Media Content Reflects Changing Dominant Discourses About Femininity and Masculinity.

The notion that media content reflects changing dominant discourses with regards to masculinity and femininity appears to be an on going debate, although traditional representations of men and women are still very much evident in media content, for example domesticity, motherhood and women’s role in the home, it is notable that due to shifts in a cultured society, one that claims to be of fairness and equality, that there are still repetitious marginalisation’s which currently proliferate within media content with regards to the representation of femininity and masculinity. (Allrath et al, 2005, p.29)

For example, there appears to be a noticeable trend with regards to gender, between programmes aimed at smaller niche audiences and those of mainstream Hollywood cinema. The primetime soap opera �Eastenders,’ for instance plays on these traditional attributes of femininity by depicting female characters in �motherly,’ or �sensitive roles,’ The current story line between Martin and Sonia Fowler and the fight for custody over their daughter, also highlights Sonia’s needs as a mother to be with and care for her daughter. However, what is most interesting about this plot line is the instance in which Martin is granted full custody of daughter Rebecca. Although the characters still display traditional attitudes of masculinity and femininity, the issue of Martin obtaining custody over the mother, is a possible juxtaposition of the genders, a �role reversal,’ as with the emergence of contemporary assertive and independent female characters, comes the development of more sensitive, responsible males, which could be the only option of overriding the prevalence of this new confident female archetype. ( MacKinnon, 2003, p.13)

This current representation of masculinity could in conclusion be a contemporary attempt by media institutions to place women back into the original stereotype of which they previously came, as secondary to men, as the sex with the least power and influence.

Furthermore, with reference to mainstream cinema, it is roles regarding femininity which are typically challenged, the film �Domino,’ for example is one text which highlights this contemporary modification of gender roles, as it features actress Kiera Knightly in a masculine role of a bounty hunter. The masculinity of this role is also emphasised by the fact that she works along side other men. However, films such as �Saw II’ and III which place female antagonist Amanda in a powerful role is overridden by the fact that her male �teacher,’ is considerably ill and close to death, in this case it appears that the dominance of Amanda’s role is therefore used as a �substitution.’

Moreover, when focusing on other contemporary films such as �Broke Back Mountain,’ which highlights homosexuality, proves an important point of focus when observing changing discourses about gender. Both characters have female partners, but are clearly in favour of their homosexual lifestyle, this again demeans the role of the females but brings to light the notion of homosexuality which is still deemed �abnormal,’ in some cultures. (MacKinnon, 2003, pg.7)

MacKinnon notes that problems with masculinity are often brought to light by the concept of homosexuality, stating that, вЂ?femininity is taken to apply to the world of women, it is taken also to apply to homosexual males, to whom culture often imputes effeminacy.’ MacKinnon also goes on to illustrate that, вЂ?the fear of homosexuality that seems intrinsic to normative masculinity has another explanation вЂ" that passive anal intercourse is seen as disturbingly feminizing. Heterosexual intercourse has been explained in ideological terms by asserting not just women’s penetrability but men’s impenetrability.’ (2003, p.7) MacKinnon goes on to conclude that this can help to explain to understand the вЂ?fear of the feminine,’ as a reason why homosexuality is often broadly excluded in mainstream cinema. (2003, p.8)

However, the only suitable way of assessing changing dominant discourses with regards to any form of media, is not only by observation, but by analysis.

Allrath and Gymnich (2005, p. 1) highlight that �television is replete with narrative forms and genres,’ which MacKinnon notes have to be agreed upon by any given culture. (2003, p. 3) It is here that I will introduce my first research method, narrative analysis, in order to answer the question above.

The concept of narratology and narratological analysis can be deemed a useful tool in deconstructing an analysis of an audio visual text. Allrath and Gymnich note that by pointing out specific narrative traits of television series for example character constellations, character focalisation and the composition of the audio track, can aid in a more refined understanding of the strategies behind television with regards to gender and changing dominant discourses. (2005, p.2) In conjunction Allrath and Gymnich additionally note that despite such narrative techniques, this point can also be undermined by the understanding that audience members will always interpret a text in their own way, and the preferred reading therefore may not be the only reading achieved. This consequently will result in multiple interpretations of characters, environments and situations, additionally programmes such as �Big Brother,’ appear to validate this point of multiple interpretations in relation to audience gratification theories. (2005, p. 4)

Furthermore, the concept of narrative theory also introduces numerous problems. For example, Proppain analysis concerns itself with function and action and not characters, issues of sexuality, gender and race are also absent, and visual signifying systems used to interpret television for example mise-en-scene or semiotics are also not included, ( Sonnet, 2006) therefore using Proppain techniques in this instance would prove problematic.

However in contradiction, Propp’s 31 narrative functions can be applied in order to decimate these problems, for example narratemes like the �initial situation,’ the �magic agent,’ and �spatial transference,’ are all components that can be visually identified when viewing films. (Sonnet, 2006) Further more Toderov’s concepts of narrative theory also hold significant validation in supporting the concept of narrative, for example the instances of equilibrium,

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