MEDIA & GENDER
REPRESENTING, PRODUCING, CONSUMING
Inhoudsopgave
0 INTRODUCTIE................................................................................................................. 5
0.1 EMOTIES EN DEBAT............................................................................................................... 5
0.2 GAMECHANGERS ................................................................................................................. 5
0.3 INLEIDING ............................................................................................................................ 6
0.3.1 WAAR GAAT HET OVER? ......................................................................................................... 6
0.3.2 VAN WAAR KOMEN WE? ........................................................................................................ 7
0.3.3 WIE ZIJN WE? EPISTEMOLOGISCHE TRADITIES ...................................................................... 7
1 WHO IS REPRESENTED? (PRESENTATIE) ......................................................................... 11
1.1 WHO IS REPRESENTED? ......................................................................................................11
1.2 WHAT ARE REPRESENTATIONS? ...........................................................................................12
1.2.1 PSYCHO-ANALYSE – the gaze theory ..................................................................................... 12
1.2.2 SEMIOTIEK – structuralistische aanpak, werking van signalen ................................................ 12
1.2.3 DISCOURSANALYSE – wisselwerking mater wereld, mentale ideeën (post-structuralisme) ...... 13
1.2.4 SOCIALE PSYCHOLOGIe – sociale roltheorie, gendergedrag door sociale rollen ...................... 13
1.3 REPRESENTED, WHERE?......................................................................................................13
1.3.1 POPULAIRE CULTUUR ......................................................................................................... 13
1.4 REPRESENTED, WHO? .........................................................................................................15
1.4.1 ADVERTISING ...................................................................................................................... 15
1.4.2 MALE GAZE ......................................................................................................................... 17
1.4.3 QUEER GAZE ....................................................................................................................... 19
1.4.4 GELIJKENISSEN GAZES ........................................................................................................ 19
1.4.5 Nieuws................................................................................................................................ 19
1.5 REPRESENTATIES & REALITEIT? ............................................................................................20
1.6 CONCLUSIE ........................................................................................................................20
2 SUBJECT POSITIONS (REPRESENTATIE)........................................................................... 21
2.1 THE SUBJECT & IDENTITY .....................................................................................................21
2.1.1 SUBJECT, SUBJECTIVITY AND THE MEDIA (heel kort maar in les, komt uit boek?) ..................... 22
2.2 STEREOTYPES .....................................................................................................................23
2.2.1 GENDERSTEREOTYPEN ....................................................................................................... 23
2.2.2 GENDERED GENRES ........................................................................................................... 24
2.2.3 VERANTWOORDELIJKHEID VOOR STEREOTYPERING ............................................................ 25
2.2.4 THE FEMININITY OF REALITY TELEVISION ............................................................................. 26
2.3 IDENTITY AND THE MEDIA (vanaf hier extra boek) ..................................................................27
2.3.1 WHAT ABOUT MEN?............................................................................................................. 27
2.3.2 REPRESENTING GENDER IN A GLOBAL CONTEXT ................................................................. 28
3 INTERTEXTUAL REPRESENTATIONS (REPRESENTATIE) ..................................................... 29
1
,3.1.1 PORNOFICATION ................................................................................................................ 32
3.2 SOORTEN CONTENT ............................................................................................................34
3.2.1 VERHAAL VAN GEGENDERDHEID, SEKSUALISERING IS NIET NIEUW ..................................... 34
3.3 PORNOFICATIE ....................................................................................................................35
3.3.1 GAAT OOK OVER VERBEELDING IN REALITY GENRE .............................................................. 35
3.3.2 VIDEOCLIPS ........................................................................................................................ 35
3.3.3 RISE OF BDSM IN POP CULTURE (KHAN, 2018) ..................................................................... 36
3.3.4 HYPERVROUWELIJKHEID & GIRL’S CULTURE ........................................................................ 36
3.3.5 SEKSUALISERING EN SOCIAL MEDIA PLATFORMS ................................................................ 36
3.4 SMUT IS SO HOT RIGHT NOW - LEONTINE HELLEMANS (PHD) ..............................................37
3.4.1 HEDENDAAGSE CONTEXT ................................................................................................... 37
3.4.2 HISTORISCHE CONTEXT ...................................................................................................... 38
3.4.3 PORNOGRAFISCHE DISCOURSEN ....................................................................................... 39
3.5 KLEINE HERHALING (start les 5) ...........................................................................................44
