Category Archives: Entertainment

Infographic: “Gender Inequality in [Hollywood] Film”

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Check out this infographic from the New York Film Academy on gender inequality in American films. A few of the facts involved:

-“Women purchase half of the movie tickets sold in the U.S.” but “28.8% of women wore sexually revealing clothes as opposed to 7.0% of men” in the top 500 films from 2007 to 20012 and the “average ratio of male actors to females is 2.25:1” in these same films.

-The number of men and women working behind the scene in major roles of the top 250 films of 2012 is pretty unequal: women are 9% of directors, 15% of writers, 17% of executive producers, 25% of producers, 20% of editors, and 2% of cinematographers.

-“Forbes 2013 list of the top ten highest paid actresses made a collective $181 million versus $465 million made by the top ten male actors” and “In 2013 the highest paid female actor, Angelina Jolie, made $33 million, roughly the same amount as the two lowest-ranked men. Furthermore, age appears to be a dominant factor in an actress’s monetary success compared to men.”

So much for progressive Hollywood? The infographic also suggests the depth of the inequality goes beyond just star actors and actresses; it applies to numerous important roles and how characters are regularly portrayed.

Another aspect of this is to think about using infographics for social activism. In one big graphic, this group has presented a lot of data regarding gender in American films. Is it more effective to present the data in (1) a splashy way – infographics are hot these days and (2) to overwhelm people with data?

Sociological musings about American culture in “It’s A Wonderful Life”

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This talk by a sociologist about It’s A Wonderful Life serves as a reminder that the film provides a nice window into modern American life. Although it is a holiday movie, here are a few sociological ideas that still resonate today:

1. Mr. Potter is the evil banker and the primary villain. While hero George Bailey just wants to help his family and others in the community, the banker only cares about money. Could be connected to discussions of inequality, the wealth of bankers, and the role of the finance industry in helping to build communities.

2. Hero George Bailey wants to build suburban-like homes in a new subdivision in his community. The movie came out at the beginning of the post-World War II suburban boom and anticipates that many Americans simply want a home of their own.

3. The movie is set in a relatively small town where George Bailey and his family can know lots of people. Even as Americans look to private single-family homes, there is still often a small-town ideal where everyone gets along and helps each other (and often the assumption that we have lost this over time).

4. George Bailey seeks meaning in his work and life. When he doesn’t find it, he considers suicide. Bailey wants to provide for his family and friends and struggles when he cannot do this.

5. George’s life is saved by an angel. Americans tend to like angels even as more Americans say they are not religious. Angels fit with a spirituality where God generally wants people to succeed.

6. The celebratory ending of the film comes as George is surrounded by his family and friends. The emphasis on family life is not unusual in American stories but this also highlights the small town coming together. Bailey has the American Dream at the end: a home, a loving family, helpful friends, and is optimistic about his future.

Of course, this film has been analyzed plenty as a classic sitting at #20 on the AFI’s top 100 movies. Yet, it is an important moment as America started seeing itself as the prosperous superpower.

Music has gotten louder not to drive sales but because artists want it that way

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Recorded music today tends to be loud – and this is what many artists want:

The problem with Katz’s pronouncement, though, is that the market doesn’t incentivize loudness in the first place. Studies have shown that there is no correlation between volume and sales. Broadcast radio, where the competition for loudness might be most fierce, already clips the audio waveform at a certain level to avoid conflicts with advertisements and speech. Many cloud music services like Rdio and Spotify already have volume adjustment logic built in with no noticeable effect on recording trends. Low-fidelity loudness has succeeded and survived for some time without much outcry from the public, just from the small population of audiophiles and sound engineers.

