Ariel Levy: Women And The Rise Of Raunch Culture

Sex sells. And the film industry has no qualms in taking advantage of this. The 1970s film industry saw the coining of the term ‘male gaze’. The gaze refers to a point of view, the male gaze defines “the perspective as specifically at heterosexual men” (Monash). “Women are objectified and exhibited, to be looked at by men in the film” (Columbia). With scantily clad women present in various movie genres such as: action, science fiction, and fantasy, it’s easy enough to see that they’re often over sexualized in the industry. But it’s not just about nudity. It’s about women performing ridiculous acts, (Claire running from a dinosaur in heels in Jurassic World). It’s about being characterized as a helpless person always needing to be rescued. But

Ariel Levy, a staff writer at the New Yorker, and author of the article “Female Chauvinist Pig” has brought up a very interesting topic about Raunch Culture. Now, what particularly is raunch culture? Raunch culture, in my own words, I can say is defined as a culture which allows a woman to participate in male-dominant cultures of raunch that deals a lot with sex in a way that is meant to be funny. Women who participate in this culture have to reject some of the things women are known to do, which they consider “girly-girl”. Although some things that they wear or do are considered “girly-girl”, women still have to embrace, acknowledge and accept certain male stereotypes in order to participate in raunch culture.

The magazine article describes the stark contrast in the portrayal of female sexuality between pre-Code and post-Code movies. Pre-Code movies are flagrantly sexual; although some contemporary film critics believe that women were simply embracing their sexual freedom through these pre-code films, the marketing for many of these brazenly sexual films often included derisive comments from males, suggesting that the intent of overt sexuality in films was more crude. Post-code films often used screenwriting strategies to stay within bounds of the Code. Denby argues that this censorship actually created a net benefit for women, who were given stronger personalities and more interesting plot lines instead of simply being sexual objects. The article suggests that censorship led to the inception of the screwball comedy genre, which was forced to “create sex without sex.”

The documentaries Dream World 3 and Killing Us Softly 4 examine the exploitation of women within the media. The media, such as advertisement and the music video industry, relies heavily on the seductive image of female sexuality. Evident in not only every genre of music, but also every form of advertisement, the videos and advertisements expose and, subsequently sexualize the female body. Such sexualization inevitable leads to

Adams and Fuller(2006) define‘‘misogyny as the hatred or disdain of women. It is an ideology that reduces women to objects for men’s ownership, use, or abuse. This ideology is widespread and common throughout society’’ (p. 939). The devaluation of young minority women through the hip hop culture is an epidemic. The word choices conveyed in

Media influence has caused beauty to evolve into ideals that can’t actually be attained. In addition to this, women are objectified and seen as sex objects, being sexualized by men without consequence due to the normalcy the media has created for genders. In fact, men are even encouraged to sexualize women. During her TEDTalk, Kilbourne presented a photo of an adolescent boy wearing a shirt that stated “pimp squad,” showing how our society is comfortable with men sexualizing women from a very young age. In contrast, women are labeled as sluts or whores without even engaging in sexual activity. I, for example, have been called a slut for wearing leggings, merely talking to a guy, and even wearing shorts— in the summer.

In the music videos, I saw women being mistreated. I can’t knock someone’s hustle but I don’t think artists need to take their videos to the extreme. I didn’t feel like Biggie, Tupac, and Cash Money [popular artists in the early 90s] were as fixated on the women. They were more about showing off their money and cars, and clothes. (Roberts-Douglass & Curtis-Boles, 2012, p. 10)

