Geena Papini, Grade 12
In
the past twenty years, the role that film and television play in our lives has
become significantly larger and more influential. With the introduction of
resources such as Movies On Demand and Netflix, as well as the availability of
thousands of online download sites, the film industry is now reaching more
viewers than ever. Today, 99% of Americans own a television set[1]
and in 2011, 67% (more than two-thirds) of the US/Canadian population saw a
movie in theatres at least once[2].
This increase in film and television viewership means that now, movies and
television shows, as well as the plethora of advertisements that accompany
them, are reaching a larger, more diverse community. However, despite any
claims that Canada and the Unites States are multi-cultural countries,
representation within our media still fails to reflect that diversity,
particularly when it comes to the representation of women, ethnic minorities
and the LGBTQIA* community, all of whom are, more often than not, reduced to little
more than tropes and stereotypes.
The
representation of these groups in Western media exhibits depressingly
white-washed, Euro-centric values and tendencies. A study released by USC’s
Annenberg School For Communication & Journalism examined the 500
top-grossing films released in the U.S. from 2007 to 2012 and found that “over
three quarters of all speaking characters are White (76.3%)”. [3]
These statistics are troubling, given
that 44 percent of movie tickets sold in
the US in 2012 were purchased by non-Caucasians3, and are just one indication of how
underrepresented minorities are in the media.
Minorities are
not only underrepresented in Western Media, they are more often than not misrepresented
or portrayed poorly, if they are portrayed at all. The representation of women is
something that I have noticed has failed to be reflective of the true diversity
of the gender. Film and television shows abound with women and girls who are
overwhelmingly white, inconceivably thin, one-dimensional, flat characters that
usually only serve the purpose of validating the male hero. Characters such as
the newly introduced Clara Oswald from the current Steven Moffat-era of Doctor
Who might as well not exist at all, for all we learned about her and what she
contributed to the plot of the series. Her only purpose seemed to be to approve
of the Doctor’s frankly immature, childish decisions. As a woman this is
especially disappointing and off-putting, not only because I know the series
has done better in the past (and under different head-writers), but because
there are depressingly few TV shows that portray a diverse range of female
characters.
Similarly
members of the LGBTQIA* community can expect to be relegated to one of three categories—the
flamboyant gay man, the butch lesbian, or the resoundingly silent nonentity. Admittedly,
shows such as Jenji Kohan’s Netflix Original Series ‘Orange is the New Black’
have made progress in the diversification of the portrayal of lesbian and transgender
characters, but Canadian and American television remains overwhelmingly
heterosexual.
Stereotypes are
dangerous. When our only exposure to a group of people are negative, degrading
tropes, those stereotypes become all that we believe to be possible of that
group. If
the media only portrays women as either the weak damsel in distress or the ice
maiden who needs a ‘real man’ to inflame her, then the possibility of the
existence of other types of women as complex, flawed, and believable
individuals becomes unimaginable.
Not only does
this stereotyping rob people of their individuality and dignity, it damages
understanding and effective communication across genders, sexualities,
ethnicities and cultures. Their portrayal as ‘single stories[4]’ limits
the possibility of deeper understanding and damages the ability of others to be
able to relate to them and connect as human equals. In the words of Chimamanda
Ngozi Adichie, “When we reject the single story, when we realise that there is
never a single story about any place, we regain a kind of paradise.”
Work Cited
1. Nielsen, A.C. "Television Watching
Statistics." Statistic
Brain RSS. N.p., 12 July 2013. Web. 07 Jan.
2014.
<http://www.statisticbrain.com/television-watching-statistics/>.
2. International, ORC. Theatrical Market Statistics 2011.
Rep. Motion Picture Association of America,
2011.
Web. 9 Jan. 2014. <http://www.mpaa.org/resources/5bec4ac9-a95e-443b-987b
bff6fb5455a9.pdf>.
3. Smith, Stacy L., Dr, Marc Choueiti, and
Katherine Pieper, Dr. *Race/Ethnicity in 500 Popular Films:
Is
the Key to Diversifying Cinematic Content Held in the Hand of the Black
Director? Rep.
Annenberg
School for Communication & Journalism, 2013. Web. 9 Jan. 2014.
<http://annenberg.usc.edu/sitecore/shell/Applications/~/media/PDFs/RaceEthnicity.ashx>.
4. The Danger of a Single Story. Perf.
Chimamanda Ngozi Adichie. TED:
Ideas worth Spreading. N.p.,
Oct.
2009. Web. 07 Jan. 2014
<http://www.ted.com/talks/chimamanda_adichie_the_danger
_of_a_single_story.html>