3.6 GENDER AND DIGITAL TECHNOLOGIES (niet meer gezien in les?????) ...................................45
3.7 THEORETICAL BACKGROUND ..............................................................................................45
3.7.1 FEMINIST MEDIA STUDIES .................................................................................................... 45
3.7.2 JOURNALISM STUDIES ......................................................................................................... 45
3.7.3 FEMINIST TECHNOLOGY STUDIES ........................................................................................ 46
3.8 DIGITALIZATION CONTRIBUTED TO CHANGES IN THE MEDIA INDUSTRY ................................46
3.8.1 LOOKING FOR UNICORNS ................................................................................................... 46
3.8.2 GENDER ISSUES IN DATA JOURNALISM ................................................................................ 47
3.9 HACKING THE GENDER GAP ................................................................................................48
3.9.1 NETWORK AND MENTORING GROUPS AMONG WOMEN: ..................................................... 48
3.9.2 FEMALE FRIENDLY HACKATHONS ........................................................................................ 48
3.9.3 INHOUSE TRAINING IN MEDIA COMPANIES .......................................................................... 48
4 WHO PRODUCES WHAT? (PRODUCTIE) .......................................................................... 50
4.1 MEDIA VELDEN: GEEN CIJFERS KENNEN! .............................................................................54
4.1.1 NIEUWSMEDIA .................................................................................................................... 54
4.1.2 MAGAZINES ........................................................................................................................ 54
4.1.3 FILM INDUSTRIE .................................................................................................................. 54
4.1.4 TELEVISIE ............................................................................................................................ 56
4.1.5 RADIO ................................................................................................................................. 56
4.1.6 MUZIEK ............................................................................................................................... 57
5 POWER AND GENDER IN THE MEDIA INDUSTRY (PRODUCTIE)......................................... 58
5.1 GLAZEN PLAFOND...............................................................................................................58
5.1.1 2017: TIPPING POINT ........................................................................................................... 58
5.1.2 HOLLYWOODINDUSTRIE ..................................................................................................... 58
5.1.3 MECHANISMEN IN DE MEDIA INDUSTRIE ............................................................................. 59
5.2 BELEID GRENSOVERSCHRIJDEND GEDRAG IN VLAANDEREN ...............................................60
5.3 DIGITALE MEDIA ..................................................................................................................60
5.3.1 BLURRED PRODUCTEN = UGC ............................................................................................. 60
5.3.2 DIGITALE CONTENT CREATIE ............................................................................................... 62
2
,5.3.3 50% VAN DE WERELDBEVOLKING GEBRUIKT SOCIALE MEDIA .............................................. 63
5.3.4 DIY OF PROFESSIONELE CONTENT CREATIE? ...................................................................... 63
5.3.5 IS AI GENDER NEUTRAAL? ................................................................................................... 64
5.3.6 PLATFORMSAMENLEVING ................................................................................................... 64
5.3.7 PLATFORM ECOLOGIES ....................................................................................................... 65
6 GASTLES DIVERSITEITSBELEID VAN VRT – NADIA HANSSENS........................................... 69
6.1 VRT VOOR IEDEREEN ...........................................................................................................69
6.1.1 TEAM D&I OP VRT ................................................................................................................ 69
6.2 GENDER OP VRT ..................................................................................................................70
7 WHO CONSUMES WHAT? (CONSUMPTIE) ....................................................................... 72
7.1 TIMELINE AUDIENCES..........................................................................................................72
7.1.1 STUDYING AUDIENCES........................................................................................................ 73
7.2 ACADEMISCHE DENKLIJNEN OVER MEDIAGEBRUIK EN GENDER...........................................73
7.2.1 EFFECT THEORY .................................................................................................................. 73
7.2.2 CULTIVATION THEORY – GERBNER & GROSS ........................................................................ 74
7.2.3 USES AND GRATIFICATION (KRITIEK CULTIVATIETHEORIE) – KATZ EN LIEBE ............................ 75
7.2.4 ENCODING EN DECODING .................................................................................................. 76
7.2.5 VOORWAARDEN AAN EFFECT .............................................................................................. 78
8 THE CONSUMER SITUATED (CONSUMPTIE) ..................................................................... 79
8.1 GESITUEERDHEID VAN MEDIA CONSUMENT ........................................................................79
8.1.1 IDENTITEIT EN FRAMEWORK OF KNOWLEDGE (HALL) ........................................................... 79
8.1.2 MEDIA PLEASURES .............................................................................................................. 80