What dictates the social roles, the individual responsibility everyone has in society, and stereotypes, an overgeneralized and oversimplified belief of a particular person or group, in America’s 21st century society? Can rationale and critical thinking be held accountable for the establishment of ethical beliefs involving people and their sex, gender related value systems? The following readings covered in this essay are both found within the textbook, Signs of Life in the U.S.A.: Readings on Popular Culture for Writers; the Introduction: Popular Signs written by coauthors Sonia Maasik, a writing programs lecturer at the University of California, Los Angeles, and Jack Solomon, an English Professor at California State University, and located within the second chapter of the textbook, the brief article, Dove’s “Real Beauty” backlash, written by Jennifer L. Pozner, the executive director of Women In Media & News (“Sonia Maasik”)(“Jack Solomon”)(194). Mass entertainment culture, the popular interests of the majority broadcasted in the media, can be attributed for constituting and sustaining the potentially hindering culture myths, a fictitious but widely accepted belief of a certain culture, regarding all genders. These cultural myths are not exclusive to men and women as they also involve transgender individuals and others who identify as another gender not classified under ‘cisgender.’ An extensive analysis of mass entertainment culture and

Females who are over-sexualized often seek attention and acceptance. Raunch is less about female sexual liberation but instead it is fulfilling the male fantasy of unlimited female availability contributing to the stereotypes of gender roles. Raunch Culture is often seen in movies, various forms of advertisements, and through female celebrities. For example, young girls are influenced by Disney’s hidden sexual messages. This creates a negative image by making it acceptable to objectify women. Through the media women expose their bodies, using liberation as an excuse to support raunch culture contributing to the stereotypes of gender roles.

The issue of sexuality in advertising has been raised in the last ten years (Brooke, 2010; Bradley, 2007; Phillips, 2005; Kent, 2005 & Levy, 2005), hence the concept of raunch culture raises the question of whether women are being empowered or victimised. This essay will discuss whether raunch culture represents a wave of new feminism, focusing on whether women’s sexuality is being celebrated in a healthy and empowering manner or preyed upon by marketing’s misogynistic and exploitating image of the good life laid out in various media forms, from billboards to sex videos to television advertisements and movies. It will also identify the role and responsibilities of marketers in relation to the stakeholders involved. Subsequently, followed

In the article “Women and the Rise of Raunch Culture” by Ariel Levy, she accuses

Popular culture is often a reflection of society; both literature and the media have the capacity to cement ideas in the minds of readers and viewers. In many cases, the notions and stories glorified by the media refrain from sharing a true depiction of society and are narrow-minded in their focus. Recently, the feminist movement has denounced popular culture for its ignorance, fighting for a more realistic portrait to be painted by those with the power to reach millions. Specifically, both Roxane Gay’s Bad Feminist and Chimamanda Ngozi Adichie’s “The Danger of a Single Story” share how the classic gender stereotypes seen in popular culture are unable to capture the full spectrum of stories that define society, and are limiting in their portrayals of women. Moreover, both authors share personal stories, reference prominent world figures, and cite relevant statistics in their works. Therefore, in both Bad Feminist and “The Danger of a Single Story”, Roxane Gay and Chimamanda Ngozi Adichie appeal to readers pathos, logos, and ethos in order to construct the argument that the single story of women in popular culture is stereotypical and restrictive.

​As the sexual revolution began in the 1950s, stag films became less and less popular. However, Irving Klaw filmed the popular pin up model, Bettie Page, in several specialty stag films from 1952 - 1957; and the film Smart Alec, starring Candy Barr, was released in 1951.

This binary relationship manifests itself in Levy’s work in another way, as well. Toward the very end of the book Levy claims she has no complaint against women who do gain genuine sexual pleasure from “their vaginas waxed, their breasts enlarged” (Levy, 198). On one hand, Levy recognizes that sexuality is personal and that everyone’s own experiences and preferences are unique. Yet at the same time, by drawing the line between “authentic” and “fake”, she must impersonally interpret these experiences in order to classify them as “problematic”. This desire to judge yet not judge women’s sexual nature represents an underlying tension within the book that threatens to unravel her arguments.

(Weisstuch). The underlying message is that women live exclusively for the sexual gratification of men based on male power, privilege and preference. These images serve as a grim reminder that women are being exploited as sexual objects through rap videos. Therefore, the objectification of women through the means of rap music is a major influence in the exploitation of women.