Showing posts with label Mary Harrell. Show all posts
Showing posts with label Mary Harrell. Show all posts

Thursday, August 9, 2012

"Safe Sex is Great Sex"

"...so you better wear a latex, cause you don't want that late text, the 'uh-oh I think I'm late' text." Lil Wayne's poignant, emotionally complex song "Lollipop" here addresses issues of safe sexual activity, making mention of the fact that unprotected sex can, and perhaps will, lead to surprise pregnancies and encourages his audience to "wrap it up." While this is perhaps surprisingly progressive in the rap genre, my intent for this post is not to discuss rappers and their proclivities towards "effing b's and getting g's," if you know what I mean, and whether or not they "wrap it up." Instead, I'd like to talk about safe sex, and our very own glaring beacon of safe sexual practices, the Safe Sex Store (S3).

S3 is kind of infamous in Ann Arbor and the surrounding area because it so proudly parades its intents to provide correct, consistent sexual health information (see the entire background of the store here). Not only does S3 deliver upon this goal, but takes it above and beyond sexual health information with a wide array of sex toys, condoms, lubricants, sex practices books, and even novelty items like a cake mold shaped like a penis (a practical addition to any college student's kitchen). S3 is unique because they encourage young people (well, all people, but this is a college town) to enjoy sex by doing it in a safe, healthy way--a far cry from the government-mandated abstinence-only teachings we received in middle and high school. Upon my first trip into the store about a month ago, I was greeted with a dizzying amount of vibrators, dildos, sexual fetish items, and a wall of condoms; needless to say, I was a bit overwhelmed and instinctively uncomfortable. As I browsed the condom wall and tried not to stare at the giant dildo inches from my face, I overheard the staff member (a former classmate of mine, actually), explaining to a customer the differences between the 50-or-so lubricants carried in the store. She was courteous, informed, and unabashed in her descriptions, and quite frankly, I was impressed. We chatted for a while, and she asked me if I needed help finding anything, etc etc--I won't go into it--but at first I found myself kind of embarrassed to talk to her. Then I thought, why? We're literally having a conversation in the middle of a sexual carnival and everyone else in that store wouldn't be there if they weren't seeking something as well.

I can't tell you the number of times I've walked past groups of freshman or high schoolers roaming South U and stopped in front of S3, peeking in the windows, giggling, and discussing in hushed tones how weird it is that Ann Arbor has a store devoted to sex. In light of the importance placed on sexual health education and its positive impacts on young people, as seen in the Delgado & Austin study, why are we so awkward and embarrassed when it comes to talking about sex? Isn't talking about sex, after all, the first step in sex ed? Delgado & Austin found that young people who had undergone a "media intervention" showed a "significant decrease in risk" and were more likely to use a condom than those who had no intervention (2007, p. 405-406). How are we supposed to get these results if we're too nervous or embarrassed to talk or to ask about it? Hust et al make perfectly clear that the media isn't taking responsibility for providing a healthy sexual education to young people, stating that a common theme throughout television programming is that "sexual health is humiliating and humorous" and citing Kunkel et al's finding that only about 10% of sexual scenes in popular television programs have a sexual precaution message (2008; 2005). If schools are teaching abstinence and media are teaching that sex is always risk-free as well as a humiliating subject, where are young people supposed to receive knowledge about the alternative?--that is, a healthy, precaution-driven sexual life. Organizations like S3 step up to the plate and provide a risk-free way to receive answers to questions about sex. There is an entire section of the website devoted to answering sexual health questions, how to use a condom, toy and vibrator information... it's the embarrassed college freshman's dream. S3 defies conventional attitudes towards sex and provides a safe, judgment-free place for people to learn about a natural part of human identity. While the role of the media is clearly extremely important in forming attitudes towards sex (see every article we've read for this class), I think that more credibility and attention needs to be given to organizations like S3 that attempt to change attitudes--perhaps S3 should be leading sexual health workshops in schools, though it would never happen. My point is that if we all regarded sex like S3, I honestly think our society would be much healthier, and much more satisfied, with their sexual lives. The next time you pass by S3, don't be shy to check it out--you might just learn something.

