Iolanda Tortajada

Estereotipos publicitarios y representaciones de género en las redes sociales

Este articulo presenta los resultados del analisis cuantitativo y cualitativo de las autopresentaciones que los y las adolescentes elaboran para Fotolog. Las imagenes que dichos adolescentes crean y comparten a traves de la red estan centradas en el si mismo, y el genero y la sexualidad constituyen el eje principal de la representacion. Los resultados obtenidos apuntan a que algunas de las categorias que establecio Goffman en su estudio sobre la hiperritualizacion de la feminidad en la publicidad estan presentes en las autopresentaciones analizadas. Ademas, aparecen otras expresiones de genero como la pose lesbica o la erotizacion de los cuerpos que ya han sido detectadas tambien en los analisis de la publicidad desarrollados por autoras como Gill. Si bien estas imagenes reproducen estereotipos de genero y patrones patriarcales, hay que destacar la presencia de un repertorio variado y algunas creaciones originales, resultado de la negociacion identitaria que, respecto al genero y a la sexualidad, tiene lugar en estos espacios y otras practicas mediaticas adolescentes. Para evitar una reproduccion irreflexiva de patrones de genero estereotipados y contribuir a una negociacion critica de estas representaciones seria importante que la educacion mediatica tuviera en cuenta la manera en que las practicas adolescentes en las redes sociales se estan nutriendo de otros consumos mediaticos y como esto afecta a lo que los y las adolescentes expresan en las redes.This article presents the results of a quantitative and qualitative analysis of adolescent selfpresentations in Fotolog. The images which these adolescents create and share through the Net focus on the construction of the Self. Here gender and sexuality become the main structuring factors of representation. Results point to the fact adolescents selfpresentations mirror some of the categories defined by Goffman in his study of gender hyperritualization in advertising. Moreover, other gender expressions are found in the sample, such as the lesbian pose or the erotization of bodies which Gill also detects in advertising. Despite the fact that the images that adolescents upload in Social Networking Sites reproduce gender stereotypes and patriarchal patterns based in advertising, it must be said that they also elaborate a relatively varied repertoire of pictures and are able to conceive original creations. These creative selfrepresentations are the outcome of a process of negotiation of gender and sexual identity which occurs in these settings, as well as in other adolescent media practices. To avoid a thoughtless reproduction of gender stereotypes and contribute to a critical negotiation of these representations, media education is needed. This media education should take into account the way in which adolescent practices are shaped by other media consumption.This article presents the results of a quantitative and qualitative analysis of adolescent selfpresentations in Fotolog. The images which these adolescents create and share through the Net focus on the construction of the Self. Here gender and sexuality become the main structuring factors of representation. Results point to the fact adolescents selfpresentations mirror some of the categories defined by Goffman in his study of gender hyperritualization in advertising. Moreover, other gender expressions are found in the sample, such as the lesbian pose or the erotization of bodies which Gill also detects in advertising. Despite the fact that the images that adolescents upload in Social Networking Sites reproduce gender stereotypes and patriarchal patterns based in advertising, it must be said that they also elaborate a relatively varied repertoire of pictures and are able to conceive original creations. These creative selfrepresentations are the outcome of a process of negotiation of gender and sexual identity which occurs in these settings, as well as in other adolescent media practices. To avoid a thoughtless reproduction of gender stereotypes and contribute to a critical negotiation of these representations, media education is needed. This media education should take into account the way in which adolescent practices are shaped by other media consumption.

Managing The Unbalanced

The role of mobile technologies in everyday identity management is highly gendered. Smartphones singularly merge identity-related practices and cultural consumption rituals, presenting an interesting arena for analysing the interactions between institutional and non-institutional discourses. Due to the hybrid nature of mobile technology, both gender and generational digital divides show distinct features in the process of domesticating mobile devices. On the basis of a series of focus groups and in-depth interviews compared to the discourse analysis of a sample of mobile-related TV ads, some relevant paradoxes emerge concerning the definition of intimacy, the balance between work and private life and intergenerational relations.

Estereotipos publicitarios y representaciones de género en las redes sociales = Advertising Stereotypes and Gender Representation in Social Networking Sites.