8.2 PARADIGMA’S......................................................................................................................80
8.2.1 SCREENTHEORIE ................................................................................................................ 80
8.2.2 CULTURAL STUDIES............................................................................................................. 81
9 EMPOWERED AUDIENCES (CONSUMPTIE) ...................................................................... 83
9.1.1 GENDER & DIGITAAL WELZIJN .............................................................................................. 91
9.1.2 DIGITAAL WELZIJN EN GENDER GEILLUSTREERD – VOORBEELDEN UIT EIGEN ONDERZOEK .. 95
10 GEKLEURDE HUID OP HET WITTE SCHERM – SOUAD BOEKHATEM ................................... 97
10.1 INLEIDING ...........................................................................................................................97
10.2 THEORETISCH KADER ..........................................................................................................97
10.2.1 ONDERZOEKSVRAAG .......................................................................................................... 97
10.2.2 5 kernconcepten ................................................................................................................. 98
10.3 RESULTATEN ........................................................................................................................99
10.4 AANBEVELINGEN ................................................................................................................99
11 SAMENVATTING ARTIKELS ........................................................................................... 100
11.1 DEMARGINALIZING THE INTERSECTION OF RACE AND seks – CRENSHAW (1989) ................ 100
11.2 Een volle zak op de schouders – Over mechanismen van stereotypering – sofie van bauwel ... 101
11.3 SOCIAL MEDIA AND SELF-ESTEEM – CINGEL, CARTER & KRAUSE (2022) .............................. 103
3
, 11.4 WHO OWNS INTERSECTIONALITY – kathy Davis .................................................................. 104
11.5 TECHNOLOGIES OF GENDER – TERESA DE LAURETIS.......................................................... 105
11.6 Between Colorblind and Colorconscious: Contemporary Hollywood Films and Struggles Over
Racial Representation - Jason Smith (2013) – Journal of Black Studies ................................................. 106
11.7 Post Weinstein: gendered power and harassment in the media industries - van Shelley Cobb &
Tanya Horeck (2018) ......................................................................................................................... 107
11.8 "The Contribution of Social Media to Body Dissatisfaction, Eating Disorder Symptoms, and
Anabolic Steroid Use Among Sexual Minority Men" - Griiiths et al. (2018) ............................................ 108
11.9 #SocialMedia: Exploring the Relationship of Social Networking Sites on Body Image, Self-
Esteem, and Eating Disorders” (Santarossa & Woodrui, 2017) ............................................................ 109
4
REPRESENTING, PRODUCING, CONSUMING
Inhoudsopgave
0 INTRODUCTIE................................................................................................................. 5
0.1 EMOTIES EN DEBAT............................................................................................................... 5
0.2 GAMECHANGERS ................................................................................................................. 5
0.3 INLEIDING ............................................................................................................................ 6
0.3.1 WAAR GAAT HET OVER? ......................................................................................................... 6
0.3.2 VAN WAAR KOMEN WE? ........................................................................................................ 7
0.3.3 WIE ZIJN WE? EPISTEMOLOGISCHE TRADITIES ...................................................................... 7
1 WHO IS REPRESENTED? (PRESENTATIE) ......................................................................... 11
1.1 WHO IS REPRESENTED? ......................................................................................................11
1.2 WHAT ARE REPRESENTATIONS? ...........................................................................................12
1.2.1 PSYCHO-ANALYSE – the gaze theory ..................................................................................... 12
1.2.2 SEMIOTIEK – structuralistische aanpak, werking van signalen ................................................ 12
1.2.3 DISCOURSANALYSE – wisselwerking mater wereld, mentale ideeën (post-structuralisme) ...... 13
1.2.4 SOCIALE PSYCHOLOGIe – sociale roltheorie, gendergedrag door sociale rollen ...................... 13
1.3 REPRESENTED, WHERE?......................................................................................................13
1.3.1 POPULAIRE CULTUUR ......................................................................................................... 13
1.4 REPRESENTED, WHO? .........................................................................................................15
1.4.1 ADVERTISING ...................................................................................................................... 15
1.4.2 MALE GAZE ......................................................................................................................... 17
1.4.3 QUEER GAZE ....................................................................................................................... 19
1.4.4 GELIJKENISSEN GAZES ........................................................................................................ 19
1.4.5 Nieuws................................................................................................................................ 19
1.5 REPRESENTATIES & REALITEIT? ............................................................................................20
1.6 CONCLUSIE ........................................................................................................................20
