The concept of the male gaze can be understood by examining its historical development and its presence in contemporary society, especially in music videos. According to John Berger, traditional societal norms dictated that men were the ones who took action while women simply appeared. Men would look at women, while women watched themselves being looked at (Berger 1972, 45, 47). Initially observed in European art during the Renaissance period, Berger noted that women were depicted as aware of being observed by male spectators (ibid. 49). He further explained that realistic portrayals in oil paintings and later color photography represented a desire to possess those objects when they appeared within close reach (ibid. 83). In his subsequent writings, Berger emphasized that women continued to be presented differently from men because society always assumed the “ideal” viewer to be male. This resulted in images of women designed to flatter him (ibid. 64).
To support Berger’s theory, in 1996 Jib Fowles asserted that in advertising, men are the ones doing the gazing while women are the ones being gazed at (Fowles 1996, 204). Similarly, Paul Messaris suggests that female models in advertisements directed towards women perceive the camera as representing the viewpoint of an imaginary male observer, and it can be argued that when women view these ads, they see themselves through the lens of how a man would see them (Messaris 1997, 41). These advertisements often imply a male perspective, even though the intended audience is often women.
The ads entice women to relate to both the person being viewed and an implied viewer of the opposite sex (ibid., 44). This male gaze, characterized by dominance and control, is a voyeuristic pleasure embraced by white males in a patriarchal society. It objectifies and sexualizes women for the pleasure of male viewers, resulting in a culture of sexualization and distortion of reality. Women are encouraged to dress and appear sexy not for their own benefit but for men’s satisfaction. This gaze has led to self-reflection and increased awareness of societal expectations regarding appearance for both men and women, though its impact on women is more significant. The male gaze undermines women’s efforts and has infiltrated popular culture through various mediums like films, magazines, advertisements, and billboards. Women have been depicted as models, pinups, and strippers—all aimed at generating profits while attracting a predominantly male audience.
The use of women as sexual objects to promote products has been viewed as a highly profitable concept. Bell Hooks argues that the oppositional gaze, a strong and challenging gaze, is a valuable tool for black people worldwide who have been colonized. Black women view this gaze as a way to resist the traditional male gaze and its portrayal of the ideal woman. In contrast, the white male gaze has perpetuated the stereotype and belief in racial superiority and white supremacy.
The portrayal of the ideal women in various forms of media tend to be white women who embody notions of beauty and sex appeal. According to Bell Hooks, black women are not allowed the privilege of being seen. The oppositional gaze serves as a way to challenge the male gaze and its societal dominance. In agreement with bell hooks, “I not only want to stare, but also desire to look in order to transform reality.” The oppositional gaze empowers women and motivates them to alter the perception of reality.
Is Berger’s theory still relevant in today’s world? Nowadays, accomplished women have achieved great success and possess the power to form their own perspectives on how the male gaze should be defined. They have the ability to decide whether to accept or reject the messages portrayed by the media, selectively taking what resonates with them. In domains such as music videos and the cultivation of ‘Divas,’ these influential women may even leverage their sexuality for professional advantages.
The influence on the prominence and glamorization of sex in contemporary music videos can be attributed to influential women in the music industry, including Beyonce, Madonna, and Lady Gaga. These talented musicians are renowned for their provocative music videos. Nevertheless, there remains a lack of adequate attention and seriousness from the government regarding the regulation of sexually explicit imagery and lyrics featured in these videos and songs.
Today’s typical music video aims to capture the viewers’ attention using explicit sexual imagery and vulgar lyrics. This strategy has proven effective, as the target audience seems to be drawn to these ideas and lyrics. The record industry association of America conducted studies, in collaboration with professors, to determine if sexual images were randomly inserted into music videos or if there was a consistent pattern to their appearance. The findings revealed that sexual images appeared in over 25% of the videos. These images included provocative clothing, suggestive movements, kissing, sexual bondage, and sadomasochism. As music videos are primarily directed towards men, they have become increasingly focused on sexuality. Whether it is a male or female singer, most music videos in the past decade showcase partially nude individuals performing provocative dances. Artists like Britney Spears and 50 Cent consistently feature female figures who are scantily clad and engage in seductive choreography. This appeals to the male audience who watch these videos.
But as mentioned before, are female singers producing videos like this solely for the male benefit or to showcase themselves as strong, successful individuals? Many female singers have been iconic figures for young girls for years, serving as role models and depicting aspirations for their future. This can be perceived positively and negatively. On one hand, it demonstrates that women can achieve success, earn money, and live in luxurious homes. However, the downside is that it may convey to young girls that the only path to emulate these singers is by adopting their appearance and style, using their bodies as objects for men to admire.
