Representation of Gender and its Influence on Teen Perception.

http://resources.metapress.com/pdf-preview.axd?code=d7667776258nt866&size=largest

Studies show that gender representations influence the way gamers in the u.s. 

think about male and female roles, and also how these representations have changed from the days of Pac Man where the only gender division was a small pixilated bow. 

MadMen; Opening Credit Sequence Essay

MadMen is one of the most influential pieces of television in terms of postmodernism in recent years, as it deals with almost every issue that was present in the era when it was set. As an audience, we are challenged to consider how these issues impact the characters lives and simultaneously how these issues make us feel; sexism, consumerism, capitalism, sexuality and gender power struggles are all still issues that are present in our society today, and this itself makes MadMen a postmodernist text.

There are clearly a number of elements that make MadMen a postmodernist text, but none are more intricate or visually outstanding than the shows opening credit sequence.

The sequence opens with a faceless silhouetted man entering a room and setting down his black briefcase, creating a sense of mystery and intrigue as to the mans identity. This is an immediate reference to a running theme within the show, as the identity of main character ‘Don Draper’ is called into question when someone from his past enters into his constructed life. As he is standing and facing his office, almost as if he is detatched from the life he leads, the office crumbles and falls away from beneath his feet. This is representative of Don’s personal life, as it is slowly beginning to spiral out of control.

 As he falls, he is surrounded by skyscrapers clad in images of sixties America and in particular, sixties American advertising.
Advertisements for cigarettes, alcohol, and also images of women dressed in the fashion of the time surround him as he falls r

elatively calmly through the air. This highlights the extent to which his life is immersed in his work as a successful advertising agent, where he is constantly surrounded by these images and is therefore influential in the way the society of the time perceive and consume the product he markets.

The reason for him falling past images of women in particular could be interpreted in a different way; society was witnessing the early stages of feminism, and therefore the rising of the women above the faceless figure of a man could represent the beginnings of the rise in the position of women. The glass ceiling that women experienced in the world of work was beginning to crack, causing the men 

of the time to feel uncomfortable and unjustifiably vulnerable in terms of their status.

In terms of intertextual references, we see a number of themes appear in the opening credits which again establishes this piece of television as postmodernist. For example the stylised, silhouette, sleek figured man we see in the opening credits takes heavy style influence from Saul Bass’ work with Alfred Hitchcock on the opening credits for the film 1959 ‘North by Northwest’; 

This is by no accident, as the shows producer Matthew Weine

r points out Hitchcock’s work as one of his biggest influences. There are clear parallels between the film and the television show, as both deal with mistaken identity and the advertising industry; both pieces, if we consider them as ‘texts’, are also very styli

sed and were ground breaking at the time of their production. As well as references to the past, there is also a more modern reference in the opening sequence.

The show is set in New York City, an

d therefore the fact that he falls out of a tall skyscraper immediately provokes us as viewers to think of the scenes from the terrorist attacks of 9/11. This is something that, for a U.S. audience, is not easy to watch; when the show was first aired, a number of people criticised its insensitivity in terms of what it implied. There is a long history of people jumping out of windows in New York, whether it is due to a terrorist attack or the Wall Street market crash long before them. Gary Edgerton (Old Dominion University) picks up on this, remarking that the shows opening sequence implies a ‘resolutely post 9/11 perspective’.

The show is ground brea

king, no matter which area you focus on; from the expert use of lighting to highlight boundaries between genders, 

to the praised historical accuracy in terms of context and Mise-en-Scene. However, the opening credits, which are crucial in terms of keeping a viewer interested, have created a buzz around the show that makes it an unforgettable piece of television that is almost impossible for us to ignore as consumers.

MadMen; Oppressive Lighting.

MadMen is considered an all round ground breaker in terms of it's approach to programme filming and making, so it's no surprise that the makers of this hit U.S. TV show have tried to represent the man made limitations women face in the work place through a detail as intricate as the office lighting.

 

The metaphorical glass ceiling that women struggle to break through is represented here through the squareness of the ceiling tiles and rectangularity of the fluorescent lighting. In the picture above, we have an example of how peggy is chained to her desk and is almost watched over by the lights in a patriarchal, voyeuristic fashion.

Showing that women are not always oppressed and completely dominated by the lighting, Joanne moves with an air of fluidity amongst the marginalised mannequins of the office and is not really restricted by the stark lighting or never ending ceiling tiles. Her curves stand out against the lighting, therefore cementing her as a solid character who is seemingly secure in her  identity and sexuality.    

postmodernism in the media;mad men;1.0

Madmen is a cult postmodernist T.V. Series spanning, so far, three seasons on American broadcast channel 'AMC'; more recently, the first and second seasons are aired in the early hours of the morning on BBC4. Talking about the channels showing of Mad Men's first two seasons, BBC4 controller Janice Hadlow said


"We're very proud to have shown the first series of Mad Men on BBC Four, and are delighted to be able to bring the second series of this stylish an
d captivating series to its many British fans too."


The series, created by Emmy award winning producer Matthew Weiner, is a stylised and provocative period drama set in and around the offices of a New York advertising agency called 'Sterling Cooper' in the 1960's.


The drama, produced by Lionsgate Televison, is the first 'basic cable' show to have been awarded the coveted Emmy Award for Outstanding Drama Series; along with 8 other Emmy awards and 3 golden globes, it's one
of T.V.s best kept secrets, along with hit show 'The Wire'.


The show deals with a range of themes and concepts, and is praised by critics for its historical authenticity and style. Sexism, Class, Gender Power Struggles, Sex, Sexuality and Religion are just some of the topics and themes touched on by the show, mostly through main characters 'Don Draper' (Jon Hamm) and 'Peggy' (Elisabeth Moss).


The opening sequence is a key component to the shows success, and has been the topic of conversation for many people in the media industry, and just as many outside it. With the use of 60's styling and the silhouetted man, it is obvious from the opening moments just what this show will be about; the whole sequence is postmodernist as it was created as an intertextual reference to the show creators biggest influence, Alfred Hitchcock. The style is derived from Saul Bass's opening titles for the Hitchcock film 'North by Northwest' which was made in 1959; this falls under the umbrella of postmodernism as it is an intertextual reference that requires influence from the past in order to make something new.


http://mediacommons.futureofthebook.org/imr/2009/04/14/falling-man-and-ma
d-men-154


In the essay from the link above, Gary Edgerton (Old Dominion University) talks about the obvious and the not so obvious clues as to what the show is about that feature in the opening sequence. He also talks about the opening sequences busy, bold style; 'alot happening in 30 seconds' which could be interpreted as the postmodernist condition where society leads a 24/7 lifestyle. He also points out the intertextual references i
earlier stressed, and develops these ideas on a deeper level and suggests that the 'falling man' implies a 'resolutely post 9/11 perspective'