A Month’s Social Media Activity

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Social media activity around FemTechNet’s Fall 2013 Distributed Open Collaborative Course (DOCC) : Dialogues in Feminism and Technology (November 11 – December 16) on Storify

https://storify.com/FemTechNet/femtechnet-month-3

UN Global Alliance for Media and Gender, Part One

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By Lisa McLaughlin, Miami University of Ohio
Edited by Sharon Irish
December 11, 2013

This “report” has been compiled from a series of posts on the FemTechNet listserv in late November through December 10, 2013. Lisa McLaughlin, Associate Professor, Department of Media, Journalism & Film and Women’s, Gender, & Sexuality Studies Program, at Miami University of Ohio, took the lead for FemTechNet in Fall 2013 in the UN Global Alliance on Media and Gender (GAMG). The Alliance was initiated during a UNESCO [United Nations Educational, Scientific and Cultural Organization] forum in Bangkok from December 2-4, 2013.  Together with FemTechNet co-facilitators, Anne Balsamo and Alex Juhasz, Lisa decided to submit the online information necessary to join the Alliance. The full compilation is available as a pdf document here.

What is the UN Global Alliance on Media and Gender (GAMG)? At this point, it is a set of ideas, objectives, and processes. For information on the objectives of the GAMG, a good place to begin is https://www.unesco.org/new/en/communication-and-information/crosscutting-priorities/gender-and-media/global-forum-on-media-and-gender/homepage/.

Lisa also registered to join the debate virtually that took place prior to the forum in Bangkok. Her initial input into the debate was to object to the suggestion that only “truly international organizations” should belong to the Alliance; she argued that there are no “truly international organizations” and that, if we proceed in this way, a number of exclusions–notably at the local/community level–will occur, and the GAMG will be a top-down arrangement.

Lisa wrote: UNESCO is basing the promised declaration and action plan on Section J, women and media, from the 1995 Fourth World Conference on Women in Beijing. Overall–and I know that I am not alone–I think that Section J of the Beijing Platform for Action (BPfA) (https://www.un.org/womenwatch/daw/beijing/platform/media.htm) is thoroughly inadequate for addressing digital media and ICTD [Information and Communication Technologies for Development], especially in a way that addresses gender disparities “on the ground.” Please see this statement from the 2000 Beijing + 5 Media Caucus for a very incisive critique of Section J: https://www.womenaction.org/ungass/caucus/media.html.

Lisa McLaughlin’s statement of November 30, 2013:

It should be recognized that, unlike Security Council resolutions and some conventions, the general UNO pattern suggests that, typically, very little is accomplished in the two years following summits, forums, and conferences, particularly those related to human development-oriented initiatives of UN agencies and organizations. However, if I felt that the activities in the years subsequent to a Global Forum on Media and Gender were inconsequential, I would not be representing FemTechNet for the GAMG. 

I am suggesting that, in the two (and more) years following the forum, we need to engage in actions which will keep the enthusiasm generated at the forum going, to keep the issue of media and gender front-and-center as a critical area of concern, to recognize the weaknesses of Section J, and to be prepared to confront issues relevant to gender and the current information and communication environment(s). Answering this future-oriented question requires that we begin by remembering the past. In 1995, after having been a specter in the previous UN Conferences on Women, Section J “women and the media” was added to the list of critical concerns. For purposes of the GAMG, UNESCO has recognized the importance of including Section J at the Beijing Fourth World Conference on Gender: 

“This initiative is related to one of UNESCO’s global priorities, namely Priority Gender Equality. It will articulate a systematic follow-up to the Beijing Declaration and Platform for Action, “Women and the Media Diagnosis”, and its strategic objectives:

• Strategic objective J.1: Increase the participation and access of women to expression and decision-making in and through the media and new technologies of communication.
• Strategic objective J.2: Promote a balanced and non-stereotyped portrayal of women in the media. [1]”

But, let’s consider that, after 1995, “women and the media” largely was marginalized, ignored, and forgotten during the various Beijing follow-ups, perhaps in part because of what is described as the “strategic weakness” of Section J in the Beijing + 5 review, Gender and Media Caucus statement at https://www.womenaction.org/ungass/caucus/media.html.  The critique that Section J “failed to articulate the structural constraints and impediments that women and other marginal groups face due to commercialization and globalization of media and the concomitant decline of public broadcasting media in societies with democratic and pluralistic traditions” is spot on. 