Many women in music videos play additional roles that cater to the sexual fantasies of men. This includes acting as strippers, exotic dancers, prostitutes, and even dominatrixes. To fulfill the fantasies of young boys, women are also shown dressing up as teachers and, in turn, as schoolgirls for older male viewers. Other roles include cheerleaders, prisoners, playmates, and even the suggestion of lesbians. The portrayal of lesbians in these videos relates to the common theme of voyeurism or the desire to be watched.
Pornographic elements can be found in music videos as well, with explicit content being subtly concealed but still discernible. Such videos frequently showcase performances and outfits that center around comparable themes. Their intention is to portray the dominance of men over female sexuality, leaving little room for women to express their genuine emotions. This pattern is also apparent in various other media forms like television, magazines, and movies.
Do the rules still apply to female artists as mentioned earlier? The story is heavily influenced by both the individual artist and the ideas established by pre-existing women’s movements. In numerous cases, the artist’s lyrics contradict the visuals in their music videos. The primary challenge for these artists is to convey a unique narrative without losing audience engagement. Madonna’s provocative videos exemplify this, as they may be offensive to some but are presented under the guise of promoting female sexuality.
The female singers demonstrate control over male dancers, making them the sexual objects instead of themselves. However, there is a contradiction between the lyrics and images in their videos. In most cases, female singers express a desire to be taken care of and treated right in their songs, but simultaneously portray themselves as sexual objects by dancing provocatively in minimal clothing.
One significant song that exemplifies these ideas is Britney Spears’ music video “Not a Girl, Not Yet a Woman.” This song expresses the singer’s journey of change and her desire to be seen as a woman while protecting her heart. However, the video portrays her in revealing clothing, seductively gazing into the camera. The lyrics convey the artist’s message, but the videos are used to generate profit. In her work, Mulvey discusses how cinema incorporates the act of looking at women into the spectacle itself, extending beyond highlighting a woman’s appearance. Sut Jhally explores this concept further in the documentary series “Dreamgirls,” referring to music videos as a “male dreamworld.” Jhally argues that these portrayals shape cultural opinions and expectations of women. Critics of MTV assert that these idealized images have greatly influenced young, impressionable women’s fashion choices and sexual behavior over the past few decades. However, this issue extends to men as well, as those raised on these MTV images come to expect certain submissiveness from their female peers.
Such expectations are unfair but prevalent in our culture. 50 Cent is not a feminist. In Pink’s song “Stupid Girls,” she criticizes pop icons like Jessica Simpson and Paris Hilton who seem to go against feminism, and sings, “What happened to the dream of a girl president? / She’s dancing in the video Next to 50 Cent.” Even though scantily-clad women are a common feature in 50 Cent’s videos, his latest video “Ayo Technology” delves into the darker side of this fantasy world, though its message is somewhat unclear.
In terms of aesthetics, the music video for “Ayo Technology” – which also features Justin Timberlake and Timbaland – is not just a portrayal of attractive people in bikinis, but it delves into a much darker realm of voyeurism and sexual violence. Timberlake confidently maneuvers through this world, seemingly determined to shed his previous image as a teen idol by embracing a creepy persona. Likewise, Timbaland eagerly embraces his own eccentricity. On the other hand, 50 Cent awkwardly navigates the video’s sexual fantasies, almost ashamed to expose his own vulnerability.
The content of “Ayo Technology” revolves around sexual frustration. Both 50 Cent and Timberlake have developed these expectations through their exposure to music videos and pornography. However, they come to the realization that real-life women do not behave in the same way. Timberlake expresses his dissatisfaction and inability to achieve sexual gratification in the physical world by singing, “I’m tired of using technology.” In a pathetic manner, he adds, “She wants it, she wants it,” without any specific person in mind. This raises the question of whether we should hold 50 Cent and Timberlake accountable for promoting the notion of submissive female behavior, or if they are simply naive products of popular culture.
Factors That Made Alcatraz Island A Maximum Security Prison
Every country has its own distinctive and colossal man-made landmarks. In Europe, London boasts Big Ben, while Paris is renowned for the romantic Eiffel Tower, and Italy is home to the intriguing Leaning Tower of Pisa. China flaunts its Great Wall, and Egypt is famous for its pyramids and sphinx. Popular man-made landmarks can be found all over the world. Even America has its own magnificent landmarks, including the Statue of Liberty and the Empire State Building. These landmarks exemplify beauty and excellence that are profoundly ingrained in their respective country’s history and identity.