Thursday, August 2, 2012

Olympic-Sized Orgy

In anticipation of today's discussion about sports/gender/sexuality, my roommates and I were recently talking about how hot the Olympians were--I mean, say what you want about how tall the US Men's Gymnasts are but you could serve drinks off of those pectorals (and yeah, I know that's a pretty objectifying comment, but it's also true). Anyway, this prompted us to imagine how crazy things get in the Olympic Village; we wondered how many of those uber-sexy athletes were spending some of their training time under the sheets, if you know what I mean, and one of my roommates said she had seen some crazy statistics somewhere so I did a little searching and found this article on ESPN.com found here. It is 100% worth a read, even if you're just curious about what really goes on after NBC's cameras are shut off, and the numbers are pretty staggering. I'll make a list of the more shocking points:

1. The organizers of the Olympic Games ordered 100,000 condoms especially for the use of the Olympians staying in the Olympic Village.

2. By one Olympian's estimate, 70-75% of the athletes are hooking up with each other.

3. Some athletes, such as the infamous Ryan Lochte and US Sprinter LeShawn Merritt, have essentially said they can't wait to get it on--Merritt: "When I'm done leaving my legacy on the track, I'll make sure London remembers me." Hide yo kids, hide yo wife, London, Merritt is trying to get it in.

4. Once their events are over, athletes will constantly go to clubs and drink in the Olympic Village, which, as we saw in the Sex, Lies, & Alcohol video, can and does lead to giant amounts of sexy time.

5. Many of the athletes interviewed in the article mention the fact that the Village is a breeding ground for this sort of excessive sexual behavior because everyone is so fit and beautiful; as American javelin thrower Breaux Greer puts it, "Even if their face is a 7, their body is a 20."

6. "It's like Vegas. You learn not to ask lots of questions."

7. Another reason that attempts to explain the enormous amount of hooking up is that training takes up an athlete's entire day and subsequently, life. A common feeling is that they have little time to meet anyone, and once they get into the Olympic Village, they are surrounded by people who understand what it's like to be an Olympian and having that connection acts as a catalyst for sexual activity.

I'll let you guys read the article, but I've gathered a few interesting conclusions from this subject. First, most of the athletes seem to be following Ward's definition of recreational sex (1995) since the article mentions a constant flow of different sexual partners in and out of athletes' rooms, as well as mentioning the fact that many of the athletes have excess energy from their highly intensive training, and sex is one way for them to simply blow off steam. However, my last point (#7) suggests a deeper level of feeling to the sex, perhaps falling under Ward's relational sex category (1995) because the connection between athletes is something more than surface-level attraction; it is a way to relate to one other, or rather because they can relate to each other they are more likely to crave sex. Another interesting thing to consider is the seemingly central role that alcohol plays in the Olympic Village. High alcohol consumption is rampant and this will lead to more sexual activity, as alcohol always seems to do; the partying, "let loose" sort of lifestyle in the Olympic Village is compared to a college campus and the first year of college--a place where partying can lead to sexual activity but sometimes with negative consequences. It makes me wonder--if the Olympic Village is like a college campus with excess partying, do negative things that occur at college parties occur in the Village as well? Sexual assault, attempted rape, alcohol poisoning, date rape drugs? Would I be surprised if they did happen and were completely covered up? These are representatives of our countries, after all; if Ryan Lochte, for instance, tried to rape a gymnast from Austria or something I can't imagine that we would hear about it for the sake of our patriotic pride. The athletes talk about how they can do whatever they want inside the Village and outside just by flashing their medals; how many other things can they get away with due to their celebrity status?

Finally, I find it extremely interesting that the Olympians value each other for their 0% body-fat bodies. This is almost taking objectification to the extreme, but everyone does it to each other so what's the harm? Well, in the case of the Olympians, perhaps the constant surroundings of perfect bodies gives them a skewed sense of what constitutes a normal human physique. And, as an application of these perceptions much like the application of the promiscuous female stereotype in Ferguson et al, objectifying one other as much as the Olympians seem to do could lead all of them (which is about 10,000 people) to turn those attitudes to the outside world and view everyone they encounter with a highly unrealistic expectation as to what they will look like and an assumption that it's okay to treat men and women as objects.

