By David Gauntlett
ISBN-10: 0203360796
ISBN-13: 9780203360798
ISBN-10: 0203377559
ISBN-13: 9780203377550
ISBN-10: 0203930010
ISBN-13: 9780203930014
ISBN-10: 0415189594
ISBN-13: 9780415189590
ISBN-10: 0415189608
ISBN-13: 9780415189606
ISBN-10: 0415396603
ISBN-13: 9780415396608
This obtainable creation to the connection among media and gender attracts on queer conception, in addition to examples from movie, tv, and men's and women's magazines.
Read or Download Media, Gender and Identity: An Introduction PDF
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Extra resources for Media, Gender and Identity: An Introduction
Sample text
For interviewing fans or users of a particular media artist or artefact, though, the internet is extremely valuable – fans can be found via websites and message boards dedicated to the performer or thing in question, and are often happy to share their thoughts about the object of their affection. It’s also not too hard to find people willing to be interviewed about their other media habits and interests. Some people say ‘You don’t know who you’re talking to on the internet – they might be lying to you’, but this is often a weak reservation; people are no more likely to waste their time lying in an e-mail interview, than in a 18 INTRODUCTION face-to-face interview.
To be fair, the theories could also be read as critiques of a society which compels children to see these things as important (but the flatly ‘scientific’, descriptive tone of most child development writing is unlikely to suggest this). Furthermore, there is the fear that these theories could be used in ways which would reinforce the traditional status quo. People who did not want to conform to gender conventions could be seen to have ‘failed’ to have acquired ‘gender constancy’, whilst children interested in non-stereotypical activities could be said to have an incomplete gender schema.
We might think that the media offer a range of different forms of entertainment, giving different groups what they want, but Adorno and Horkheimer fit this into their account too: ‘Something is provided for all so that none may escape’ (1979: 123). They remind us that the person seeking entertainment ‘has to accept what the culture manufacturers offer him’ (p. 124), so choice is an illusion too. We can choose what we like, certainly, but from a limited range presented by the culture industry.
Media, Gender and Identity: An Introduction by David Gauntlett
by Charles
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