ambiguity to evade taboo. begun using the word to replace Instead of gay vague characters, previous problematic labels the entertainment industry has including “sissies,” “effeminate capitalized on metrosexuality as a men,” and “feminine heterosexual gay-straight hybrid, and used the increasingly popular lifestyle to “nontraditional men” or “new probe themes of homosexuality, men.”men,”—and2 Mark isSimpson, more specific responsible than gender roles, and the social for coining the word and typifying anxieties that reproduce them. As a the metrosexual in his book Male case study of New Girl’s Schmidt will Impersonators, describes these men exemplify, there is a patterned use of as a “new, narcissistic, self-conscious metrosexuals as the site of comedy kind of masculinity produced metrosexuals ‘look gay’ but do not magazines to replace traditional actuallyin television engage and in film. homosexual Because repressed,by film, advertising,unmoisturished and glossy sex acts, the audience can project masculinity.”3 In an article for Salon, homosexual readings and desires Simpson stereotypes the typical onto these characters with the metrosexual as a “young man with reassurance of a heteronormative money to spend, living in or within ending. Once the heteronormative easy reach of a metropolis.”4 The coupling is assured, themes of term is a portmanteau of the words homosexuality can be explored metropolitan and heterosexual, safely. These gay-coded themes and in so doing inscribes the then become comedic by their connection of sexual orientation seemingly contradictory nature. with sartorial prowess. The term

Focus 55 creates a distinction between true through the Reagonomics policies homosexuals and the heterosexuals of lowered taxes and increased who merely adopt the fashion disposable income. These policies and lifestyle stereotypically rewarded success; those who made associated with gay culture. more money could keep more of it, in Academia has compared the turn spend more of it, and therefore metrosexual to the Dandy of the put more of it back into the economy.8 19th Century, a man dressed with and the materialist popular culture thatThis decadecame with saw theit. The rise of‘yuppie’ MTV, thingsflair who in life.knows5 “He just was enough just as aboutlikely epitomized a shift from the previous toart, fancy literature, the ladies sports, as theand lads.the finer The conservative generation to one that dandy did not follow trends; he set was young, urban, self-centered, standards. The metrosexual is his well employed, and materialistic. 6 Simpson Yuppiedom also underscores draws some major distinctions the increase in male products, however,flickering holograph.”which argue that male demographic targeting, and cultural determinants make the male consumerism.9 Cologne, metrosexual trend more than just a cleansers, and clothes coded men modern day Dandy. Metrosexuality as a new pool of potential buyers, differs from Dandyism, in that the which led to an evolution in the latter was an aristocratic pursuit strategies of how to appeal to them. Susan Bordo credits the modern metrosexual trend is a massto flaunt culture refined phenomenon taste, while rooted the designer Calvin Klein, with leading in consumerism. Metrosexuality thefashion violation industry, of taboos specificallyrelating to “takes Hollywood, ads, sports masculinity, including the explicit and glossy magazines as its depictions of the (well hung) male inspirational gallery, rather than and combining feminine qualities high classicism. The metrosexual into mainstream conceptions desires to be desired. The of what it means to be manly.10 dandy aimed to be admired.”7 Throughout the 90s, Calvin Klein Although Simpson did not invented a new male aesthetic that— coin the term until the early men—would scream ‘heterosexual’ actually emerged from the growing toalthough (clueless) definitely straights.” exciting11 In this for way, gay consumerNineties, theculture Metrosexual of the 1980s. figure feminine male models pioneered Following the counterculture of the a dual marketing approach in 60s and 70s, America saw a return which one model excited both to commercialism and materialism the heterosexual female and in the following decade. President homosexual male markets.12 Klein Ronald Reagan stood for an “America is back” mentality—interpreted by this strategy, though today it can be the public as ‘spend, spend, spend’ seenwas the in firstbrands to recognize like Abercrombie and exploit &

56 Focus Fitch and H&M. Klein’s ads made men the object of the female—and male—gaze. Bordo reads this as an accomplishment of the feminist movement; sexual equality has reached such a point that gender roles can be inverted to portray the male-as- object.13 Although waxed, plucked, and manicured, these ads typically retain “face off, stare down” poses which recall primitive demonstrations of masculinity. Although these men are as glossy can only be achieved with full manhood.as the pages This they trend fill, has their continued stare to the present day so that “today good along.”15 That is, heterosexuality the modeling agencies, much less wasn’t became just as important concernedlooking straight about guys any are homosexual flocking to asonly what needed it was. defining The afterconstruct what of it taint that will cleave to them.”14 In this way, the fashion by a collision of meaning; it is industry has shaped the progression metrosexuality is similarly defined of nontraditional displays of by having the very word in the masculinity. The description of newdefined hybrid by whatterm. isThe ‘heterosexual’ existence of ‘nontraditional’ carries with it the portmanteau at all implies that several implications, including that the term was created because of a there is a traditional, or correct, societal need to mark metrosexuals’ way of being heterosexual and difference (as not fully masculine). that the men depicted in Klein’s This necessity to point out a ads somehow do not satisfy this lack of traditional masculinity conception. Gender is no different reveals what Weeks calls the from other normative behavior “Heteronormative Assumption.”16 There is an implicit heterosexual they are as much as by what they default in society, which places aren’t.codes, Together, which are this defined collision by forms what men and women on opposite sides the meaning of what is normal. For of a gender dialectic. Weeks argues sexuality in general, Weeks argues that there is a systemic hierarchy that heteronormativity was only of sexuality at work in our society, which places heterosexual marriage defined after homosexuality “came Focus 57 at the top and sexual ‘deviance’ they identify as wholly straight. at the bottom, however that may Hill argues that it is not so much a confusion but a refusal to been so institutionalized that any participate in the heterosexual alternativebe defined. is in Heterosexuality turn marginalized, has stereotype.18 Weeks would agree devalued, and labeled taboo. Weeks that the traditional male should be prescribes that this hierarchy considered a stereotype as well. be replaced with a spectrum Not every man need spit, drink, and of sexuality on which there is a itch himself as many believe. By this continuum of gender such that sexual logic, the metrosexual is providing difference is relieved of the stigmas an alternative heterosexuality, but of perversion and non-normativity.17 not a lesser one. “By ‘refusing to be If metrosexuality were placed in a man,’ in a traditional sense, they this continuum itt would no longer are developing a less oppressive be a perversion of gender roles way to be heterosexual.”19 but simply another alternative. Metrosexuals bring up the Gone is the implication that a more issue of perceived sexuality.20 That

Schmidt’s performance of metrosexuality disrupts the conventions of masculinity.

feminine form of masculinity is is, the metrosexual is perceived as any worse or less heterosexual a homosexual because of his stylish than the lumberjack archetype. presentation. Metrosexuals make Accepting the prevalence of obvious the previously invisible the Heteronormative Assumption, constructed nature of gender metrosexuals are often read as a categories without transgressing ‘confused’ sexuality even though sexual orientation boundaries.

58 Focus “Effeminacy was established as the boss. In an episode entitled “Eggs,” nature of gay men” and “assumed and Schmidt visits the gynecologist performed by straight men.”21 This brings the discussion of a display a lesbian physician. When the of heterosexual difference as a physicianoffice for sets a out consultation to offer him some with performance of gender. Metrosexual sex tips for female pleasure, he takes style is a performance of gender over the conversation, and describes in its own right, different but his technique in intimate detail equal to something like the hyper- using veiled terms. Meanwhile the masculine body builder. According camera turns back on the doctor, to Simpson, metrosexuality is revealing that Schmidt’s skills can a performance of gender, “the even arouse a lesbian.23 At the end of difference is that it subverts the hyping UP of masculinity by hyping skills earn him a literal supermodel it DOWN.”22 This disrupts the girlfriendthe first season, who Schmidt’s is otherwise bedroom traditional dialectic of masculine embarrassed of their relationship vs. unmasculine, which prescribes but cannot give up the physical only two different expressions connection. “I’m 100 percent of masculinity. By this logic, ashamed of you,” she says, but not metrosexuals are creating a second until after they have impromptu sex school of hyper-masculine display. in the car.24 Though she is content, Schmidt protests, “I can’t do any of performs this degree of my moves in there. I like to improvise heterosexuality Actor with Max his Greenfieldcharacter with my body. I’m like a sexual Schmidt on FOX’s sitcom, New Girl. His character is a twenty-something, suit collecting, hair primping issnowflake—each highlighted by thenight fact with that me each is a urbanite who is able to exude a timeunique he experience.” makes such His a comment self-flattery he has to put money into a jar (The Douchebag Jar) and acknowledge Heconfident, considers masculine himself machismoan alpha his trumpeting. The writers use male,even when motivated wearing aby floral traditional kimono. this to remind the audience of his heterosexuality, especially as successful career, beautiful women, the level of the jar rises higher andmasculine posterity. goals At the of same affluence, time, he a throughout the seasons. Securing is written to possess lesser male this assumption of heterosexuality, qualities of cooking, cleaning, however, Schmidt remains the butt neuroticism, fashion sense, of homosexual jokes and subplots. sensitivity, and self-consciousness. In “Naked,” Zooey Deschanel’s character Jess walks in on her fellow Schmidt’s sexual activity more housemate, Nick, naked. When she than Theany other show’s characters’. writers Schmidt flaunt tells Schmidt about the incident, orders customized condoms, tutors Schmidt becomes preoccupied his roommates in sexual technique, and even catches the attention of his out—how well endowed Nick is. He with seeing—or at least finding Focus 59 expresses this to his friend Winston: relationships. Comedy is created in the tension between New Girl’s Schmidt: Why haven’t I seen it? frequent textual reassurances Winston: Why do you wanna see it? that Schmidt is not gay, and his Schmidt: He’s my best friend. subsequent stereotypically gay Winston: Again, why do you behavior. This seeming mismatch of wanna see it?25 orientation and masculinity is funny In another scene, he defends partly because of its context and self-consciousness of the national sartorial choices, which doesn’t debate surrounding homosexuality, helpone his of case his much: more “Kanye flamboyant wore as well as of the incongruence this belt and looked beautiful in between actual and perceived it, his whole midsection lit up.” He sexual orientation. continues, “Now all I have to do is The patterned avoidance of meet him and dazzle him until we’re ‘gay vague’ characters reveals the each others’ last call before bed.”26 cultural anxiety surrounding this Schmidt is an interesting sexual limbo of sorts. Hollywood case, a heterosexual man playing tends to clarify effeminate male a heterosexual character, yet characters as either outright homosexual themes nuance many with their homosexuality (Mitch of the episodes. This strategy and Cam of Modern Family, Will introduces gay themes to a market and Jack of Will & Grace), or lost by other shows; Will & Grace, neutralize their femininity with Modern Family, Glee, and The New a promiscuous heteronormative Normal have lost (or never gained) sex life. Metrosexuals subvert the the demographic disenchanted traditional dialectic of masculinity, with homosexuality.27 Schmidt serving as a foil for an effeminate has arguably upstaged the show’s man or a boastful womanizer. principal character because he By establishing a character as is able to play off these cultural metrosexual (that is, clearly anxieties. If metrosexuals are a heterosexual yet hyper concerned nonthreatening performance of with appearance), the audience homosexuality, writers can project is assured that the character will homosexual readings onto their reinforce heteronormative coupling. characters. In turn, the audiences’ With this ending known, themes attention is brought to social issues of homosexuality can be explored of homosexuality without being ‘safely’ and become comedic in their directly addressed and therefore seeming contradiction. Through the issues remain uncontroversial. safety and comedy, the discussion This ‘safety’ of a heteronormative of homosexuality and all its social resolution works to reveal and contingencies can enter the public negotiate a social taboo, and the discourse in an uncontroversial media can inch homosexuality into and comfortable way: the the cultural consciousness without metrosexual character type. actually portraying homosexual

60 Focus Works Cited 15. Weeks, Sexuality, 76. 16. Ibid, 92. 1. Weeks, Jeffrey. Sexuality. (Chichester: E. Horwood, 1986). 17. Ibid, 81-83. 2. Hill, Darryl B. “Feminine Het- 18. Hill, “Feminine Heterosexual erosexual Men: Subverting Heter- Men,” 150. opatriarchal Sexual Scripts?” The Journal of Men’s Studies 14:2 (2006), 19. Ibid, 154. 151. 20. Ibid, 151. 3. Simpson, Mark. Male Imperson- ators: Men Performing Masculinity. 21. Ibid. (New York: Routledge, 1994), 23. 22. Simpson, “Metrodaddy Speaks!” 4. Simpson, Mark. “Meet The Metro- sexual.” Salon.com. http://www.sa- 23. New Girl: Eggs. Film. Directed lon.com/2002/07/22/metrosexual/ by Neal Brennan. Los Angeles, CA: (accessed March 4, 2013). FOX, 2012. 5. 24. New Girl: Naked. Film. Directed Metrosexual.” Straight.com. http:// by Jake Kasden. Los Angeles, CA: www.straight.com/life/dandy- Babineau, Guy. “Dandy Versus FOX, 2011. versus-metrosexual (accessed March 8, 2013). 25. Ibid. 6. Ibid. 26. Ibid. 7. Simpson, Mark. “Metrodaddy 27. “’Glee,’ ‘Modern Family’ And Speaks!” Salon.com. http:// www.salon.com/2004/01/05/ metrosexual_ii (accessed March 4, Drive Gay Marriage Support: Poll.” 2013). Other LGBT-Themed TV Shows 8. “The 1980s.” History.com. http:// Theglee-modern-family-hollywood- Huffington Post. http://www. www.history.com/topics/1980s huffingtonpost.com/2012/11/05/reporter-gay-tv-poll_n_2077149. (accessed March 7, 2013). html (accessed March 11, 2013). 9. Ibid. 10. Bordo, Susan. The Male Body: A New Look at Men in Public and in Private. (New York: Farrar, Straus and Giroux, 1999), 168. 11. Ibid, 181. The original art accompanying this 12. Ibid, 171. article has been created by 13. Ibid, 168. 14. Ibid, 181. Victoria tsai