On a sidenote, the Olympians are pretty scrumptious and the comments on their bodies/faces by many viewers of the Olympics could act as priming, again like in the Ferguson et al study; if a guy spends hours watching female gymnastics and talking about how hot all of the girls are and what great bodies they have--basically, objectifying the girls--what's to stop him from carrying this critical eye into the rest of his day and applying it to every woman he sees? Just something to think about.

Read the article. It's shockingly interesting.




Thursday, July 26, 2012

A Super Exception

First of all, I have to say that I love superhero movies--the Batman trilogy is not only a kickass, action-packed thrill ride but also a deeply compelling psychological narrative that presents the audience with a giant load of intellectual material, but I'm not here to praise Christopher Nolan (which I could do for hours, believe me). Denzell's post about the most recent Batman installment and Mylan's post about the lack of female superheroes got me thinking: could I list any lady heroes that were stand-alone, powerful women? The answer at first seemed to be a big NO, but then I remembered that I've seen The Incredibles about 100 times because my nieces and nephews were obsessed for a while.


Thursday, July 19, 2012

I Just Wanted to Be a Princess

Now, I'm not trying to bash on Disney movies here because like I'm sure many of you can agree, they were a huge part of my childhood. I literally watched Beauty and the Beast everyday for a year when I was 3. It's my favorite Disney princess movie because Belle is prickly, smart, curious, and unsatisfied with her village life, exclaiming early on in the movie that "There must be more than this provincial life." She is also a brunette, which I came to appreciate after Cinderella and Sleeping Beauty's popularity. I'm not sure that I really need to provide a recap for everyone, but for those of you who haven't popped it in the DVD player in a while, this Disney movie is a tale about a wicked, selfish prince who, as a price for being mean to a sorceress, is doomed to live his life as an ambiguous "beast" unless he can find a woman to love him before the last petal of an enchanted rose falls. His entire household is transformed into various items that talk (teapots, feather dusters, candlesticks, etc) and his castle becomes overgrown deep in the heart of the forest as the years pass and he remains a beast. Enter Belle, a beautiful, intelligent village girl with an eccentric father. She is an avid reader and longs for adventure and romance, resisting the everyday boredom of village life as well as the aggressive advances of the brainless village heartthrob Gaston. Her father stumbles upon the beast's castle when he becomes lost on his way to the county fair, the beast is enraged when he finds Maurice sitting in his parlor, throws him in a dungeon. Belle goes searching for him, ends up in the castle, volunteers to take his place as prisoner, winds up stuck in the castle. Eventually the beast is tamed by Belle's prickly charm and they fall in love, hopefully you guys know the rest of the story, but the curse is broken and the beast turns back into a prince and they live happily ever after.

There are just so many things to address here. First, I'll address the obvious--this story could not exemplify more perfectly Galician's Love Myth #7 as discussed in Bader's study on love songs: "The love of a good and faithful true woman can change a man from a 'beast' into a 'prince'" (2007, p. 149). The beast and Belle argue and yell at each other, but despite everything they grow into mutual respect and love--not because the beast is necessarily a good person, but because Belle is patient, kind, and strong. In a way, their relationship pattern follows Ward's finding that "the work of relationships is [...] the exclusive domain of women" (2003, p. 356). It is not a partnership; it is Belle who breaks through the beast's angry exterior to literally uncover his true self--that it's a handsome, fabulously wealthy prince is just a bonus. I'm worried about the effect this had on young girls like myself who ate this stuff up in our youth. Literally this movie is showing us that it's totally okay to stick with a jerk who lashes out at you and frightens you because there's probably a really great guy deep down there and it's up to you to bring that out of him. In real life, some guys are just really terrible people and no amount of patient, kind love will bring out a "prince" that isn't there. If today's young women are experiencing bad relationships, this is the type of movie that told us our bad relationships are our own fault and it's our responsibility to fix the relationship or the man. Clearly I have no data to back up my speculations--but it's been proved time and time again in media studies that heavily consumed media such as the Disney Princess franchise will have some time of effects on the audience.

