Sexual Politics Around Teddy Girl Identity

Furthermore, in spite of women gaining independence they started to shock society by their rebellious fashion styles and attitudes. Their rebellious attitudes were shown mainly through fashion choices: hemlines got raised, more jewelry became worn, makeup got heavier and hair became shorter.1 According to the 1920’s Vanity Fair, these magazines allowed people to stay updated on Women’s Suffrage and fashion ideas. In the light of, 1920’s Vanity Fair, many of the images shown were of women’s fashion which consisted of ‘Flappers’ who were the progressive, sexually liberated woman of the 1920’s.45

They were born in great numbers and as a result became the most powerful group of consumers. Advertisers soon set the guidelines to what material commercial products every girl needed to obtain her status in society. Women’s roles on television gradually changed from perfect housewives to mystical genies and witches with power, but somehow they always subdued their power to please their men. In the background women were fighting for equal rights and equal pay, but the media portrayed these protests as isolated events and acts of extremists. The newscasts attempted to label feminists as women who protested against being exploited and “looked at” by exploiting themselves and secretly wanted men’s attention by these protests. Television did respond by developing a new “tougher” woman, but made her success dependent on her attractiveness and sexuality. The media’s simultaneous promotion and containment of the women’s movement left the young women of the seventies exposed to what Douglas refers to as social schizophrenia (9). Feminist were now rejecting cosmetics and other marketed ploys that contributed to the oppression of women, leaving industries that were primarily focused on women’s “needs” struggling to address this while maintaining their market. Mass media encouraged and exploited commercial androgyny with unisex fashions and Madison Avenue promoted a new “natural look” that was anything but natural. This look promoted a Lolita image that

The most prevalent and popular stereotype of the post World war II era in America is one filled with women abandoning their wartimes jobs and retreating into the home to fulfill their womanly duties. In Joanne Meyerowitz’s Beyond the Feminine Mystique: A reassessment of Postwar Mass Culture, she shows how far women departed from this one dimensional image. While Betty Friedan’s The Feminine Mystique is reflexive and focused on the mainstream, Meyerowitz’s analysis is a broader and more inclusive exploration of media, as she draws upon multiple sources. Although Friedan effectively unveiled the thought process and reasoning behind society's belief that the message of media was to make women think that their place was to be the happy housewife, Meyerowitz expanded her media archives and found a differing message in analyzing both female responses to media and exploring their stories.

Whether in the past or the present, this is a country driven by two things: entertainment and capital. Women seem to be most attracted to the entertainment aspect, as demonstrated in Sandra Cisneros’s “Woman Hollering Creek” through the “telenovelas”. Men on the other hand are attracted to capital, the more the better as seen in David Mamet’s “Glengarry Glen Ross”. Every addiction has a consequence however, and as Cisneros and Mamet both prove, when people are motivated by the wrong things, then they are doomed to fail. In Cisneros’s piece, “Cleofilas” is living a very tumultuous life because she had an image in mind when she came to the United States.

In this essay, I will be discussing about a social group that took fashion to the next level and create a huge impact in British history were the punks culture during the late nineteen seventies. The punk cultures were to rebel against the government during the great depression and were all about the attitude of the younger generations. During the late nineteen seventies was the time of unemployment and social unrest, a lot of the young white kids felt outcast from the British culture, foreseeing their lives with little prospect and so called “no future”. It was also a DIY “Do it yourself” movement. Younger generation that adopted the punk look often create their own garment by wearing safety pins,

Some of those youths spent that income on new fashions popularized by American soul groups, soon enough these youths became known as mods, a youth subculture noted for its consumerism and devotion to fashion and music and in the 1970s and 80s the youth subculture of the skinheads was formed. • This is England (2006) depicts an honest and accurate account of the subculture of ‘skin heads during the 1980s, after the Falkland’s war so their clothing no doubt an expression of youthful angst in a troubled era. • Jeans, shirts, braces and doc Martens became iconic clothing amongst the skinhead subculture and their shaved heads on both men and woman signified defiance against society. The clothing was ‘media of information’ (Barnard, 21, 2007) about the person who is wearing it. • These items acted as a code that needed a decryption in order to understand what kind of person is underneath it.

The chapter, From Rosie to Lucy, by James West Davidson and Mark Hamilton Lytle, is about how the feminine mystique changed drastically from the era of WWII to the era of the baby boom. The shift was attributed to men’s influence on the women through fashion trends, magazines, and TV shows. The main purpose of the chapter is to show that the propaganda through TV and society affected individuals, and more specifically the feminine mystique.

