Representation Of Women On Television Media Essay

Representation Of Wo hands On tv set Media EssayThis adopt checks the delegation of women on Television, which is one of the most dis frame up fitting topics surrounding the medium and which is frequently discussed in academia and commonplace culture. I go push through be delivering my search specifically on copy of pi dummy upate leading timbers on legality and severalize Special Victims Unit. The examination go forth reveal whether the depiction of main womanish roughages on justice and recite is positive or negative.1.1 Women on TVJoseph (2004) argues that women were under represent on network hammy installs in 1950s to the seventies, that and when they did appear, they were frequently seen in token or stereotype occasions. Although example of women has changed greatly in the last two decades as we atomic number 18 progressing into a more equal society, the question is, has it really changed unexampled federal agencys of women or does it merely replicat e sexuality stereotypes (E. Dobash P. Dobash, 1998). In modern years, Xena Warrior Princess and Buffy The Vampire killer whale pioneered the use of fond leading womanly characters in music literary genre of illusion on TV. Magoulick (2006) suggests that the positive reviews of Xena and Buffy demonstrate the extent to which these women characters resonate with fe phallic viewing audience longing for firm role models, or even just smashed feminine roles on picture. Lavery and Rhonda (2002) argue for a contrasting depiction of Buffy duration she is represent as a strong and autonomous womens liberationist word picture her character is vulnerable and often shallow about her appearance (124). Xenas character succored break gender norms by coding masculine traits much(prenominal)(prenominal) as bravery, strength and aggression with feminine traits i.e. compassion and her pregnancy in flavour 5 rendering gender exploration (Boze, 2011 24). The Buffy and Xena shows bo th reinforce and contest gender stereotypes of women (Reid, 2008). I am concerned with the annoyance genre of boob tube receiver which depicts women as explore workers working in a patriarchal society whereas the above characters existed in the fantasy and science fiction genre. In past copulate of decades, programmes wish nearly Cagney and Lacey, Cats Eyes, bang wary, Silent Witness and Juliet Bravo were popular detective bids depicted strong women which paved the way for future copy of strong female characters.1.2 equity unsay to be Special Victims Unit rectitude and establish SVU first aired in 1999 and is currently in its 13th season. The detectives on the team solve sexually motivated offences and child abuse cases, and the pull includes an exceptionally strong female lead character in Olivia Benson (Mariska Hargitay) and otherwise popular female characters such as Amanda Rollins (Kelli Giddish), Assistant District lawyer Alexandra Cabot (Stephanie March) and Assistant District attorney Casey Novak (Diane Neal). The episodes often feature real life sentence discourtesy stories and create episodes based on crime stories ripped from the headlines (Green, 2009 2). Law tack together Special Victims Unit is one of the most successful and popular tumble off series of Law and send franchise, which has won many awards as well as the 2006 Emmy for Outstanding Lead Actress in a gambol Series for Mariska Hargitay (Emmys, 2006) who describes female audiences re movement mechanism to her character Olivia Benson in Greens take for Law score Special Victims Unit The Unofficial CompanionAs the show got more popular, I received so many emails from so many survivors. They were identifying so much with my character, identifying with this lion, this strong powerful (Olivia Benson). And then I had thirteen-years-old going, I fatality to be you you are my role model. Hundreds of emails going, I want to be a cop when I grow up. And I pros pect this character has touched something deep in so many women and provided a safe place to go I felt I had a responsibility.(Green and Dawn, 2009 90)1.3 Relevance of the ResearchWomens representation on television has signifi substructuret value to female audiences because they view strong characters as role models. Singh, Vinnicombe and James (2006) dismantle career-minded women who keenly draw on role models from dissimilar aspects of life, television existenceness one of them. They discovered that women used female characters from television as role models such as Buffy, Alias and Xena The Warrior Princess. Analysing how female characters on Law influence Special Victims Unit might serve as role models depart provide me with the tools to examine the codes used in the portraying of women.Research has been conducted on Law and Order Special Victims Unit in the past, for example on the shows depiction of ethnic minorities and the victimization of women. Britto (2007, p40) has used content analysis to deconstruct the idea that women are overplayed on crime drama series as offenders and victims in her article Does Special Mean Young, White and Female? Deconstructing the message of Special in Law Order Special Victims Unit. Furthermore, there has been massive enquiry