Term Paper on "Gender Roles in TV Shows"

Term Paper 6 pages (1912 words) Sources: 1+

[EXCERPT] . . . .

Gender Roles TV

Gender Roles and Television Shows: The Inequality Continues

Now more than ever the public holds dear the perception that women are gaining equal status on television, in the workplace, and in society. Susan Douglas asserts that while on the surface many television shows suggest women are empowered, there are still many areas where women are taking "a backseat to the boys" (Douglas 272). This paper addresses women's status on television compared with their actual status in society, using a comprehensive review of research acquired through peer related journals.

The author argues that while women are gaining some recognition as powerful figures on television, their status is limited to certain genres of television, especially comedic performance. Further, the author asserts that in society, men have generally not yet accepted women's empowerment, and still hold many "old-fashioned" idealisms as to what powerful women can do and should do, as well as what they should look like. The author backs these assertions utilizing a significant review of the literature chronicling women's roles in society and on television from the 1960s through today.

Research

Douglas & Olson (1997) reveal television can provide a historical context for reviewing changing gender roles in society. While the interactions characters have on television are fictitious, there are many opportunities to assess society's attitudes by reviewing gender roles on TV (Douglas & Olson, 1997; Lull, 1980). While women have enjoyed greater liberty on television, as evidenced in shows like "Roseanne," there is evidence in society that many viewers still believe "things would be better if women stayed home and men were the breadwinners" (Douglas & Olson 409). Other social theorists, who suggest nationally, people, tend to imagine women in traditional roles, roles echoed by older television programs including "Family Ties" and "Father Knows Best" (Douglas & Olson 409) echo this sentiment.

Glennon & Butsch note in a study of gender roles on television, conducted between 1946 and 1978, that while televisions stories often match social and economic changes within society, "the relationship between women and men remains the same" where men are often seen as the authoritative figure, especially in programs geared toward family viewers (83).

Some studies suggest gender roles vary depending on the type or theme of programming. As mentioned, there is research suggesting family shows or those focusing on family life tend to continue portraying men as the primary "breadwinners" at least historically (Douglas & Olson 409). Only recently have women begun taking on more powerful roles, like the role Gina Davis played in "Commander in Chief" suggesting women have the desire and potential role to be authority figures. This sentiment has yet to be proven however, as a sentiment mirrored in society. As yet, there have been no female presidents, and it is only now that a woman, Hillary Clinton, is being considered a serious candidate for the Democratic Party. Will she win? That depends on how society feels about her skills, and perhaps her gender.

Comedic performances on television often portray women in a positive light. Some, reviewing themes in comedic shows, some of the more popular programming, and in reality programming, suggest, "Women and men in most series are relatively equal" (Cantor 214) and believe this reflects their role in society.

Glascock (2001) notes often television shows portray men and women stereotypically, though this is changing, coinciding with "modern feminist sentiment" and female's expressions of under representation (656). Commentators note that women are often taking powerful roles in comedic environments with many males "relegated to secondary status" or portrayed as "villains" (Glascock 656). Glascock cites research by Greenberg (1980) suggesting there are significant trends starting in the 1980s showing increasing female and decreasing male quotas in television, including increasing females in powerful or empowered roles (656). Interestingly, the same researchers also note that women are more likely to fulfill empowered roles when portrayed in comedic performances, and more accepted when they play comedic roles rather than dramatic or serious roles. The "Commander in Chief" was not a comedy, and the show did not last long, even though Gina Davis won recognition for her performance as the American President. There is not agreement as yet in the industry as to why the show was dropped. This may reflect society's unwillingness to accept women in authoritative or empowered roles unless they take on the role of a comedic performer.

One must also consider shows that empower women often portray women as harsh, unattractive or brush. While this is not the case with "Commander in Chief" it is certainly the case with "Roseanne" who historically was perceived as an individual that was powerful and authoritative, yet less stable and satisfied because of this (Douglas & Olson 409). Interestingly, many admitted on being polled they felt her husband "soft" and that only a "soft" individual would put up with a woman like this (Douglas & Olson 409).

This sentiment does correlate with some sentiment of women in the workplace, especially women holding positions of power. While it is often acceptable for male managers to exhibit power and aggression, female managers who do the same are often portrayed as "*****es" or in a role they are not deserving of (Glascock 656). Researchers, according to Glascock (2001) have discovered in areas of employment the trend is still slanted toward men than in women's favor, "both in numbers and occupation" (Glascock 656). These percentages have not changed much with time. For example, earlier studies, those conducted in the mid 70s, found just over 70% of males compared with just over 40% of females were employed in meaningful and powerful positions (Glascock, 2001; McNeil, 1975). Later studies, those in the late '80s, suggest almost 70% of males and roughly, 37% of females were working in meaningful positions (Glascock, 2001; Signorielli, 1989).

Still later studies show women are more likely to be employed as secretaries, nurses and teachers while men continue to hold roles as professionals, managers and law enforcement agents, even if this trend is not reflected in women's changing gender roles on television (Glascock 656). More women are highlighted as the "boss" on television, on shows including "House" even though the main character, the most popular character, is still a male. This suggests gender inequalities, while improving on television, still have room for greater growth. Women are empowered often, but still not often invited to hold the leading position, a trend that IS evidenced in society at large.

While women are making headlines rapidly on television, with roughly 40% depicted in major roles, in society at large, that number is closer to 30% (Glascock, 2001). Women are still portrayed on television as more altruistic than their male counterparts are, and the general consensus seems that this is acceptable practice, as is the practice of placing more emphasis on female appearance. Glascock notes women are more likely to be "primped" regardless of their role on television, and more likely to be taken seriously when they are, whereas men typically can get away with little or no formal "dressing" and still receive much attention and admiration on television shows of all types, especially family shows and dramas (Glascock, 2001). This certainly is a reflection of societal norms, only the norm in society is often much worse, with greater emphasis placed on women's appearance than ever, suggesting that women are nothing more than "male depictions" of what they should be, appearance wise, whether on television or in real life (Glascock 656). Douglas (1995) approves this sentiment, stating while women may rule on television "winking at their female audience" they often must "flatter male shrewdness and persistence" to be believable characters (78).

The only conclusion feasible is that women are making gains on television, but insignificant ones if one compares the gains women make on television with the gains they make in society. and, even on television, women are not held as equals in all cases with their male peers. Gender inequalities do persist, according to Glascock (2001) and other researchers on television and in society, in employment and at home, depending on where one looks for evidence. There are many times women receive empowering roles, but there is little evidence that the audience feels women in these roles are justified or merely the personification of male "fantasies" about what powerful women should or should not look, act and feel like (Glascock 656).

In employment, there is evidence women are becoming managers, but not as often as men (Glascock, 2001) are. Women, who act aggressively or forcefully, a trait many male managers may admire, are seen in a negative light. Women are expected on television and in real life to maintain a "standard" of appearance, one that reflects the need for women to "dress the part" for them to be accepted. In the home and with families, while more and more men are taking on some household tasks, women still take on the majority of duties when it comes for caring for children.

Conclusions

Television sitcoms now portray women in many… READ MORE

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