2 SUBJECT POSITIONS (REPRESENTATIE)........................................................................... 21
2.1 THE SUBJECT & IDENTITY .....................................................................................................21
2.1.1 SUBJECT, SUBJECTIVITY AND THE MEDIA (heel kort maar in les, komt uit boek?) ..................... 22
2.2 STEREOTYPES .....................................................................................................................23
2.2.1 GENDERSTEREOTYPEN ....................................................................................................... 23
2.2.2 GENDERED GENRES ........................................................................................................... 24
2.2.3 VERANTWOORDELIJKHEID VOOR STEREOTYPERING ............................................................ 25
2.2.4 THE FEMININITY OF REALITY TELEVISION ............................................................................. 26
2.3 IDENTITY AND THE MEDIA (vanaf hier extra boek) ..................................................................27
2.3.1 WHAT ABOUT MEN?............................................................................................................. 27
2.3.2 REPRESENTING GENDER IN A GLOBAL CONTEXT ................................................................. 28
3 INTERTEXTUAL REPRESENTATIONS (REPRESENTATIE) ..................................................... 29
1
,3.1.1 PORNOFICATION ................................................................................................................ 32
3.2 SOORTEN CONTENT ............................................................................................................34
3.2.1 VERHAAL VAN GEGENDERDHEID, SEKSUALISERING IS NIET NIEUW ..................................... 34
3.3 PORNOFICATIE ....................................................................................................................35
3.3.1 GAAT OOK OVER VERBEELDING IN REALITY GENRE .............................................................. 35
3.3.2 VIDEOCLIPS ........................................................................................................................ 35
3.3.3 RISE OF BDSM IN POP CULTURE (KHAN, 2018) ..................................................................... 36
3.3.4 HYPERVROUWELIJKHEID & GIRL’S CULTURE ........................................................................ 36
3.3.5 SEKSUALISERING EN SOCIAL MEDIA PLATFORMS ................................................................ 36
3.4 SMUT IS SO HOT RIGHT NOW - LEONTINE HELLEMANS (PHD) ..............................................37
3.4.1 HEDENDAAGSE CONTEXT ................................................................................................... 37
3.4.2 HISTORISCHE CONTEXT ...................................................................................................... 38
3.4.3 PORNOGRAFISCHE DISCOURSEN ....................................................................................... 39
3.5 KLEINE HERHALING (start les 5) ...........................................................................................44
3.6 GENDER AND DIGITAL TECHNOLOGIES (niet meer gezien in les?????) ...................................45
3.7 THEORETICAL BACKGROUND ..............................................................................................45
3.7.1 FEMINIST MEDIA STUDIES .................................................................................................... 45
3.7.2 JOURNALISM STUDIES ......................................................................................................... 45
3.7.3 FEMINIST TECHNOLOGY STUDIES ........................................................................................ 46
3.8 DIGITALIZATION CONTRIBUTED TO CHANGES IN THE MEDIA INDUSTRY ................................46
3.8.1 LOOKING FOR UNICORNS ................................................................................................... 46
3.8.2 GENDER ISSUES IN DATA JOURNALISM ................................................................................ 47
3.9 HACKING THE GENDER GAP ................................................................................................48
3.9.1 NETWORK AND MENTORING GROUPS AMONG WOMEN: ..................................................... 48
3.9.2 FEMALE FRIENDLY HACKATHONS ........................................................................................ 48
3.9.3 INHOUSE TRAINING IN MEDIA COMPANIES .......................................................................... 48
4 WHO PRODUCES WHAT? (PRODUCTIE) .......................................................................... 50
4.1 MEDIA VELDEN: GEEN CIJFERS KENNEN! .............................................................................54
4.1.1 NIEUWSMEDIA .................................................................................................................... 54
4.1.2 MAGAZINES ........................................................................................................................ 54
4.1.3 FILM INDUSTRIE .................................................................................................................. 54
4.1.4 TELEVISIE ............................................................................................................................ 56
4.1.5 RADIO ................................................................................................................................. 56
4.1.6 MUZIEK ............................................................................................................................... 57
5 POWER AND GENDER IN THE MEDIA INDUSTRY (PRODUCTIE)......................................... 58
5.1 GLAZEN PLAFOND...............................................................................................................58
5.1.1 2017: TIPPING POINT ........................................................................................................... 58
5.1.2 HOLLYWOODINDUSTRIE ..................................................................................................... 58
5.1.3 MECHANISMEN IN DE MEDIA INDUSTRIE ............................................................................. 59
