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Each year, USC Annenberg’s Media, Diversity, & Social Change Initiative produces a report examining gender and race/ethnicity on screen and behind the camera across the 100 top‐grossing fictional films. A total of 700 films and 30,835 characters have been analyzed across the 100 top‐grossing films of 2007, 2008, 2009, 2010, 2012, 2013, and 2014 (ex...
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... character was categorized into one of five mutually exclusive silos: 0-12 years (child); 13-20 years (teen); 21-39 years (young adult); 40-64 years (middle aged); or 65 years or older (elderly). Table 3 reveals that character gender and age were associated across the 100 top films of 2014. 11 As children, teens, and the elderly, male and female characters do not differ by 5%. ...
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... In fact, the opportunity for Japanese people to see real or screen versions of Caucasian faces is greater than the opportunity for Norwegians to see Japanese faces. Smith et al. (2015) reported that in the Hollywood 100 top films of 2014, 73.1% of the main characters of movies were Caucasian, while Asian actors accounted for only 5.9%. Therefore, ordinary Norwegians are seldom exposed to East Asian people or electronic versions of their faces. ...
The uncanny valley stands for the feeling of eeriness triggered by something that looks almost, but not exactly, like a real human. This study, thus, examined whether other-race bias modulates the uncanny valley phenomenon; both effects are based on familiarity with different face categories. We asked participants from Japan and Norway to rate the unpleasantness of computer-generated East Asian and European faces with progressively scaled eye sizes (from unnaturally small to unnaturally large). Simultaneously, we monitored their pupil sizes with an eye tracker. Pupillary diameter can be used as an objective measure of the uncanny feeling elicited by faces. We found that even when the changes in the images eye size were small, both Japanese and Norwegian participants rated the faces of their own race as more unpleasant than the faces of the different races, indicating the presence of other-race bias in the context of the uncanny valley, at least with computer-generated faces. Similar to the rating data, the pupils of Japanese participants dilated more for East Asian faces than for European faces. In contrast, the pupils of Norwegian participants dilated more for East Asian faces than for European faces. These differences can be attributed to unequal exposure to the faces from different races within each culture, thus, demonstrating other-race bias in the uncanny valley.
... Wśród publikacji znajdują się te, które skupiały się na prezentacji obrazu jednej, wybranej narodowości w filmie (Piersanti, 2019;Pressler, 2019) lub też szerzej podejmujące problem konkretnych mniejszości (obok narodowych i etnicznych także m.in. rasowych czy seksualnych) w popularnych produkcjach (Pancewicz, 2011;Smith, Choueiti, Pieper, 2017). ...
... Kwestię dysproporcji w udziale mniejszości (m.in. rasowych, etnicznych czy narodowościowych) oraz stereotypowy sposób ukazania ich w kinie potwierdzają liczne wyniki badań, co zaznaczono we wstępie artykułu (Piersanti, 2019;Pressler, 2019;Pancewicz, 2011;Smith, Choueiti, Pieper, 2017). Stąd też istotne jest podkreślenie znaczenia zwiększania reprezentacji takich grup społecznych w kinie. ...
Problemy związane z różnicami na tle narodowościowym stanowią istotny temat podnoszony w przestrzeni publicznej. Są one obecne również w kulturze popularnej, także w kinematografii. Wśród produkcji, które ujmują te kwestie, można wskazać także te, które zostały nagrodzone Nagrodą Amerykańskiej Akademii Filmowej. Celem artykułu jest prezentacja wyników badań na temat obrazu postaci o narodowości innej niż amerykańska oraz ich znaczenia dla analizowanych produkcji filmowych. Materiał badawczy stanowiło 90 filmów wyróżnionych wspomnianą nagrodą w kategorii „Najlepszy film”. Szczególną uwagę poświęcono przykładom ukazującym stereotypy i konflikty na tle narodowościowym oraz skupiono się na postaciach migrantów w wybranych filmach. Wyniki przeprowadzonego badania wykazały, że kwestia różnic na tle narodowościowym stanowi ważny temat w analizowanych filmach. W wielu z analizowanych produkcji wątki narodowościowe odgrywają kluczową rolę, prezentując np. drogę do odzyskania niepodległości czy obraz i problemy migrantów w Stanach Zjednoczonych Ameryki. Ponadto postaci o narodowości innej niż amerykańska wystąpiły w 81% analizowanych produkcji filmowych, a ponad połowa z nich odgrywała role pierwszoplanowe.