Este articulo presenta los resultados del analisis cuantitativo y cualitativo de las autopresentaciones que los y las adolescentes elaboran para Fotolog. Las imagenes que dichos adolescentes crean y comparten a traves de la red estan centradas en el si mismo, y el genero y la sexualidad constituyen el eje principal de la representacion. Los resultados obtenidos apuntan a que algunas de las categorias que establecio Goffman en su estudio sobre la hiperritualizacion de la feminidad en la publicidad estan presentes en las autopresentaciones analizadas. Ademas, aparecen otras expresiones de genero como la pose lesbica o la erotizacion de los cuerpos que ya han sido detectadas tambien en los analisis de la publicidad desarrollados por autoras como Gill. Si bien estas imagenes reproducen estereotipos de genero y patrones patriarcales, hay que destacar la presencia de un repertorio variado y algunas creaciones originales, resultado de la negociacion identitaria que, respecto al genero y a la sexualidad, tiene lugar en estos espacios y otras practicas mediaticas adolescentes. Para evitar una reproduccion irreflexiva de patrones de genero estereotipados y contribuir a una negociacion critica de estas representaciones seria importante que la educacion mediatica tuviera en cuenta la manera en que las practicas adolescentes en las redes sociales se estan nutriendo de otros consumos mediaticos y como esto afecta a lo que los y las adolescentes expresan en las redes.This article presents the results of a quantitative and qualitative analysis of adolescent selfpresentations in Fotolog. The images which these adolescents create and share through the Net focus on the construction of the Self. Here gender and sexuality become the main structuring factors of representation. Results point to the fact adolescents selfpresentations mirror some of the categories defined by Goffman in his study of gender hyperritualization in advertising. Moreover, other gender expressions are found in the sample, such as the lesbian pose or the erotization of bodies which Gill also detects in advertising. Despite the fact that the images that adolescents upload in Social Networking Sites reproduce gender stereotypes and patriarchal patterns based in advertising, it must be said that they also elaborate a relatively varied repertoire of pictures and are able to conceive original creations. These creative selfrepresentations are the outcome of a process of negotiation of gender and sexual identity which occurs in these settings, as well as in other adolescent media practices. To avoid a thoughtless reproduction of gender stereotypes and contribute to a critical negotiation of these representations, media education is needed. This media education should take into account the way in which adolescent practices are shaped by other media consumption.This article presents the results of a quantitative and qualitative analysis of adolescent selfpresentations in Fotolog. The images which these adolescents create and share through the Net focus on the construction of the Self. Here gender and sexuality become the main structuring factors of representation. Results point to the fact adolescents selfpresentations mirror some of the categories defined by Goffman in his study of gender hyperritualization in advertising. Moreover, other gender expressions are found in the sample, such as the lesbian pose or the erotization of bodies which Gill also detects in advertising. Despite the fact that the images that adolescents upload in Social Networking Sites reproduce gender stereotypes and patriarchal patterns based in advertising, it must be said that they also elaborate a relatively varied repertoire of pictures and are able to conceive original creations. These creative selfrepresentations are the outcome of a process of negotiation of gender and sexual identity which occurs in these settings, as well as in other adolescent media practices. To avoid a thoughtless reproduction of gender stereotypes and contribute to a critical negotiation of these representations, media education is needed. This media education should take into account the way in which adolescent practices are shaped by other media consumption.

Chonis and pijas: Slut-shaming and double standards in online performances among Spanish teens:

In a context of demonization of the working class in Western societies, the choni has become an epitome of the female incarnation of the failed underclass in Spain. During our focus group discussions with 16- to 20-year-olds, girls evoked clear-cut images of the tasteless and sexualized choni as a stigma to avoid, in contrast with the more classy pija. This article deals with gender and class regarding sexual scrutiny on social media in Spain. Youngsters’ readings of the choni/pija eluded a socio-economic explanation, pointing to the ‘moral standards’ that chonis supposedly fail to attain. We argue that online spaces make it more difficult for chonis to avoid this omnipresent ‘double’ double standard.