5.2 BELEID GRENSOVERSCHRIJDEND GEDRAG IN VLAANDEREN ...............................................60
5.3 DIGITALE MEDIA ..................................................................................................................60
5.3.1 BLURRED PRODUCTEN = UGC ............................................................................................. 60
5.3.2 DIGITALE CONTENT CREATIE ............................................................................................... 62
2
,5.3.3 50% VAN DE WERELDBEVOLKING GEBRUIKT SOCIALE MEDIA .............................................. 63
5.3.4 DIY OF PROFESSIONELE CONTENT CREATIE? ...................................................................... 63
5.3.5 IS AI GENDER NEUTRAAL? ................................................................................................... 64
5.3.6 PLATFORMSAMENLEVING ................................................................................................... 64
5.3.7 PLATFORM ECOLOGIES ....................................................................................................... 65
6 GASTLES DIVERSITEITSBELEID VAN VRT – NADIA HANSSENS........................................... 69
6.1 VRT VOOR IEDEREEN ...........................................................................................................69
6.1.1 TEAM D&I OP VRT ................................................................................................................ 69
6.2 GENDER OP VRT ..................................................................................................................70
7 WHO CONSUMES WHAT? (CONSUMPTIE) ....................................................................... 72
7.1 TIMELINE AUDIENCES..........................................................................................................72
7.1.1 STUDYING AUDIENCES........................................................................................................ 73
7.2 ACADEMISCHE DENKLIJNEN OVER MEDIAGEBRUIK EN GENDER...........................................73
7.2.1 EFFECT THEORY .................................................................................................................. 73
7.2.2 CULTIVATION THEORY – GERBNER & GROSS ........................................................................ 74
7.2.3 USES AND GRATIFICATION (KRITIEK CULTIVATIETHEORIE) – KATZ EN LIEBE ............................ 75
7.2.4 ENCODING EN DECODING .................................................................................................. 76
7.2.5 VOORWAARDEN AAN EFFECT .............................................................................................. 78
8 THE CONSUMER SITUATED (CONSUMPTIE) ..................................................................... 79
8.1 GESITUEERDHEID VAN MEDIA CONSUMENT ........................................................................79
8.1.1 IDENTITEIT EN FRAMEWORK OF KNOWLEDGE (HALL) ........................................................... 79
8.1.2 MEDIA PLEASURES .............................................................................................................. 80
8.2 PARADIGMA’S......................................................................................................................80
8.2.1 SCREENTHEORIE ................................................................................................................ 80
8.2.2 CULTURAL STUDIES............................................................................................................. 81
9 EMPOWERED AUDIENCES (CONSUMPTIE) ...................................................................... 83
9.1.1 GENDER & DIGITAAL WELZIJN .............................................................................................. 91
9.1.2 DIGITAAL WELZIJN EN GENDER GEILLUSTREERD – VOORBEELDEN UIT EIGEN ONDERZOEK .. 95
10 GEKLEURDE HUID OP HET WITTE SCHERM – SOUAD BOEKHATEM ................................... 97
10.1 INLEIDING ...........................................................................................................................97
10.2 THEORETISCH KADER ..........................................................................................................97
10.2.1 ONDERZOEKSVRAAG .......................................................................................................... 97
10.2.2 5 kernconcepten ................................................................................................................. 98
10.3 RESULTATEN ........................................................................................................................99
10.4 AANBEVELINGEN ................................................................................................................99
11 SAMENVATTING ARTIKELS ........................................................................................... 100
11.1 DEMARGINALIZING THE INTERSECTION OF RACE AND seks – CRENSHAW (1989) ................ 100
11.2 Een volle zak op de schouders – Over mechanismen van stereotypering – sofie van bauwel ... 101
11.3 SOCIAL MEDIA AND SELF-ESTEEM – CINGEL, CARTER & KRAUSE (2022) .............................. 103
3
, 11.4 WHO OWNS INTERSECTIONALITY – kathy Davis .................................................................. 104
11.5 TECHNOLOGIES OF GENDER – TERESA DE LAURETIS.......................................................... 105
11.6 Between Colorblind and Colorconscious: Contemporary Hollywood Films and Struggles Over
Racial Representation - Jason Smith (2013) – Journal of Black Studies ................................................. 106
11.7 Post Weinstein: gendered power and harassment in the media industries - van Shelley Cobb &
Tanya Horeck (2018) ......................................................................................................................... 107
11.8 "The Contribution of Social Media to Body Dissatisfaction, Eating Disorder Symptoms, and
Anabolic Steroid Use Among Sexual Minority Men" - Griiiths et al. (2018) ............................................ 108
11.9 #SocialMedia: Exploring the Relationship of Social Networking Sites on Body Image, Self-
Esteem, and Eating Disorders” (Santarossa & Woodrui, 2017) ............................................................ 109
4
