David Gaunlet text of representation in the past

SUMMERY!

Gunter (1995) This theory by Gunter suggests that women are represented as being weak, victimised showing that they are always represented as needing a man to help protect and support them.

In the 1950's 60's and 70's their was only a tiny proportion of female characters it was between 2o to 35%

When the late 1980's came their was more women acting in main roles however their was still the double amount of men.

Dyer (1987)

quotes that game shows did no bother to change their degrading and trivialising views of women. New programmes are accused of window dressing by including some women in key positions whilst retaining a male dominated culture

Sharon Smith (1970)

The role of women in a film always resolves around her physical attraction and mating games she plays with the male characters. however males are not shown purely in relation to the female characters but in servile different roles.

Sharon Smith- 'Women and film' (early 1970's):
The role of women in a film almost always resolves around her physical attraction and the mating games she plays with the male characters. On the other hand males are not purely shown in relation to the female characters, but in several different roles.

McNeil (1975) concluded that women's movement was largely ignored by television with married housewives being the main female role of the film.

Kathi Maio, 1990s:“Women are not only given less screen time when they are up there on the screen they are likely to be portrayed as powerless and ineffectual...Where are the triumphant woman heroes to match the winner roles men play constantly.

In action-adventure shows, only 15% of the leading characters were woman

Homework migraine analysis on a scene from sex and rthe city

http://www.youtube.com/watch?v=4GLdQS1-X-s&feature=related



The opening scene starts of with the main Character and her boyfriend automatically suggesting to the viewer that this women is man dependant. Her appearances suggests that she is a very stylish and classy lady as well ad her boyfriend Mr big, wearing a classy suit suggesting he maybe has a good gob and being well financially stable. Carry Bradshaw is represented as In Sex and the City Sarah Jessica Parker plays Carrie Bradshaw. The character of Carrie Bradshaw is shown as an image obsessed woman who must buy herself all the latest designer handbags and shoes to feel complete. Her three friends mean the world to her, they are always there for each other and always willing to help each other out. She is also a writer for a living, This representation of her shows her in an extremely positive feminist view, the fact that she has a career and is able to buy the things she wants for herself shows a very independent side to her, however Carrie is man-dependant as she came to New York in search for and her love Mr Big, we see in this scene Mr big offers to buy her the house and she is extremely grateful this shows that even though she has her own job she still needs to depend on the man to be the one who buys the important things for the women. In this scene sex and the city girls are extremely laid back they talk about everything and anything they want we see them as being totally free with no pressure the only pressure is looking good and stylish also buying the latest fashion labels and keeping the man happy reinforcing the fact that most women still go out of their will to please the man any way they can do. Near the end of the clip we see the main character cooking for her boyfriend this reinforces the stereotype of a women how ever big she is will still have to do the traditional female roles. Feminists try and challenge this stereotype as they believe it is wrong. In this particular clip the man Mr big is represented as a powerful man he has the last word and is in control of everything. Their are still some traditional values in this certain clip such as the man always having the last word and he does what he wants however the women has to take it in and also be understanding. Although this is an extremely modern film it still shows that the traditional morels and values of a women still exist in society today and are reinforced in these modern films. Their are certain camera angles that can be interpreted having power and being powerless. we see that the main man is always on a high angle however the women is most of the time either level or low angle shot looking down at her which reinforces that the man has much more power than the women even in modern society today. The genre of the movie can be comedy and romance as it's a hybrid genre. The audiences that it is aimed at are middle class 16 to 25 year old's. this scene can be seen as extremely male dominated as we can see that the man has most of the power. Even though this movie is mainly supposed to be aimed at women Mulvey's theoryof women are just their for the male gaze may come in to practise as women may just be their to attract the male audiences however the main focus is really on the man and his actions.

The hegemonic mode and the Pluralisitc model

Hegemonic model

The basic assumption of the hegemonic model is that the rilling classes are able to rule by ideas and cultural influence's rather than force.

Pluralistic Model

The pluralistic model instead it sees the media as diverse and full of the consumer choices. Very different to the Hegemonic model. the media it is suggested reflects and plurality of society. which consists of a number of competing interests and different viewpoints.

WHICH MODEL DO I FOLLOW??????

I believe in both models because they both have certain points that i believe in. I believe that i am part of the active audience more than passive because i feel that i have the power to read the magazines that i want and believe the story's that i think is true however sometimes i feel pressured by the media to believe certain views even though i personally don't agree to them therefore this is why i believe in both models!