Focus 61 Questioning Heternormativity: She-Devil and Stereotypical Gender Roles of the 1980s by Alysson Feil

of femininity and sexuality in feminism have persistently relation to economic authority. lobbiedn the last thatfifty years,gender waves exists of The sharp contrast between I as a separate construction the character of Mary—a pure from biological sex. Though widely embodiment of wealth, fragility, and pseudo-romance—and Ruth—a gender and sex has contributed to frumpy, middle-class housewife— theacknowledged, stereotypical the gender conflation roles that of highlights the rigid stereotypes exist today. In the 1980s, feminist perpetuated about females. director Susan Seidelman directly However, while Mary’s masquerade addressed these gender issues in acts as a parody of excessive her conservative dark comedy She- femininity, Ruth embodies the Devil “abject,” whose comedic value is viewers with a satirical analysis (1989). The film presents and dysfunctional body.1 As the a result of her grotesque figure of 62 heteronormative Focus definitions ideal of patriarchal culture.3 Yet reveals both women to represent the resulting lull of the 1980s anfilm oppositional progresses, statement the narrative on conservatism shifted radical traditional family, gender roles, and feminists’ “presentation of self and life-style” to a more ambivalent one.4 relevant to feminism in the 1980s. Radical feminists—more prominent economicTo understand inequality—specifically the satire of in the 1970s—opposed normative, She-Devil, one must be aware of the surface-level notions of their gender, conservative political atmosphere clothes, high heels, and shaved legs. The Reagan administration’s such In as She-Devil make-up,, Mary tight-fitting Fisher is indoctrinationin which the of film the wasconservative created. New Right outwardly opposed social liberal movements of the Whittier’sthe prime examplePh.D ofresearch, such flaunting the shiftartificiality. towards According a more traditional to Nancy considerable resistance was shown “correctness” of femininity resulted toprevious the Equal two decades.Rights Amendment Specifically, from the movement’s slump in the (ERA) for women’s equality. 1980s. Without guaranteed equal Initially passed by Congress in rights, some women changed their 1972, the New Right’s anti-feminist appearance, not because of political rhetoric delayed state legislatures’ beliefs or even their own preference, but because of pressure from within eventually causing the amendment the workplace. Whittier interviewed toratification fail. byOverall, the 1982 feminists deadline, various women on the topic, one saying: “I shave my legs, I sometimes 1980s, primarily due to their heavy wear makeup…I do [this] because reliancesignificantly on the lost previous support federal in the I feel that I have to do them to get power of the Democratic Party. by, to keep my job.” Another woman This lack of feminist representation affected Congressional support for I can get more accomplished if I look woman’s issues such as abortion, atold little her: bit “I morehave finallytraditional.” decided5 In that his child-care, and family leave bills.2 book, Sexuality: Key Ideas, Jeffrey Despite its political context, She- Weeks attests that such pressure Devil expresses the perseverance is the inescapable “product of the and alterations of the feminist historically rooted power of men movement throughout the New is necessary and desirable.”6 In the most obvious aspect being She-Devilto define, Ruth’s and categorizetransformation what theRight’s character’ influential typical power, projection perhaps epitomizes the ambivalent outward of “femininity”—or lack thereof. representation of feminism in the Throughout its many waves, 1980s, one that struggled to resist feminism has persistently criticized the norms of feminine appearance Though she alters her appearance as being a socially-constructed bymale wearing definitions make-up, of styling femininity. her

Focus 63 hair, and removing the large mole dress admires herself in the mirror. above her lip, Ruth does not abandon A second later, Ruth walks toward her quest for career success and the same mirror, wearing the personal independence—even when exact same dress. The ludicrously competing against her ex-husband and male counterpart. Though Ruth’s the frame, blatantly suggesting initial motive behind changing Ruthcontrasting as the archetypal figures ugly consume twin her appearance is to re-attract her sister. Ruth’s narrative voice-over, husband, her subsequent ambition “sometimes you just have to pull to become a businesswoman out all the stops,” adds to the scene’s undoubtedly illustrates her comedy. Ruth’s lack of etiquette in desire for gender equality. conjunction with her unruly body Ruth’s transformation epitomizes the “grotesque,” and is not only representational of thus embodies what Stott describes political ideals, it also enables as the “abject.” He asserts, “the abject is a physical reality that source. Before she is made-over, cannot be defeated through the thea shiftcomedy in theof film’sRuth’s comedicscenes simple application of additional comes from her dysfunctional, unattractive body. According to such as a department store dress.8 Andrew Stott, the “comic body is Bylayers laughing of culturalat the perverseness refinement,” exaggeratedly physical, a distorted, of her body, Ruth diminishes the disproportionate, profane, ill- fear of one’s deviation from the disciplined, insatiate, and perverse respectable norms of civility. organism.”7 Comedy emerges from Consequently, the humor found the body’s untamed functional from Ruth’s anti-traditional purposes, such as overconsumption femininity renders her differences and its physical result, shown in as safe to poke fun at. This bodily scenes when Ruth eats “too much,” humor, however, is not exactly pro- while aware of her imperfect feminist, and laughing at Ruth’s appearance. While working at The initial appearance only reinforces Golden Twilight Rest Home, Ruth traditional ideas of femininity, as nearly inhales a long chocolate her success as a businesswoman is simultaneously tied to her physical her prominent mole and down the transformation. Nevertheless, her sidesdonut, of spillingher face. its During cream the filling opening on credits, Ruth attempts to beautify herself in a department store full throughoutjourney accurately the 1980s, reflects due mostly the of thin, attractive women adorned tofluctuation pressure in within feminists’ the appearanceworkplace. with jewelry, perfume, and heavy Similar to radical feminists, make-up, drawing attention to her Ruth’s ultimate challenge to unconventional lack of femininity. authority, or the normative ideals of femininity, would entail rejecting the girl in a constricting black and gold While in a dressing room, a fit young 64 Focus very artificial touches she adopts. Ruth’s eventual makeover typical in “battle of the sexes” eliminates the continuation of narratives where comedy is derived physical comedy, replaced by a when the underdog successfully comedic inversion of power. The challenges the dominating structure. As a result, Bob is sent family, in which Bob is the primary to prison and Mary experiences sourcefilm presents of income a traditional while Ruth sense stays of a hilarious psychotic episode. at home. Before their separation, Although Mary’s comedy the couple’s inequality is evident climaxes in her psychotic break, her in Ruth’s restrictive gender role as foundational existence is humorous homemaker. While Bob irately packs in itself. Her soft, whispering voice, his belongings, he yells out the four dramatically cliché movements, basic “assets”—numbered on Ruth’s and pink palace by the sea all pink notepad as “home, family, emanate fragility and whimsicality. career, freedom”—that sum up Essentially, Mary’s excessive his life’s worth. Ruth’s subsequent femininity acts as a parody of the revenge focuses on the destruction of ultimate woman, particularly one the material manifestations of Bob’s who fantasizes about nothing but wealth—such as causing his house romance and pleasing her man. to explode. Ruth asserts her own Such idealistic sexual longing power by economically castrating is not only shown with Mary’s her husband, a power inversion thirty-something novels, but is

Meryl Streep plays Mary as a parody of feminine behavior

Focus 65 also suggested to be a part of her her ready-and-willing intentions to essential character. Remembering be so obvious that Mary becomes that Mary’s character is created comedic. Moreover, the fact that as a parody of feminine behavior, Bob succumbs to his carnal lust is even more humorous because of the my own experience of lovemaking absurdity of Mary’s masquerade. asstatements sacred and like, beautiful,” “My books become reflect Essentially, Mary’s parody of comedic polysemy. The extremity of Mary’s very essence is unable to be femininity is performed to such an taken seriously, thus transforming extentartificial that aspects it denaturalizes of heteronormative the very her “truthful” declarations idea of femininity. Her comedic value into ironic double entendres. produces an uncomfortable and Andrew Stott’s writings on Marilyn neurotic association with femininity Monroe’s role in Some Like It Hot that suppresses any source of (Wilder 1959) similarly applies to empathy within the spectator. Mary in She-Devil, described as an Mary’s excessiveness thus pokes fun “unrealistic construct and product at heteronormative gender ideas of ‘glamour’.”9 Kathleen Rowe would and sends a pro-feminist message similarly label Mary as congruent about womanhood—that it is about with aspects of the “unruly woman,” much more than romance, pink an archetype of Classical Hollywood dresses, and miniature poodles. Cinema. Like the unruly woman character, Mary belongs to a higher traditional marriage and nuclear class, is outwardly (and overly) familyOverall, promotions the that film persevered confronts sexual, and holds an advantageous through the Reagan administration. position to exert power over her Though strikingly different, the prey.10 Yet Mary’s role-play of fact remains that neither Ruth nor the classic damsel in distress is Mary remain happily monogamous. the key to her manipulation. At Ruth’s despair begins with various times, Mary appeals to her acknowledgement of Bob’s Bob’s ego by helplessly asking for affair—noted in her non-diegetic his assistance—whether helping narration—yet she remains passive. her dry off her alcohol-stained Instead of confronting Bob, Ruth dress or managing her investments. resolves to use magazine tips on The scene of Bob and Mary’s “the art of winning back your man” her manipulative power of male recipes.” The ensuing dinner scene seduction.first sexual She encounter coyly whines highlights to Bob, with “sure-fireBob’s parents economical, (expectedly) sexy “sometimes sitting here, day after culminates in disaster, when day, banging away at my keyboard… the “seductive mushroom soup” [sigh] writing can be so, so, lonely,” is accidentally garnished with Mary’s right hand strategically Herbie, the pet gerbil. This lose- falls between Bob’s legs. Here, her lose situation subsequently entraps melodramatic performance enables Ruth, as neither her passivity nor

66 Focus (failed) domestic efforts are enough families and individuals.”13 Though to win back her husband. On the many see marriage as a promise other hand, Mary’s psychotic break of eternal solidarity between a is the result of her inability to couple, groups like NOW believe inhabit the domesticated mother heterosexual pairings to be the role for Bob’s children. Nicolette, a legal establishment of control over sassy pre-teenage girl, repeatedly a woman and a suppression of her wears and destroys Mary’s clothes, sexual liberation. Bob’s adultery, while the younger brother Andy accidently causes Chérie, Mary’s norms of male sexual behavior, poodle, to jump off a cliff. In addition whilefor example, his both solidifies his naive stereotypical wife and to adultery—as Bob has yet another mistress remain utterly loyal, perpetuating passive female norms. promotes an opposing view of family throughaffair while these with two Mary—the dysfunctional film becoming successfully independent, mother characters. Feminist illustratingThe film concludes a refusal with of both traditional women support of the independent woman marriage. Such an ending condemns the heteronormative views of and Mary, who actively portray the marriage, extremely relevant is exemplified through both Ruth Bob’s two unsuccessful the 1980s and even today with woman’s ability to be self-sufficient. thewhen debate the filmover was gay released marriage. in the dissolving traditional family of It is quite apparent that She- therelationships 1980s. In 1989—the accurately year reflect She- Devil is more than just a comedic Devil was released—nearly 50% playground for actresses Roseanne of marriages ended in divorce.11 A combats the cultural longing for a book, The New Right: We’re Ready timeBarr ofand innocence—that Meryl Steep. The supposedly film also tostatistic Lead , fromclaims Richard the earlyA. Viguerie’s 1980s existed—prior to counterculture witnessed, “six out of ten married women with school-aged children War, and the prevalence of divorce. work[ing]” outside of the domestic Thegroup exaggerated love, LSD trips,and Vietnamcomedic sphere.12 The break-up of the performances in She-Devil allow traditional family, such as the taboo subjects such as anti- Patchett’s, resulted in a pro-family family and anti-traditionalism to public movement that feared persevere—in Hollywood no less— greater statistical rise. Conservative within in a culture shifting toward movements fought against anti- conservatism. Thus, She-Devil was, family organizations, including the National Organization of Women social and cultural consciousness (NOW) and the aforementioned ofand issues still is, athat film whichcombat has traditional raised the Equal Rights Amendment, based patriarchal heteronormativity. on their alleged, “attack [on]

Focus 67 Works Cited

1. Stott, Andrew. Comedy: The New 8. Ibid, 86. Critical Idiom. (New York: Rout- ledge, 2005), 86. 9. Ibid, 68.

2. Whittier, Nancy Elain. Ph.D. Femi- 10. Rowe, Kathleen. “Romantic nists in the “Post-Feminist” Age Col- lective Identity and the Persistence Classical Hollywood Cinema.” The of the Women’s Movement. (Ann UnrulyComedy Woman: and the Gender Unruly and Virgin the in Arbor: UMI, 1991), 5. Genres of Laughter. (Austin: Univer- sity of Texas Press, 1995), 118-119. 3. Weeks, Jeffrey. Sexuality: Key Ideas. Third edition. (New York: 11. U.S. Census Bureau Report. Sta- Routledge, 2003), 41. tistical Abstract of the United States: 2011, 3. 4. Whittier, Feminists in the “Post- Feminist” Age, 141. The New Right: We’re Ready to Lead. (Falls 5. Ibid, 142-143. 12. Viguerie, Richard A.

