Estereotipos publicitarios y representaciones de género en las redes sociales❖ Dr. Iolanda Tortajada is Senior Lecturer of the Department of Communication Studies at the Rovira i Vigili University, Tarragone (Spain) (iolanda.tortajada@urv.cat). ❖ Ms. Núria Araüna is a Teaching and Research Fellow of the Department of Communication Studies at the Rovira i Virgili University, Tarragone (Spain) (nuria.arauna@urv.cat). ❖ Dr. Inmaculada J. Martínez is Senior Lecturer of the Department of Information and Communication at the University of Murcia (Spain) (inmartin@um.es). ABSTRACTThis article presents the results of a quantitative and qualitative analysis of adolescent self-presentations in Fotolog. The images which these adolescents create and share through the Net focus on the construction of the Self. Here gender and sexuality become the main structuring factors of representation. Results point to the fact adolescents selfpresentations mirror some of the categories defined by Goffman in his study of gender hyperritualization in advertising. Moreover, other gender expressions are found in the sample, such as the lesbian pose or the erotization of bodies which Gill also detects in advertising. Despite the fact that the images that adolescents upload in Social Networking Sites reproduce gender stereotypes and patriarchal patterns based in advertising, it must be said that they also elaborate a relatively varied repertoire of pictures and are able to conceive original creations. These creative self-representations are the outcome of a process of negotiation of gender and sexual identity which occurs in these settings, as well as in other adolescent media practices. To avoid a thoughtless reproduction of gender stereotypes and contribute to a critical negotiation of these representations, media education is needed. This media education should take into account the way in which adolescent practices are shaped by other media consumption. RESUMENEste artículo presenta los resultados del análisis cuantitativo y cualitativo de las autopresentaciones que los y las adolescentes elaboran para Fotolog. Las imágenes que dichos adolescentes crean y comparten a través de la Red están centradas en el sí mismo, y el género y la sexualidad constituyen el eje principal de la representación. Los resultados obtenidos apuntan a que algunas de las categorías que estableció Goffman en su estudio sobre la hiperritualización de la feminidad en la publicidad están presentes en las autopresentaciones analizadas. Además, aparecen otras expresiones de género como la pose lésbica o la erotización de los cuerpos que ya han sido detectadas también en los análisis de la publicidad desarrollados por autoras como Gill. Si bien estas imágenes reproducen estereotipos de género y patrones patriarcales, hay que destacar la presencia de un repertorio variado y algunas creaciones originales, resultado de la negociación identitaria que, respecto al género y a la sexualidad, tiene lugar en estos espacios y otras prácticas mediáticas adolescentes. Para evitar una...
In a context of demonization of the working class in Western societies, the choni has become an epitome of the female incarnation of the failed underclass in Spain. During our focus group discussions with 16- to 20-year-olds, girls evoked clear-cut images of the tasteless and sexualized choni as a stigma to avoid, in contrast with the more classy pija. This article deals with gender and class regarding sexual scrutiny on social media in Spain. Youngsters’ readings of the choni/ pija eluded a socio-economic explanation, pointing to the ‘moral standards’ that chonis supposedly fail to attain. We argue that online spaces make it more difficult for chonis to avoid this omnipresent ‘double’ double standard.
In recent years a great deal of contemporary research has centred its attention on teenagers’ online presence and behaviour, thus responding to educators and parents’ increasing concerns regarding privacy and safety on the Internet. This article is the result of an in-depth qualitative study looking at anonymous girls’ picture albums on Fotolog, one of Spain’s most popular social networking sites (SNS). The main goal is to gain insight into these girls’ self-representation strategies, looking at what kind of images they choose to upload and which of the gender displays found in mass media portrayals they incorporate. Coding was done according to Goffmanian categories of gender display and performance (feminine touch, ritualization of subordination, licensed withdrawal), combined with findings from other studies (male gaze, representation as sexual subjects, pleasing ourselves and lesbian pose). Results show that girls are quite skilful in their self-representation techniques – and become more successful in conveying a specific image of themselves over time by using Fotolog affordances, which suggests that these sites allow them to freely experiment with identity and play with conventional codes of gender display. We identified at least three gender display codes girls play with: the supermodel, the languid romantic and the trash chic girl. Further research involving interviews with Fotolog teen users should reveal the extent to which these girls are aware of privacy and safety issues related to their self-representations.
This article explores the feminist potential of the Spanish ‘reggaeton’ movement led by young women through the song lyrics and public discourses of artists Brisa Fenoy, Ms Nina and Tremenda Jauría. These three singers and composers have been categorized as belonging to reggaeton genre, in a context in which Feminism is widespread among young people in Spain. Reggaeton is commonly considered (both in popular culture and academic studies) a sexist musical style, inherently male-centred in the way its songs and its ‘perreo’ dancing style are performed, and also in the pleasure provided to their audiences. Three feminist music projects from diverse backgrounds give voice to the artists themselves and use this music style as a parody and as a way of responding to everything they dislike about reggaeton and society, while at the same time resignifying this music genre and opening up an opportunity to deliver a feminist message.
This article analyzes the male caregiving characters Driss in Intouchables (2011), Craig in Still Mine (2012) and David in Nebraska (2013) in terms of hegemonic masculinity and its variations (Connell 1990; Connell and Messerschmidt 2005). Caregiving is a complex social situation normally assumed within kinship relationships, and traditionally attributed to women. We briefly review feminist analysis of caregiving since the 1970s (Fine and Glendinning 2005), and use critical studies on men and masculinities to show that the uptaking of caring tasks by men would and is contributing to equality between women and men (Elliott 2015). We have looked at the portrayal of the male caregivers in these films, and if and how they challenge hegemonic masculinity in terms of positive experiences. Our findings show that despite the tension men experience between giving in to and challenging patriarchal privilege of a care-free life, strategies such as humour, complicity, outdoor action and a general concern for the dignity of the care-receiver can be identified as some of these features of (imagined) caring masculinities and open new spaces for defining care as a gender neutral activity.
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