Another aspect I'd like to mention is the character of Gaston, the brainless village heartthrob. He is quite stereotypically a chauvinistic meathead who seeks the most beautiful girl (Belle, unfortunately) to marry, so that she might remain his stay-at-home wife, cooking and cleaning all day and taking care of the sons they will have together. Just so many things going on here. We've got Kim et al's male heterosexual script codes of actively pursuing sexual relationships, treating women as sexual objects, sexual prowess as masculinity, and showing off physical strength (2007, p. 147-148). Gaston takes every opportunity to present his over-the-top manliness, talking about his hunting and fighting skills, his ability to eat, his huge muscles, and the fact that every inch of his body is covered with hair in the song "Gaston." Surprisingly Gaston actively pursues Belle for marriage, which is completely against the stereotype that men are afraid of commitment (Kim et al, 2007, p. 148), although because this is a Disney movie aimed at children I think they substituted Gaston's desire to bang Belle with his desire to marry her. Gaston is clearly a bad choice for any woman in the movie to choose as her partner, but is the beast really any better? Gaston is, in a way, also a beast; why couldn't Belle's patient and kind love transform him from a beast to a prince?

I love this movie and always will, but I think it's interesting to consider the Disney princess movies that were coming out in the early 90's  in terms of the effects on my generation of women, the young girls who probably consumed these movies the most heavily during their heyday. This movie challenged the traditional Sleeping Beauty-Snow White-Cinderella notions of waiting to be saved by Prince Charming, portraying its lead character as a smart, strong young woman who wanted more out of her life than just marriage and babies. She gets her adventures, to some degree, during her stay at the beast's castle, but in the end of the movie Belle ends up married to Prince Charming anyway. What happened to her dreams? The progressiveness of Belle's character almost hits the mark but falls short at the end of the movie when she finds herself happy with wearing pretty dresses and dancing in the arms of her prince. If you look at the other popular princesses of the same time, we've got other curious, stronger female characters (Ariel, Pocahontas, Jasmine) that, with the exception of Pocahontas, end up happy because they end up with Prince Charming despite their smarts and desire for more out of life than just royalty. But, as a 3-year-old girl, I wanted to see these princesses with their true loves in their pretty dresses--so who's to say Disney did anything wrong?