... However, Asian Americans still face setbacks and are underrepresented in prominent positions in the United States, including in Hollywood (S. L. Smith et al., 2017;Tso, 2018). ...
... Although recent research has indicated an improvement in the quantity of Asian American actors in Hollywood, there is still a disproportionately low number of lead roles and quality representations (S. L. Smith et al., 2017). In much film and television, Asian women have been oversexualized, and Asian men have been demasculinized (H. ...
Social media provides minority groups with more control over their portrayals than stereotypical misrepresentations of Hollywood. To understand how Asian Americans are negotiating their own ethnic, racial, and national identities on social media, constant comparative analysis was employed to examine patterns in visual and textual communication of Asian American influencers’ Instagram posts. Their cultural identities were communicated as a cultural hybridity, which included the use of Asian, American/Western, and Asian American cultural values, products, and behaviors. This study indicates that multicultural identity analysis can be applied to visual texts, and Instagram can provide fluid, authentic representations of identity.
... Persistent differential representation is linked to persistent differential participation in the creative process (Perrone 2018). A pattern of inequality and stagnation has been documented concerning women's presence behind the screen (Lauzen 2012, Lauzen 2017b, Lauzen 2017c) and on-screen in film, in general, for protagonists (Geena Davis Institute on Gender in Media 2016; Lauzen 2017a), main characters (Bleakley, Jamieson and Romer 2012;Lauzen 2017b), and all speaking characters Smith, Smith, et al. 2015;Lauzen 2017a;Perrone 2018), as well as for antagonists (Lauzen 2017a) or narrators . Differences in gender status have been also documented through elements of filmic architextuality: words spoken by male and female characters (Anderson and Daniels 2017), men and women depiction according to narrative genres (Google 2016) and amount of screen time assigned to male and female characters (Geena Davis Institute on Gender in Media 2016). ...
This paper documents the change and reproduction of gender status in the motion picture industry by discussing patterns in protagonist choice and authorship of biographical films produced from 1900 to 2017. The results rely on a quantitative analysis of all 4,539 films on the IMDb platform labeled with the “Biography” tag that portray an individual main character in the selected years. We find that men-only filmmaking teams have been remarkably consistent from 1900 onward in their choice of male subjects, while mixed and women-only teams have driven an increase in the central representation of women as figures whose life is worthy of narration and remembrance. Therefore, the recently increased involvement of women as directors has significantly advanced the symbolic recognition of women in public cinematographic discourse. Our findings document the emergence of a transitional period in the biographical movie industry in which the reproduction of gender status asymmetries coexists with an increased participation of women in filmmaking.
... We Are on TV 2019/2020, we can see that 10.2% of prime-time television characters are LGBTQ. This substantial increase allows us to predict there will be an upward trend in the coming years (Smith et al., 2017), an aspect that should be analyzed in Spanish fiction television. ...
In recent years, the increasing popularity of video-on-demand (VOD) platforms has changed Spanish audiovisual consumption. The main objectives of this article are to analyze the representation of gender in VOD Spanish productions. We pay particular attention to whether there is underrepresentation of character types and gender stereotyping with respect to occupation, traits, attitudes, and conversations. In addition, we set out to verify whether the image of women is different in VOD platforms compared with generalist television channels. To this end, we carried out a quantitative content analysis on a sample of 760 characters from Spanish fiction series produced by VOD platforms, broadcast between 2017 and 2020. The results obtained prove that even though new audiovisual platforms tend to incorporate equality, the underrepresentation and stereotyping of female characters in terms of professional occupation, family, and emotions still exist.
