Relevant bibliographies by topics / Sex role on television. Women on television. Stereotype (Psychology) / Journal articles
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Journal articles on the topic 'Sex role on television. Women on television. Stereotype (Psychology)'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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1

Furnham, Adrian, and Emma Skae. "Changes in the Stereotypical Portrayal of Men and Women in British Television Advertisements." European Psychologist 2, no. 1 (1997): 44–51. http://dx.doi.org/10.1027/1016-9040.2.1.44.

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This study examines the way in which men and women are portrayed in British television advertisements, and these findings are compared with those of studies carried out in Britain over the past 25 years. A total of 162 television advertisements were analyzed by two white adults, one female, one male, in order to obtain reliable results. The attributes of the central figures in each of the advertisements were classified into 11 categories: gender, mode of presentation, credibility basis, role, location, age, argument, reward type, product type, background, and end comment. Advertisements aimed
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2

Perryman, Nyssa, and Sandra Theiss. "“Weather Girls” on the Big Screen: Stereotypes, Sex Appeal, and Science." Bulletin of the American Meteorological Society 95, no. 3 (2014): 347–56. http://dx.doi.org/10.1175/bams-d-12-00079.1.

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Women currently in the broadcasting meteorology field have dealt with—and continue to deal with—restrictive stereotypes based on the public's perception of their physical appearance and intelligence, largely stemming from the “weather girl” stereotype developed in the 1950s. This sexist stereotype is best seen and often exaggerated in cinematic films and television shows; however, the public's ability to distinguish the truthful and fictitious aspects of these stereotypes is important because these stereotypes limit the level of trust established between female weathercasters and viewers while
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3

Krems, Jaimie Arona, Ahra Ko, Jordan W. Moon, and Michael E. W. Varnum. "Lay Beliefs About Gender and Sexual Behavior: First Evidence for a Pervasive, Robust (but Seemingly Unfounded) Stereotype." Psychological Science 32, no. 6 (2021): 871–89. http://dx.doi.org/10.1177/0956797620983829.

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Although casual sex is increasingly socially acceptable, negative stereotypes toward women who pursue casual sex remain pervasive. For example, a common trope in television, film, and other media is that women who engage in casual sex have low self-esteem. Despite robust work on prejudice against women who engage in casual sex, little empirical work has focused on the lay theories individuals hold about them. Across six experiments with U.S. adults ( N = 1,469), we found that both men and women stereotype women (but not men) who engage in casual sex as having low self-esteem. This stereotype i
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4

Handayani, Diah. "Political Identity, Popular Culture, and Ideological Coercion: The Discourses of Feminist Movement in the Report of Ummi Magazine." Jurnal Pemberdayaan Masyarakat: Media Pemikiran dan Dakwah Pembangunan 5, no. 1 (2021): 185–210. http://dx.doi.org/10.14421/jpm.2021.051-08.

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This research examines the rise of Islamic populism in Indonesia and understands it as an instrument to clear a new pathway for populism movement into popular culture. Ummi magazine is one of the religious media used to be political vehicles of stablishing constituencies, especially for the Tarbiyah movement in the Soeharto era to the current tendency to popularize the Tarbiyah identity as a new lifestyle. Historically, The Tarbiyah movement in Indonesia is a social and political movement among Indonesian Muslimah students, especially activists in the Suharto period. Muslim middle class entrep
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5

Glascock, Jack. "Contribution of Demographics, Sociological Factors, and Media Usage to Verbal Aggressiveness." Journal of Media Psychology 26, no. 2 (2014): 92–102. http://dx.doi.org/10.1027/1864-1105/a000115.

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Given the increasing relevance of verbal aggression in today’s society, the goal of this study was to assess the relative contributions of potential demographic and sociological factors. Emerging adults were surveyed, and the data were analyzed using correlations and hierarchical regression. While television viewing, video game playing, and music listening were positively correlated with verbal aggression, only (rap) music listening remained significant when demographic and other sociological influences were factored in. Overall, the hierarchical regression analysis found religiosity, parental
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6

Romaniuk, Oleksandra, and Larissa Terán. "First impression sexual scripts of romantic encounters: Effect of gender on verbal and non verbal immediacy behaviors in American media dating culture." Journal of Social and Personal Relationships, July 19, 2021, 026540752110330. http://dx.doi.org/10.1177/02654075211033036.