6. Weeks, Sexuality, 41. 13.Church: Ibid, Viguerie152. Co., 1981), 151.

7. Stott , Comedy, 81.

The original art accompanying this article has been created by Slater Ellis

68 Focus Expanding Mainstream Conceptions of Gender and Sexualtiy on Boy Meets World In the 1990s by Daisy Rogozinsky omedy is notorious for particular saw landmark events dealing with taboos and like Ellen DeGeneres coming out as deviant topics.1 This idea a lesbian on her sitcom Ellen. The is complicated, however, values of openness and visibility C 4 when applied to comedic texts were strongly emphasized. designed to entertain young Additionally, President Clinton’s audiences such as the 1990s multiple sex scandals led to the teen sitcom Boy Meets World. country’s crackdown on issues of Topics deemed appropriate for a sexual harassment. All of these mainstream youth audience are historical determinants created a rarely very subversive, suggesting relatively liberal political and social that Boy Meets World’s treatment of climate, granting the media more cross-dressing and sexual coercion freedom to cover topics previously in its 1997 episode “Chick Like considered subversive or unsuitable Me” represents a shift in ideas for a mainstream audience. of normativity and acceptable The network sitcom Boy content for a young audience. The Meets World, created by Michael show draws upon the relative Jacobs and April Kelly, originally sexual openness of the 1990s, the aired on ABC from 1993 to 2000. It ability of comedy to make topics was a part of the TGIF prime-time safe for discussion, and uses the television-programming block that cross-dressing narrative template was marketed as “family-friendly.” to posit the idea of gender as The show is set in Philadelphia, PA performance and show sexual and follows a young Cory Matthews, power dynamics in a way that from middle school to college, as represents changing standards of he grows up and learns about life. normativity in the United States. Since the program depicts major The 1990s were a period issues that accompany adolescence, of increased encouragement of it often deals with sex-related sexual diversity in the United States. In 1994, the American sexual experiences. Generally, Medical Association ceased to though,material Boy like Meets first kissesWorld began and first to list homosexuality as a mental stick to more romantic issues and illness.2 Queer political issues promote a somewhat conservative gained national prominence, understanding of sex (Cory and including debates over topics his girlfriend Topanga waited like gay marriage and gays in until their honeymoon to have sex the military.3 The year 1997 in

for the first time, despite being in Focus 69 a relationship since childhood). Boy Meets World explores in this The episode “Chick Like Me” aired in the show’s fourth of gender as performance through season, when Cory and his friends elementsepisode. Theof firstcross-dressing is the revelation and were juniors in high school. It is drag. In Comedy, Andrew McConnell representative of the show’s typical Stott makes a distinction between format; using comedic hijinks the two elements—the classic to teach the audience a lesson cross-dressing “progress narrative” or promote a certain morality. is one in which a character must In the episode, Cory and Shawn disguise their gender in order overhear Topanga and her friend 5 This Debbie talking about how boys are is usually temporary, and the too sexually aggressive on dates. narrativeto achieve must a specific resolve goal. with a Shawn suggests that Cory dress return to heterosexuality that up as a girl and write about the 6 experience for his school newspaper Shawn’s brief experience as column. Somewhere along the plot, reaffirms traditional normativity. Shawn replaces Cory as the one category of the progress narrative. slated to cross-dress and takes on Veronica Wazboyski falls under the donning of women’s clothes is Wazboyski. He then goes out on provided—toFirst, a specific obtain reason material for thefor athe date feminine with identityGary, a of notorious Veronica Cory’s newspaper column. Cory womanizer at John Adams High makes this clear when he says to his mom (before the plan of who out that Debbie’s complaints will cross-dress changes) wereSchool, true: and immediatelyGary is finds that he is “not dressing up physically forward with like a girl for the sake of dressing up like a consent, and even girl.” However, Cory’s Veronica without asking motive is not entirely clear protests. As a shallow. It has an aspect ignores Veronica’s of genuine desire to experience, Shawn become empathetic learnsbenefit a fromlesson of about the to the experiences of what it is like to be a women, just as Cory’s woman, Cory writes a mother says, “it could successful newspaper be a wonderful article, and Debbie learning experience that asks Shawn could serve him well out to reward for the rest him for his effort. of his life.” There are several At the end larger issues pertinent of the episode, after to sexuality that Shawn has learned his

70 Focus lesson, he returns to school in his Cora’s voice is not the traditional usual clothing and is rewarded for high-pitched sound associated with the adventure by the traditional the imitation of a woman, but is a resolution of a heterosexual coupling low growl that calls to mind Paul with Debbie, which comfortably O’Grady’s Lady Savage. This illusion reinforces gender norms. This is not intended to be believable iteration of a man dressing as a but rather—once again—to call woman services the narrative attention to its status as an illusion, more than it acts as a critique of suggesting that an essentialist hegemonic ideas of gender. However, understanding of femininity it does seem to promote feminist (and masculinity) will not do. ideals of compassion for women The last line of the episode and awareness of male privilege. hints at a new understanding. Back Despite the fact that the less in men’s clothing and celebrating subversive cross-dressing narrative the success of his newspaper is at the heart of the episode, there article, a strange look comes over still remains the underlying aspect Cory’s face and Topanga asks him of drag. Stott writes that drag what is wrong. In Cora’s gruff “allows the male comedian to exploit voice, he answers, “my hosiery is his attire to offer a deliberately still bunching.” This is perhaps the provoking perspective on biggest laugh of the episode, but women.”7 more than that, it suggests that Cora heternormativity, as cross-dressing is not gone just because the make- seems to do, Rather drag is than an interrogation reaffirming up and wig have been removed. of gender, agitating normative This implies that femininity does conceptions of sex and gender and not simply come from clothing or exploring them as a continuum accessories but is ever-present in and performance. Though Shawn’s all of us, as a part of the complex gender continuum from which the instance of cross-dressing, Cory’s ideas of “male” and “female” are CoraVeronica enters is in best drag categorized halfway through as an the episode, where he is dressed as inspired presence brings with it an a waitress at the restaurant where assertiondrawn. Though of gender’s fleeting, constructed Cora’s drag- nature. Because Boy Meets World is date. This performance has several geared toward children and teens, elementsVeronica of and drag Gary rather go than on cross- their it is rarely transgressive in its depictions of sexual issues, yet this episode explicitly uses drag—a style masquerade;dressing. The firstit simply being thathappens. there that traditionally accompanies a Additionally,is no specific reasonhis clothing given for is Cory’s not subversive and critical perspective. meant to convince anybody but is For example, John Waters’ use of instead a costume meant to suggest drag in Female Trouble purposefully the performative elements of pushes against boundaries of what is considered acceptable to show fulfilling gender roles. Furthermore, Focus 71 onscreen in order to question and sexual pressure is explored societal norms and taboos. However in “Chick Like Me” through both this is not Boy Meets World’s humor and a few more dramatic purpose, rather, the use of drag in moments. The exploration of the series suggests a shift in the gender and sexual norms is labeled normative—or what is considered the episode’s moral, a crucial normative. It does not actively part of the sitcom framework. seek to rebel, but appropriates The episode begins with drag traditions into the framework Debbie’s complaints about feeling of a sitcom in order to entertain powerless and ignored on dates with and teach a lesson. The fact that men. She says, “Maybe I am or maybe drag is acceptable in the context I’m not [interested in making out], of a youth-oriented show suggests but it shouldn’t be expected because that it is no longer as dangerous I went on a date with you…You’re and trangressive as it once was. too busy planning your next move to The lesson of the episode is hear us say no.” Debbie’s statement found in the interrogation of sex is a serious complaint about the roles and power dynamics between social issue of sexual consent, made sexes, especially as negotiated safe in the context of the episode’s within the patriarchal institution general comedic tone. Later, on his of dating. According to Rose and date with Gary, Shawn experiences Frieze, gender roles and the sexual this female sense of powerlessness. scripts associated with them are After Gary attempts to touch Shawn particularly salient during the several times, ignoring his protests, dating stages of a relationship, as Shawn storms away from the date, individuals tend to rely on social saying to Cora, “it’s my knee, what norms to guide their behavior.8 They makes him think it’s his knee?” write that gender traditional roles, Shawn later says that “the only in which the female is submissive signal I sent [Gary] was ‘stop it,’” and the male is dominant, “are but Shawn’s lack of consent didn’t expressed by men assuming the proactive role in initiating sex and gets that Shawn is not interested in women adopting the reactive or discourage him. When Gary finally ‘gatekeeper’ role by resisting or of being a lesbian. These are all refusing sexual advances.”9 They being felt up, he accuses Veronica go on to say that “such gender the male proactive role of initiating differences serve to give men more sexualinstances contact, in which while Gary Shawn is fulfilling has no power in the initial stage of the choice but to adopt the female role relationship,” namely, dating.10 of “gatekeeper.” These moments are According to Byers, adherence to all examples of sexual coercion, a these traditional sexual scripts very serious issue that is lost within “supports and condones male the context of the date. Boy Meets sexual coercion against women.”11 World critiques this patriarchal This idea of power inequality sexual script, and safely gets away

72 Focus The 1990s sitcom allowed a safe analysis of gender issues through cross-dressing and drag. with it for two reasons: because The comedy in this joke comes from the episode generally takes a tone the idea that Topanga, the female, of comedy and playfulness (with holds power over Cory, the male, to heartfelt dialogue sandwiched an extent that he is compared to a between easy punch lines that pet dog, a reversal of the expected lighten the mood) and by using the power relationship. Additionally, on critique of the patriarchal sexual Shawn’s date, Gary offers to teach script as the “moral” of the story. Shawn to play foosball, to which Even when the dialogue of Shawn responds with “how about I the episode is joking, it still explores teach you?” and goes on to be much the idea of a power inequality better at the game. In this situation, between the sexes by reversing again, the reversal of the traditional the traditional power dynamic. An power dynamic is the source of the example of such a reversal is seen comedy. Many of the jokes in “Chick when Debbie asks Cory what goes on Like Me” also come from homosexual in his head and he responds that it is anxieties that arise when Shawn’s “all Topanga, all the time.” Topanga then rewards him by feeding him a treat and asking, “who’s a good boy?” books,Veronica prompting is unexpectedly Topanga attractive. to ask Cory offers to carry Veronica’s Focus 73 why he never carries her books. subversive and progressive in its Cory’s response is a confession representation of sexuality. Modern of attraction – “well, look at her!” discourse surrounding the episode In this instance, the episode uses seems to suggest that the 1990s were comedy to play upon underlying a special time in which mainstream uncertainties surrounding the television programming marketed threat to heteronormativity that toward youth could cover topics comes from cross-dressing. Thus, that it cannot cover even today. This in moments of both drama and view is problematic, though, as the comedy, “Chick Like Me” manages to use of drag is primarily comedic and safely explore the underlying issue the interrogation of sexual scripts is of women’s powerlessness under just another moral lesson. Though the patriarchal dating structure as the relatively liberal culture of the promoted by sexual roles, scripts, 1990s and the comedic tone of the and the heterosexual assumption. episode allowed for the discussion of issues that may be more critical this exploration into the general and progressive in nature, it is structureThe episode of achievesthe sitcom. this byThe fitting fact unlikely that the producers of Boy that it deals with such serious and Meets World were actively seeking complex issues, rather than the to be transgressive. “Chick Like simpler and more accessible adages Me” was produced at a time when that earlier television shows such as Full House and The Facts of Life what was acceptable for youth covered, suggests that society’s wasthe definitionexpanding of to normativity include things and conceptions of what is acceptable like gender masquerade and for children have changed. criticism of sexual power dynamics. Boy Meets World’s coverage Therefore, the show’s coverage of of power inequalities points to a these topics was easily subsumed structural shift of normativity. into the sitcom structure and was However, it is a mistake to assume used to deliver a lesson to viewers, that the episode is actively like any other topic of its day.

74 Focus Works Cited

1. Freud, Sigmund. “Chapter 1,” The 6. Ibid, 69. Joke and its Relation to the Uncon- scious. (New York: Penguin Books, 7. Ibid, 71. 2003), 1-50. 8. Rose, Suzanna, and Frieze, Irene 2. “Teach The Facts - Promoting Hanson. “Young Singles’ Contempo- tolerance and fact-based education rary Dating Scripts.” Sex Roles 28 in Montgomery County, Maryland.” (1993), 500. Teach The Facts - Promoting toler- ance and fact-based education in 9. Ibid, 500. Montgomery County, Maryland. http://www.teachthefacts.org (ac- 10. Ibid, 507. cessed April 20, 2013). 11. Byers, Sandra E. “How Well Does the Traditional Sexual Script Timeline.” University of Southern Explain Sexual Coercion?” Journal California.3. Torres, Vicki. http://www.usc.edu/ “SOIN - Gay Events of Psychology and Human Sexuality 8 schools/annenberg/asc/projects/ (1996), 7. soin/enhancingCurricula/timeline. html (accessed April 20, 2013).

4. Roberts, Barry S., and Mann, Richard A. “Sexual Harassment in the Workplace: A Primer.” The Uni- versity of Akron: UA Home. http:// www3.uakron.edu/lawrev/rob- ert1.html (accessed April 20, 2013).

5. Stott, Andrew McConnell. Com edy. (New York: Routledge, 2005), 63. The original art accompanying this article has been created by Victoria tsai

Focus 75 Pride For Sale: Exploitation of the Gay Audience In Contemporary Advertising by Alexandre Eisenhart

he gay rights movement and inequality, I will argue that in America has made advertisers actually exploit the remarkable progress since discourse of “gay pride” as a means T its humble beginnings in of promoting a consumer lifestyle 1969 at New York City’s Stonewall Inn. The American Psychiatric reinforces a stereotypical, narrow representationthat profits corporationsof gay culture. and homosexuality as a mental disorder, In order to fully conceptualize the nearlyAssociation a dozen no longerstates recognize classifies effects of advertising that target gay same-sex marriage, and Americans men, it is necessary to review the are far more aware of homophobic origins of this trend. The Stonewall bullying in schools than they were riots in 1969 were a major turning a decade ago. President Obama even point in the gay rights movement—a went so far as to publicly endorse the moment when the members of legalization of same-sex marriage in the LGBT community fought back 2012, a gesture no sitting President against police raids at the Stonewall had ever made before. This movement towards tolerance has been in large many to stand against oppression part due to the increased media andInn. socially These people constructed were theideologies first of representation of gay men since of “normal” and “acceptable” the early 1990s. While 25 years behavior and gender expression. ago, Coors Brewing Company was Their courage was a major step in an outspoken opponent of gay shaping the contemporary queer rights, today the company creates movement. However as William O’Barr argues, it was the Florida Because of its statistical economic Orange Juice boycott of 1977 that prosperity,ads specifically the gay targeting consumer gay niche men. market has become highly valued as as a politically active, economically a legitimate advertising investment solidified the gay community’s1 The boycott power came for large corporations. While many in response to Florida Orange Juice praise this ever-growing trend spokesperson,significant force. Anita Bryant, and as social and political progress, her campaign against anti-gay scholars and activists alike are discrimination legislation in Dade critical of how gay men are being County, Florida. The controversy represented in advertising. While companies may appear to be making media coverage, which played an strides to combat homophobia intricategenerated role significantin bringing attention national

76 Focus to gay issues, prompting further base, worthy of investment.2 By boycotts of companies that spoke the 1990s, advertisers began against gay rights. Another critical moving in for the sales pitch. (and unfortunate) historical event The most overt use of the AIDS that raised awareness of the gay epidemic in advertising was a 1992 community was the AIDS epidemic. United Colors of Benetton ad, which