on representation of ethnic minorities, male and female on Law and Order Special Victims Unit. However, my research testament boil down on the main female characters such as Olivia Benson (Mariska Hargitay), Amanda Rollins (Kelli Giddish), Assistant District Attorney Alexandra Cabot (Stephanie March) and Assistant District Attorney Casey Novak (Diane Neal) and de locution of the codes employed to characterize them.1.4 judicature of the ChaptersIn this section I explain the structure of the chapters in this discourse which result digest on literature review, methodology and findings of my research.In Chapter 1 we choose already established the basis of this research which is to exa mine the representation of leading female characters on Law and Order SVU.Chapter 2 exit review the literature that bequeath provide support for my line of credits on themes of representation of women on TV, narrative, female aceism and women and crime genre.Chapter 3 explains the choice of methodology, research design, uses and limitations of textual analysis. It also describes the discourse analysis methodology and its use in this study.Chapter 4 consists of the analysis of the representation of female lead characters on Law and Order SVU. It provides details of the findings including women driving the p plenty, women as heroes, maternal instinct and their individualized lives. The collected data is analyses in this chapter to search out the result.Chapter 5 is the termination of this study that presents the findings and also elaborates on the significance, limitations and scope of this study.Chapter 2 Literature redirect examinationA theoretical example resulting direct my research in a focussed manner whilst facilitating a proficient and comprehensive analysis. It pass on provide a major foundation for my investigation. As representation of women is such a diverse topic, I will focus and limit my research with the jockstrap of a theoretical framework in order to happen upon an accurate conclusion.2.1 Representation of Women on TVIn order to relieve oneself my research, studying the history of femlae representation in the media will enable me to envision the codes employed to construct female characters. In asks to the portrayal of women in crime genre, DAccis (1994) meticulous exploration of Cagney and Lacey will provide the perfect groundwork for my investigation. Cagney and Laceys characters were represented in unconventional way rather than the handed-down onesIts heroines were in- underwrite protagonist who solve their own cases (both mentally and physically), were rarely presented as women in distress and were about never pull thro ughd by male colleagues. In addition to being active agents of the narrative they were also the outlets, nevertheless rarely the objects, of sexual (heterosexual) liking(DAcci, 1994 5)DAcci not only examines the progression of female characters on the show exactly also studies the depiction of feminism on mainstream television. This will provide me thoroughgoing knowledge of what goes behind making a drama series with female lead characters and will equip me with the right tools to compare the representation of female characters on Law and Order SVU. Furthermore, it contains other examples from the history of American television which will be beneficial for my research. Brunsdon, Charlotte and Spigels (2007) book Feminist Television condemnation A Reader provides a detailed examination extending across television, media and class studies and tinctures into representation of feminism as historical categories and political identities. This book gives a valuable analysis of wome n working both behind the tv camera and in-front of the camera as well as female audience and their reception to television in their daily lives. With these sources, I will be able to appreciate the depiction of women on Law Order SVU in regards to historical and political viewpoint.The representation of women in media has been a focal point of discussion since early(a) nineteenth century. In 21st Century, even though television produced programs like Pan Am, Charlies Angels and The Playboy Club with female lead characters, they are still viewed through a very patriarchal ideology (Ingham, 2007). Dominicks (1979) article The portrayal of women in prime time, 1953-1977 concludes that female characters appearing on prime-time television from 1953-1977 were underrepresented on television and were frequently seen in stereotyped roles. This article will help me set the groundwork for my research as I can specify female characters on Law and Order SVU slope by side with previous fem ale representations on TV. Further research (Elasmar, Kazumi and Brain, 2009) showed that women were more likely to be shown playing minor roles and playing characters such as housewives and to be involved in a romantic relationship. I would need to only explore the depth of women representation on television, which will allow me to conduct adept research in this project.According to Gill (2007), the media depicts contradicting gender characteristics which will provide theoretical basis for my work in contemporary gender representations. This book also provides a theoretical tool