... Action or adventure and comedy movie are two top genres that most often feature the African American actors. There were only 25.9 % underrepresented racial/ ethnic groups" characters in action or adventure genre and 26.4 % in comedy genre across the 100 top movies of 2007, 2010, 2014(Smith et al., 2017. Although the number remains small, comedy is one of the genres that involve many underrepresented racial/ethnic groups, one of which is African American. ...
... Action or adventure and comedy movie are two top genres that most often feature the African American actors. There were only 25.9 % underrepresented racial/ ethnic groups" characters in action or adventure genre and 26.4 % in comedy genre across the 100 top movies of 2007, 2010, 2014(Smith et al., 2017. Although the number remains small, comedy is one of the genres that involve many underrepresented racial/ethnic groups, one of which is African American. ...
The United States is considered to have entered the post-racial era in the 21st century, where racial preference, discrimination, and prejudice towards minorities, such as African Americans, are supposed to no longer exist. As one of the media that reflected American society, Hollywood movies tried to eliminate the discussion on race and racism. It can be seen in Hollywood movies that begin to eliminate the negative images and stereotypes of African Americans. However, it does not mean that racism vanished from the Hollywood movie industry, especially in comedy movies. Comedy movies are one of the genresthat often involve African-American actors and actresses. Their stereotypes are also commonly used to make humor in the narrative. Therefore, this genre is closely related to racism. However, comedy movies in the last decade, such as Evan Almighty (2007), Wild Hogs (2007), Meet Dave (2008), The Maiden Heist (2009), Last Vegas (2013), Someone Marry Barry (2014), and Going in Style (2017), are not showing any racism on the surface. By using Interdisciplinary as the approach, this research attempts to see how Hollywood presents racism in comedy movies, especially in the last decade. The representation theory is employed to interpret the images, scenes, and dialogues from seven selected comedy movies concerning racism. Meanwhile, the theory of humor is used to find out how racism makes humor occur through African-American characters. The finding of this research indicates that negative images and stereotypes of African Americans are still sustained in Hollywood movies. These depictions are shown covertly. Meanwhile, overt racism indicates that the African American characters are used to make humor occur in comedy movies.Keywords: African American; comedy; Hollywood; humor; racism; representation
... In media content research, Gross's (2001) seminal book Up from Invisibility: Lesbians, Gay Men, and the Media in America primarily discussed portrayals of cisgender characters, as transgender and non-binary characters were generally absent in mainstream media. As late as 2014, a widely referenced annual report of inequalities in top-grossing film captured characters' gender as either male or female (see Smith et al., 2014). ...
This entry provides an overview of the evolution of gender identity representations in mass media and the measurement of gender identity in media psychology, providing critiques and future directions for representation, measurement, and research. Historically, gender identities beyond a male-female binary were largely invisible in popular media. The "transgender tipping point" of 2014 represented the emergence of transgender identities and subsequent introduction of non-binary and other gender identities. As more nuanced terms describing individuals' experiences with gender have increased, means for measuring the presence of such identities, as well as audiences' attitudes toward them, have advanced. However, opportunities for continued improvement in representation and measurement exist.
... This trend triggered increased scrutiny of talent in Hollywood and the masses' opinions on what constituted talentand whether it was tied to race. The USC Annenberg Media, Diversity, and Social Change Initiative identified a dearth in racial representation in film and reported in 2017 that representation of Whites in popular film continued to out-represent people of colour, with 70.8 per cent of characters being White and 3.1 per cent being Hispanic, which is an overrepresentation of the 60.7 per cent of Whites (White alone, not Hispanic or Latino) and an underrepresentation of the 18.1 per cent Hispanics in the United States (Smith, Choueiti, and Pieper 2017;U.S. Census Bureau 2017). Thus, it does not appear that representation in Hollywood has adjusted to meet the demographic shifts in the US. ...