The period of the 1950s to the 1960s brought about drastic changes to the Australian culture and history. However, the introduction of rock n’ roll style music was most influential towards teenagers and significantly altered history within youth culture because of its relatable tone. Furthermore, Australian society would not be the same without rock n’ roll style music, it had shaped and moulded Australia and impacted our daily activities. Additionally, the introduction of the rock n’ roll genre had instigated the ‘hippie’ and other fashion movements. Ultimately, developments and changes in Australian history during the 1950’s to 1960’s such as the introduction of rock n’ roll and its emergence into the fashion industry and teenagers’ ideals

Looking back on history men’s and women’s roles haven’t always been divided; both genders were needed to work and provide and until the fourteen hundreds, they wore the same clothing. Men’s fashion developed to show the reality of their bodies with apparel such as tights, while women’s bodies were accentuated in tight bodices. Bordo shows us that as men’s clothing became more comfortable and utilitarian their role in society followed suit. Men today are supposed to be active; they are workers, the penetrators, the ones in control. Advertisements in the essay show us men continually portrayed as “rocks,” aggressively facing the camera or actively working. When women appear, they are simply to be gazed at and admired for their beauty. The images of men acting coincide with society’s standard of men being the

Frederick Lewis Allen, in his famous chronicle of the 1920s Only Yesterday, contended that women’s “growing independence” had accelerated a “revolution in manners and morals” in American society (95). The 1920s did bring significant changes to the lives of American women. World War I, industrialization, suffrage, urbanization, and birth control increased women’s economic, political, and sexual freedom. However, with these advances came pressure to conform to powerful but contradictory archetypes. Women were expected to be both flapper and wife, sex object and mother. Furthermore, Hollywood and the emerging “science” of advertising increasingly tied conceptions of femininity to

In addition, I will examine the differences between male and female sexuality and how each tended to be perceived and treated by society. Then, I will look at prominent female artists and their personal experiences and beliefs on feminism and the female in their art focusing on how it tended to be received along how male artists responded to it. Mainly, I will be analyzing the clash of sexualized images in art, focusing on the differences not only between male made art versus female art, but the differences in the women’s art community, as well. What are the reasons and goals for women to use a “sexualized image” of women in their art versus

With the economic decline and availability of jobs with upward movement, a culture of youths formed in Britain that challenged the ideals and cultural norms of the generations that came before them. A consistent movement from traditional society through youth subcultures brings light through the eyes of the musicians that describe their generation’s feelings of homelessness in an era filled with unemployment, low wages, and violence. The insurgence of the counterculture movement, poor economic conditions, and the commercialization of previous Rock and Roll music in Britain directly led to the punk subculture because it allowed youths to speak up about their conditions and frustrations through an easily understood and accessible medium while maintaining a different stance than their predecessors.

Women were now being portrayed as powerful, unpredictable, and possessing a mysterious sexual power, which they used to elude male control. The 1960’s also brought with it his tensions that resulted the escalating war in Vietnam, the assassination of John F. Kennedy, black ghettos going up in flames, the women’s liberation movement, the youth anti-war rebellion and free love theme, and the Civil Rights movement. It was safe to say that the American public had violence on its mind and the movie industry capitalized on the public’s apprehensions.

However, when a few steadfast women publicly demanded equality for the sexes, the feminist movement began. (Archer 2). The women became known as suffragists, and the believed women could have important roles outside the home (Giele 117). They pressured for women's entrance into the public sphere and for equal opportunities (Giele xi). However, their efforts were belittled by men who feared for their status. The men discredited the women’s femininity by calling them mannish (Giele 129) but still exploited their bodies in the media (Archer 15). In order to take control over women's representation, feminists started wearing “bloomers” instead of the restricting and confining skirts (Jules 7). By 1989, women started getting even more positive images in media with TV show sitcom heroines. Roseanne, an overweight, funny, working mother, captured her audience by yelling, “I am a women. Hear me roar!” (Archer 18). Society has advanced considerably since then, but woman and girls still search for positive influential role models in the media to disrupt the notion that men are superior to women.

Gender roles, the public image of being a particular gender that a person presents to others (gender roles, n.d.), have seen many changes through the years, especially in families. The changes can be seen in many aspects, including television shows, from the traditional family in the I Love Lucy sitcom of the 1950s to the plethora of shows about women and men who balance working and family life of the 2000s. A traditional family can be defined as “… the ‘natural reproductive unit’ of mom, pop, and the children all living under one roof… (Ball, 2002).” The 1940s, a period dominated by this type of family, were primarily a time of single-income families where the father was the ‘breadwinner’ and the mother the ‘homemaker (Hayghe, H.V., 1990).’