Still, post-Beijing follow-up meetings failed to adequately address Section J, and “gender” certainly was not a priority in the World Summit on the Information Society proceedings (unless, I suppose, it could be tied to internet governance, which became the almost singular issue of concern by the end of the WSIS process). 

Within this context of marginalization and forgetting of gender and media, UNESCO’s prioritization and efforts to focus on numerous aspects of gender and media–with what appears to be a more intensive approach to the “digital age” than was the case in Section J in 1995–is very welcomed.

 However, I am suggesting that it now is time to go beyond Section J and confront its “strategic weaknesses,” as outlined in the Beijing + 5 Media Caucus Statement (url above). 

Among my suggestions: First, although public-private partnerships [PPPs] were in place in 1995, the past two decades have seen an enormous increase in public-private partnerships involving ICTs forged among the private sector, UN agencies, governments, and NGOs. Many of these proceed without any meaningful oversight. At best, we get a handful of “best practices stories” which tell us nothing of the PPPs that have failed and continue to fail to enable and empower the communities targeted for these initiatives, generally because of the failure to encourage community and local input and participation. (These claims follow from empirical, ethnographic and political economic, research). The notion of targeted groups for PPP initiatives must be abandoned in favor of understanding groups and communities composed of persons who are capable of expressing their needs and desires, persons and groups who are capable of innovating. Missing the latter generally is a sign that a corporation is more interested in wrapping themselves in the blue mantle of the UN flag for promotional purposes than in working with marginalized groups. Because private sector funds now fill the void as public funding has decreased, or is non-existent, PPPs seem here to stay. However, not all PPPs are alike, and we should demand that PPPs are oriented to serving human needs above all else (while knowing that, however doctrinal, it by no means is clear that access to ICT is the ultimate way to serve human needs). 

Second, Section J is about images and jobs–the usual two sub-areas that have arisen when discussing changing the representation of women since the late 1960s. This is so limited and has tended to avoid both the structural and local aspects of imbalances and inequalities. We don’t need additional great projects of “stereotype-hunting” as a follow-up to the Forum on Media and Gender. This has been done and is useful mostly as a form of consciousness-raising. As UNESCO is aware, many aspects of media and gender need to be identified, analyzed, and confronted. 

A final problem is that the various sections of the 1995 Beijing Platform for Action (BPfA) actually overlap but are treated as separate in such a way that literacy largely remains with “education” while many of the more problematic ways of addressing women’s lack of access to IT–notably public-private partnerships and increased privatization of services–are addressed in other sections having to do with employment and the economy. With the GAMG, there are no areas of concern “competing” with “women and the media,” so there is no reason to create divisions among societal areas by sections and bulletin points. Perhaps one of our objectives should be to guarantee that Section J cannot be ignored in the future.

What was “media” has become much, much more – so closely intertwined with our world and its multiple realities and spaces. Does this require a new digital age or network society (or info society) level response to issues of gender and media?

Part Two has a further exchange between Lisa McLaughlin and other FemTechNet participants.

Feminism and Latina Representations in Media

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Post by Xuxa Rodriguez, University of Illinois, Urbana-Champaign; Photo Credit ABC/Michael Desmond

On November 21st, 2013, at the University of Illinois, I presented my research on representations of Black, Latina, and Queer bodies within advertisements and content in Seventeen magazine. There are problematic cultural stereotypes being perpetuated in relation to these bodies, and more work needs to be done to represent these bodies in ways that don’t conform to a performance of “White Woman” Drag: in other words, a performance that prefers straightened hair; a streamlined body frame with controlled curves, ideally focused on the breasts; clothes and accessories that can be easily visually read as “girl,” “feminine,” and “middle class.” Perhaps most importantly for this performance’s aim of reinscribing dominant cultural values, it expresses and actively pursues heterosexual desire that works towards the reproduction of a nuclear family and the accompanying ideologies that will ensure the cycle repeats itself ad infinitum. “White Woman” Drag both makes visible and invisible that which it signifies: the performance calls upon a culturally agreed concept of “White Woman” while simultaneously erasing any features that would identify the concepts of “white” and “woman” with an actual body or group of bodies that really and truly exists in the world. (I’m currently in the process of theorizing “White Woman” Drag so  forgive me if this articulation of the concept is lacking or unsatisfying at the moment.) The perpetual reification of “White Woman” Drag in images, media, and cultural consciousness devalues and undermines the ethnic identities that it compounds and breaks down within its signifiers.