America has numerous famous and notorious prisons that leave an eerie and disdainful mark on the country. Some well-known examples include Leavenworth (Hot House), Eastern State Penitentiary (Cherry Hill), Attica, San Quentin, Sing Sing (The Big House, Up the River, The Last Mile), and Folsom. These prisons are among the largest and most widely recognized in America. However, there is one prison that stands out above all others in terms of unprecedented popularity.
Alcatraz, also known as “The Rock,” has been featured in Hollywood movies and video games like Rush 2 and Tony Hawk Pro-Skater. The prison’s location, setup, and swift currents made it a maximum security facility. Situated one and a half miles offshore in the San Francisco Bay, Alcatraz Island was formed over fifteen thousand years ago during the last ice age (Davis 21).
The massive glaciers gradually melted, permanently isolating the island from any other land. A Spaniard named Juan Manual Ayala arrived on the island and named it “Isla de Los Alcatraces” or “Island of the Pelicans” (Davis 21). Eventually, “Alcatraces” evolved into Alcatraz. In 1853, Alcatraz was converted into a United States Army base (Davis 21). It was chosen as an ideal location to station numerous cannons in order to protect the settlers who had migrated to California due to the discovery of abundant gold in the San Francisco Bay area.
The U. S. Army constructed a lighthouse on Alcatraz Island, making it the first fully operational lighthouse on the West Coast. Despite being on the island to this day, the late 1850’s saw the erection of guardhouses, serving as the first jail on Alcatraz. By the 1860’s, the prison population had reached over 100 inmates. However, it wasn’t until 1933 that the Department of Justice, led by J. Edgar Hoover, assumed control and transformed Alcatraz into a federal penitentiary. James Johnston was appointed as the first warden of the Alcatraz Island Federal Penitentiary (Davis 21).
During its twenty-nine years of operation, a total of thirty-six men were involved in just fourteen escape attempts on Alcatraz (Hodak). The remote location of Alcatraz, over a mile and a half away from the nearest seashore, significantly contributed to this low number (Hodak). Out of the thirty-six escape attempts, only ten individuals managed to reach the water (Esslinger 2005). Notably, on December 16, 1937, Theodore Cole and Ralph Roe successfully made it to the shore. Sadly, a severe storm with strong Bay currents led authorities to believe that Cole and Roe were swept out to sea (Esslinger 2005).
Both John Bayless and James Boarman, Fred Hunter, Floyd Hamilton, and Harold Brest are listed as missing and presumed dead. On September 15, 1941, Bayless attempted to escape but quickly gave up after jumping into the cold Bay waters. On April 14, 1943, Boarman, Hunter, Hamilton, and Brest tried to escape as well. As they were swimming away, shots were fired at Hamilton, Brest, and Boarman. Boarman got hit by the bullets and sank, never to be found again. Breast and Hunter were both caught, while Hamilton was believed to have drowned, only to later be discovered hiding in a cave.
On September 29, 1958, two individuals named Clyde Johnson and Aaron Burgett made an attempt to escape Alcatraz by overpowering a guard. While Johnson was caught, Burgett’s body was discovered approximately two weeks later. The most well-known escape attempt occurred on June 11, 1962, involving brothers Clarence and John Anglin, along with Frank Morris. This incident gained significant attention, partly due to Clint Eastwood’s movie “Escape From Alcatraz.” To execute their escape plan, they constructed makeshift drills and enlarged the air vents to create a passage for themselves. Additionally, they created lifelike dummy heads using real hair obtained from the prison barbershop, which they placed in their beds at night.
Despite their use of raincoat life vests, the men who attempted to escape were not found, except for a badly deteriorated body in blue clothing that was impossible to identify (Esslinger 2005). According to Army records, no prisoner had ever successfully escaped from Alcatraz (Journal of Criminal Law and Criminology). The location of Alcatraz played a crucial role in its status as a maximum security prison, as evidenced by the numerous failed escape attempts. Additionally, the prison’s setup was another major factor in ensuring its maximum security status.
Alcatraz, which covered less than eighteen acres, was compact enough for the light tower and guard posts to oversee every part of the island. Warden James Johnston personally oversaw the renovation of Alcatraz to ensure that it was secure enough to imprison notorious criminals like George “Machine Gun” Kelly, Robert Stroud “The Birdman”, and the infamous Al Capone, who would soon call it home. Additionally, Johnston aimed to break up prison gangs by sending their leaders to Alcatraz.