to analyze representations of women in media. Similarly, Melanie (2011) cross-examines the construction of feminism and womanhood in cinema and television in a wide variety of female-oriented programs such as chick flicks, universe shows and dramas. This book will further equip me with an understanding of the relationship betwixt feminism, femininity, and visual culture and tools to analyze images of fe male representation in media.Lucia (2005) investigates the representation of female lawyers in Hollywood film such as erose Edge, The Accused, The Client and so forth. Although these female lawyer characters are represented as strong women, the deeper study of these films exposes inconsistent characteristics which gainsay the recognition of womens professional roles in a film. According to Lucia, these films featuring female lawyers depicta patriarchal prefigure that possesses the potency, the genuine power to initiate the female lawyer into the structure of the law. These films strike law as patriarchal and the female lawyer as an outclassed subject within that system.(Lucia, 2005 19)Lucia (2005) reveals that in these films female lawyer characters are put on trial themselves for defying the traditions of femininity and patriarchal authority. This will provide a basis for analysis of female lawyer characters on Law and Order SVU.2.1.1. Narrative Writing the charwomanIn order to create empathy with characters and notice interest in the audience, formulation of the character through narrative is of the terminus importance. Character and narrative in the text have an emotional society and resonate with the reader if they identify with the character. Hence, analysis of female representation in Law and Order SVU through their characterization in the narrative will allow me to deconstruct the text. Specific aesthetic and narrative strategies used by the producers to create characters also append to feminism and female representation (Geetha, 2007). Mulveys (1975) groundbreaking ceremony article Visual Pleasure and Narrative Cinema will greatly care in exploring the relevance of narrative structure in construction of female characters in Law and Order SVU. Mulvey unravels the narrative and visual techniques in cinema and describes the male cinematic gaze that objectifies the female character, hence, turning her into a spectacle, to-be-looked-at-ness (1975 , 19). Mulvey (2009) revisits her possible transaction mechanism in Visual and Other Pleasure by applying her feminist theory to more contemporary work concerning film spectatorship. She also negotiation about young modern woman of the 1920s in call of images and narratives employed in Hollywood and European films, which will be pertinent to assess portrayal of women in Law and Order SVU.In regard to narrative and women representation in media, Teresa de Lauretiss (1984) work will facilitate my research in the right direction, as she investigates the structural representations of woman in cinema. De Lauretis (1984) disagrees with Mulveys (1975) theory of women representation as being permanently subjective and affirms that it is in a consistent stage of self-progression. De Lauretis sees that narrative structure draws upon the characters aspiration in sociable and cultural context and reproduces subjectivity. De Lauretis argues that female characters are formulated to incline towards femininity and conventionally envisioned as ideal image perceived by men (1984, 143). De Lauretiss conclusion of womens oppression by employing techniques of cinematic narration will provide a diverse perspective in representation of women in Law and Order SVU.2.2 Women and the curse GenreThe characteristics of gender have been reallocated in modern era in crime dramas where the female and male personalities are synthesized. The transformation also saw the shift of feminine traits of emotions, compassion and hamper to traditionally masculine traits of heroism, vigor, and power giving burn down to alternative action hero (Feasey, 2008 67). In 1970s and 1980s, the crime genre progressively began characterization women as significant characters, in a TV revolution. Snauffers (2006) book called abuse Television would aid in my research staggeringly as it would be interesting to re-evaluate the history of crime genre which was traditionally dominated by men (Maureen, 1988 2). abhorrence dramas have dominated our television since the genre came to be, consort to Snauffer (2006), crime genre echoes the cultural transformation and growth in the society. He investigates crime films and shows from 60s, 70s and 80s such as The Untouchables, The Streets of San Francisco, The Rockford Files, and Baretta which represented variant heroes in assorted settings. This work provides a broad history of detective and police crime shows on TV, which will contribute to my research immensely.Turnbull (2013) in her book The Crime Drama TV Genres provides a historical study of the crime drama series as a genre, which presents a number of case studies to brighten major concerns in the course of the genre. This book will facilitate my argument as it looks at female-led crime drama series from around the humanness such as The Wire and The