Design a site like this with
Get started

Media and Representation

How are women portrayed in mainstream media and how have the people reacted to it?

“You don’t have to be a formal researcher to notice that there has been a pronounced increase in the number of sexual images of girls and young women in mainstream media”(R. Danielle Egan, 56). We see this in different ad campaigns, in magazines and on television. In many so-called ‘chick-flicks’, we can see how a girl becomes popular after the traditional make-over, and she is usually unpopular in the first stage because she is an intellect.

This problem moves past the screen itself to interviews of actresses who are mainly asked about looks, what fitness routine they have at the moment, compared to men who get relevant questions about the movie they are promoting.

“From the red carpet to the slopes, the media sends the limiting message that a woman’s value lies in her youth, beauty, and sexuality and not in her accomplishments […] According to a study that analyzed over 160 million words from decades of newspapers, academic papers, tweets, and blogs, […] women are disproportionately described in relation to their marital status, age, or appearance.” (The Representation Project).

Luckily, people are fighting against this on social media. The Representation Project has undertaken some means to campaign against this. They use the #askhermore, to challenge journalists and interviewers not to ask a question simply based on appearance but to focus on women’s achievements instead.

Works cited:

Youtube video sources:

“Celebrities Who Show You How To Deal With Sexist Comments.” Youtube, uploaded by Salty Facts, 19 August 2018,

“Helen Mirren The sexist Parkinson s interview 1:2.” Youtube, uploaded by P.I. Becky, 23 August 2016,

“Charlotte McKinney – Carls Jr Ad Commercial – Super Bowl XLIX 2015 – The All Natural Burger.” Youtube, uploaded by Charlotte McKinney, 23 January 2015,

“Women On The Red Carpet Get Sh!tty Questions – Today’s Topic (Scarlett Johansson, Mindy Kaling).” Youtube, uploaded by Cracked, 9 August 2017,

“Coco Mademoiselle: The Film – CHANEL.” Youtube, uploaded by CHANEL, 8 March 2011,

“The Devil Wears Prada (4/5) Movie CLIP – Andy Gets a Makeover (2006) HD.” Youtube, uploaded by Movieclips, 18 June 2015,


“#askhermore”The Representation Project. Accessed 5 December 2018.


@JenSiebelNewsom. ”We are not just objects to entertain the world. We are not simply images to bring smiles or grimaces to people’s faces. We are not members of a giant beauty pageant to be pit against one another for the pleasures of the public. We women in Hollywood, we have voices.” #AskHerMoreTwitter, 16 October 2018, 12:41 p.m.,

@Just_Tarable. “CRINGE, why did your interviewer Paul Martini ask @tessavirtue about getting a ‘new dress’?? She is competing for a GOLD MEDAL and she is an ATHLETE, can we not focus on that? Unless you also ask @ScottMoir about his snazzy ensemble. #askhermore GEEZ” Twitter, 10 February, 7:29 p.m.,

@nickykc. “What shoes were you wearing @christopherhope ..Oh wait this isn’t a fashion show so I don’t care – same applies to women #AskhermoreTwitter, 26 September, 7:09 a.m.,


R. Danielle, Egan. “Sexualising girl troubles” Contexts, Vol. 11, No. 2, from sweatshops to surrogacy (SPRING 2012), pp. 56-57. Accessed 4 December 2018.


Consumption: The Film Industry

How does affective economics function in post-modern Cinephilia?

Cinephilia has changed drastically since the classical times. Nowadays thanks to transmediality, we can watch movies from the comfort of our own home. “Facilitated by the development of new technologies, magic retrospectively appears as an inherent trend in cinema consumption as soon as cinema becomes a “universal” type of leisure, potentially encompassing all types of societies and social classes”(Hills, 146). There are a few websites out there that allow us to look up, write reviews, and rate movies, for example, Letterboxd and Imdb. The fact that we can read and share, or disagree with arguments from ordinary people around the world, has made it possible for fan bases to grow easily. Fan Cultures, do not only write reviews but they can rewrite and produce their own content as well.

Fans have not only the power to actually bring back a show, like Brooklyn 99, where the massive backlash from fans was listened to, and previously produced by FOX, NBC promised to produce another series (O’Brian), they can also participate in the making of different projects.  Since these massive fan bases exist, producers have taken advantage of this mass of fan bases in order to produce content through Crowdfunding sites. This is ‘Affective economics’. “In short, affective economics mobilises a concept of emotional engagement between consumers and branded goods in order to position itself as beyond mere ‘commodification’.” (Hills, 185). The fans can through crowdfunding, feel like they are part of the production. In some cases by backing a certain project, like Veronica Mars, “Fans may poach from a Kickstarter project by interpreting it not only as securing symbolic proximity to the showrunner/production, but also as offering limited edition or time-sensitive merchandise not otherwise available” (Hills,194).


They work together, the fans and the producers. This blurs the line between ordinary people and educated media people. (Hills). By establishing love marks, the producers of the show avoid “cold impersonal brands” (Hills, 187). The backers and fans feel more involved in the project and can practice cinephilia almost hand in hand with the project itself since they are the ones funding it.

The post-modern cinephilisist has the advantage of the internet and the capability of funding projects they believe in. By working together with project leaders and choosing whom to fund, they are ultimate choosing what is put out there in the market to be shown for yet other cinephilisists.


Jullier, Laurent and Jean-Marc Leveratto. “Cinephilia in the Digital Age.” Audiences: Defining and Researching Screen Entertainment Reception. Edited by Ian Christie. Amsterdam UP, 2012, pp. 143-154.

Hills, Matt. “Veronica Mars, Fandom, and the ‘Affective Economics’ of Crowdfunding Poachers.” New Media & Society 17.2 (2015): 183-197.

O’Brian, Kelly. When Does Brooklyn 99 Come Back? Season 6 Return. 29 May 2018, May 29 2018  Accessed 5 December 2018. Accessed 5 December 2018.



A very warm welcome to you all. My blog is about different areas in Screen media and the challenges that come with them. In my 4 topics; Protest Media, Media and Representation, Consumption: The Film Industry, Consumption: The Music industry, I discuss the changes in how people consume these things and how we as an audience can also make a difference to the topic in question.

Cheers brothers and sisters!