Women as Victim Object and Warrior

Length: 3 Pages 727 Words

Who’s shaping whom? Melicha Ahmat explores the representations of women through the media and its influences on society. In Australia, everyone relies on some form of media for vital everyday information. Whether it be news, music, movies or the latest trends, it’s always there to be seen and heard by everyone. But can everyone trust these different types of media when it comes to the portrayal of women? We see advertisements on billboards, television and magazines that often symbolise women as objects of desire. The number of times a beautiful, drop-dead gorgeous woman has been displayed on any advertisement is countless. Sexy, slim and seductive is what women are preferred to look like. These types of advertisements such as the one pictured above deceive the public into believing this is how a woman should look. This is evident by the bizarre stories etched into WHO and Women’s Day magazines where women and men undergo extreme plastic surgery just to look like their favourite celebrities. Not only do magazines demonstrate how women should loo Continue...


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They might think they are sending out a positive message, but they are only contradicting themselves by dressing tarty. As they become more involved with the idealism of the "perfect"tm woman they are also making themselves victims of the media. These kinds of publications leave women fussing over the shape of their bodies, fashion and their own personal life just so that they can fit into the one perfect stereotype. This is the result of women trying to become the perfect figure when influenced by the media. Set in the 1950"tms it shows how women changed their life"tms expectations to do something more worthwhile than waiting on their husbands day in and day out. k and dress, they also show women how to behave. Labelling may seem a bit out of date, but it still happens in today"tms society and its stories from the media that initiate these thoughts. Nearly every month Cleo or Cosmopolitan publish raunchy lift-out sections that "teach" women how to be subject to their male counterparts. Instead we should be encouraging them to do whatever they want to do in life and stop making them live up to the standards set by the media. Eating disorders, acne, cosmetic surgery, suicide attempts, breakdowns and much more is the real deal when it comes to the truth. These representations of the female figure are far from the truth. In the not-so-perfect world, called reality, all women, model or not, celebrity or not have all kinda of image problems. Actress Lucy Lawless who played the role of Xena was unlike other female heroes such as the slim threesome "Charlie"tms Angels"tm because she didn"tmt comply with the waif-thin, passive feminine ideal. However the use of the word sexy is taken to an extreme as seen in her music clip "dirrty". However, when those women choose to be different from the rest they are labelled and looked down on.

PROFESSIONAL ESSAYS:

Freud's View of Women and Culture
and her apparel is contrived with this object in view with the revolutionary analysis of the status of women of all She is a victim of the society that she has (8397 34 )

The Character of Criseyde In Troilus & Criseyde
his heart to chide the hapless women (V.157 The love object, beset with desire from every side Corage': Chaucer's Criseyde as Feminist and Victim." The Authority (2965 12 )

Analysis of Characters in Othello
Desdemona is ultimately the object, not subject of the desires culture that suppresses the right of women to be her for her own death is to blame the victim. (4466 18 )

Life of Shaka Zulu
check, the fierce but powerless victim of bullying he redoubled executions of men, women, and children comprehensive critique of the "object," or alternatively (6826 27 )

The 19th Century Harem and Egypt and Syria
into a deliberate disengagement with the object, but as a Eastern emir, an agent or a victim of the Oriental culture's nonprogressive conditions for women vis-a (10594 42 )

The Harem in Egypt and Syria
into a deliberate disengagement with the object, but as a Eastern emir, an agent or a victim of the Oriental culture's nonprogressive conditions for women vis-a (10589 42 )