Judith Butler in Media Studies

In "Where the girls are: Growing Up Female With the Mass Media," Susan Douglas analyses the effects of mass media on women of the nineteen fifties, and more importantly on the teenage girls of the baby boom era. Douglas explains why women have been torn in conflicting directions and are still struggling today to identify themselves and their roles. Douglas recounts and dissects the ambiguous messages imprinted on the feminine psyche via the media. Douglas maintains that feminism is a direct result of the realization that mass media is a deliberate and calculated aggression against women. While the media seemingly begins to acknowledge the power of

Louise Halfe’s “Body Politics” challenges the qualities and behaviour of the idealized feminine woman by contrasting the stereotypical “city woman” with a more masculine “real woman.” The poem’s speaker describes her mother’s opinion of what it means to be a real woman, which is seen through “Mama said.” Throughout the poem, the speaker uses vivid imagery to create a stark contrast between the idealized feminine “city woman” and a “real woman” who does not conform to the feminine gender norm. To begin with, the title of the poem itself can be viewed as an obvious critique of the feminine ideal. By definition a body politic is a group of people “considered as a collective unit” (Merriam-Webster). This is significant because in Butler’s theory, she emphasizes that a person’s gender can vary depending on a given situation, and therefore women cannot be grouped together and defined exclusively by their feminine qualities. Instead, she argues that women should be viewed as individuals capable of possessing both masculine and feminine behaviour. This belief relates directly to the poem’s title, as Halfe is clearly making a statement on the manner in which patriarchal societies expect women to conform to a singular feminine ideal. Moreover, it illustrates how women’s bodies become a political site for the masculinist culture to impose feminine gender on. With consideration to the title’s reference to a homogeneous group of women, it is interesting that stanzas two through four all

In Octavia Butler’s Dawn the idea of gender is deconstructed and reformed from the typical human’s definition. Often people do not consider the role of gender in society today. Usually the first thing one notices when meeting someone new is their gender or their presumed gender. However, there becomes a problem when the person whose gender we perceived identifies as a different gender. Butler forces the reader to examine how they judge and perceive gender. While the ooloi are actually “its” their personalities seem to imply a certain gender. The transgender community often brings up this issue because these assumptions of gender based on our judgments of what defines a male and what defines a female can skew how a transgender person is treated and addressed. In Chapter One of Gender Through the Prism of Difference by Anne Fausto-Sterling, the idea of expanding the number of genders based on one’s biological differences is examined through the five sexes theory. By now the concept of gender being defined solely by one’s biology has mostly been left in the past but the question remains of how do we truly define gender? How does being outside of the social norms that Michael Warner talks about cause us to feel shame when discussing our gender and our perceptions of gender? In this essay, I will argue that preconceived notions of gender create shame when a person’s own perception of their gender does not fit the social norms. This stigma around the limited and strict definitions

The Miss Representation documentary film by Jennifer Newsom explores how media contributes to the under-representation of women in influential positions. This message is portrayed by delivering content through media and technology as well as advertising partial and/or often degrading interpretations of women. The consequences are becoming more and more dreadful. In today’s world, composed of a million stations, people will tend to do more and more shocking things to break through the crowds. They resort to violent, sexually offensive, or demeaning images. Jean Kilbourne, EdD, filmmaker, Killing Us Softly Author and Senior Scholar Wellesley Center’s for Women states, that “it creates a climate in which

The first section of Gender and the Media addresses gender representations and the beginning of feminism. During the late 60’s and early 70’s, women’s rights movements were first introduced with the challenge of the media, prompting them monitor the way the media portrayed women. This portrayal starting in the late 1970’s has seen many transmissions since. Gil states: “I use the term feminism to signal a concern with enduring gender

Faderman takes a decidedly social-constructionist analysis as she examines lesbian life in Twentieth Century America, arguing from the start that its definition has less to do with innate same-sex attraction than with external sociopolitical influences. It is apparent that in the debate between the “essentialist lesbians” and “existentially lesbians” she offers no apologies (and plenty of reasons) in siding with the latter. Not only does she explore how the sub-culture continually responds to external pressures such as conservative politics and institutional biases but deeply analyzes how then the community expands and contracts to its marginalization and oppression. For instance, she describes numerous times (such as the butch/femme role enactment and the demand for a regulated sexual intercourse between women in the 1970’s) when the lesbian community – and corresponding social movement – enacts various border patrolling and internal policing to maintain its strict identity as women to keep the pressure and agents of the patriarchy outside.