As the disease initially only affected shows the tragic image of a father the gay minority, the general public and mother sitting beside their son’s was not too deeply concerned. Once deathbed—slowly dying of AIDS.3 pop culture icons like Rock Hudson Though the ad does not include any and Freddie Mercury began making of Benetton’s actual products—and therefore many have questioned if the general population became increasinglytheir affliction conscious public of however,gay men it successfully shocked much of theit even general qualifies public, as including advertising— the of whom became consumers of the woman who took the photo. In an as a significant demographic, many interview with LIFE Magazine, the While much of the publicity—or photographer, Therese Frare, was lackmost thereof—surrounding advanced HIV medications. the virus amazed at the impact that photo was misleading or controversial, had on raising public awareness there is no doubt that the disease about the epidemic.4 The photo has contributed to the emergence since been praised as “The Photo of today’s gay niche market as That Brought AIDS Home” by LIFE.5 a well-recognized consumer In the past two decades, estimates Focus 77 indicate that approximately one today. The ads promote and glorify billion people have seen Frare’s popular urban gay culture with powerful photograph.6 While it is three major factors in mind: sex, true that advertising played a critical alcohol, and body image. It is this role in placing the AIDS epidemic corporately constructed framework in the public eye, the Benetton advertisement is a early example of the dominant ideology behind how advertising would also become whatthat I it argue means has to widely be a influencedgay man. a threat to the integrity of gay pride. Most common of the three urban In the ad’s aftermath, corporations gay culture factors is body image. surmised that simply giving gay Following IKEA’s landmark men more mainstream media advertising campaign, Abercrombie exposure could double as evidence & Fitch began publishing ads with of their support for gay rights, and homoerotic images of mostly naked, in turn, companies could enjoy athletic, hairless men sporting A&F jeans.9 While the ads didn’t explicitly consumer market of white gay men. state anything about gay men, the increasedWith increasing sales from widespread the profitable gay implied reference to gay culture determined to start targeting gays of mainstream homosexuality. In a andrights their support, heterosexual marketing supporters, firms particularwould influence A&F photograph the public’s where image who also happened to have a a man in standing in nothing but his tight underwear in front of income. This demographic is his many male friends, blatant composedsignificant amountof college-educated of disposable homoerotic subtext is apparent, 18-to-49-year-olds who live as there are few explanations for predominately in urban areas and why heterosexual men would be do not have children. Scholar Ron stripping their male friend down in Becker refers to this consumer group this situation. These ads illustrate as “socially liberal, urban-minded the advertising community’s professionals, or slumpies”—which also includes rich white gays.7 In parametersdefinition of ato gay be male considered body, that companies to plunge into the world attractiveit should fit by within consumers. certain According physical of1994, gay IKEA television became advertising one of the withfirst to the industry, as illustrated in a commercial depicting two men countless advertisements depicting describing their new IKEA table as gay men wearing little to no “a symbol of commitment in our clothes, “idealized male bodies… relationship,” making it obvious are young, toned, hairless, athletic, that they were a homosexual and classically handsome.”10 And couple.8 Three years later, clothing if a gay man doesn’t look like the and spirit companies followed models in Abercrombie & Fitch suit with marketing campaigns posters, they should strive to. that would shape the dominant Companies put forth the idea that style of gay ads that still exist all gay men should be turned on by 78 Focus the stereotypical male models in an ad campaign in 2006 depicting their advertisements, even though most men, including homosexuals, by the pool in their bathing suits, will never look that way (and should collectivelya group of fit, enjoying athletic mena sixlounging pack not be expected to). Certainly, of Coors light beer.11 In addition one cannot help but acknowledge to maintaining a standard body the genius behind these ads, that type, the interaction depicted in although a gay man may not have this advertisement suggests that the body of an Abercrombie & Coors beer serves as an effective Fitch model, they can at least have catalyst for meeting guys. One man satisfaction of wearing a pair of is offering another man a beer, two jeans associated with that look. other guys are chatting poolside, and As a result, companies like A&F another man is tanning in a speedo encourage customers to buy their while checking out the others.12 The jeans with the belief that it will make erotic scene is a blatant attempt to them more attractive and help them sexualize the Coors beer brand. Ads like this where men’s half-naked Pushing forward one dominant bodies are put on display imply a symbolfind a (perfectof sexual model-like) attraction man. to fantasy of all gay men, that they want an entire niche market is not an the opportunity to have sex with inclusive practice, however, as men who look like these models. not all gay men are necessarily In this case, advertisers make the attracted to a single body type. assumption that the only thing gay Many men, for example, are turned men want is sex, and so they provide on by bigger and hairier men which it. While this advertisement may in are often referred to as “bears,” yet fact be an accurate representation consumers rarely see depictions of some gay men, it creates an of this body type in mainstream unfair social pressure for the advertising. For the past 30 years, rest of the population. Like body gay men have been homogenized image, this marketing strategy by corporations and marketing misrepresents a much larger part of the gay demographic—those be attracted to a particular image. who do not identify with the Thisfirms, unfortunately who assume thatcauses they many will ideology promoted in these ads. consumers to subscribe to that One of the most well recognized dominant ideology without thought. companies among gay advertisers The media tells the public that Abercrombie & Fitch models are celebrated its 30-year-anniversary hot, bears are not, and no advertiser ofis gay Absolut promotional Vodka, ads. which The Swedish recently will say otherwise. company embodies all three Alcohol advertisements take factors of the advertised urban body image a step further by gay lifestyle, and is also a major associating consumption with sponsor of Logo’s hit (queer) reality sexual desire and attractiveness. television show, RuPaul’s Drag Race, Coors Brewing Company released as well as the show’s national gay Focus 79 gay audiences. At one point, two over a single demographic for 30 stereotypically attractive men years,pride tour.Absolut With sohas much successfully influence holding trays of Absolut cocktails perpetuated the assumption that and wearing nothing but Andrew all gay men drink and party often. Christian underwear—a company While some gay men may enjoy the that has historically targeted gay gay urban club scene, as depicted consumers—strut into the room and by major advertisements, these serve drinks to the contestants.14 ads create a false standard of how All at once, Absolut is visually all gay men should spend their associated with attractive gay men, money—on alcohol and clubs. drag queens, sexy underwear, and Absolut recently ran a product the stamp of approval from RuPaul— placement stunt on RuPaul’s Drag an icon in the queer community. As Race when the company sponsored far as Absolut is concerned, there 13 is no reason why gay men would not want to buy their vodka after the first ever Roast of RuPaul. watching this episode. I continue spiritIn the company episode, to RuPaul advertise briefly to to argue, however, that a majority glorifies Absolut for being the first 80 Focus of gay men do not identify with this homogenized depiction of gay desire. like “Twink Night” at Tiger Heat, a In addition to sexualizing popularman handing 18+ gay out club. flyers Not for only events do products and promoting a dominant urban nightclubs use the dominant body image, the advertisement of ideology about body image to get alcohol has created a consumer attention on the streets, they also society that juxtaposes consumption dedicate entire nights of partying and restraint. Kathleen Rowe points to a subset of very skinny (slim and out that we live in “a society that toned) gay men, and the men who says ‘consume,’ but look as though you don’t.”15 Companies want gay as “twinks.” Another club in West men to buy things like a “dry look” Hollywood,are attracted GameBoi, to those classifiedrecently gel to make hair look more natural, celebrated the 10th anniversary of skinny jeans that will make the its gay Asian night by bringing in Asian dancers from San Francisco, gym membership to work off the 5wearer’s pounds butt they more gained defined, over orthe a body type agreed upon in the holidays. People are trained to gayall of advertising whom fit the industry, standard “hot”with consume. In addition, gay males their bulging muscles and small are encouraged to purchase certain waistlines. 16 These clubs contribute brands that display their conformity to the body image standards placed to the advertised ideology of what upon gay men by popular media. gay men should look like. By wearing Sexualization and body image are not a pair of Abercrombie & Fitch jeans, the only factors that exclude groups a man becomes associated with within the gay community though, the attractive male models in their advertisements, whose same jeans men are represented in mainstream are practically falling off their shiny, advertising.as race also influences Abercrombie with how& Fitch gay smooth bodies. If you drink too ads are a perfect example, as a many Absolut cocktails, you might large majority of their male models are white; implying that people of But then again, there’s always that color are not part of the company’s gymnot fit membership into those A&F you skinnyhaven’t jeans. used target consumer group. Because in two months. Gay consumerism the goal of these ads is to sell sex, is designed to exploit men’s sexual advertisers implicitly promote the desire by marketing products idea that white men are attractive that allegedly increase one’s to everyone. This simply is not true, chance of having sex, once again and to produce advertisements that showing the cultural stereotype suggest such a statement is not only of casual sex in gay culture. exclusive, but also racist and elitist. Body image is especially This overrepresentation of white prevalent to the marketing of men is perhaps the most damaging gay nightlife. Walking down the aspect of gay advertising. Few people streets of West Hollywood, it is are discussing issues pertaining

Focus 81 commonplace to find a partially nude specifically to gay men of color, such black gay men or the issue of suicide aggressively by marketers and often amongas the increasinggay youth of HIV color. rates In fact, among the feelfind that themselves they have lost targeted control more over only media consistently depicting their own culture, since it’s mass- black gay men are advertisements produced and mass marketed.”17 for AIDS medication. It is undeniable Whether its sexualizing products, glorifying a particular body type, or excluding multicultural men from associating alcohol companies with mainstreamthat profit is thegay primary advertising, motive as for it social progress, advertisements targeting gay audiences have companies like Absolut and IKEA to created the illusion that the gay targetwas profit the gay that male initially population. convinced rights movement has come a It is this money-driven mentality long way since 1969. But has it that best proves my argument that really? The Stonewall riots were a the majority of gay men—those landmark stand against the power of who are under/misrepresented big money over society’s standards in the media—are not considered and norms, yet it seems as though powerful consumers by advertisers. advertising today has turned back Companies create the illusion that the progressive clock. This lack of they support the gay male lifestyle, consumer awareness is worrying, and does not point to a bright future gays to buy their products. In this for queer media representation. capitalistwhen in fact, society they justwhere want the affluent only Hopefully, gay culture will not continue to be governed by advertisers like Coors light or analysisgoal is of profit, the effects exploitation of media and Abercrombie & Fitch. After all, no one representation,falsification are common.Henry Jenkins In his reinforces this claim by arguing, beauty for an entire community ofhas people, the absolute least ofauthority all big business.to define

“groups that are commodified

82 Focus Works Cited

1. O’Barr, William M. “Niche Mar- 12. Ibid. kets: Gay Consumers.” Advertising & Society Review 12:4 (2012). (accessed March 14, Race. Logo. Los Angeles. March 11, 2013). 2013. Television.

2. Ibid. 14. Ibid.

3. Frare, Therese. The Photo That 15. Rowe, Kathleen. “Roseanne: Un- Changed the Face of AIDS (1990). ruly Woman as Domestic Goddess.” Life.com. (accessed March 9, 2013). The Unruly Woman: Gender and the Genres of Laughter. (1995), 203. 4. Crosgrove, Ben. “The Photo That Changed the Face of AIDS.” LIFE 16. Phillips, West. “GameBoi LA 10 November 1990. Year Anniversary.” GameBoiLA.com. (accessed March 9, 2013). 5. Ibid. 17. Jenkins, Henry. “The Cultural 6. Ibid. Logic of Media Convergence.” Con- vergence Culture. (2008), 107-117. 7. Becker, Ron. “Prime-Time Televi- sion in the Gay ‘90s.” The Television Studies Reader 1:1 (2004), 389-403.

8. “Dining Room Table.” YouTube (31 July 2006). http://www.you- tube.com/watch?v=67_RHiXNk-s (accessed March 9, 2013).

9. Weber, Bruce. “What Exactly is Going On Here?” 1999. Abercrombie & Fitch. Columbus, Ohio.

10. O’Barr, “Niche Markets: Gay Consumers,” 323. The original art accompanying this

11. Coors Light Brewing Co. “Now’s article has been created by The Time.” Photograph. lawrenk- mills.mu.nu. June 8, 2006. Tim Rossi

Focus 83 84 Focus Mass Media: Technology in the Digital Age of Excess

Focus 85 Converging Convergence: T h e C om p l e x Relationships of iCarly’s Convergent Culture by Christy Zeeb “ tay in school, recycle, pour One cable network in milk on your parents, hug a particular has done exceptionally duck, eat a stick of butter and well in securing a stable audience: s shampoo a squirrel!” may not Nickelodeon. According to the be reasonable advice for the masses, 2011 Securities and Exchange

and enjoyed by adults, it is advice the channel’s corporate owner, thatbut on successfully a TV show dedicatedresonates to withkids NickelodeonCommission “provides report forhigh-quality Viacom, the audience of one of television’s entertainment and educational top cable networks. At the time of programs, websites and online services targeted to kids ages viewed content was no longer being 2-to-17 and their families.”2 Given producedthis research, with inthe 2012, mass TV’s audience most their broad offerings across in mind. American television has many platforms, it is evident that come a long way since its early Nickelodeon is fully adept with the days of broadcasting in the late trend of convergence. In 2004, media 1920s. Due to the proliferation of scholar Henry Jenkins suggested television channels that followed that “media companies are learning

1970s, the television landscape content across delivery channels beganthe introduction rapidly developing of cable TVin innovel the tohow expand to accelerate revenue the opportunities,flow of media ways. In the last few decades, the broaden markets and reinforce viewer commitments” while at America has more than quadrupled the same time, “consumers are fromnumber less of availablethan 800 TV stationschannels in learning how to use these different 1970 to over 4,500 in 2010.1 As media technologies to bring the subscriptions to satellite services continue to increase, one can be their control and interact with certain that the number of available otherflow ofusers.” media3 In more this context, fully under the following research will examine the While the population of American connotations of digital convergence TV channels will continue to rise. by acknowledging additional forms the years, it is not large enough to of convergence that emerge from reduceTV viewers competition has also increasedfor viewers over the use of multi-platform media among television networks. Amidst this competitive market, will be examined to explain how an texts. Nickelodeon, specifically, with new business models to media practices and audience captureTV networks a share are of experimentingthe audience. relationships.innovative kid’s This show research is redefining will