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The current study investigates sexual scripts in reality dating shows—in particular, how the gender of the communicator affects the choice of verbal and nonverbal immediacy behaviors aimed at making a first impression. Data were drawn from 331 couples of opposite-sex heterosexual strangers interacting for approximately 30 seconds on two reality dating shows: The Bachelor and The Bachelorette (2012–2019). As a result, a codebook of verbal immediacy cues ( N = 1623) and nonverbal immediacy cues ( N = 3021) was derived. The findings showed that verbal behavior encompassed 11 categories of verbal
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7

Nijhawan, Amita. "Mindy Calling: Size, Beauty, Race in The Mindy Project." M/C Journal 18, no. 3 (2015). http://dx.doi.org/10.5204/mcj.938.

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When characters in the Fox Television sitcom The Mindy Project call Mindy Lahiri fat, Mindy sees it as a case of misidentification. She reminds the character that she is a “petite Asian woman,” that she has large, beautiful breasts, that she has nothing in common with fat people, and the terms “chubbster” and “BBW – Big Beautiful Woman” are offensive and do not apply to her. Mindy spends some of each episode on her love for food and more food, and her hatred of fitness regimes, while repeatedly falling for meticulously fit men. She dates, has a string of failed relationships, adventurous sexua
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8

Marshall, P. David. "Seriality and Persona." M/C Journal 17, no. 3 (2014). http://dx.doi.org/10.5204/mcj.802.

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No man [...] can wear one face to himself and another to the multitude, without finally getting bewildered as to which one may be true. (Nathaniel Hawthorne Scarlet Letter – as seen and pondered by Tony Soprano at Bowdoin College, The Sopranos, Season 1, Episode 5: “College”)The fictitious is a particular and varied source of insight into the everyday world. The idea of seriality—with its variations of the serial, series, seriated—is very much connected to our patterns of entertainment. In this essay, I want to begin the process of testing what values and meanings can be drawn from the idea of
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9

Waterhouse-Watson, Deb, and Adam Brown. "Women in the "Grey Zone"? Ambiguity, Complicity and Rape Culture." M/C Journal 14, no. 5 (2011). http://dx.doi.org/10.5204/mcj.417.

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Probably the most (in)famous Australian teenager of recent times, now-17-year-old Kim Duthie—better known as the “St Kilda Schoolgirl”—first came to public attention when she posted naked pictures of two prominent St Kilda Australian Football League (AFL) players on Facebook. She claimed to be seeking revenge on the players’ teammate for getting her pregnant. This turned out to be a lie. Duthie also claimed that 47-year-old football manager Ricky Nixon gave her drugs and had sex with her. She then said this was a lie, then that she lied about lying. That she lied at least twice is clear, and i
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10

Watkins, Patti Lou. "Fat Studies 101: Learning to Have Your Cake and Eat It Too." M/C Journal 18, no. 3 (2015). http://dx.doi.org/10.5204/mcj.968.

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“I’m fat–and it’s okay! It doesn’t mean I’m stupid, or ugly, or lazy, or selfish. I’m fat!” so proclaims Joy Nash in her YouTube video, A Fat Rant. “Fat! It’s three little letters–what are you afraid of?!” This is the question I pose to my class on day one of Fat Studies. Sadly, many college students do fear fat, and negative attitudes toward fat people are quite prevalent in this population (Ambwani et al. 366). As I teach it, Fat Studies is cross-listed between Psychology and Gender Studies. However, most students who enrol have majors in Psychology or other behavioural health science fields
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11

Fredericks, Bronwyn, and Abraham Bradfield. "‘I’m Not Afraid of the Dark’." M/C Journal 24, no. 2 (2021). http://dx.doi.org/10.5204/mcj.2761.