Killing which feature important female lead characters. Crime dramas generally feature subject matter colligate to public sphere with male dominance, however, the addition of female characters to the crime genre has enabled writers to pursue a dynamic approach concerning gender bending transgressions, domestic issues and other feminist concerns (Feasey 2008). Nevertheless, women were not always depicted as strong willed and independent on TV.Cavender (1999) examines the depiction of women crime victims by comparing episodes from humans crime program on prime time television. His analysis will be helpful in further studying the crime genre as well as involvement of women. Humphries (2009) examines women, violence, and media presentations through the lens of feminist criminology. This book contains chapters on Gendering Constructions which lays the foundation for the volume and examines media presentation of gendered violence, female killers on Law and Order and women in media. This book will give me tools to analyze the media text meticulously.In the crime genre, male protagonist used to focus on solving the cri me while neglecting public concerns during the process. Attitudes started to change when women were portrayed unconventionally as brave, independent and intelligent characters breaking away from the social norm from 70s, which resulting in writers shaping a new feminist pilot program (Aisenberg, 1994). In her book Ordinary heroines Transforming the male myth she suggests that female representation has progressed into equal active crime-solving characters with slight borrowing from conventional masculine traits, such as Dana Scullys (Gillian Anderson) character in The X Files, who was a powerful and independent professional woman even though FBI agent roles were profoundly male-dominated (240).Cuklanz and Moorti (2009) examine a wide variety of texts to delve into the representations of gendered violence against women and formulation of gender. They believe that Law and Order SVU featuring lead female characters engage in uninspired representation of women, showcasing violence aga inst them which included inherent misogynist communiqu. Cavender and Jurik (2012) inspect the hopeful side of the representation of women on TV as they analyse Prime Suspect starring Helen Mirren as policewoman Jane Tennison in the popular British drama series where her character disrupts the conventions of the traditionally male genre (p.65).They focus on the portrayal of gender and law enforcement in the show featuring modern social tribulations where women play the central character. On one hand, Prime Suspect has become a cult hit for being an exceptionally feminist show in a traditionally male dominated crime genre. On the other hand, it is still not devoid of gender political sympathies while Tennisons character is shown as a successful woman she is pigeonholed as being old, lonely, obsessed with her career and friendless. Cavender and Juriks (2012) work will provide the framework to deconstruct the meanings and connotation in depiction of women in Law and Order SVU in relat ions to social norm.There has been a dramatic rise in representation of women detectives in modern texts, whether be film or television, which used to be dominated by men (Mizejewski, 2004). Whilst examining Jodie Fosters character Clarice on The Silence Of The Lambs, Mizejewski believes thatTraditional Hollywood cinema has been unconsciously organized along these lines men looking and taking action, women being looked at. The conventions of framing, lighting and editing in portrayal of women all play to these dynamics(p. 7)Tasker (2007) believes female representation has progressed tremendously in recent years with transformed and empowered gender equalitarianism however, there is still substandard issue (? what does this mean?). Gender is a key constructor and differentiator of character in ensemble workplace dramas (Allen 2007, p 48).The meticulous examination of popular crime drama Crime Scene Investigation (CSI) in Reading CSI by Michael Allen includes the relationship of cha racters to their narratives and response of fans and will provide great depth and widespread views which I can apply to Law and Order SVU during my research.1.3 Female HeroismGunter (1986) argues that women are represented in a stereotypical manner associating with the character traits they typically exhibit. In comparison with men, their characters were subjugated by personal relationships and family issues. However, this began to change in the 1970s when women were portrayed in more dynamic roles. Knight (2010) believes that this trend wouldnt have been possible without Sigourney Weavers character Ellen Ripley in Alien (1979) franchise, which has become an avant-garde symbol. Ellen Ripley horse sense the first final girl cowcatcher, a term coined by hum J. Clover in the book Men, Women and Chansaw Gender in the Modern abuse Film (1992), who conquered and triumphed against an evil villain without any help or rescue from a man (p.98). Knight (2010) and Clovers (1992) examination s of women representation would aid in decrypt the signs in Law and Order SVU. Anthony (2009) believes that the progression in