Fetishization Of Asian Women

Women within the western culture reflect the hypersexualization of those images within the context of a global market in which the mainstream of sexual objects of women has increasingly been accepted as the norm. In the book Women in Popular Culture: Representation and Meaning, Marian Meyers’ states, hypersexualization is the representation of women as highly sexual objects (p. 6). Hypersexualization among women in the media has affected the way society represents women by portraying them as fragile, passive, vulnerable, less intelligent, and powerless figures, compared to men. This paper will focus on the way women are stereotypically portrayed and will emphasize the pornogrification of women as sexual objects in advertising; and bad effect in reality. Hence, women in the media are represented as hypersexual objects that differ from women in reality. However, people in the society are strongly advocating abolishing the society phenomena that promotes hypersexualization of women. There is scholarly evidence to support the thesis in addition to class discussions on Wesleyan College and Charles University will stand as sources, which includes: the women in popular culture by Marian Meyers, Philosophy

As a result, the Asian females lost their sense of “individuality” and “diversity of what it means to be Chinese.” As Connie accents, the stereotypical representation of Asian women increased during “the US involvement with the Philippines wars, Japan and China in World War II, and more recently, the Korean and Vietnamese Wars” because the American soldiers saw Asian women “as prostitutes and sexual objects who provide rest and recuperation from the war zones” (as cited in sitemaker.umich.edu). As time passed and media came into existence, stereotypical names, such as “Dragon Lady” and “China Doll,” of Asian-American women began to represent the Asian American women as sexual and erotic objects in the media.

Western portrayals of Asian women in media have often been stereotypical, one-dimensional characters such as the submissive and docile Lotus Blossom, the strong and domineering, but deceitful Dragon Lady, or the Asian hooker who is used as nothing more than a mere prop for the male gaze (Kuo, Rachel). However, the Western audience has also been exposed to other portrayals of Asian women through another form of entertainment called anime. Anime, or Japanese animation, has many genres that are named according to the target audience it is made for. For shounen, meaning male adolescents, is largely about action-packed adventures and accomplishing a goal or defeating an enemy (Eisenbeis, Richard). The shounen genre, however, despite its target audience that is

Mernissi starts off her essay with story about a saleswoman telling her that she is too big for anything the store sold and that the “norm” is a size 4 or a size 6. All the magazines in America show skinny women who barely weigh a pound and look so young, which shows that the Western man wants “... to freeze female beauty within an idealized childhood, and forces women to perceive aging,” (255). Mernissi compares the weapon used against women in the West as declaring youth as beauty and to criticize maturity, and in the East as limiting access to public space. The serious approach Mernissi uses shows how personal her examples are and creates a big effect on the “weapons” used on

Throughout history, women have been victims of oppression no matter what religion or background they come from. They have learned from a young age, that their appearance is important to fundamentally be happy in their life. The topic of oppression in woman leads to controversial discussion not only to scholars but women of all parts of the world. How a woman presents herself through appearance and clothing targets her in a society obsessed with each other’s business. In today’s society, whether we can help it or not, men are treated differently than women. There seems to be different “rules” associated with the acceptable ways they should dress as opposed to the strict rules that apply to women. Women who are westernized

The rise of enlightened sexism: How pop culture took us from girl power to girls gone wild

This film paints multiple stereotypes and over exaggerates them to emphasize their relevance in society in hopes of changing the audiences' viewpoint of these stereotypes set before women.

Asian stereotypes are a product of prevailing myths propagated by various media, from books, plays, movies, television, to even historical propaganda. Generally speaking, the stereotyping of Asian women often swing to extreme types: the docile, subservient sexual object, or the dragon lady. Asian Americans only make up a small percentage of the United States population and live mostly on the west and east coasts of mainland United States and Hawaii. Consequently, the rest of the American population will most likely get their exposures to Asian Americans through television and movies. Popular media exposure to Asian Americans lacks one-on-one acquaintance with Asian Americans. It hinders the process

The history of Asian women has many facets. I am about to touch on two key monumental points over a sixty year span that have shaped the views of Asian women in the eyes of Americans. As a brief overview, from as early as the 1940s, Asian women were recruited to serve their soldiers during World War II as sex slaves. Forty years later, the dawning of the 1980s brought about the desire of Asian women into American households and sparked the mail order bride phenomenon. The beginning of a new century has altered the lives of Asian women, in parts of Asia as well as in the United States of America. I will give you a glimpse into their every day lives in their home country and site observations to their strides