Judith Butler’s article on “Performance Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory,” denotes that gender identity represents a performative accomplishment induced by social taboo and sanction (Butler 520). Even though Butler’s theory on gender performativity has played an influential role in cultural studies and feminist theory, certain areas of philosophy provide significant insight into critical social theory. From the perspective of critical legal thinkers, Butler’s idea of performativity is linked with her views on gender and plays an important role in legality as well as politics. Critical theory in gender performativity presents a social theory to critique and change the society as opposed to the traditional theory. Similarly, critical theory has the objective to explore beyond the surface of social life to unveil the assumptions that limit a proper understanding of how the world functions. The concept of gender performativity instigated by Butler’s book, Gender Trouble, starts by reflecting on the female identity (Fagot 3). In other words, Butler criticizes the critical approaches to feminism that influence the idea of identity politics and the notion of female identity. Similarly, the various approaches seem to ignore the idea that all the various identities come from the effects of repressive regimes and authority as well as the issues raised by the feminists. The concept of gender performativity has a social and cultural obligation

For queer theorists, identity has been constructed through performativity, which is based on the opinion of Judith Butler. Butler (1990, p.25) believed that “ there is no gender identity behind the expression of gender; that identity is performatively constituted by the very ‘expressions’ that are said to be its results.” In other words, there is not any factor to produce the identity, but identity creates itself through performativity. One should imitate and repeat the gender expression again and again according to norms, then the identity will be constituted, which also shows that identity is fluid and constructed. Moreover, Jenkins (2000,2004) stated that a dynamic social process generates identity, so identity is not static but fluid and dynamic.

This book features a collection of Judith Butler’s essays and her primary intention with this collection is to “focus on the question of what it might mean to undo restrictive normative conceptions of sexual and gendered life” (12). These essays look at the construction of gender and the way certain conceptions of it are normalized and reproduced in potentially harmful and limiting ways. Butler uses a feminist poststructural framework to critique the normalizing/marginalizing views of gender that exist because the “terms that make up one’s own gender are, from the start, out-side oneself, beyond oneself in a sociality that has no single author (and that radically

Queer theory questions creations of normal and divergent, insider, and outsider.2 Queer theorists analyse a situation or a text to determine the relationship between sexuality, power and gender. Queer theory challenges basic tropes used to organize our society and our language: even words are gendered, and through that gendering an elliptical view of the hierarchy of society, and presumption of what is male and what is female, shines through. Queer theory rejects such binary distinctions as arbitrarily determined and defined by those with social power. It works to deconstruct these binaries, particularly the homosexual/heterosexual binary.4

Spargo goes on to address some of the criticisms of Foucault and how these failing have been addressed as queer theory has developed. The most significant of these criticism as addressed by Spargo was Foucault’s focus on masculine sexualities . Spargo explores the relationship of the production of sexuality to gender through a discussion of Judith Butler. Butler argues that gender is produced and understood via cultural discourse in the same way as sexuality . Gender according to Butler is

Gender is defined in Undoing Gender in an act of improvising within a scene of constraint, where one that is always within a social context, and never outside of the ideology. Butler expresses that Undoing Gender expresses an understanding of how “restrictively normative conceptions of sexual and gendered life” might be undone. She stresses throughout the reading that this process of undoing is not something that is negative or

Dating back to the 1920’s mass communication mediums of film, television and print have all been means that act as powerful tools of propaganda and thus play an integral role in the lives of individuals. It is for this reason that it is often widely accepted that the media is to be used as a tool, which represents a common public interest. Men and women are represented through forms of media in different ways, which create images depicting stereotypical traits and characteristics. The problem brought fourth by this is concerned with the issue of gender or the ‘discourse’ of gender and how individuals perceive themselves (Gauntlett, 2008) As the media is such a big part of everybody’s lives, there is not doubt that when this powerful function is synthesized with the medium’s capacity to accentuate present day realities on our screens the result tends to elicit a dominant ideology; which in turn presents an argument for major ethical implications in regard to public stigma and subsequent prejudice. This essay shall critically consider gender representation in Sex and the City (HBO, 1998-2004) and the extent to which these characters challenge the patriarchal privilege.

According to Judith Butler’s theory, gender is a social concept and not a natural part of being, therefore making it unstable and fluid. Gender identities are produced through what Butler calls “performativity,” the repetitive acts of expression that form and define the notions of masculinity and femininity. These repeated performances are engrained within the heteronormative society and impose these gendered expectations on individuals. In this respect, gender is something inherent in a person, however Butler writes “gender is always a doing, though not a doing by a subject who might be said to pre-exist the deed.” In Olga Tokarczuk’s House of Day, House of Night identity is undoubtedly central to the characters’ stories, specifically the strict social constructs of gender that is snarled with one’s identity. Tokarczuk’s novel presents a mosaic of stories that put into question heteronormative gender roles, while offering an alternative way of existence. Analyzing House of Day, House of Night with Judith Butler’s gender theory demonstrates the characters struggles within the rigid constructions of gender and how some ultimately deal with moving past such restricting expectations.

What necessary tasks does Judith Butler identify for feminist criticism? How is her articulation of and response to these tasks characteristically "postmodern"?