HOMEWORK representation of women in men's Magazines!

POINTS

1. Throughout the late nineties a shift culture saw a change in what society was willing to accept from the media and accompanying decrease in censorship.

2. Men's lifestyle magazines such as loaded and FHM are targeted at the media audience stereotyped as lads. a term certainly constructed and nurtured throughout the media.

3. The uses and gratification theory would suggest that men's lifestyle magazines make men view women as sexual objects, for their own gratification

4. The imagery of the traditional beautiful female who is attractive thin and well groomed also explicitly puts pressure on women to conform to what the make population finds attractive.

5. Feminists use the fact that their are men's magazines around which exploits women majorly when campaigning against media magazines such as Playboy.

HOMEWORK representation of women in men's Magazines!

Kill Bill analysis COVER WORK!

http://www.youtube.com/watch?v=B4lrUR1bdRI

I choose to analysis this scene due to it relating to my text in a different type of way. These representations of women in Kill Bill is totally different to how women in Sex and the City are represented which makes Kill Bill text a good text to analysis due to being able to see major differences and small similarities between the texts.

MEDIA LANGUAGE

The opening scene is a medium shot of the main protagonist from the back to create suspense towards the audience. Due to her wearing orange it's a strong clash against her golden blonde hair maybe for the purpose to make the audience think that this women is not a typically stereotyped bimbo that just cares about her image however she is shown as a women who is on a important mission and all she cares about is to solve this mission. As the main actor opens the doors to a suspiciously looking environment she automatically steps forward to see what is going on showing her courage Independence and her being strong. Until this point we still do not see the women's face so the audience can still focus with what is going on instead of gazing at the blond women (stereotypically speaking). Whilst the two enemies are having a conversation we see the main protagonist a blond women cove rd in blood which is not a way a women is represented normally. Their is a discussion between the two women about weapons which protrayes them in the masculine light rather than the feminine. In this scene the snow is their to connote purity however when blood falls on it it totally twists it to a feircefull and masculine situation. The background music is a mixture of classical and upbeat this creates much more tension for the scene and ingages the audience to focus on what is going on.

INSTITUTION

Kill Bill's institution is Mira max films. Films is a film production and distribution brand that was a leading independent film motion picture distribution and production company headquartered in New York City before it was acquired by The Walt Disney Company. Mira max was considered an important quasi-independent studio for many years after the Disney purchase.

GENRE

Their are many genre types that can be classified with Kill Bill the movie. The categories that it can fall in to is Crime, Action and also Thriller.

REPRESENTATION

The representation of the main protagonist of kill Bill and other women characters we can see that it is not a typical representation of women. The women in Kill Bill are portrayed as fighters and do not need the protection of the man as they show that they can protect themselves due to being able to fight their own battles. This differs with sex and the city however some may be smilier such as Samantha leaving her long term boyfriend so she can be in dependant however the characters of kill Bill actually show that they can do the stereotypically man job and fight their own battles however in Sex and the City their is no violence between the women.

AUDIENCE

The certificate rate of the movie is 18 this movie can relate to both males and females aged 18 to 25. The movie can relate to women as maybe some women aspire to be like the characters shown in Kill Bill.

IDEOLOGY

This film tries to carry out the message that not all blonde's have to be portrayed and are Bimbos however this is just a stereotype created by the media. This film goes against that stereotype by showing this blond women in a whole new light showing her to be strong, in dependant and a fighter.

NARRATIVE

The scene that i decided to choose creates suspense for the audience and makes them think what will be happening next. Due to the main protagonist being a women the audience may identify with her more as we are not expecting the things that she is doing due to the audience automatically stereotyping this women to be a bimbo and only their for the male gaze due to the media.

Desperate housewifes compared to Sex and the City article from Christopher Tocker

Looking down on her friends and family isn't a way of life for Mary Alice Young … it's a way of death. One day, in her perfect house, in the loveliest of suburbs, Mary Alice ended it all. Now she's taking us into the lives of her family, friends and neighbors

It's often compared to "Sex and the City", but that's not really true. Just because there are four female main characters doesn't make it like "Sex and the City". It's far more evil, subversive, but also more subtle. Overall just pretty different, but well worth checking out, despite the "unusual" title.

Bibliography so far!!!