The truth is that artists and engineers make their music loud because they want to. And the desire to do so usually correlates more with trends in technology than with commercial concerns. From gramophones to electric playback of records and digital technology, a series of short-lived fads have sprung up wherein musicians abuse new listening mediums to make their songs as loud as possible to the detriment of fidelity. In a paper for the journal Popular Music, Kyle Devine reviewed the long history of feuds over formats and electrical amplification for attention:

The history of sound reproduction can be understood as a history in which auditory ideals and practicalities are in constant negotiation, where the priorities of audiences and “audiophiles” drift in and out of synch…

And something similar is happening now in pop music as more songs that aren’t in the vein of screaming punk choruses make their way onto the charts. While not high fidelity, groups like Adele and Mumford & Sons are easing away from the volume ceiling with moments of quiet that are actually, technically, quiet.

We’ll see what happens in the latest installment of the loudness wars. There appears to be an interesting interplay between what is possible technologically, what artists want to try (and this varies quite a bit by genre), and what the public wants to listen to. From a production perspective in the sociology of culture, technology is the important part because that is what drives tastes. Flip the question around and we could ask whether punk rock would have emerged as it did without the technological ability to simply play loud.

I wonder if another reason is the uptick in headphone/earbud usage throughout the day which really began in force during the 1980s with the Walkman which was followed by the Discman which was followed by mp3 players/phones. While walking around and with lower quality headphones, particularly ones that don’t block out other noise or cover the whole ear, quiet songs are difficult to hear.

Ten enviable, but not necessarily realistic, TV homes

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Take a closer look at the sometimes ridiculous dwelling places of ten well-known television shows.

There are few things quite as frustrating for those bunked away in crappy, overpriced rentals as watching sitcom characters putter around in homes that—in real life—would be astronomically expensive even with a steady income (which television characters often mysteriously lack.) Whether it be the NYC-based Friends apartment or the California-cool New Girl loft that’s causing a big dose of sitcom real estate envy, do have a look at some of television’s most enviable living situations—presented below in order of least to most realistic.

The Cosby Show and Big Bang Theory take the honors as the most realistic. Even as the average new American home has increased over the decades, might TV homes have increased even more?

As this is not the first article I have seen on this topic in recent months, I wonder what the outcomes of such analyses. One way to go would be to get into a discussion of how realistic TV shows should be. How much should television portray real circumstances of Americans who as a whole have a median household income around $50,000? In order to be good shows, do they have to present something close to reality? Or, do Americans prefer entertainment that is more aspirational? Perhaps there are audiences for both though the general trend seems to be that fans are not very worried about whether the homes are realistic.

A more interesting route would be to consider what effect these depictions of homes have on viewers. As sociologist Juliet Schor argues, does this give viewers a different reference group? Schor suggests when Americans see “normal” TV life – which, in reality, it typically upper class life even when the characters are supposed to be middle or working-class – they readjust their own consumption patterns to match those on TV. So, if viewers of Sex and the City see single women in New York enjoying rather large apartments, they then expect to find such places for themselves and might be beyond their means to make it happen.

Country music, social class, and rural areas

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Here is a discussion of how country music talks about social class, particularly lower classes, in small towns and rural areas:

It didn’t seem out of place to embrace a simpler life when all it meant was going without a few new dresses or sharp ties. In Garth Brooks’s 1990 song, “Friends in Low Places,” Brooks sings “Blame it all on my roots, I showed up in boots, and ruined your black-tie affair,” as he addresses his ex. He is dressed inappropriately for a formal event and uses bad manners; unlike Hank Williams, who sang of his ragged boots as a point of frustration, Brooks revels in being rough around the edges, even if he is poking fun at himself. Similarly, in “Redneck Woman,” released in 2004, Gretchen Wilson sings that she can wear WalMart clothes half-price because she doesn’t need “designer tags to make my man want me.” She frames it as a choice. It’s not that she can’t afford champagne; she prefers beer…