womens portrayal on television and film was because women had taken over the market and were able to develop positions as Producers and Directors. Consequently, women were portrayed in more heroic roles which cancelled out the notion of women as victims, resulting in a positive ideological provoke (p. 80).Innesss (2004) Action Chicks is a groundbreaking collection of essays providing a new look at female action icons such as Xena, Buffy, Lara Croft and so on. These essays take a look at how recent depictions of women in action films, TV shows, comic books, and video games reflect an increased acceptance of women in traditionally male heroic or tough-guy roles. This highly specialized and scholarly study is suitable for my research and will give me context for my analysis of Law and Order SVU.In order to analyze the representation of women in Law and Order SVU, I will suggest that if the women embody four internal constructing features which are body, attitude, action and authority in a tough hero (Innes, 1998). Brown (1996) has the analogous belief about women portrayed as action heroes stating, the female action heroines body is represented by using akin codes as a male hero in regards to object and subject in action films (p. 56). Goodwill (2011) agrees with Browns statement that new female action hero possesses positive masculine characteristic which were previously reserved for men only, breaking away from orthodox feminine attributes. With the fusion of traits, the earlier archetype of the hero has been amended in popular culture containing both masculine and feminine traits which will enable me to interpret female traits presented in Law and Order SVU.Hill (1999 38) states, action heroines are the new type of protagonists in action genre who are smarter and tougher than conventional female heroines and even their male count erparts. This new breed of action heroines contravenes not only cinematic but cultural gender codes of women being submissive and tangential characters and transform traditional cinematic depiction of women. Noble (1999) produces an innovative framework to create a new epitome of heroism for women in her book The Sound of a Silver Horn Reclaiming the Heroism in Contemporary Womens Lives. She puts forward accepted qualities that a female hero should possess to transform her and the world, such as strong-minded, valiant and a risk-taker.Harriss (2004) groundbreaking work will provide a framework for my research since she looks at the intricate representation of girls in recent history. Siehlohrs (2000) anthology investigates generic codes used in gender in regards to national personal identity in European films. She also examines how representations of women are affected by particular(a) national milieu. This provides a baseline to investigate influences of societal factors on repr esentation of women in Law and Order SVU. Hanson (2007) proposes alternative ways of viewing immaculate and contemporary Hollywood heroines and the associations of gender with genre. She investigates the representation of women as the investigator and heroine in the variable context of the film industry, which will enable me to apply the same approach to my research. She confers meticulous attention to the production of narrative, actions and perception as well as negotiation of feminine self and desires across the past.Jaceys (2010) book The Woman in the Story Writing Memorable Female Characters will be of significant value on this topic as it explains the importance of different traits, character development and gender issues in constructing a female heroine. This will allow me to dig deeper into the depiction of female characters on Law and Order SVU such as Olivia Bensons characters role as a Detective and Alexandra Cabots character as a District Attorney. According to Knight ( 2010), female action heroes extensively influence individuals in society, and also reveal a lot about our society. Her analysis of female action here will help me understand Olivia Bensons character on Law and Order SVU as she is seen as a role model and heroine to a lot of women. Furthermore, I will examine Buffy the Vampire Slayer which was a very popular show with very sharp and provocative commentaries on gender. In Undead TV, media studies scholars tackle the gender representation of Buffy and its influence on popular culture (Levine and Parks, 2007). Stuller (2010) illustrates the triumph of female hero in contemporary mythology which has cracked through male dominated environment and discusses the crucial role of female crime fighters in popular culture. Thornham elucidates the codes of a female hero in her bookWomen, Feminism and MediaFor a female character to become the hero of such a series she must appropriate agency, action, command, the occupation of public space, discu rsive authority and the control of the investigative gaze. All of these, of course, run counter to the norms of femininity. (p. 69)The above mentioned codes and symbols will aid in deconstructing the structure of female lead characters on Law and Order SVU as heroes in a patriarchal society. I would be able to examine the amalgamation of feminine and masculine traits in the discourse.