86 Focus analyze how the show, iCarly, has arrival brought an industry shift maintained popularity among a from targeting the mass to the diverse audience through its quirky niche audience, and in 1979, cast and nonsensical shenanigans. Nickelodeon began to target the Focusing on the episode “iMeet lucrative youth market.5 However Fred” and the three-part episode today, this audience is not as niche as it once was. The emergence explain the emergent, and of the “tween” age group—9- excessive,“iParty with complex Victorious,” matrix I willof to-12 year olds—has prove to be technological, media, content, and a very powerful demographic, audience convergence of iCarly, controlling a large portion of the which has shaped new audience family’s consumption power.6 Thus experiences and has helped targeting the youth market has make the network so successful. yielded the top position for daytime As a network devoted to the ratings, since it is primarily kids empowerment of kids, Nickelodeon has also been the number one rated hours. Yet dedication to one basic cable network since 1996, segmentwho watch of the TV total in the viewing after schoolpublic indicative of their comprehensive is not the only factor contributing programming practices.4 Cable’s to Nickelodeon’s success; their

Focus 87 interaction with the audience awareness that helps distinguish also plays a large role. Though the their presence among other 2012 Nielsen ratings reported that television channels. Examination Disney was the new top daytime of their ‘kids-win’ motif reveals the cable network, Nickelodeon held the network’s aim to attract the youth position for the past sixteen years.7 audience with content that kids Although the focus of this paper prefer to watch rather than what is not to examine ratings trends, their parents say is good for them. As it will acknowledge innovative most television content for children convergent programming among exists in the format of educational digital technologies, media, programming to justify a child’s content, and audiences that time spent before the screen, it have been partly responsible for also cultivates a brand attitude the network’s historical-ratings that is condescending to the youth success. audience. Alternatively Nickelodeon The philosophy behind the sets themselves apart by utilizing Nickelodeon network is a major the term “kids” instead of “children” in their marketing, which provides iCarly the impression of elevating the establishedinfluence on in the 1979 practices to become within status of the kid-audience as one fully devoted. Nickelodeon to the empowerment was officially of a large underserved segment a child-audience. Such an idea is of the television audience due to realizedin need of in less Nickelodeon’s TV supervision content than their position outside the realm of offerings that strive to entertain political life: the youth audience. rather than simply educate their Film and Media scholar Kevin audience, which also reinforces a Sandler explains Nickelodeon’s brand attitude recognizing youth brand attitude as “Promoting autonomy. Further, it is because Nickelodeon is a cable network as diversity, non-violent action, appropriatespecific prosocial levels of elements humor, suchand more content risks like providing guidelines for success—all without entertainingthat it has the benefitkid-programming of taking ever talking down to kids.”8 While all day, which broadcast stations constrained by regulations and and PBS promote similar practices, Nickelodeonother TV channels seeks to such provide as Disney kids This allowance of risky behavior with a space that acknowledges wasprofit especially motives mustadvantageous be cautious in the of. them as citizens of their own media creation of a new unconventional environment. Nickelodeon’s efforts series that would become to publicize their behind the scenes Nickelodeon’s most successful practices through their network show, and provide kids with more reputation is an effort of meta- prosocial power than ever before.9 It was 2007 when Dan it gains attention through public Schneider, the successful producer branding, and is significant because 88 Focus of several Nickelodeon teen sitcoms, of every episode; a similar situation shared the concept for his next appeared in a reoccurring sketch television comedy. Without even of Schneider’s previous series, The hearing the show’s complete pitch, Amanda Show. This innovative Nickelodeon green-lit a 13-episode operation focuses on the production season due solely to the fact that of a web show featured within Schneider created it.10 In the New a television show. During the York Times, Schneider credits his own child acting experience on the show Head of the Class for his toTV the series, subject Carly of her assigns next webisode her web success in the production of many viewers a specific task that relates teen shows. “I was 19 but I played a task and upload it to iCarly.com for kid, and they treated us like kids… aand chance encourages to be featured them toon filmher web the Basically we were considered show, or in reality, featured on both props who spoke.”11 Having shows as iCarly webisode content iCarly. for kids in the entertainment The show’s focus on the industry,endured firstSchneider’s hand thegoal stressesbehind Internetappearing proveson a TV episodethe emergence of his shows is “to have kids come of digital convergence. Jenkins out on top. They’re the ones in describes convergence as an charge.”12 Thus Schneider’s aim to ongoing process that “alters the relationship between existing converges with Nickelodeon’s technologies, industries, markets, brandmake hisimage actors seamlessly. feel self-sufficient After genres and audiences,” as we live being hired by the network in 1994 and given the mandate from “use all kinds of media in relation executives that “kids win,” all toin aneach era other. of prolific”14 In the media, case and of seven of Schnider’s Nickelodeon iCarly, Nickelodeon converges sitcoms have become champions of digital technologies by producing 13 iCarly, in which original content that is distributed a teen calls the shots of her own on both the television screen webthe TVshow, industry. also plays by this rule. and the computer screen, with a iCarly is a live sitcom about narrative that is carried across Carly Shay (Miranda Cosgrove), an both digital platforms. Here, an 8th grader living with her older- audience member can watch the oddball brother Spencer (UCSB production of an iCarly webisode alumna Jerry Trainor). Together in their Seattle loft, Carly produces the iCarly.com website to watch the popular web series iCarly with theon thefeatured TV sitcom web video and then as well access as her best friends Sam and Freddie. other videos uploaded by audience iCarly members in response to Carly shows to make the convergence and Sam’s assignments. Engaging of the istelevision one of the screen first televisionand the with both forms of content is not computer screen the central theme necessary though; each individual

Focus 89 work can still be easily understood traditional media industries in itself. Therefore, kids are not [offers] a different experience given an order to participate for for audiences.”16 Where kids are a full understanding; instead commonly viewed as passive they are given the choice to be receivers of media content, active or passive consumers, Nickelodeon asks them to turn rewarding the former with more on their webcams, speak up, laughs. With 14.7 million visitors and contribute content for both to iCarly.com in January of 2008, digitally converged environments. it is evident that the audience’s Although audiences are frequently active relationship to media has encouraged to contribute content made iCarly.com just as popular to the entertainment industry, in the real world as it is in the iCarly is novel in the way it uses new 15 This additional media and prosocial methods to build on user-generated production thefictional network’s sitcom. success because processes. itweb keeps traffic their also audience contributes actively to Nickelodeon not only converges engaged with Nickelodeon content. iCarly’s content across platforms, The notion of a new active between the television and the web, audience due to technical it also converges other popular convergence is also present in the media content with its television shaping of media content. With content, resulting in a form of technical advancements providing merging best referred to as media easy access to webcams and convergence. A simple relationship simple video editing software, appears in the release of Miranda kids now have the power to create Cosgrove’s solo music album, About their own media content. Once an You Now. This practice converges audience’s self made video gets selected on iCarly.com and makes album includes original songs by the transition from uploaded web the musicactress, medium as well with as her TV, assingle her content to scripted television “Leave It All to Me,” which Cosgrove content, the kid experiences an sings for the iCarly theme song. A exciting new role of a creative more complex relationship of media producer. The engaged audience convergence is illustrated in the then reinforces Nickelodeon’s iCarly episode “iMeet Fred,” which image of kid empowerment by integrates the actual viral Internet participating with iCarly, where sensation Fred with iCarly’s the show provides these kids the web popularity. Fred’s (Lucas opportunity to negotiate with the Cruikshank) real life YouTubefictional media and express themselves to a channel has 1.9 million subscribers large audience through their video where his video “Fred Goes responses. This act demonstrates Swimming,” which was featured on what media researcher Elizabeth iCarly, has over 59 Evans describes: “incorporation of new media platforms into the ofthe kids TV episode who enjoy of his web show. million views, reflecting the millions 90 Focus According to cultural researcher audience engagement and Gordon Berry, “Nickelodeon is what distribution. When Freddie states kids want, not just what adults think on the iCarly web show that he kids want.”17 Converging content doesn’t think Fred is funny, Fred from Fred’s famous real-world responds by posting an angry video web show with iCarly’s famous saying, “Now I’m not going to post any more Fred show represents videos ever BTV-world e r r y web ’ s again.” When description of the kids at Nickelodeon’s school get branding practice. angry with the However, the fact iCarly c r e w remains that for “killing Nickelodeon Fred,” Freddie is still what d e f e n d s adults think himself by kids what since claiming he adults make has a right the network decisions and produce to his own opinion. Meanwhile, the show. Yet iCarly achieves to deliver its young audience with a their opinions with an organized sense of empowerment, despite the boycottthe fictional against kid the characters iCarly web voice site. limitations of control. Through the Freddie’s rebellious opinion stands incorporation of Fred, we witness in for Nickelodeon’s encouragement a form of media convergence in of independent thinking, and the the combination of two separate “neverwatchiCarly.com” website phenomena: one corporately is a way to show how kids can use media to come together and speak other independently produced on out against the popular media. produced by the TV industry and the A complex relationship that This convergence occurs emerges from iCarly’s media throughthe web Nickelodeon’s and incorporated relationship into TV. convergence is demonstrated when with its audience, by acknowledging the crew visits Lucas to apologize their interests and behavior outside so viewers will forgive them. Lucas of iCarly—on the Internet. Here confesses that he himself is a fan Nickelodeon producers stay true to of iCarly, and only acted upset as putting kids in charge by providing a stunt to increase visitors for them with content they choose to both of their websites, where he watch on their own. The debut of then reveals that both sites have this episode proved successful, with experienced a recent jump in web a reported audience of 5.2 million viewers.18 Within this episode, the one Fred video converged separate Fredtraffic. and Thus iCarly the fans distribution and increased of image of empowerment and viewers for both web sites. The script also reflects Nickelodeon’s Focus 91 episode concludes as the two diegetic world is an example of media platforms, and the two web what Jenkins calls “transmedia storytelling.”21 While Evans feels production of an iCarly webisode. that with convergence the “term Hereseries, Fred fully is convergeintroduced on on TV iCarly in the as ‘medium’ is problematic” and his real-life self, Lucas, in a webisode featuring the humorous antics of that ‘medium’ describes a way for iCarly in the fast-paced style of Fred. often undefined, she suggests A similar combination of information.22 Thus, under her content is more clearly seen in the imparting fictional or factional three-part episode “iParty with become their own mediums for iCarly converges definition, the individual sitcoms with another Nickelodeon show, and validates Jenkins’ concept of VictoriousVictorious.” (about Here a famous high transmediaimparting fictionalstorytelling, information, which integrates content from “multiple create a new pattern of content texts to create a narrative so large convergence—andschool singer Victoria become Justice), what to that it cannot be contained within was described by the network in a single medium.”23 Or in the case a promotional commercial as “the of “iParty,” within in a single night. biggest television event of the year.” This three-night event The crossover of content between integrating iCarly and Victorious iCarly and Victorious created a new narratives brings awareness to transmedia pattern that doesn’t how convergence plays into another recent television trend called ‘world sequels, or spins-offs, nor does building,’ what Jeffery Sconce itfit resemble with the likeswhat ofscholar adaptations, Mary describes as increased attention “to Celeste Kearny calls “transmedia crafting and maintaining ever more exploitation.”19 Since both shows complex narrative universes…that are currently active in production has allowed for a wholly new mode and already share a majority of of narration and that suggests new their audience, one text does not forms of audience engagement.”24 exploit another established text Although multi-night television for its own commercial gains.20 events are nothing new, Instead, this emergent form Nickelodeon adds an innovative of convergence combines two touch by converging both sitcoms, separate onscreen-realities into one with additional real world content, episode of iCarly, bringing the girls to create an even more complex together in one super-narrative. narrative universe. During this In this episode, digital episode, the iCarly crew crashes a convergence meshes with content party at Keenan Thompson’s house to catch Carly’s boyfriend out with a video on her laptop and asks her boyfriend,convergence “don’t while Victoriayou think watches that Keenan plays himself and is known iCarly girl is really pretty?” The byhis othersecond characters girlfriend, as Victoria. his real-life Here appearance of iCarly self, the famous actor from Saturday

92 Focus in Victoria’s Night Live. The audience encounters jokes” for kids, and a violence-free a new form of engagement as they atmosphere of “ethnic and racial contemplate the crossing and diversity, and gender parity” for blurring of boundaries that bind parents.26 This brings out a form of audience convergence in the by calling upon their knowledge joining of youth and adult viewers. the events of TV shows and real life

icarly converges social, cultural, technical, and industrial content to be enjoyed by audiences of all ages. of each individual show and their Several videos of iCarly on YouTube experience with the world to have comments silmilar to William better understand the events of the Webb’s: “I’m 41 and I love the show. I crossover episode. This combination watch it every chance I get and I have of Keenan’s real existence further engages the family audience by such efforts. Rather than displeasing converging content that appeals to parentsall the DVDs.“ with revealing violent the gags reality and of different generations (SNL). vulgarity, or distancing kids with With iCarly’s occasional ratings boring “good-for-you” content, of over twelve million viewers Nickelodeon’s practice involves per episode and ability to gather an innovative and proper balance a large enough audience to beat of physical and verbal comedy in out American Idol and 60 Minutes, original jokes that brings kids and it becomes apparent that there are adults together to share a laugh. more than just kids watching the In one example of such a joke, show.25 Media historian Heather the laughs come at the expense of the Hendershot claims that Nickelodeon adult but the joke is not intended to succeeds as a network in their ability be insulting; it is delivered to please to satisfy both kids and adults; the converged kid-adult audience. through the way Nickelodeon offers quality programming in “gross-out episode, Freddie’s mom comes to In the “iParty with Victorious” Focus 93 Carly’s house and when she says, “I don’t see how a boy can make a girl website to upload their content. that happy.” Sam replies with, “Sure, Carly’scan fulfill encouragement the task and visitto the that’s because you haven’t had a audience is not only empowering, it date since Seinfeld got canceled.” also convergences both the passive Not only does the script incorporate and active kid audience, and the popular culture from the adult’s generation, it is also respectful What this research on of the traditional parent-child convergencefictional and realillustrates audience is into exactly one. relationship. This dual-audience what Jenkins offers as a model joke is convergently carried out as of media convergence that the mother expresses authority. incorporates multiple sites of new However, when she corrects Sam’s forms of merging, including (but snarky retort by responding not limited to): social, cultural, with: “It wasn’t canceled! Jerry technical, and industrial. After all, chose not to do another season,” she inadvertently admits to not media platforms and is accompanied having a date in years, keeping the bythis “migratory content flows behavior across of multiple media joke consistent to Nickelodeon’s audiences who will go almost image of favoring the youth. anywhere in search of the kinds of As audiences of different entertainment experiences they generations come together through want.”27 Although it was announced content convergence, a shift in the in May of 2012 that the cast of iCarly audience’s relationship to media would air their last episode that emerges—seen in iCarly’s digital November, the incredible success convergence of television and of the show and its audience’s Internet technologies: the real enthusiastic participation does not mean the end of Nickelodeon’s convergent activities. Given his complex,TV audience transformative combines withviewing the reputation, it is safe to assume that position.fictional webAs Carly’s audience requests to create for a it is only a matter of time before Dan Schneider debuts his next hit for web show’s audience, members of Nickelodeon in his effort to “always theengagement real-world targets her fictional out-do the last thing [he] did.”28 With this in mind, Nickelodeon audiences as they become TVthe ones audience to act take on should expect to have a new show on the role of the fictional audience that excessively meshes content audience within the sitcom. In from a variety of mediums to form Carly’sassignments direction given for to theviewers fictional to more complex relationships within visit her website and post their an even larger narrative universe. own original videos, only real kids