Gendered ageing bodies in popular media culture

Grace and Frankie (2015 to present), the Netflix original about two 70-year-old women who become unlikely friends after their respective husbands confess they have been in love with each other for the last 20 years, was released just a few months before this special issue on ageing and popular media culture was conceived. In its third season now, the series portrays two women who are interested in affective relationships, do not hide their sexual desires, propose new businesses, overcome the difficulties of marriage breakup, and eventually become good friends. The series particularly succeeds in breaking with some of the mainstream ageist representations of women as youthful, sexy and desirable (Kathleen Woodward 2006) and challenges the idea that all women are obsessed with trying to look and act young while being anxious over growing old (Imelda Whelehan 2010; Imelda Whelehan and Joel Gwynne 2014). In the second season, for instance, Grace and Frankie try to market a lubricant that Frankie has created, and later they set up their own company to sell vibrators designed by and for women their age. These subversive images invite audiences not only to look beyond rigid and unquestioned ideas about gender and sexuality but also, most of all, to question ageist assumptions. As in other post-feminist cultural products, contradictions are abundant (Fien Adriaens and Sofie Van Bauwel 2011; Antonio Caballero, Iolanda Tortajada and Cilia Willem, forthcoming), in Grace and Frankie. Still, we see the two protagonists laughing at themselves, for example when Frankie jokes about the fact that Grace tells the doctor that she has never had surgery—thus implying that Grace has undergone cosmetic surgery on numerous occasions—or in the way in which both are aware of their fears and express these in a playful and humorous way. Although there have been other television shows featuring 70-plus women, these positive representations are rare. Grace and Frankie’s characters, despite some stereotyped portrayals (the hippy and the posh lady) and certain conventions (not showing the naked mature female body), somehow question post-feminist popular culture. By putting their finger on the complexities of ageing, the show implicitly makes a point against gendered ageism.

Autenticidad, marca personal y agencia sexual: el posfeminismo lésbico en youtube

Youtube, espacio mediatico postelevisivo por excelencia, modifica los codigos de representacion y comunicacion entre jovenes sobre temas como la identidad y la orientacion sexual. Asi, la plataforma de video se ha convertido en el arma definitiva del activismo LGTBQ (Polo, 2016) donde gays, lesbianas, bisexuales y queers se abren paso en la red. Esto ocurre mientras el posfeminismo se consolida en los medios mainstream como lo que parece la unica via de representacion femenina: ostentado en numerosas ocasiones por iconos de la cultura popular, el posfeminismo se caracteriza por un efecto ‘rebote’ contra el feminismo historico, reivindicando una mujer liberada, asertiva y autentica, obviando asi las injusticias del patriarcado que siguen existiendo (Tasker y Negra, 2005; Gill, 2007). Los patrones de estas representaciones posfeministas estan vinculadas por una parte con la autenticidad, el exito, la libertad de eleccion y el empoderamiento femenino y, por otra parte, con la agencia sexual de las mujeres y el uso que estas hacen de su cuerpo para conseguir privilegios. Este estudio indaga en como las representaciones de youtubers lesbianas, por una parte, reproducen y, por otra parte, se resisten a este posfeminismo mainstream . Con este objetivo hemos seleccionado una muestra de cinco youtubers lesbianas espanolas con un gran numero de suscriptores ( YellowMellow , Dulceida , Xuri Fenton , Gominuke , Koala Rabioso ). Los resultados muestran, por un lado, la gestion del propio cuerpo principalmente situada fuera de la mirada masculina y generadora de nuevos imaginarios - en este caso, lesbicos. Esto otorga a las youtubers lesbianas una agencia sexual que no esta enmarcada en el posfeminismo, sino que desarrolla su propio lenguaje. Por otro lado, estas youtubers ostentan una autenticidad mas reflexiva (Giddens, 1994) y mas comprometida que la de las representaciones posfeministas, generalmente vacias de contenido politico. Aunque cada una de ellas crea una marca personal exitosa - mas o menos vinculada a grandes marcas o el cosmetismo -, reclaman la autenticidad como valor principal y consiguen mantener una credibilidad a traves de la gestion de sus fracasos en clave humoristica.

So cruel... yet so cool: Teenager readings of love and attraction on Sin tetas no hay paraíso

This research focuses on the way in which Spanish teenagers negotiate a highly rated global format TV series regarding representations of affective and sexual relationships. Results from two focus groups show that teenagers do not problematize the link between violence and desire implied by the storyline. Girls express a consensual admiration towards female characters with post-feminist traits and also show their desire to experience the main female character’s love story, which reflects traditional femininity. In both cases, suffering and sacrifices for love’s sake are justified; furthermore, men who are tough yet sweet are considered extremely attractive. Boys seem to be more reluctant to enter into and tolerate troubled relationships. They try to distance themselves from the narrative of the series, mocking the main male character. Teenagers say they are not affected by media products, yet they strongly identify with the characters and the storylines