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Introduction Darkness is often characterised as something that warrants heightened caution and scrutiny – signifying increased danger and risk. Within settler-colonial settings such as Australia, cautionary and negative connotations of darkness are projected upon Black people and their bodies, forming part of continuing colonial regimes of power (Moreton-Robinson). Negative stereotypes of “dark” continues to racialise all Indigenous peoples. In Australia, Indigenous peoples are both Indigenous and Black regardless of skin colour, and this plays out in a range of ways, some of which will be hig
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12

Carmago, Sandy. "'Mind the Gap'." M/C Journal 5, no. 5 (2002). http://dx.doi.org/10.5204/mcj.1981.

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The structuring of a film's plot as the trajectory of the goals and desires of a single protagonist can be seen as the most critical development in cinematic narrative. In addition to its commodity implications via the star system and its centrality to a range of important film theories about fantasy and pleasure, the single protagonist is the linchpin of the cinema's ability to transmit messages that confirm the most basic myths about the power of the individual in society. While Hollywood's use of the single protagonist as a model for the self is particularly detrimental in the United States
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13

Rushkoff, Douglas. "Coercion." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2193.

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The brand began, quite literally, as a method for ranchers to identify their cattle. By burning a distinct symbol into the hide of a baby calf, the owner could insure that if it one day wandered off his property or was stolen by a competitor, he’d be able to point to that logo and claim the animal as his rightful property. When the manufacturers of products adopted the brand as a way of guaranteeing the quality of their goods, its function remained pretty much the same. Buying a package of oats with the Quaker label meant the customer could trace back these otherwise generic oats to their sour
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14

Brennan, Joseph. "Slash Manips: Remixing Popular Media with Gay Pornography." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.677.

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A slash manip is a photo remix that montages visual signs from popular media with those from gay pornography, creating a new cultural artefact. Slash (see Russ) is a fannish practice that homoeroticises the bonds between male media characters and personalities—female pairings are categorised separately as ‘femslash’. Slash has been defined almost exclusively as a female practice. While fandom is indeed “women-centred” (Bury 2), such definitions have a tendency to exclude male contributions. Remix has been well acknowledged in discussions on slash, most notably video remix in relation to slash
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15

Rutherford, Amanda, and Sarah Baker. "The Disney ‘Princess Bubble’ as a Cultural Influencer." M/C Journal 24, no. 1 (2021). http://dx.doi.org/10.5204/mcj.2742.

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The Walt Disney Company has been creating magical fairy tales since the early 1900s and is a trusted brand synonymous with wholesome, family entertainment (Wasko). Over time, this reputation has resulted in the Disney brand’s huge financial growth and influence on audiences worldwide. (Wohlwend). As the largest global media powerhouse in the Western world (Beattie), Disney uses its power and influence to shape the perceptions and ideologies of its audience. In the twenty-first century there has been a proliferation of retellings of Disney fairy tales, and Kilmer suggests that although the main
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16

Little, Christopher. "The Chav Youth Subculture and Its Representation in Academia as Anomalous Phenomenon." M/C Journal 23, no. 5 (2020). http://dx.doi.org/10.5204/mcj.1675.

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Introduction“Chav” is a social phenomenon that gained significant popular media coverage and attention in the United Kingdom in the early 2000s. Chavs are often characterised, by others, as young people from a background of low socioeconomic status, usually clothed in branded sportswear. All definitions of Chav position them as culturally anomalous, as Other.This article maps out a multidisciplinary definition of the Chav, synthesised from 21 published academic publications: three recurrent themes in scholarly discussion emerge. First, this research presents whiteness as an assumed and essenti
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17

Cruikshank, Lauren. "Synaestheory: Fleshing Out a Coalition of Senses." M/C Journal 13, no. 6 (2010). http://dx.doi.org/10.5204/mcj.310.

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Everyone thinks I named my cat Mango because of his orange eyes but that’s not the case. I named him Mango because the sounds of his purrs and his wheezes and his meows are all various shades of yellow-orange. (Mass 3) Synaesthesia, a condition where stimulus in one sense is perceived in that sense as well as in another, is thought to be a neurological fluke, marked by cross-sensory reactions. Mia, a character in the children’s book A Mango-Shaped Space, has audition colorée or coloured hearing, the most common form of synaesthesia where sounds create dynamic coloured photisms in the visual fi
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