94 Focus Works Cited

1. Nielson, Justin. “SNL Kagan ings-disney-tops-kids-rival-key-cat- Report.” National Association of Broadcasters, January 31, 2012. (accessed June 2, 2012). newsRoom/pdfs/020312_SNL_ 8. Sandler, Kevin. “A Kid’s Gotta Do Kagan_multicasting.pdf+total+ava What A Kid’s Gotta Do: Branding the Nickelodeon Experience.” Nick- 4&hl=en&ct=clnk&gl=us&client=s elodeon Nation: The History, Politics, afari>.ilable+TV+channels+in+2012&cd= and Economics of America’s Only TV Channel for Kids. Edited by Heather 2. United States Securities and Ex- Hendershot. (New York: New York, change Commission. Viacom: 10-K, 2004), 45. September 30, 2010. (Washington, D.C.: Edgar Online, 9. Martin, Denise. “Ruler of the 2010). LexisNexis Academic. (ac- Tweens.” Los Angeles Times, April cessed 25 May 2012. 9). 28, 2009. 3. “The Cultural Logic of Media Con- (accessed June 1, 2012). vergence.” International Journal of Cultural Studies 7:1 (2004), 37. 10 . Jonathan Dee, “Tween on the Screen.” The New York Times, April 4. Viacom: 10-K, 8. 8, 2007. (accessed May 30, 2012). Time, The Kids Network Celebrates with Lots of Special Events.” The 11 . Ibid. Buffalo News, June 20, 1999. (ac- cessed May 26, 2012). 12 . Ibid.

6. Pieters, Andrea. “Youth Pulse 13 . Ibid. 2010.” Trends and Tudes, Harrisin- teractive, November 2010. , 1. (accessed June 4, 2012). 2006), 34.

7. Molloy, Tim. “Sorry, SpongeBob: 15 . Learmonth, Michael. “iCarly: Disney Channel Knocks Nick From Top Ratings Perch.” TheWrap.com, com.” Business Insider, March 31, April 2012. (accessed June queen-11310388> (accessed March 1, 2012). 26, 2012).

16 . Evans, Elizabeth. Transmedia 26 . Hendershot, Heather. Nickel- Television: Audiences, New Media odeon Nation: The History, Politics, and Daily Life. (New York: Rout- and Economics of America’s Only TV ledge, 2011), 20. Channel for Kids. (New York: New York UP, 2004), 3. 17 . Berry, Gordon and Laybourne, Gerry. “Nickelodeon Experience.” 27. Jenkins, Convergence Culture, 2. Children & Television: Images in a Changing Sociocultural World. Ed- 28 . “ABC Dateline.” ited by Joy Asamen. (London: Sage, 1993), 305.

18. Gallagher, Brian. “Internet

Movie.” MovieWeb, March 24, 2010. (accessed 01 June 2012).

19 . Evans, “Transmedia Texts,” 22.

20 . Ibid.

21. Jenkins, Convergence Culture, 20.

22 . Ibid, 3.

23. Ibid, 95.

24 . Sconce, Jeffery. “What If? Chart- ing Television’s New Textual Bound- aries.” Television after TV: Essays on a Medium in Transition. Edited by Lynn Spigel and Jan Olsson. (Dur- The original art accompanying this ham: Duke UP, 2004), 95. article has been created by 25 . “ABC Dateline.” iCarly: The Tween Queen—Dateline, February sonia virgen 8, 2010.

96 Focus The Damsel’s Quest: Breaking Down the Male Gaming Community by Ashley Armitage nteracting with media is retain the 1980s boys-only tradition, meant to be entertaining, and thus any time a woman steps many times nothing more in or speaks up to challenge the I than a mindless activity used system she is faced with resistance to forget the problems of the day. and abuse. In May 2012, pop Though watching television, reading culture and media critic Anita magazines, and playing video games Sarkeesian launched a Kickstarter have become habitual and pervasive campaign to fund a series of videos parts of our society, it is imperative called Tropes Vs. Women with the to acknowledge that media is not intent of exposing how certain only used to entertain; it is used to representations in video games are educate. Media illustrates, creates, damaging to women.1 Immediately and comments on culture, and its following this release, Sarkeesian representations teach us ideology, received more than just emails of or what is arbitrarily deemed complaint—she was hit with a wave culturally appropriate, normal, of online hate from aggressive male and ‘natural.’ Because media is so gamers, all trying to force her into pleasurable and entertaining, it the ‘traditional’ place as a woman. spreads this ideology innocuously. This backlash towards Anita However, these views don’t account Sarkeesian’s oppositional stance for the entire culture, and they only proves how female gamer exclusion represent the perspectives of the is reinforced by values such as select few gatekeepers who control the Damsel in Distress trope, the creation of media texts. Like which allows the victimization of other mass media, the processes of women to continue, emphasizing video game design, production, and the idea that femininity and distribution are also concentrated beauty are more important in the hands of very few. In than intelligence and skill. mainstream video gaming, male- Before analyzing the run companies produce masculinist manifestations of the Damsel games that serve only to perpetuate in Distress trope, we should male-dominated gaming culture. acknowledge technology’s ability Though video games used to only to either limit or extend mediated be associated with teenage boys, human communication. In the gendered tension has begun to rise early days of gaming, graphics as more females enter this territory. were constrained to primitive However, certain members of the pixels forming two-dimensional gaming community are eager to scenes and female characters

Focus 97 weren’t very different from their uploaded a video talking about the male counterparts. In the case of Nintendo DS game Super Princess Ms. Pacman, the only variation Peach, in which the gender roles are from her Mister was a red bow reversed and Peach is the one who over the mass of yellow squares. 4 Nintendo took However as technological capacity a bold step forward with this game has grown, realistic imagery has release,fights to saveand Mario.it’s an advancement advanced. Studying representations that brings us closer to the solution, in video games is more important now than ever, as those pixilated shapes have become incredibly lifelike, three-dimensional women. Representation, misrepresentation, and underrepresentation of women through these female characters are thus used to covertly convey ideology. The Damsel in Distress and the Alpha Male are two tropes that predate video games, and have been overused into cliché. In March 2013, Sarkeesian focusing entirely on the Damsel inreleased Distress. the2 firstPortrayals video of of her women series in media are often one-sided, one- dimensional, and have one purpose: to cater to a man’s desires. In her video, Sarkeesian teaches that the Damsel in Distress is “a prize to be won, a treasure to be found, or a goal to be achieved.”3 Princess Peach, from Nintendo’s Super Mario franchise is the archetypical Damsel “Don’t worry Mario, in Distress: she wears a pink dress, and appears quiet, passive, and Princess Peach will save you.” pleasant. She rarely speaks, and but does not when she does, her dialogue is problem—especially in comparison typically just “Oh!” or “Help me!” to every other completelygame where fix Peach the Her only role in the Mario games is the Damsel to be saved. After is as a device to propel the male all, “The ill-fated Princess appears (heroic) journey forward. In an in 14 games of the core Super attempt to refute Sarkeesian’s claim Mario platform games and she’s that Princess Peach is a Damsel in kidnapped in 13 of them.”5 In the Distress, Youtube user MrRepzion New Super Mario Wii games, there

98 Focus are four playable characters: Mario, aren’t simultaneously tall, skinny, Luigi, and two Toads. Nintendo had the chance to include Peach in the proportioned, and clear-skinned— action, but instead, they kept her theywhite, are fit, labeled wide-eyed, undesirable. perfectly The locked away in the castle. Shigeru standards media set for women Miyamoto, creator of the Mario are far too high. But it’s about franchise, explained that Peach is more than just looks, the Damsel non-playable because they would in Distress trope also reproduces have needed to do extra work for her the troubling cultural assumption dress, “I thought it’d be nice to have that women should be quiet, passive, her as a playable character, but... innocent, incapable, agreeable, we’d have to come up with a special pleasant, dependent, and controlled. programming to handle how the When women are loud, excessive, skirt is handled in the gameplay.”6 sexual, capable, and independent— The game developers could have anything other than what society easily managed to program the thinks they should be—they become graphics for her dress, but they a threat to masculinity. Anita used Toad instead because of his Sarkeesian is viewed this way, as similar body type to Mario. This is such a threat to dominant order a lazy excuse, used to keep Peach in that she has been cyber-bullied by the immobile, victimized role she thousands of disgruntled gamers. plays far too often. After all, if not As proven by these attacks, the Peach, who else would be saved? Damsel in Distress trope really In her video address, Anita does have a detrimental effect on Sarkeesian extensively lists various the players: it teaches people that video game Damsels in Distress, but it is acceptable to put a woman’s she does not mention the effects gender and appearance before her these representations have on ideas, and that when she voices her the player. Texts are polysemic: opinions she is wrong, threatening, made ambiguous to host multiple and should be shut down. meanings. The content in these Before she released her Damsel video games can therefore be read in Distress video, Sarkeesian “Don’t worry Mario, in many ways, but is dominantly published a Kickstarter video Princess Peach will save you.” interpreted as innocent, normal, on May 17th, 2012 with a goal of and the ‘way things should be.’ fundraising $6,000.7 She began the In fact, the action in most games video by listing the pros and cons of is so easily digestible that people video games, “gaming can improve never take the time to question it. problem solving skills, teamwork, When women aren’t portrayed as creative thought, and multi- society tells them to, they usually tasking...unfortunately in addition face both internal and external resistance. Additionally, when of these games tend to reinforce women fall outside of patriarchy’s andto many amplify of sexist these benefits,and downright many misogynist ideas about women.”8

definition of beautiful—when they Focus 99 The purpose of her Kickstarter or “I post all my videos when I’m was to share her plan for a series on my period.”10 Some of the worst forms of abuse she received were stereotypes of women in video drawings posted online depicting games.of videos Over that the next would month, expose she was five her in different rape scenes. In one overwhelmed with both support photo she is being raped by Mario, and abuse. Although she easily passed her $6,000 goal—ending are ejaculating on her. On July 5th, with an astounding $158,922— someoneand in another even created photo and five uploaded penises she also became victim to a mass a game to NewGrounds in which of cyber attacks. Comments she the player can beat up Sarkeesian. received on the Youtube upload of Throughout all this abusive her Kickstarter include: “She needs opposition, Sarkeesian maintained her integrity by staying true to it though,” “Would be better if she her beliefs that women should be a good dicking. Good luck finding able to speak freely. She believes or GTFO.”9 Although the comment that her victimization needed to be featurefilmed this has in since the kitchen,”been disabled, and “Tits all exposed rather than kept a secret, 14,000 comments are still visible and explained the harassment on the Youtube page. The comments of the game on her website: target her sex, gender, appearance, The fact that this video game— and ethnicity. The majority of these comments contain no criticism to towards women—was not only her actual argument; they are just whichIt invited justifies players violence to ‘punch and this abuse hateful jabs coherent with the values bitch in the face’ and with each of the Damsel in Distress. This abuse click a photoshopped image of only further proves that sexist me would become progressively more bloody and battered until tropes in video games can manifest the screen turned completely themselves in the normalization red. The “game” was then of misogyny, toward women in proudly circulated on various the gaming industry in particular. gaming forums by those engaging The attacks on Sarkeesian in the sustained harassment weren’t just in comments on Youtube. campaign against me. It remained People also hacked her Kickstarter on NewGrounds’ website for about page to overloaded the server with 24 hours before being removed.11 requests and prevent anyone from donating. They attempted to spread created, but also played and enjoyed, her phone number and address is another example of how gaming online, edited her Wikipedia page to contain vulgar and false Male/Damsel in Distress paradigm, information, and took previously whichculture dictates is influenced that the by theman Alpha uses existing images of Sarkeesian and aggression to win because he is the added speech bubbles saying things stronger gender, and the woman is like, “Give me money you sexist pig,” punished because she should not

100 Focus have boldly stepped into man’s the least you can do is allow territory. All of these attacks on likes and comments to Sarkeesian happened between May contribute to a discussion.”13 and July, before she had even made a These users seem to think single video in her proposed series. that by silencing her opponents, Then in March of the following Sarkeesian is preventing free year, after much resistance and speech, but really it’s Sarkeesian’s anticipation, she published the freedom of speech that is being Damsel in Distress video, and threatened. She is one woman another wave of attacks followed. trying to challenge a wrong system Her opponents again expressed and spread awareness, and has been disagreement in the forms of gender met with people who want nothing and appearance-based insults on more than to silence her. Both The comments, websites, and their own AmazingAthiest and MrRepzion Youtube videos. However this time, acknowledge that the comments people were upset not only by her “will be abusive in nature” and opinions, but a l so because she had still ask “so what?” These men fail turned of f t he comment feature to see that sexist cyber bullying, of her video upload. A male Youtube rape threats, death threats, and user, TheAmazingAthiest, argued personal attacks that as a publicly funded are seriously project, Sarkeesian’s intimidating. Damsel in Distress They fail to video should allow see why a comments, and by w o m a n ’ s disabling these s e c u r i t y she had prevented a n d democratic comfort discussion. He is important. asked in a Tumblr In this case, it post, “What are seems perfectly you afraid of, Anita? acceptable for a Why can’t people woman to mute have a discourse about comments on a your material?”12 The controversial video, previously mentioned if only to prevent user MrRepzion further abuse also commented, and protect calling Sarkeesian herself. a hardcore Ironically, “ F e m i n a z i ” w h i l e and saying, t h e s e “Really Feminist m e n Frequency...