Ensuring the management of rule-breaking and privilege-abusing prisoners was a top concern. Various available innovations, alongside full body metal detectors, were utilized. The incorporation of cyclone wire and barbed wire enclosed all areas. Additionally, utility tunnels and sewers were sealed, with the most notable change being the introduction of tool-proof steel cells to replace the previously employed soft-steel ones (Davis 21). These new cells measured only five feet by nine and accommodated a single inmate instead of the conventional two.
The implementation of individual cells at Alcatraz helped deter frequent attacks from dangerous inmates, and surprisingly, the prisoners actually found enjoyment in having their own cell (Esslinger 2005). The maximum capacity of Alcatraz was 312, but it never reached this number, with only about 250-270 prisoners at any given time. Though it may not seem significant, an additional forty or fifty inmates could pose a myriad of increased dangers, such as attacks or escape attempts. Another advantageous feature of Alcatraz was the frigid and rapid currents of the San Francisco Bay, which averaged temperatures of forty to fifty degrees Fahrenheit.
In water of this frigid temperature, the extremities, such as arms and legs, quickly become numb within a matter of minutes. Losing consciousness could occur as soon as fifteen minutes, and eventually hypothermia will develop. This is the reason why so many prisoners who managed to reach the water ended up drowning. It is worth noting that even in seventy-degree water, hypothermia can still occur if one remains in it for an extended period of time (theithacajournal.com). Additionally, the Bay water not only is extremely cold, but it also exhibits a powerful current. The currents surrounding Alcatraz Island can reach speeds of four to eight miles per hour or three to five knots (Davis 23).
Middlesex: Assimilation Throughout Generations
In the novel Middlesex by Jeffrey Eugenides, the protagonist and narrator, Cal, guides the reader through the multi-generation immigrant story of his family. Cal’s grandparents, Lefty and Desdemona, fled Greece as refugees during the Turkish invasion and settled in America. Over the course of three generations, Cal unfolds his family’s narrative, tracing the development of a mutant gene that ultimately led to Cal being born a hermaphrodite. Alongside Cal’s personal journey of self-discovery, Eugenides weaves a compelling tale of the Stephanides family’s assimilation into the societal norms of their respective times and surroundings.
The text describes the characters and their experiences in relation to the American Dream. Lefty symbolizes the typical immigrant who is determined to succeed and achieve the American Dream. His son, Milton, follows his father’s footsteps in business and fully embraces the American way of life. Lastly, Callie represents the first generation born in America, but she struggles with the challenges of navigating both a female and male world.
Callie struggles to fit in with the other girls during her adolescence, despite being inherently different. Likewise, Cal faces a lifelong struggle to accept and be comfortable with his true identity. Eugenides presents a family that constantly yearns for a different life or identity. Lefty, an immigrant of the 1920s, arrives in America seeking success to provide for his family. Upon his arrival in Detroit, Lefty encounters Jimmy Zizmo, his cousin’s husband, who is a con artist and generally corrupt businessman.
With the assistance of Zizmo, Lefty secures employment at Ford Motors, where he receives English language training. Meanwhile, Zizmo imparts knowledge to Lefty on achieving financial success in America. Serving as Lefty’s model for assimilation is Lina, Zizmo’s wife and cousin to Lefty and Desdemona. Cal observes, “In the span of five years since leaving Turkey, Sourmelina had successfully eliminated almost all traces of her Greek heritage” (84). Following his dismissal from Ford Motors, Lefty proceeds to establish his own speakeasy, known as The Zebra Room. Over the course of several years, as he operates his bar, Lefty appropriates the identity of an ‘American.’ He embraces American business and cultural principles but remains cognizant of the sacrifices he has made to achieve this. Ultimately, Lefty emerges as a prominent advocate for racial equality.
On Monday morning, a race riot occurred when a group of men entered the establishment and boasted about killing a Black person. Nevertheless, my grandfather refused to serve them and one of the men insulted him by telling him to go back to his own country. In response, Lefty confidently declared, “This is my country,” and demonstrated his point by retrieving a pistol from beneath the counter (169).
Lefty serves as an exemplar of embracing American culture and assimilating into the desired American image. He strives for the American Dream by adhering to societal norms and successfully establishing his own bar and restaurant. Lefty takes pride in resourcefully providing for his family’s needs. Conversely, Milton follows in his father’s footsteps by actively participating in business ventures and financially supporting his family; however, he falls short in fulfilling his responsibilities as a supportive father and husband.
Milton is often occupied with his thriving Hercules Hot Dog’s chain, leaving little time to address his family’s concerns and adjustments. Previously, Milton prioritized establishing familial connections before attaining wealth and status as a successful entrepreneur. Unlike his father, Milton easily embraces American business practices and customs as the first generation in his family to reside in the United States. However, this influence of American culture on the Milton family displeases Desdemona, his mother.