Thursday, July 12, 2012

Movie Analysis: When Harry Met Sally


I am neither a “rom-com” nor a “chick-flick” kind of girl, but When Harry Met Sally is one of my all-time favorite movies because of its humorous analysis of dating, relationships, and friendships between the opposite sexes. It all begins when college graduates Sally Albright and Harry Burns drive from Chicago to New York City together to begin the next chapter of their lives. They argue about and discuss relationships and sex, leading the film’s famous theme to be brought up: “Can men and women be just friends?” Over the next 12 years of their lives, Harry and Sally randomly meet a few more times, and with Harry’s persistence and against his own philosophy, they eventually become very good friends. Sally and Harry seem inseparable—attending museums, going to dinner, talking every night on the telephone—and yet they are dating other people and denying that there is anything but friendship between them. Eventually, after a difficult breakup for Sally, she calls Harry over to comfort her, and they end up having sex and ruining their friendship. They are no longer friends for a time and have a few confrontations, but after some reflection on both characters’ sides, they realize they are in love and they end up together (finally). It’s an interesting movie in that it suggests a more realistic representation of relationships than do most romantic comedies (in my opinion, anyway) and actually suggests that sex can get in the way of friendships and can indeed have negative consequences. Harry and Sally have an emotionally intimate friendship but they are also, after a time, completely comfortable around each other to the point where they can talk about sex quite frankly without embarrassment. Although they aren’t technically “in love” until the end of the movie, I’m going to argue for this assignment that their relationship in the movie is actually a romantic one since they are so emotionally invested in one another and spend so much time together.
            Scene 1: On their road-trip to New York City, Harry and Sally make a pit-stop at a diner for supper. After they finish eating, Harry is sitting quietly staring at Sally and tells her that she is attractive. She is angry because she assumes it is a “come-on”—which Harry does not deny—and he is currently dating one of Sally’s good friends. Harry jokes around with her, rhetorically asking her why a man can’t say a woman is attractive without it being a “come-on.” Sally firmly tells him that they will just be friends, which is when Harry brings up the infamous point that men and women can’t be friends because the sex part always gets in the way. The clip can be watched here: http://youtu.be/aJz1f8hPRGc
            As far as communicating what men are supposed to act like in a relationship, Harry kind of exemplifies this when he tells Sally she’s attractive—and then (jokingly) suggests they spend the night in a motel. This reflects Kim et al’s research of heterosexual scripts that men will act on their sexual needs (2007, p. 146) and Ward’s assertion that “men are characterized as being in a constant state of sexual desire and readiness”(2003, p. 356). Sally retorts to Harry’s assertion that men can’t be friends with women they find attractive by asking if men can be friends with women they find unattractive, to which Harry replies “No, they’d pretty much want to nail them too.” This also follows Ward’s observation that men are depicted as constantly sexually ready (2003, p. 356).
            This scene doesn’t really give a good picture of what women are supposed to act like or want in a relationship, although it could be argued that Sally’s offense at Harry’s “come-on” is the “women […] set sexual limits” dimension of Kim et al’s concept of the female heterosexual script (2007, p. 147).
            Scene 2: After their friendship has grown more established and they have become older, Harry and Sally are sitting in Katz’s Delicatessen having lunch, talking about Harry’s promiscuous habits and how he never wants to sleep over at a woman’s house. Sally gets upset because Harry is acting very nonchalantly and is full of confidence that he is awesome at sex. She asks him how he knows the women he sleeps with enjoy themselves and he assures her that he knows they orgasm. Sally doesn’t believe him and tells him that most women have faked it at one time or another and, when Harry doesn’t believe her, she fake orgasms loudly in the middle of the restaurant, smiles at him, and calmly goes back to eating her sandwich. http://youtu.be/F-bsf2x-aeE
            This scene contains several messages for both men and women concerning their supposed roles in sexual, romantic relationships. First, Harry acts nonchalantly when Sally asks him about they way in which he treats the one-night-stands he sleeps with and sarcastically tells her he feels terrible about making up a lie in order to leave after sex. This follows the male heterosexual script traits of “treating women as sexual objects” and “avoiding commitment and emotional attachment with women” (Kim et al, 2003, p. 147). He then goes on to defend himself by telling Sally that the women he sleeps with have orgasms, and denies that they could be faking it, going along with the “scripted notion that sexual prowess is an important component of boy’s/men’s masculinity” (Kim et al, 2003, p. 147). Sally further asserts this code when she says, “Oh, I forgot—you’re a man. […] All men are sure that it never happens to them.”
            Sally, on the other hand, is fulfilling the heterosexual code of “seeking stability and emotional involvement from male partners” by essentially telling Harry that she is angry with him on behalf of all women when he lies to get out of emotional attachment (Kim et al, 2003, p. 147). Sally’s statement that all women have, at one time, faked an orgasm follows the heterosexual script in that it shows how women “do not expect, demand, or prioritize their own sexual pleasure” (Kim et al, 2003, p. 148). It could be argued that her display of a fake orgasm is part of Kim et al’s Female Courting Strategy since she does it to prove a point to Harry, or to “attain power in [the] romantic relationship” and it could be considered “playful innuendo” (2003, p. 148).
            Scene 3: After Harry runs into his ex-wife with her new husband, he explodes in anger at his two friends in the process of moving in together, telling them that they will eventually divorce and everyone will end up miserable. Sally goes outside after him and reprimands him, culminating in an argument between the two. Begin this clip at 1:31 to see the short scene: http://youtu.be/gtWg8_2nNXs
            The argument begins with Sally gently reprimanding Harry for blowing up, and he responds by turning the focus back on her and how “nothing upsets her,” referring to her big breakup with Joe—this could arguably be coded as female passivity, under Kim et al’s Feminine Courtship Strategies (2003, p. 148). Harry asks her if she’s so over Joe, then why isn’t she sleeping with anybody? This exemplifies Harry’s understanding of relationships in terms of the male heterosexual script trait, “actively pursuing sexual relationships” (Kim et al, 2003, p. 147), though for him it’s a way of coping with feelings of loss. Sally becomes very angry and tells him that sleeping with someone has nothing to do with getting over Joe and tells Harry that she will sleep with someone when it is “making love” and not the way he does it. By saying this Sally follows the heterosexual coding of the “Good Girl,” setting sexual limits, and generally seeking an emotional attachment to sexual partners as well as not prioritizing sexual desire (Kim et al, 2003, p. 147-148). Finally, this scene encompasses two different types of sexual relationships as discussed by Ward; recreational, which in Harry’s style is that “the purpose of sex is to enjoy oneself,” and relational, which Sally defends as a way to “maintain a relationship” and “sex as a way by which to express affection and intimacy” (1995, p. 600).
Based on traits of both female and male heterosexual scripts as well as definitions and characteristics of recreational sexual relations versus relational sexual situations, it seems that When Harry Met Sally is suggesting that recreational sex is more likely to be a “man’s domain” and relational sex is more likely to be a “woman’s domain.” I don’t think that it would be unfair to say that this observation is reflected in several other contemporary films and television shows, although this film raises interesting questions about the boundaries of male/female friendship that many other media do not address.
           

