gender stereotyping

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Contributors note

1995: Did Bill Clinton really?1996: Can men and women be friends?1997: Do men get violent because of Marilyn Manson?1998: Should men dress better?1999: Which Backstreet Boy Is Gay?2000: Can men be ethically non-monogamous2001: Is it cool to have gay friends?2002: Can men and women really be friends?2003: Are men making more money than women2004: Do men have to go to war?2005: Can men be feminists?2006: Do men like dancing alone?2007: Does metrosexual mean gay?2008: Are men still making more money than women2009: Should men get alimony?2010: Is it true that men eat their young?2011: Should men get paternity leave2012: Are men capable of childrearing?2013: Do men have feelings?2014: Male retirees need videogames and cheetos2015: Are men too fragile? Are men terrorists?2016: Should men chop their dicks off?It is 2015. Masculinity enters its forty-something-ith year of decline since the Second Wave. Paleo diets, birth control, steroids, night shifts, climate change, gun control, mortgage loans, and Sex And The City spelled the End of Men.I looked you up on the internet. Swipe right for a good time. What are you but another lamb on the market?Not all men are islands. Some float aimlessly from shore to shore. Others create empires on their continents. And even more cling to each other like hovering algae.Some are dense and stocky like marble, stale like a full-bodied wine that's been left open for too long. Some are elusive and charming, chameleons sunbathing in plain sight.I remember every man I've kissed, most of their mouths overtook mine and their tongues wriggled with wet enthusiasm. Some men hunt and some men steal. Some swim upstream to spawn and disappear.You are floating in a sea of men. Their bodies slither around you like eels on a dancefloor.Sea of Men shows my admiration and contempt for the best and worst of masculinity.Jennifer Chan makes remix videos, gifs and websites that contend with gendered affects of media culture.

By Maud Ceuterick, 9 July, 2020
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Abstract (in English)

Related to the artist's works 'Sea of Men' (2015) and 'Big Sausage Pizza I & II' (2012)

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"I want to highlight another perspective by Eric Anderson of shifting definition masculinity as becoming more inclusive as opposed to 'orthodox' defined (sic.) and opposition to homosexuality and femininity"

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Description (in English)

You're a teenage girl, connected, clued-in, but what lurks in the deepest, darkest regions beyond the screen? A first-person coming-of-age story-game. ( Source: Andy Campbell ) A first-person playable coming-of-age story, in 2D and 3D, that centres on a teenage girl, immersed in contemporary digital culture. With creeping awareness, she / the player struggles with the insidious gender stereotyping, where womanhood is rendered as malleable and polymorphic as a digital doll, that literally threatens to drain her of life. ( Source: Patricia Tomaszek ) Inkubus is a first-person playable coming-of-age story, in media-rich 3D, about a contemporary teenage girl, who’s connected and clued in. But what lurks in the deepest darkest regions beyond the screen? The story-game progresses via skewed and leading questions, designed to distort the girl's behaviour, before being drawn into a visceral labyrinth where a malevolent force peddles a destructive artificial feminine ideal. With creeping awareness, the girl/the player struggles with the insidious gender stereotyping, where womanhood is rendered as malleable and polymorphic as a digital doll, that threatens to drain her of life. ( Source: ELO 2014 conference )

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Technical notes

Download for Mac/PC. Browser based version requires Unity Web Player.

By Eric Dean Rasmussen, 14 June, 2012
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Abstract (in English)

While discussion of the relationship of image and word has been prominent in the discourses
surrounding new media writing, the role of sound is rarely addressed in this context, even
though words are sounds and sounds are a major component of multimedia. This paper
explores possibilities for new theoretical frameworks in this area, drawing on musico-literary
discourse, intermedia theory and inter-cultural theory, and using ideas about semiotic and cultural exchange as a basis.

The paper will examine the different types of sound in new media writing from voice-based
performance of words to soundscapes and musical composition, and the role of sampling, vocal
manipulation and improvisation. Building on my previous work on affective intensities in new
media writing (Smith 2007 ; Smith 2009), and the manipulation of the voice to create cultural
effects such as sonic cross-dressing (Smith 1999), I will discuss the ways in which sound plays
a distinctive role in new media writing. I will argue that it creates mood, immersion and affect,
and can be very important in questioning stereotypical concepts of gender or racial identity. I will
also talk about sound as part of the process of making a work, and how the sound can drive the
writing, as well as writing driving the sound.

(Source: Author's abstract, 2012 ELO Conference site)