Photo by Michael Desmond/ABC. Just after the moment depicted in this photograph,
Gloria’s son asks her to not root for him at the game because she’s too Latina.

Despite people coming up after my talk and congratulating me for a job well done, I felt I was preaching to a very invested choir. I’m a doctoral student at a Research I university, but I wonder if I am doing all that I can from this privileged position to further my feminist fight for equality regardless of race, class, gender, or ability, especially in relation to Latina bodies. This is where technology helps amplify the movement: as a feminist today, there are many avenues for activism and criticism that folks can join. Ms. Magazine has been going strong since 1971, Jean Kilbourne’s “Killing Us Softly: Advertising’s Image of Women” is in its fourth installation, the Feminist Majority Foundation is 25 years old, Bitch Magazine is 17, the Media Education Foundation’s series is 14, and both the Geena Davis Institute on Gender in Media and Feministing are coming up on their tenth anniversaries.

I live in a world where Feminist Frequency delivers sharp, accessible critical analysis about representations of women to countless online viewers. I live in a world where Feminist Ryan Gosling launched a thousand blogs in its likeness. I live in a ridiculously exciting world where Rookie produces content by girls and women of all different backgrounds for girls and women of all different backgrounds.

And yet I also live in a world where “Modern Family”’s Gloria is told by her son that she can’t help her fiery outbursts—she’s Latin, it’s in her blood. While Gloria’s outfits struggle to contain her buxom figure, I shake my head as I add her to my running mental list of Latina women failed by media representation, almost tauntingly as if waiting to see when anyone will notice the stereotypes they keep perpetuating. Eva Mendes, Jennifer Lopez, Salma Hayek, and Cameron Diaz are almost always represented as Latina bombshells. If Latinas aren’t represented as sex kittens, their ethnicity is often hidden or erased on screen. Although Rosario Dawson has been luckier, Gina Torres has yet to play a Latina on screen despite being of multiracial Cuban descent. This is nothing new as Dolores Del Rio, Lupe Velez, Carmen Miranda, Rita Hayworth, and Raquel Welch are all examples of Latina bombshell typecasting, with Hayworth and Welch at the extreme end of the typecasting spectrum by virtue of having been packaged and represented as non-Latinas for public consumption. (As of 2002, Welch has publicly claimed her Latina identity because of her performance as Aunt Dora in PBS’s “American Family”.)

Will Latina women ever find themselves not being represented as fiery-tempered and cartoonishly-curved, with voluminous hair, as they mew and preen for viewers? While this question isn’t new and there are certainly academic conversations devoted to the topic, I wonder if education and publication is enough to win the long-term battle to transform and open up representations of Latina bodies to include a wide variety of gender expressions and performances in the media?

What other models can be followed to work towards transformation? Is the future online? In self-produced and crowd-funded video analyses, like Feminist Frequency? In pop cultural packaging for quick, immediate uptake, like Feminist Ryan Gosling? In community-specific and community-sourced exchanges, like Rookie? Or is the future beyond what we can come up with today?

NOTE: Danielle Henderson has said that she started Feminist Ryan Gosling as joke flashcards to help in studying the work of the cultural theorists she was learning at the time of her master’s degree. However, I think there’s a lot for academics and academia to learn from the way that the project culturally resonated, almost overnight.

Xuxa Rodriguez is a first year PhD student in Art History at the University of Illinois Urbana-Champaign. Her doctoral work focuses on the work of Afro-Cubana and Cubana artists Coco Fusco, María Magdalena Campos-Pons, and Ana Mendieta. She also works on gender performance and representations of women of color in media and fashion. More info on her work and interests can be found at https://xuxarodriguez.com.