A feminine Link Focus 101 complain that Sarkeesian is produce male-minded games to silencing their intellectual dialogue, maintain a male-dominated gaming they are trying to silence hers. culture. Games are meant to sell, Historically, men have and those with male leads seem excluded women from the gaming to disappear off the store shelves sphere. Male gamers see female faster than those with female leads. gamers as a joke, and as people who Geoffrey Zatkin, chief operating could never be a part of a culture of serious players.14 But as the gaming games “with only a male hero sold climate has shifted, this dominant aroundofficer at25% the better EEDAR, than explains games with that gaming culture has begun to feel an optional female hero. Games with exclusively male heroes sold fastest growing mass media, so around 75% better than games with ubiquitousthreatened. that Video anyone games can are be the a only female heroes.”20 However, gamer—and virtually everyone marketing is important here: simply is.15 No longer are video games an put, the more money spent on isolated activity of teenage boys advertising, the better a game will glued to their television screens. sell, and “games with only female In fact today, women represent heroes are given half the marketing 30% of the video game population budget as games with male while boys 17 years or younger only heroes.”21 represent 18%.16 The gender gap female protagonists are considered continues to shrink, and as of 2012, niche by Video the games male-controlled that feature 47% of gamers were women and industry, and thus they never 53% were men.17 However, these even start out on equal footing— numbers aren’t the same at the disadvantaged from the beginning. level of the game producers. Though there are far more female gamers be leveled? The only way is to today, there are still very few female diversifyHow this can male-centricity this playing field by video game producers, designers, adding women to the mix, especially and publishers.18 in positions of design, coding, When attacks like the ones on and development. Companies Anita Sarkeesian happen, women occasionally come up with games that may get the idea that the video feature female leads, but through the game world is male-dominated, and approval process within the (male- men make it clear that they want dominated) company and the (male- it to remain that way. This could dominated) publishers, these ideas be one reason why women seem are often shot down. Companies like scared or disinterested in pursuing Activision are only concerned with jobs in the video game industry. how well a game will sell, and games One of the world’s leading video with female leads have a poor sales game producers, Nintendo, has zero history. Game critic and writer Leigh women on its board.19 In mainstream Alexander suggests, “If Activision video gaming, male-run companies does not see a female lead in the top

102 Focus the industry would likely mean have a female lead...and the people more games with female leads. thatfive gamesdon’t want that year,a female they lead will will not Many online male gamers don’t look at games like Wet and Bayonetta want to see female leads or female and use them as ‘statistics’ to gamers. To them, women could ‘prove’ that female leads don’t move never possibly be serious gamers— mass units.”22 Here’s the problem: the only kind of gamers they believe if no one steps out of their comfort should play. The Damsel in Distress zone to create female-led games, trope hosts an environment that the cycle of reusing comfortable and allows gamers to think it’s normal boring (but lucrative) game stories for men to be the skilled heroes will continue. This environment and women the weak victims. This is unfertile for innovation and quality. Without risk, games representations and manifests itself will only continue to reproduce inhegemony real-life extendstoo. As provenbeyond byfictional Anita homogenous, generic content. But Sarkeesian, a poisonous strand if there were more women on the of male gamers want to keep their creative end, who knows how culture male-dominated and, when exceptional games could become? women try to challenge the tradition, Women are gamers, it’s a fact. they are viciously attacked. Women The majority of women (80%) are absent at the corporate level of prefer to play the Wii over the video games as well, not because Xbox360 and Playstation3.23 Wii’s they are deliberately banned and top selling games of as of March excluded, but because they are 2012 were Wii Sports, Wii Sports deterred from applying in the Resort, Wii Play, and Mario Kart— all of which contain fairly equal that women are uninterested in gender representations by allowing videofirst place.games, This on doesthe notcontrary, mean the player to choose between many they represent almost half of the (male and female) characters.24 gaming population. But hostile This shows just how much women work environments that support value gender representation in the industry’s culture of sexism and their games. These games are also a history of male gamers attacking full of customization, as Wii Sports women are the ultimate dissuasion and Wii Play games allow players to females. Though it may be the to completely personalize their current model, today’s capitalistic avatar with the Mii creator. Mario patriarchal cycle in the video game Kart is equally balanced; a player industry needs to be broken. And can be their Mii, or they can select only when more women like Anita between one of many male or Sarkeesian speak out will the female Mario game characters. It’s culture be ready to create a friendly evident that women lean towards and accepting gaming community. games that represent their gender, and more women working in

Focus 103 Works Cited sogyny-and-silencing-on-youtube. 10. Sarkeesian, Anita. “Image Based 1. Sarkeesian, Anita, “Tropes vs. - Feminist Frequency, June 01, 2012. er. http://www.kickstarter.com/ http://www.feministfrequency.Harassment and Visual Misogyny.” projects/566429325/tropes-vs-Women in Video Games,” Kickstart com/2012/07/image-based-harass- women-in-video-games. ment-and-visual-misogyny.

2. Sarkeesian, Anita, “Damsel in 11. Ibid. Distress (Part 1) Tropes vs Wom- en,” YouTube. http://www.youtube. 12. TheAmazingAtheist. com/watch?v=X6p5AZp7r_Q. “Who’s The Damsel Now?” YouTube. http://www.you- 3. Ibid. T0k&feature=youtube. 4. MrRepzion, “Re: Damsel in Dis- tube.com/watch?v=NfkS9YS_ tress.” YouTube. http://www.you- 13. MrRepzion. “Re: Damsel tube.com/watch?v=la9i2np0WTU. in Distress.” YouTube. http://www.youtube.com/ 5. Sarkeesian, Anita, “Damsel in watch?v=la9i2np0WTU. Distress (Part 1) Tropes vs Wom- en.” YouTube. http://www.youtube. 14. “No Wonder People Think Girl com/watch?v=X6p5AZp7r_Q. Gamers Are Dumb.” Front Towards Gamer, May 1, 2011. http://front- 6. Harris, Craig. “Miyamoto on the towardsgamer.com/2011/05/01/ New Mario.” IGN (blog), October. no-wonder-people-think-girl-gam- 15, 2009. http://www.ign.com/ ers-are-dumb. articles/2009/10/16/miyamoto-on- the-new-mario?page=3. 15. Sarkeesian, Anita. “Anita Sar- keesian at TEDxWomen 2012.” TED. 7. Sarkeesian, Anita, “Tropes vs. http://tedxwomen.org/speakers/ anita-sarkeesian-2. starter. http://www.kickstarter. com/projects/566429325/tropes-Women in Video Games.” Kick 16. “Essential Facts About the Com- vs-women-in-video-games. The ESA, 2012. http://www.theesa. 8. Ibid com/facts/pdfs/esa_ef_2012.pdf.puter and Video Game Industry.”

9. Sarkeesian, Anita. “Harassment, 17. Ibid. Misogyny and Silencing on You- Tube.” Feminist Frequency, June 07, 18. Toledano, Gabrielle. “Women 2012. http://www.feministfrequen- - cy.com/2012/06/harassment-mi- crets.” Forbes, January 18, 2013. And Video Gaming’s Dirty Little Se 104 Focus http://www.forbes.com/sites/ women-and-video-gamings-dirty- little-secrets.forbeswomanfiles/2013/01/18/

19. Iwata, Satoru. Nintendo’s 72nd Annual General Meeting of Share- holders June 28, 2012. http:// www.nintendo.co.jp/ir/en/stock/ meeting/120628qa/index.html.

20. Zatkin, Geoffrey. Interview by Ben Kuchera. The Penny Arcade Report, November 21, 2012. http:// www.penny-arcade.com/report/ article/games-with-female-heroes- dont-sell-because-publishers-dont- support-them.

21. Ibid.

22. Alexander, Leigh. “In-Depth: No Female Heroes At Activision?” Gamasutra, August 04, 2010. http:// www.gamasutra.com/view/ news/29719/InDepth_No_Female_ Heroes_At_Activision.php.

Educa- tion Database Online. http://www. onlineeducation.net/videogame.23. “Video Game Statistics.”

24. “Top Selling Software Sales Units.” Nintendo. http://www.nin- tendo.co.jp/ir/en/sales/software/ wii.html. The original art accompanying this article has been created by Justin Chou

Focus 105 Attracting Young People to Politics One Digital Tool at a Time by Marisa Endicott

In the 2012 Presidential election, New Media was more important than ever.

hen you checked your woven its way into most aspects email during election of our daily lives, from banking, season, candidates shopping, and even sleeping—here W greeted you with a politics is no exception. But the message to support them and their question is, to what extent? Are vision by donating as little as $2 these tools powerful enough to to $5. Each time you logged on to continue to sway and engage the Facebook, an onslaught of political younger generation, politically, for opinions, suggestions, and appeals the long term? Are its effects in this awaited you. As you watched the arena real and lasting? A positive presidential debates, new media relationship between physical bustled about the screen in all its and virtual politics seems to be forms: fact-checks, viewer tweets, bourgeoning, but with millions charts and graphs, and audience of Americans still skipping the response meters. New media has polling booths, just how much

106 Focus impact can cyberspace have? are the biggest players in social New media’s omnipresent media’s effectiveness.”4 This ease nature, especially in the lives of and accessibility seem to be driving young Americans, has helped factors in the usage of social media politics secure a position of to promote political content. For priority with newer generations. Caleb Peyton, 21, a full-time kitchen The political participation gap manager at a Bay Area restaurant, between typically disinterested websites like Stumbleupon—which youth and more engaged adults is generates random web pages with less apparent online, according to each click—have increased his a recent study by the Pew Research political awareness, “I won’t even Center. A notable 37 % of Internet be looking for it, and an article users, ages 18-to-29, use blogs or about political issues or current social network sites for political or events will pop up, and I’ll read civic engagement.1 New media is it because, why not?” he said.5. an outlet for instantaneous intake For Ryan Hui, 22, a Sociology and output of information and major at UCSB, Facebook serves as opinions, something very attractive a real-time news source, as every to the younger generation. Sara time he refreshes his home page, Callahan, 21, a fourth year student he gets the latest updates. “Because double majoring in Film and Media it is posted by my peers, it is often Studies and Communication, and topics that are more relevant and also the executive director of interesting to me,” he said.6 New UCSB’s College Republicans Club, media is an especially powerful agrees. “I think that new media has tool because it brings information to people who might not otherwise politics as an ‘old people thing,’” seek it out. Not only do these cyber shedefinitely said. urgedIn Callahan’s youth to re-thinkopinion, processes expose young people to the 2008 Obama campaign was a political information, they also help historical championing of the youth them understand it. For instance, the demographic, done almost entirely live analyst breakdowns and links via social networking.2 Indeed, to other sources and explanations social media’s political presence is that constantly popped up during palpable; during the 2012 political the 2012 presidential debates made conventions more than 50,000 content clearer, more relevant, tweets were sent per minute, and more relatable to voters like according to Denver’s 9News.3 Peyton. “Otherwise, a lot of political But what makes new media stuff goes over my head,” he said.7 such an effective tool? “It is the Another less recognized easiest, cheapest, and fastest way to access information,” is the anonymity of new media. according to Ruben Dominguez, Inbenefit Callahan’s for politicalclub, there engagement are some 35, a PhD student at UCSB studying people who do not want to attend contemporary political processes. organized meetings or events “I think mobility and portability for fear of being chastised by

Focus 107 their more liberal peers for being (Romney’s page has not been Republican. Callahan notes, “they active since the election.) After the can be a member of the Republican election, Obama harnessed Twitter group page without anyone to urge his side of ongoing budget knowing, so the people who used negotiations. The President used to fall between the cracks are the hashtag “#my2K” to refer to the now at least somewhat integrated potential $2,000-plus in taxes that into the group.”8 For many, new middle class families may have had media can feel like a safe haven. to pay if a deal was not reached. However, the connection Going directly to the public through between new media and political new media channels has also helped engagement is a two-way Obama win an extension of payroll street. Social networking and tax cuts and discount interest rates crowdsourcing sites recognize and for student loans in the past.10 exploit the market that politics These cyber developments provides them. Twitter has a have been particularly helpful in whole government and politics fundraising among young people. department that analyzes data and “Crowdsourcing funds was a huge often collaborates with third parties contribution to Obama’s 2008 victory and something Mitt Romney season, the company rolled-out also capitalized on in 2012,” said thelike Twitter polling firms.Political During Index, election which Callahan. “This strategy is certainly measured users’ feelings towards more inclusive of college students candidates and assigned them who may not have a lot to give, scores. Aside from the exposure to with the high cost of tuition, books, political material, can new media and food,” she continued. “But if actually change young people’s they can buy a Frappuccino, they minds? “Not directly,” said Peyton, can give a few bucks to the next “It doesn’t change my views, but it President of the United States.”11 allows me to develop a stance on New media has also opened issues I wasn’t formally aware of.” 9 doors for feedback and adaptation. Today, virtual tools are Being able to interact with and gauge essential to the success of political the opinions of young people— use every possible outlet to reach campaign strategies.12 Political andorganizations. persuade Officialthe population, groups organizationsin real time—allows have the opportunity for flexible particularly the younger to instantly know what works and generations. During the election, what does not, greatly improving both President Barack Obama and their effectiveness in a way not Mitt Romney created blogs on possible before. According to a Pew Research Center study, more stances and political strategies. than half of those who are a part Obama’sTumblr.com site thattended reflected to be more their of a political or community group light-hearted and humorous, communicate with each other using while Romney’s was more direct digital tools.13 Today, you would be 108 Focus virtual action into real action that does not take advantage of the though, the verdict is mixed. Internet’shard-pressed tools. to find This an does organization not just A study published in pertain to the big-time players, Nature reports that an extra but organizations on all levels. 340,000 people voted in the 2010 The UCSB College Republicans congressional elections because of a Facebook message that was sent New Media’s political prevalence. to over 61 million users on Election AccordingClub has especially to Callahan, benefitted “sharing from a Day.16 Door-knocking campaigns political article or announcing a club increased voter turnout by about event is easy and highly visible, since 8% while email campaigns only everyone goes on Facebook daily boosted turnout by one percent or anyway.” She thinks it has fostered less. The same study also concluded greater communication, both social that new media action still does not and logistical, for the organization. compare to its real-life counterpart. New Media also has allowed the Callahan’s club had a similar club to spread their message experience when they posted online farther than just Santa Barbara: encouraging members to work at “We have people across the country phone banks during the elections. re-tweeting us and people across “As a page administrator, we could the state donating.”14 Despite all see how many people had viewed the the power that these technological post or even liked it,” she explained, advancements have brought “but we still only had two people to political groups, Dominguez get downtown to call around.”17 maintains that young people are Some are doubtful that new media transfers to real action. than by political organizations.15 “For the most part, I don’t think more influenced by their friends the Internet converts people so to increased the possibilities speak,” Callahan said. “Next to ‘re- forStill, newoutreach media hasand significantlyrelation. pinning’ on Pinterest and ‘<3-ing’ When it comes to translating on Instagram, ‘liking’ on Facebook