Popular culture is often a reflection of society; both literature and the media have the capacity to cement ideas in the minds of readers and viewers. In many cases, the notions and stories glorified by the media refrain from sharing a true depiction of society and are narrow-minded in their focus. Recently, the feminist movement has denounced popular culture for its ignorance, fighting for a more realistic portrait to be painted by those with the power to reach millions. Specifically, both Roxane Gay’s Bad Feminist and Chimamanda Ngozi Adichie’s “The Danger of a Single Story” share how the classic gender stereotypes seen in popular culture are unable to capture the full spectrum of stories that define society, and are limiting in their portrayals of women. Moreover, both authors share personal stories, reference prominent world figures, and cite relevant statistics in their works. Therefore, in both Bad Feminist and “The Danger of a Single Story”, Roxane Gay and Chimamanda Ngozi Adichie appeal to readers pathos, logos, and ethos in order to construct the argument that the single story of women in popular culture is stereotypical and restrictive.

The Mythical Norm affects the construction of identity for Ethnic Minority women. The Mythical Norm is considered to be what is socially acceptable of an ideal man and woman based on many factors including race, gender, class, and age. The Ethnic Minority women usually play the inferior role in society, while the male plays the dominant role and promotes the idea of being superior. The unit demonstrates the position women are perceived throughout society as they are forced to hide their own beliefs and capabilities to satisfy the needs of the men. Without the woman's consent, they are being taught to satisfy the men's standards to become the ideal woman. For example, in “Invisibility is an Unnatural Disaster: Reflections of an Asian American Woman” by Mitsuye Yamada when she recognizes how “Asian American woman is lulled into believing that people perceive her as being different from other Asian women (the submissive, subservient, ready-to-please, easy-to-get-along-with Asian woman), she is kept comfortably content with the state of things.” This is an ordinary example of how the Mythical Norm comes back in place with the Ethnic Minority women. In this case, the Mythical Norm plays a role in an Asian American woman’s life as if she is being controlled by the men in her life since in her cultural background the ideal women are to be the caretaker in the household and nothing more. As well as in “American Indian Women Managers: Living in Two Worlds”, the author Helen Juliette

In Memoirs of a Geisha by Arthur Golden, exhibition of gender inequality refers to the general standards of individual’s behaviours within society that is expected to sustain. However, it manifests the effects of unequal gender roles through Sayuri ’s experience with human trafficking, which is imposed from social norms. To begin, when Sayuri reflects on her childhood experience with a man, who has transition her life drastically, expresses: “ [Sayuri] [cannot] stop thinking about Mr. Tanaka. He [has] taken [Sayuri] from [her] mother and father, sold [her] into slavery, sold [her] sister into something even worse” (Golden 82).

Sex culture in modern day Japan has demonstrated to be an integral part of their cultural identity and is more progressive than any other countries. Japan’s sex culture has surpassed boundaries that are standardized in other countries. The West sees the Japanese as emotionless, controlled and even sexless. Publicly they are shy, reserved and terribly proper, however Japan is an extreme contradiction. If we examine the surface of their culture, the private life of these Japanese people can be a real eye opener. The role of sexuality and more specifically the role of pornography in women’s lives is perhaps the biggest debate among the people from the West. This paper will examine how pornography is gendered in Japan and the effects of this to the West. It will also delve into the Japanese cultural identity and its contradistinction to the American cultural identity. An important argument that people may debate about is the fact that Japanese people have the oddest sexual culture that outstands their cultural identity.

The roles of males and females in society have significantly changed, as opposed to the predominant roles in our history. In the modern culture of today, women have begun to break out of the mold that which society has placed her in. This much can’t be said when it comes to modern gender representation in mass media advertising. It can be safe to state that woman are seen as sexual, fragile, exotic—whereas men are portrayed as tough, in control, and aggressive. This trend can be one seen as an inhibitor to the advancement of our culture, because especially for women, it is hard to pull away from the stereotypes that are continuously represented. As examples of the given trend, the following

This helps to absolve us from feeling guilty about the pain we inflict on others, and social psychology shows that the worse you treat a group, the more you hate them (Schopler 1971). Orientalist discourse actively strives to maintain the false distinction of self and other whenever it is challenged, because to realize that the ‘other’ is not all that different from you is to open yourself to the risk of empathizing with their suffering. To help prevent empathy, society fights to maintain a second false binary: the gendered norms of masculine and feminine behavior. To be masculine is to be tough, emotionless, and warlike. To be feminine is to be sensitive to the feelings of others and worry about trivial things like body counts. Praising these masculine traits creates a militaristic society that does not question the human rights abuses of the military and certainly doesn’t worry about the perspective of the enemy. In this paper, I examine the relationship between gender, orientalism, and war, and also explore similarities and differences between authors on these issues.