... Starting in the 1990s, however, there was a steady increase in racial representation in the film industry (Aumer et al. 2017). Though Whites continue to out-represent other racial groups on screen today, it appears that most racial groups are represented at a percentage comparable to the makeup of the US population (Smith, Choueiti, and Pieper 2017). According to US Census data, only Hispanics are underrepresented. ...
In order to understand how people from all major racial groups in the United States feel about racial representation in film, this study employed Q methodology to assess the motivations, attitudes, and opinions of individuals on this issue. Four factors were identified: (1) balanced critics, (2) storyline devotees, (3) tolerant learners, (4) grounded advocates. These four groups of people with common opinions on diversity in film represent a spectrum on perceptions of race, from colourblind to anti-racist. Variation in factor differences are explained through the lens of symbolic interactionism. In three of the four groups, individuals indicated a desire for more racially diverse film casts. The fourth group did not oppose racial representation in film, rather, these individuals were more concerned about the quality of the storyline. Implications for Hollywood’s incorporation of racially diverse casts are discussed.
... LGBTQ characters have frequently been either desexualized or pathologically oversexualized, i.e. portrayed as either lacking the romantic/sexual aspirations and encounters that straight characters have or, particularly in the case of gay men, depicted as promiscuous and driven by the pursuit of sexual gratification (e.g. see Sender 2003;Smith et al. 2015). PLU navigates away from both these problematic tropes; each character is shown pursuing sexual relationships, but the characters are not reduced to their sexual impulses or experiences. ...
This paper discusses the Singaporean web series People Like Us (Leon Cheo, 2016) as a text with characteristics of a romantic comedy that also challenges many generic conventions. In terms of production and distribution, the web series format enables content that might otherwise encounter funding or censorship challenges. With respect to content, People Like Us has two important distinctions. First, while depicting gay men’s pursuit of romance in often lighthearted ways, People Like Us is not what I term ‘romonormative,’ i.e. it does not privilege monogamous romantic relationships or downplay same-sex eroticism. The series also encodes a distinct Singaporeanness without inscribing homonormative or homonationalist discourses, instead presenting different modes of gay men’s intimacies as comprising a queerly specific Singapore. As such, People Like Us’s production and narrative characteristics exemplify new evolutions for the rom-com genre.
... Similarly, a sensitivity analysis indicated that a sample of 1114 labels (androcentrism analyses) was large enough to detect effects in which observed and expected frequencies differed by 12.5% or greater. Although we are not aware of any previous literature that compares the frequency of masculine to feminine language use, research suggests that the representation of male-to-female speaking characters in media tends to hover around 2:1 (Smith et al. 2017), a 33.33% difference from what would be expected by chance. Using this ratio as a baseline estimate of androcentric thinking more broadly, our sample was more than adequate to detect effects for analyses of androcentric bias in language. ...
Research has shown that language can be gender-biased; however, little research has investigated the prevalence of this bias in everyday speech. Using recordings sampled from undergraduates’ daily conversations, we investigated two forms of gender bias: paternalism through use of the infantilizing label girl to refer to women and androcentrism through a tendency to use more masculine (e.g., man, guy) than feminine (e.g., girl, woman) labels in everyday speech. U.S. participants (n = 175) wore the Electronically Activated Recorder (EAR), a device that recorded sound samples from their environments for 30 s every 12.5 min, for up to 4 days. Verbatim transcripts were then analyzed for instances of commonly used labels for females and males (e.g., girl, woman, boy, man). Results indicated that the label girl surpassed all other labels for women, as well as boy labels for men. We also found evidence of a masculine-label bias: Participants used masculine labels more frequently than feminine labels overall. These findings indicate the need for future research to investigate the potential consequences of infantilizing and androcentric language as well as the need for teachers, professors, clinicians, and practitioners of all types to be mindful of how their speech may include, exclude, or infantilize people based on gender.