Focus 109 is the laziest engagement behavior than 50% contacted a government you can do.”18 Others are even more cynical. “I think that more people repost political material to feel good peopleofficial, using as opposed new media to 18%politically who about themselves and show they are signedstayed a offline. petition, And, only while13% of 61% people of well-rounded than because they with no online engagement did so.21 really care,” Hui claimed. He pointed When Planned Parenthood’s to Invisible Children’s online Kony federal funding was on the chopping 2012 movement as an example: block, the public’s online reaction “It was huge, and everyone was in the form of themed statuses, reposting about it, but now it is all petitions, and fundraising hugely but forgotten, and as far as I can see, contributed to the organization’s it didn’t make any real difference.”19 preservation. Similarly, the viral But not everyone is so spread of congressional candidate Todd Akin’s “illegitimate rape” necessarily translate into real comment—and the ensuing memes action,pessimistic. but “Virtualit eases actionthe process doesn’t and online outrage—greatly for those who are seeking to contributed to his campaign loss. participate,” said Peyton. “Because The real world and cyber new media is so accessible and far- world are intrinsically linked: reaching, those pursuing real-life engagement have a much easier other and vice versa. Furthermore, 20 what happens in one influences the There is substantial evidence to relationship between virtual and supporttime figuring his pointout where of view, to start.” such physicalmany see political a mutually action. beneficial “New as the Pew Research study that media didn’t push me to vote concluded: over 53% of people who posted online about political or world interactions,” Peyton said, social issues also engaged in two “Butfor the all firstthe timeonline more exposure than real to or more civic or political activities information sparked my curiosity and triggered me to go out and seek not go online did the same. Among answers, and discuss them with my thoseoffline. who Only engaged14% of thoseonline, who more did friends and family face to face.”2

110 Focus Works Cited 1. Brady et al. “The Internet and 11. Callahan, Interview. Civic Engagement.” Pew Internet & American Life Project (2012). 12. Dominguez, Interview. Civic Engagement.”tttt (accessed November 5, 2012) 14. Callahan, Interview. 2. Callahan, Sara. Interview by Marisa Endicott. Email 15. Dominguez, Interview. correspondence. November 19, 2012. 16. Aral, Sinan. “Social Sci- Nature 459 3. Maher, Jack. “The Hashtag Ef- (2012): 295-298. article/291124/339/The-hashtag- (accessed November 5, 2012). effect-How-Twitter-is-shaping-poli- tics> (accessed November 3, 2012). 17. Callahan, Interview. 4. Dominguez, Ruben. Interview 18. Ibid. by Marisa Endicott. Email correspondence. November 30, 19. Hui, Interview. 2012. 20. Peyton, Interview. 5. Peyton, Caleb. Interview. Phone. San Francisco, CA, 21. Brady et al. “The Internet and November 26, 2012. Civic Engagement.”

6. Hui, Ryan. Interview by Marisa 22. Peyton, Interview. Endicott. Personal Interview. Goleta, CA, November 24, 2012. 7. Peyton, Interview. 8. Callahan, Interview. 9. Peyton, Caleb. Interview. Phone. San Francisco, CA, November 26, 2012. 10. Horsely, Scott. “Obama Uses Twitter to Ramp Up Fiscal Cliff The original art accompanying Pressure.” (accessed

Focus 111 ABOUT THE STAFF

CORIE ANDERSON : EDITOR-IN-CHIEF

Corie Anderson recently graduated from UCSB with a degree in Film and Media Studies, a major she mainly chose to justify the absurd amount of time she spends in front of the television screen. Her hobbies include drinking cappuccinos, playing with cats, and buying blu-rays that she cannot afford. She can also frequently be found watching horror movies alone and avoiding exercise. After graduation, Corie plans on moving to Los Angeles and making no money. Hopefully, one day people will pay her to write, but she will continue to write for free in the meantime.

CHRISTY ZEEB : ASSOCIATE EDITOR

Christy Zeeb is a recent UCSB graduate where she double majored in Film and Media Studies and Communication. In her spare time she devises elaborate heists that will pad her bank account to allow her to trott the globe, sparing no expense. Christy plans to pursue a career in action sports entertainment, but without a job lined up for the future, she hopes to continue her laid back lifestyle of minimal commitments for as long as possible. And if that gets old, she knows that there is always money in the banana stand.

112 Focus BIANCA BELTRAN : COPY EDITOR Bianca Beltran is a graduating fourth year Film and Media Studies major, from Oxnard, CA. Bianca began her career as a journalist writing for The Bottom Line and reporting for KCSB News. She has been practicing her anchorwoman smile in the mirror every morning, and hopes to continue to work in news after graduation. When not asking the hard hitting questions, she likes to watch movies, help her friends make movies, and talk about movies on her KCSB radio show, The Picture Show. GRACE DELIA : COPY EDITOR

Grace Delia is a senior English Literature major with a minor in Professional Editing. Grace most enjoys watching Amelie, often while eating cinnamon toast. Her favorite punctuation mark is the exclamation point! She plans to pursue writing in the entertainment industry.

PAULA ERSLY : COPY EDITOR Paula Ersly is a graduating senior from UCSB with a double major in Literature & Creative Writing and Film & Media Studies. She expects both degrees to serve as very nice fly swatters in the near future. She enjoys geeking out over dated science fiction programs and spends exactly 200% more time on tumblr than in the real world. (You can tell she did not major in math.) Her heroes include Tina Fey and Indiana Jones, and in an ideal world she would like to be a television-writing-archaeological-adventurer but in the meantime will be ecstatic to fetch your coffee. Now was that two sugars or three?

Focus 113 LAURA HORSTMANN: COPY EDITOR Laura is a graduating senior majoring in Film and Media Studies, originally from a farm outside of Chico. She writes, illustrates, and designs for WORD Magazine while also being an expert pizza connoisseur. After graduation she’s pretty up for anything as long as it doesn’t involve living in her car. Despite popular opinion and belief she is not Aubrey Plaza.

KEVIN VELTRI : COPY EDITOR Kevin is a third year Film and Media Studies major from Garnet Valley, PA, a small town sandwiched between Philadelphia and Wilmington, DE. If you don’t know where Delaware is, it’s a state next to a small town called Garnet Valley, PA that’s next to Philadelphia. When he grows up he would like to go to grad school, or invent a way to switch lives with another human, then participate in the process; Paul Bettany would also participate. He shamelessly promotes the television show Parks and Recreation and films starring Jennifer Connelly. CELESTE WONG : COPY EDITOR

Celeste Wong is a fourth year Film and Media Studies major and French minor from Berkeley, CA. In her four years at UCSB, she has worked on various student film productions as an actress, art director, and script supervisor. Her diverse interests range from sitting in a dark room watching and rewatching her favorite tv shows to sitting in a dark room watching movies. After graduating in June, she hopes to pursue a career as an actor and keep working with as many UCSB alumni as possible. 114 Focus ABOUT THE COVER DESIGNER

REBEKAH CHON

Rebekah Chon is a second year Film and Media Studies Communication double major who stays classy in her hometown of San Diego. Besides loving television, fashion, and graphic design, Rebekah is a big fan of puppies, crafting, and caramel macchiatos. Her favorite film is The Departed, her favorite show is Game of Thrones and her favorite superhero is a close tie between Batman and Thor. As the “visionary” and “lawyer” type, according to the Myers-Briggs personality test, Rebekah is both imaginative and logical. When she is passionate about her creative vision, she will fight to get it made. Samples of her work can be found here: rebekahchon.jobrary.com

Staff Portratits Illustrated by Hilary Campbell

Focus 115 ABOUT THE AUTHORS

HALIE ALBERTSON is a third year double major in French and Classics. She is currently studying abroad at the University of Bordeaux III Michel de Montaigne. Although not a Film and Media Studies major, she is an enthusiastic cinephile and is using her time in France to watch Nouvelle Vague films without subtitles. After graduation, she hopes to pursue an advanced degree in Comparative Literature.

ASHLEY ARMITAGE is a first year Film and Media Studies major and an aspiring film director. At age 13, she began making films and has since had her work accepted into many film festivals, notably winning in her category at the Seattle International Film Festival. By day, Ashley makes movies and plays video games. By night, she equips her sword to battle the monsters of sexism, racism, classism, and all the other -isms in order to eradicate injustice and restore peace to the world.

SARA CALLAHAN is a fourth-year Film and Media Studies and Communication double major, with a minor in Professional Writing for Multimedia. While at UCSB, Sara works as a Marketing Assistant for the PollockTheater, a position which has given her to the opportunity to meet and interview the likes of Ben Affleck, Seth Rogen, Danny McBride, andModern Family creator Steven Levitan. After graduation, Sara hopes to work in market research and consumer insights for a new media company.

ALEX EISENHART is a first-year Film and Media Studies major with a passion for performing arts, Star Trek, and aviation. Originally from San Jose, CA, this Bay Area boy is slowly making his way into the world of Los Angeles in pursuit of a career in the entertainment industry. Alex has dabbled in numerous fields of media, including journalism, newscasting, film production, photography, and screenwriting. Currently, his interests lay in creative directing, film editing, and on-stage performing.

116 Focus MARISA ENDICOTT is a fourth year Global Studies major and Professional Business Writing minor, graduating in June. Currently, Marisa works for a Santa Barbara nonprofit company and UCSB’s Sustainability department. In her free time, she loves to explore the beautiful natural setting of the University by hiking. After graduation, she plans to return to her native San Francisco Bay Area and pursue communications and social advocacy.

ALYSSON FEIL hails from the gorgeous San Luis Obispo and is a senior Film and Media Studies major and English minor at UC Santa Barbara. In addition to being a full time student, Alysson is an active member of Nikkei Student Union and has interned with the documentary production company, Green Living Project, as well as the Santa Barbara International Film Festival. Currently, Alysson interns at the Mark Gordon Company in west Los Angeles while finishing her degree.

JENNIFER LANDE is a fourth year Communication major with a minor in Professional Writing for Multimedia. At UCSB, Jennifer works as a staff assistant for the Pollock Theater and writes articles for the online entertainment magazine, TheCelebrityCafe.com. Jennifer loves baking, graphic design, and the San Francisco Giants, but most of all, she loves to watch and write about television and film. She hopes to become a production assistant upon graduation and eventually work as a television producer.

DAISY ROGOZINSKY is a second year Film and Media Studies major. She is passionate about writing, cinema, poetry, comedy, curiosity, and being passionate about things. Her favorite letter is X. In her spare time, she likes to alphabetize things, tickle newborn kittens, and talk about herself in third person. She might just be a figment of your imagination.

Focus 117 ABOUT THE ARTISTS

JUSTIN CHOU is a fifth year Biopsychology major. Justin published one zine, blahblah vol. 1 no. 1, to limited acclaim. He helps out with the Santa Barbara Do-It-Yourself scene sometimes (sbdiy.org).

HILARY CAMPBELL is a graduating Film and Media Studies major at UCSB, but there’s just so much more to her. She loves writing depressing movies, drawing cartoons of sarcastic dogs, drinking wine, eating popcorn, and sleeping to Sleepless in Seattle. That’s about it.

SLATER ELLIS is a fourth year Psychology major. After finishing his degree in Winter 2013, Slater continues to work as a customer service representative at the UCSB bookstore. In his free time Slater enjoys doodling, watching TV, and the outdoors. In the future he plans to pursue a career in social work.

TIM ROSSI is a fourth year Art major, who also is completing pre- requisites for nursing school. He has created multiple large-scale murals in local hospitals that, hopefully, provide a safe and welcoming environment for pediatric patients. He hopes to eventually become a practicing artist and full-time nurse.

VICTORIA TSAI is a first year pre-Biology major. Her hobbies include drawing and playing the cello. While at UCSB, Victoria hopes to further her interests in both science and art and pursue a career in Pharmacology.

SONIA VIRGEN is a second year Art and Global Studies double major. While at UCSB, she has discovered many different mediums—such as sculpture, printing, and digital media—which have opened her eyes to new artistic possibilities. Unsure of her future, Sonia hopes to go to grad school, someday work for Pixar Animation, and possibly be part of the Peace Corps.

118 Focus ACKNOWLEDGEMENTS

We would like to thank the following for contributing their time, effort, and/or financial support : Ellen Anderson and IV Arts, Cristina Venegas & the UCSB Film & Media Department, The Office of Student Life (OSL), Associated Students (AS), Joe Palladino, Flora Furlong, and Kathy Murray.

We would like to thank the following faculty members for their time and help : Alston D’Silva, Hannah Goodwin, Ross Melnick, Joshua Moss, Diana Pozo, Janet Walker, Charles Wolfe, and John Vanderhoef.

A very special thanks to : Jennifer Holt for her support and effort in advising. and Joe Palladino for his constant help and availability. and Dana Welch for his time and advice with editing.

The staff would like to thank everyone who submitted a piece for consideration in this year’s journal.

Focus 119