Bibliography

· www.sex-journey.org.uk
· Griselda Pollock
· www.google.co.uk
· www.ask.co.uk
· Sex and the city the movie
· Previous summer blogs
· www.thegardian.co.uk
· www.thetimes.co.uk
The A2 media book

Gender and Representation (reaserch)

Role Models
It is undeniable that the media shapes our conceptions of what it means to be male or female. We encounter many different male and female role models in the course of a day's media consumption. The issue is, that although these different role models may at first glance appear to be very varied, do they actually represent enough of a range of men/women? Are we simply given variations on a stereotype that become sub-stereotypes in themselves? By adopting role models and parading them through the media as people it is desirable to 'be', are we stunting individual growth?

Representations of Femininity
Representations of women across all media tend to highlight the following:
beauty (within narrow conventions)
size/physique (again, within narrow conventions)
sexuality (as expressed by the above)
emotional (as opposed to intellectual) dealings
relationships (as opposed to independence/freedom)
Women are often represented as being part of a context (family, friends, colleagues) and working/thinking as part of a team. In drama, they tend to take the role of helper (Propp) or object, passive rather than active. Often their passivity extends to victimhood (see the discussion of the misogynistic PantyRaider below). Men are still represented as TV drama characters up to 3 times more frequently than women, and tend to be the predominant focus of news stories.

Representations of Masculinity
'Masculinity' is a concept that is made up of more rigid stereotypes than femininity. Representations of men across all media tend to focus on the following:
Strength - physical and intellectual
Power
Sexual attractiveness (which may be based on the above)
Physique
Independence (of thought, action)

Increasingly, men are finding it as difficult to live up to their media representations as women are to theirs. This is partly because of the increased media focus on masculinity - think of the burgeoning market in men's magazines, both lifestyle and health - and the increasing emphasis on even ordinary white collar male workers (who used to sport their beergut with pride) having the muscle definition of a professional swimmer. Anorexia in teenage males has increased alarmingly in recent years, and recent high school shootings have been the result of extreme bodyconsciousness among the same demographic group.

Analysis of Sex and the City main Characters from http://www.city-journal.org/html/9_4_a4.html