Wednesday, July 11, 2012

Girl with the Dragon Tattoo and Sexy Contradictions

Tonight my roommates and I watched “The Girl with the Dragon Tattoo” and spent the majority of the movie yelling at the characters on screen and repeating the mantra “Something bad’s gonna happen, ohshitsomethingbad’sgonnahappen!” For those of you who haven’t seen it the movie follows a disgraced journalist (the delicious Daniel Craig) who is asked by the aging patriarch of a prominent mega-corporation-owning-family to solve the 40-year-old mystery of his beloved granddaughter Harriet’s disappearance. The journalist eventually teams up with Lisbeth (Mara Rooney), a legally insane, goth/punk/androgynous computer-hacking genius and together they uncover an extremely disturbing set of murders that Harriet was attempting to solve herself. The plot involves a great deal of a violence/sexuality combo—suggestions of Lisbeth’s childhood abuse, sexual abuse as part of the murders, and a particularly difficult to watch rape scene. Lisbeth’s state-appointed “warden” of sorts, with whom she has to have monthly meetings to ensure that her “insanity” is monitored, is an utterly disgusting man who demands sexual favors from her in exchange for access to her own money. It starts with a blowjob and, on the second occasion, wildly escalates into a rape scenario where he chains Lisbeth to his bed and violently rapes her—the audience sees the aftermath when she showers off and is covered in bruises and blood. In later scenes, Lisbeth is at a random club, takes drugs, and ends up bringing a woman back to her house for (presumably) sex. Even later in the movie, Lisbeth basically jumps on top of Daniel Craig and they have sex a few times during their investigation.
            I mention these three events because they brought to mind some contradictions with, first of all, Ivory’s (et al) article about gendered relationships on television where they discuss traditional gender roles, namely that women generally follow the submissive traits—self-doubt, timid, meek, unbold, etc. (2009, p. 173). This movie is interesting because Lisbeth is anything but submissive; even while being brutalized, she screams and wildly struggles against her chains, she pushes the woman in the club up against the wall and kisses her, and she gets naked in front of Daniel Craig and hops on top of him. Ivory et al categorize “being on top during sexual activity” as dominance, and during the sexual scenes in which Lisbeth consented, she was always depicted on top (2009, p. 181). Obviously this study was for television and is taken a bit out of context here, but the idea of gender roles remains pretty static throughout film as well. Another interesting parallel that came to mind was Markle’s Sex and the City study, how she discusses “second wave feminism” validating “women’s desire for sexual pleasure beyond the confines of a monogamous heterosexual relationship” (2008, p. 49). Lisbeth certainly fits this category as she sees what she wants (the woman in the club, Daniel Craig—can you blame her?) and takes it for her own pleasure.
            There’s a lot to say in terms of sexuality in this movie, but I thought it was refreshing to show such a dominant and frankly badass female character comfortable in her own ambiguous sexuality. That being said, it might be argued that this is problematic because Lisbeth is in no way your “average” woman. She wears grungy black clothes, has weird hair and dozens of piercings and tattoos, and drives a motorcycle. She’s really kind of butch and this bothers me because it’s almost as if the movie is acknowledging her feminine sexual power and “toning it back” by making her less conventionally desirable. BUT, if she were to be beautiful, I bet you a million bucks she would have been sexualized with tighter clothes and makeup and big bouncy hair. It’s kind of a Catch-22.