When Tessie, Milton’s wife, is expecting a baby, Milton employs contemporary techniques to guarantee that their child will be a girl. Upon witnessing Milton’s accuracy, Desdemona recognizes that her Greek heritage and convictions are obsolete within her own family. Cal describes how Desdemona becomes somber as she comprehends that her American-born son is correct. As a result of this latest defeat, Desdemona’s attachment to her homeland, even though it is thousands of miles and many years away, diminishes even further. My arrival signifies the conclusion of her attempts at predicting the gender of babies.
Milton builds on his father’s efforts to achieve the American Dream, striving for even greater social success and acceptance than Lefty. When Milton acquires wealth and settles in the affluent Grosse Point neighborhood, he goes to great lengths to assimilate into American culture, even disowning his heritage. In his new surroundings, Milton embraces Republican ideals, distancing himself from his family’s background after the government endorses the Turkish assault on Greece.
Cal comments, “Having to choose between his native land and his ancestral one, he didn’t hesitate.” Due to this decision, Cal’s family and friends become distant and stop visiting on Sundays as they used to. Milton’s action of cutting off Greek heritage marks the end of it for the Stephanides. Consequently, Milton’s daughter, Calliope, grows up without any Greek culture or values, and instead lives her life as a normal American girl. Throughout her childhood, Calliope fit in perfectly, but as she entered adolescence, she started to sense her uniqueness. To address these issues, Milton enrolls Calliope in a private all-girls’ school. It is at this school that Calliope realizes she is not the all-American girl she believed herself to be.
Calliope expresses, “Until we came to Baker & Inglis my friends and I had always felt completely American. But now the Bracelets’ upturned noses suggested that there was another America to which we could never gain admittance”(298). In addition to facing cultural exclusion, Calliope also experiences loneliness and isolation due to her genetic irregularity. While attending Baker & Ingris, Calliope begins pubescent changes that differ from those of other girls.
Eugenides suggests that Calliope’s hermaphroditism is evident through various physical signs such as a deepening voice, facial hair, and masculine features. The mention of testicles further supports this notion. During her teenage years, Calliope assimilates with the ‘Bracelets’ and other girls in school. However, a freak accident lands her in the care of Dr. Luce, an expert in sexual disorders and gender identity. Upon discovering her hermaphroditic nature, Calliope perceives herself as a “Monster,” influenced by the dictionary’s definition of hermaphrodite. As she realizes her genetic makeup is male, she is compelled to embrace life as a young man, abandoning her former identity. This new journey leads Cal to confront the constant internal struggle between who he has tried to be and who he truly is. Feeling increasingly isolated and unsure of how to behave, he finds himself instinctively resorting to familiar habits such as “flipping his hair,” only to realize they no longer fit his new reality.
In his quest to discover his true masculinity, Cal decides to change his appearance through getting a haircut and wearing male clothing. He then embarks on a journey to the western region of the United States in search of purpose in his life. Upon reaching California, he encounters Zora, who identifies as a hermaphrodite and fully embraces her own identity. Cal finds solace in realizing that he is not alone in his struggle and attentively listens to Zora, immediately forming a bond with her. This connection prompts Cal to prolong his stay in San Francisco, believing that it was fate or fortune that led him there. He intends to make the most of this opportunity by learning from Zora and overcoming the sense of isolation he once experienced. Ultimately, Cal meets someone who can empathize with him and comprehend his situation.
Cal’s journey was extraordinary as he dedicated his whole life to conforming to different expectations. However, he has now reached a stage of self-awareness and is accepting his authentic identity. In the end, Cal comes back home for Milton’s funeral and finally attains a sense of resolution. Contemplating this moment, he declares, “The wind brushed against my weathered face, which resembled both my grandfather’s and the face of the American girl I once was” (529). Both Lefty and Milton pursued their own version of the American Dream by assimilating into society.
Meanwhile, their Greek heritage faded away and became nothing but memories for Desdemona. However, Cal experienced the lives of three individuals: a young and fearful girl, who was distinct from others; a secluded boy, who felt lonely and lost, sensing his differences and inadequacies; and a determined man, burdened with his past but possessing a strong sense of identity, and comfortable in his own being. Eugenides’ novel ironically comes full circle, commencing with a modest Greek couple, progressing to an Americanized second and third generation, and concluding with a Greek funerary custom, demonstrating that one’s heritage will always remain a part of oneself.