And yet, she isn't. Despite the hype, Sex and the City is not about girls who just want to have fun, flaunting their sexual appetites. While promoters offer the show as one more brave step in the sexual liberation of women, leading to ever greater fulfillment, in fact it is a lament for all the things of inestimable value that the sexual revolution has wrecked, in this city and beyond. If Candace Bushnell were a practicing Catholic, she couldn't have produced a more effective proselytizing tool for continence and modesty.
The TV show follows the life of New York sex-columnist Carrie, as she tries to find Mr. Right. Until he shows up, Carrie dates Mr. Big (Chris Noth), a fickle 42-year-old who sleeps with her regularly but won't let her leave any of her clothes in his apartment. Her single, mid-thirties friends, PR executive Samantha (Kim Cattrall), art dealer Charlotte (Kristin Davis), and corporate lawyer Miranda (Cynthia Nixon), are all equally unsuccessful in searching for a lifelong mate.
This season's opening episode finds Carrie dating the newest Yankee ballplayer. She recently broke up with Mr. Big for not being able to "commit" to her, and she is hoping to make him jealous. All she accomplishes, though, is to burst into a flood of tears when the new Yankee tries to kiss her. "I'm sorry; this is really embarrassing," Carrie stammers. "I just cried in your mouth. I'm not ready!" Then she commiserates with her friends: "I saw Big, and I completely fell apart!" Everyone is sympathetic.
When she is among her girlfriends, Carrie sarcastically dismisses the possibility of love ("Yeah, love, whooo!"), but when left alone she broods over her miserable romantic history: "Ten years play in New York, countless dates, five real relationships, one serious, all ending in breakups. If I were a ballplayer, I'd be batting, uh . . . whatever really bad is." Catching a fly ball, she concludes bitterly, seems more likely than catching a relationship that endures.
After dating a bunch of men who turn out to be "freaks," including "the man with no soul" and "the man with two faces," Carrie begins to wonder whether all men are freaks. "Apparently," she observes, "the men in the dating world had devolved since the last time I visited." She finally summons up the courage to ask a man directly, but conversationally, "So, when did you guys all become freaks?"
"Us?" he replies, confused. It's the women who are "bizarre."
Though we are meant to conclude that the sexual free-for-all is bringing out the worst in both men and women, Carrie still hopes for more. She wistfully muses that Manhattan was once, "for millions of our forefathers, the gateway to hope, opportunity, and happiness beyond their wildest dreams. Today that hope is still alive: it's called the first date. On Saturday night every restaurant in lower Manhattan resembles its own little Ellis Island: hordes of single women crowded into a hot, cramped space, and hoping to make it to their final destination, matrimony."
In the next episode, Carrie reunites with Big, and he magnanimously allows her to leave a toothbrush at his apartment. Actually, it's not a whole toothbrush—merely a second toothbrush attachment head for his electric toothbrush, but to Carrie this concession signals victory. Big must be getting ready to marry her very soon.
As the season develops, Carrie experiences some setbacks: a friend asks her to write a poem about love for her wedding, but, since Carrie only knows about sex, she has a tough time summoning enough poetic inspiration. At last she produces something she is proud of, only to see Big walk out of the ballroom and take a cell phone call during her recitation. As if that weren't bad enough, he even refuses to sign a card for the wedding present Carrie has bought (that would require too much commitment on his part). Hurt, but endlessly accommodating, Carrie goes home with him anyway.
Encouraged by Big's awarding her that toothbrush head, Carrie strategically tries to leave some of her personal belongings at his apartment. She has little success—he returns all the items the next day—and by the season's end, Big moves to Paris, without bothering to tell her of his plans until just before he leaves. Carrie offers to follow him, but when he explains that he is no more likely to marry her in Paris than in New York, she furiously resolves never to see him again. Not long after, she starts sleeping with other men again.
She pauses only occasionally to wonder whether she is being true to herself, if she is faking more than just her hair color and bra size: "And then I had a frightening thought. Maybe I was the one who was faking it . . . all these years faking to myself that I was happy being single."
Carrie is the most monogamous of the four women. It's hard to say which of her friends takes the prize for promiscuity, all of them having for the most part given up on the idea of having one boyfriend. Charlotte, the brunette art dealer, sleeps with men she doesn't particularly like, just to get things done around the house. As for the men she does care for, she gives them presents they usually reject: "Whoa, too fast," one exclaims to Charlotte: "Next you move in, and then you hate my music!"
Perhaps this is why, in the second episode of the season, Charlotte gets a puppy as a man replacement: "Charlotte came home to the new male in her life," Carrie's voice-over explains. "Fed up with lonely mornings, cuddle-free nights, and the lack of uncondition-al love she so longed for, Charlotte decided to take matters in her own hands. She combed the city for the perfect specimen of breeding, style, and trendiness . . . Henry, the perfect dog."
While Carrie is reciting her wedding poem, Charlotte is "hooking up" with a man she just met at the wedding. When he behaves boorishly after sleeping with her, Charlotte is astonished: "Did the last four and a half hours mean nothing to you?" she screams at him across the floor.
Consistently, Sex and the City derides women who impulsively jump into bed and then complain about men's bad character. The women in the show, it is clear, have given up the opportunity to get to know these men better. When they don't like what they end up with, you'd think they'd become more discriminating. But they never do.
Pushing 40, blonde PR executive Samantha is the most cynical of the four girlfriends. She instructs the other women that "we're all alone, even when we're with men. My advice to you is to embrace that fact, slap on some armor, and go through life like I do, enjoying men!" Yet later on, even sophisticated Samantha gets duped by a club owner, who misleads her about their future together. William promises Sam he'll invite her to East Hampton for the summer, only to stand her up at their second date. Samantha waits for him "without a book, or a project, or any of her dining-alone armor." William, we are told bitterly, was "one of those men who faked a future to get what he wanted in the present." She bursts into tears and flees the restaurant. "I can't believe I fell for some guy's line," she cries to her buddies. "But sometimes you need to hear a ‘we.’ "
Still, this epiphany doesn't stop Samantha from sleeping with yet another man she just met. But she stops in mid-embrace and declares, "Wait, I've slept with you before!" "Sure," her partner agrees, "15 years ago." "Well, why didn't you say anything?"
Oh, no, Samantha thinks to herself-now she's slept with all the men in Manhattan. Her solution is to hatch a big revenge plan. [See "How We Mate," Summer 1999.] Her plan, aimed not only at one particular ex but at men in general, is to seduce a man who dumped her, have him fall in love with her again, and then she will dump him before they sleep together.
Unfortunately, Samantha is so distracted by her own feelings for him that she ends up going to bed with him anyway. Her plan completely falls apart when, before she can dump her ex, he dumps her for the second time. In this game, emotions put one at a competitive disadvantage. As the narrator of Sex and the City explains, "Samantha hadn't evolved past having feelings."
Miranda is the most feminist of the four, a redheaded corporate lawyer who often flounces off, disgusted with her girlfriends for talking about guys all the time. "How does it happen that four such women have nothing to talk about, other than boyfriends?" She goes for a walk, only to overhear women crying: "And I really thought he liked me, so why didn't he call me?" All the women around her seem to be falling apart. But when Miranda sees her ex-boyfriend on the street, she, too, loses all composure and hides from him. "After two years, . . . I had forgotten how hard it is."
Miranda sleeps around just as much as the rest of the girls, but her most inspired act this season is buying her own apartment. She is reluctant to check the single-woman box on the mortgage documents, though, and she is troubled by the fact that the previous owner, a single woman, had died in the apartment. Her body was not found for a week, and a horrible rumor has it that her cat ate half her face.
Miranda frets all the more when she learns that she has a "lazy" ovary and might never have a baby, but when she does come across men who are genuinely nice-maybe nice enough to be a husband and father-it turns out that she has become too cynical to love them. After Miranda has a one-night stand with a bartender, she is puzzled to hear him say afterward, "That was really special."
"Sure," she replies.
"Can I get your phone number?" he inexplicably continues.
"Why?" she asks.
"So I can ask you for a date," he explains.
Miranda's voice is thick with sarcasm as she tells him, "You don't have to make believe you're going to call."
He finally leaves and encourages her to "stop by at the bar sometime."
"Yeah, great sex. Whatever." She waves him away.
A few days later, the bartender shows up at her apartment and tells her, "I like you."
Still suspicious, Miranda replies, "Translation: ‘I think you're an easy lay and I'd like to have sex again.’ "
He protests that he doesn't mean that at all and wants to take her to dinner.
Miranda explains her philosophy: "I can't have dinner with you; I don't even know you!"
"But you slept with me!"
"That's a different thing."
"Can you maybe think for a second that the other night was special?"
"No. Maybe I slept with too many bartenders."
So during half of the Sex and the City episodes, the women complain about insensitive men; for the other half, they coach themselves to imitate such men. The result is that by the time the sensitive men appear on the scene, the women have become insensitive, too, and incapable of appreciating them.
This portrayal couldn't be more timely. Susan Faludi, the popular feminist who penned Backlash in 1991, has just released Stiffed, a book about the "betrayal of American men." In this almost conservative and almost honest critique of the culture, Faludi decries our current mores, which encourage men to "score" with many women instead of providing for one. Our notions of manhood were much healthier, she argues, before World War II.
As for why our masculine ideal has changed for the worse, Faludi offers no compelling explanation. The missing piece of her otherwise accurate assessment is precisely what she is not permitted to say, or her feminist sisters would burn her in effigy: in an era of free sexual favors, women no longer demand that men commit to them, and our no-fault-divorce society doesn't back them up when they do.
One of the reasons the critics have misunderstood Sex and the City is that it features frank sexual banter and women who swear just as much, and are just as crude as, the men. On the surface, this seems like a nod to equality, but not when you appreciate what these girls are all swearing at. To be sure, the girls bitterly deconstruct their ex- and current boyfriends' sexual techniques and bodies, but only after their hearts have been broken. Miranda, for instance, refers to her ex-boyfriend as "that asshole I dated a couple of years ago," but then Carrie's voice-over explains, "Miranda used to call Eric the love of her life, until he left her for another woman."
The constant hostility the men and women feel for one another is palpable. The women say, "I can't believe the prick hasn't called." The men announce that they're "just getting over the bitch who broke my heart." Women who aren't pretty are of no use whatever to these men and receive scarcely human treatment. "Do you ever shut the f—k up?" one male character asks such a woman, with typical brutality. For all the frantic coupling, no one seems to be having any fun.
Welcome to the Age of Un-Innocence, as Candace Bushnell put it in her original Sex and the City column. "The glittering lights of Manhattan that served as backdrops for Edith Wharton's bodice-heaving trysts are still glowing—but the stage is empty. No one has breakfast at Tiffany's, and no one has affairs to remember—instead, we have breakfast at 7 am and affairs we try to forget as quickly as possible. How did we get into this mess?"
What went wrong, plainly, is that women confused sexual sameness with equality and imagined that competing with men in debauchery was part of their social emancipation. The early feminists never wanted to give up their moral power, and that's why they argued strongly against promiscuity.
In her column, Candace Bushnell presents Samantha as a "New York inspiration," a model of the kind of woman who could survive in such a ferocious sexual landscape. And what does life offer Samantha? "If you're a successful single woman in this city," Bushnell writes, "you have two choices: You can beat your head against the wall trying to find a relationship, or you can say ‘screw it’ and just go out and have sex like a man." Samantha opts to have sex "like a man," and Bushnell's other women emulate her. But the results aren't much better than beating your head against the wall. "I think I'm turning into a man," says Carrie, describing how, after a recent sexual tryst, she didn't feel anything.
"Well, why the hell should you feel anything?" someone else asks. "Men don't. I don't feel anything after I have sex. Oh sure, I'd like to, but what's the point?"
"We all sat back smugly, sipping tea, like we were members of some special club," Bushnell writes of her unfeeling foursome. "We were hard and proud of it, and it hadn't been easy to get to this point—this place of complete independence where we had the luxury of treating men like sex objects. It had taken hard work, loneliness, and the realization that, since there might never be anyone there for you, you had to take care of yourself."
The publicists and pundits may not get it, but Candace Bushnell and producer Darren Star of the Sex and the City TV show understand in their heart of hearts the failure of sexual liberation. That's why all the story lines keep returning to the unhappiness of the players involved. The characters of Sex and the City accurately represent what the sexual revolution expects of women, and what the woman who looks for liberation through the bedroom can expect. The writers know that their four protagonists, for all their cool urbanity, experience feelings of loss and sadness and loneliness that are real and typical for women in the age of liberation.
For every incident in Sex and the City that may seem like a caricature, you can find a real-life woman in America with an even more extreme story. Take Grace Quek, flatteringly profiled in Allure magazine recently, because she had had sex with 251 men in a single day and had immortalized her feat in an X-rated "documentary," World's Biggest Gang Bang, shown at the 1999 Sundance Film Festival. "Actually," writes Allure, Quek's film "satirizes masculinity while expressing the enormity of her own desire. To challenge our gender assumptions, Quek put her body (and psyche) on the line."
Allure also reports that Quek had survived a gang rape years before, "which raises a troubling question: Is her adult-film work a way of punishing herself for that victimization, or of reclaiming her body?" Troubling indeed: for this woman, who takes our culture's standard of liberated womanhood to such lengths, suggests that what our culture expects of all women—to remain indifferent to what is to them most naturally sacred—is really a pathology.
And what our culture considers a pathology is really quite normal. Writing of Sex and the City and Ally McBeal, Stacey D'Erasmo recently wondered in the New York Times Magazine: "Why do the sexy, savvy new heroines want nothing so much as rings on their fingers?" Taking for granted that it is weird to want to get married, D'Erasmo answers the question: "The new single-girl pathos seems more like a plea to be unliberated, and fast. These characters really do just want to get married; they just don't want to look quite so naive about it. . . . The new single girl, tottering on her Manolo Blahniks from misadventure to misadventure, embodies in her very slender form the argument that not only is feminism over. It also failed: look how unhappy the ‘liberated’ woman is! Men don't want to marry her!" And why do women continue to pursue this life of "misadventure"? According to D'Erasmo, "Perhaps, it's because they know . . . that marriage doesn't solve all your problems. It never did."
Sure, the new way of doing things is a mess, goes this line of reasoning, but the old way didn't solve all our problems either. Well, no kidding. But that's like saying that because asprin doesn't always cure a headache, you are better off banging your head against the wall.
In the second episode of Sex and the City's second season, one woman says sweetly, "I'm a single, 38-year-old woman, still hoping to get married. I don't want to know the truth." But the next generation, for whom it's not too late, does—and perhaps that's why they enjoy watching Sex and the City.

Griselda Pollock

Griselda Pollock

Biographical Information
Griselda Pollock is a feminist art historian and Professor of Social and Critical Histories of Art in the Department of Fine Art at the University of Leeds, England. She is director of the Center for Cultural Studies, the Center for Jewish Studies, and Graduate Studies and Research in Feminist Theory, History and Art at the University of Leeds. Pollock has written extensively on the problematic of the feminine in the fields of social history of art, cultural and psychoanalytic theory, and analysed with historical interests different artistic practices since the mid-19th century, culminating in contemporary art.

Pollock does not write out of a love for art. Works of art for her are not pleasurable ends but forms of evidence, signs and symptoms of (or, sometimes vehicles of resistance to) a sexist, racist and imperialist culture. As a self-described cultural analyst, she works to expose the masculinist ideology that she thinks canonical art and art history embody.