But when being rural and low-income starts to mean that you’re living without heat or that you’re struggling to pay for your own groceries, these songs begin to sound bittersweet rather than celebratory. It’s tempting to play a “happy warrior,” especially when much of American culture frowns upon people who acknowledge any sort of victimhood. (After all, notions that the poor are poor because they’re lazy still persist in much of America.) But it’s hard to ignore some of the harsh realities of rural life in America today, and Musgraves and Clark in particular have taken the issue head-on. “Merry Go ‘Round” and “Pray to Jesus,” two songs eerily similar to each other in both melody and lyrics, don’t try to sidestep the dreary reality that can be a small-town or low-income life…

Clark and Musgraves’s songs, though, embody a state of mind country music needs to acknowledge more often. People love country music, in part, because it speaks to the heart of rural existence, a way of life that many people find happiness in and a culture that seems more authentic.

Yet, like all real cultures, rural life has its shortcomings. People become bored in a way that is distinct to an isolation of place. Rural boredom is different from urban boredom: Much of the appeal of cities is rooted in the excitement of newness, of novelty, so urban boredom is a result of being surrounded by stimulation yet still feeling alone. Rural boredom, by contrast, is often exacerbated by the tendency to wonder what you’re missing out on. It comes from wondering if there is more to life than a familiar community (like the one Miranda Lambert sings of) and the limited romantic possibilities and career options a small town offers. Musgraves, Clark, and Monroe capture that suffocation perfectly, and more artists should take their lead in being honest about the limitations of small-town life. Because sometimes, even country music’s unsinkable happy-warrior protagonist needs to reflect.

See this post from a few years ago discussing a similar argument. It would be interesting to try to trace the link between talking about social class and rural areas with the movement of country music toward pop/rock music and mainstream American culture. How much does the textual content change over the years? It is one thing to talk about a few artists who might be bucking a trend but a more rigorous analysis could reveal something interesting. Additionally, it seems that all of this could be linked to the decline of many rural areas in the United States. Even as Americans often hold romantic ideals about small-town life, America is now a suburban country and has been for decades. How much can you sing to an audience that increasingly is more familiar with strip malls, lifestyle centers, and big single-family homes about the difficulties of rural life?

At the same time, such songs could bring attention to areas in the United States that don’t get much attention otherwise.

The Simpsons slips in a math lesson now and then – and it probably doesn’t change much

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Check out this listing of The Simpsons episodes that feature math lessons. Having seen some of these episodes, I remember a few of these moments quite clearly. Yet, while it is clever that the writers dropped these in, how many of the viewers noticed? We could use these examples as a sign that The Simpsons is an erudite show, one often derided as an animated comedy with little redeeming value that typically punches above its weight in terms of cultural references and ideas. But, if the viewers don’t notice or care, what is the point (beyond making some critics happy)?

It sounds like we need an experiment where viewers are asked to watch these episodes and see if they spot these math moments. Or, we might set something up to see whether viewers of these episodes, compared to viewers of other episodes, learned something more. The answer, I suspect, is that including the math doesn’t change most viewers.

 

Perhaps we’ll know Americans prefer renting when HGTV focuses on renting and not homeownership

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The vast majority of programming on HGTV focuses on acquiring and/or rehabbing homes. It is hard to go more than a few episodes of these shows without someone talking about the pride of homeownership or achieving their dreams. This is all very American.

But, if the housing market still isn’t great, why aren’t there more shows about rentals? The one consistent show that includes rentals, Income Property, only views the rental from the homeowner’s perspective and how much money they can extract from the rental.

A theory: we’ll know when there are more Americans who really want to rent, particularly in the key 25-49 demographic, when HGTV features more prime-time shows about renting and rental properties.

How much Walter White may have lowered his neighbor’s property values

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Breaking Bad protagonist and meth kingpin Walter White might not have made his neighbors happy:

In his 2011 paper, “The Lasting Effects of Crime: The Relationship of Discovered Methamphetamine Laboratories and Home Values,” Holy Cross econ professor Joshua Congdon-Hohman calculates how much damage meth labs cause to surrounding home values after they’re discovered…Using housing sales data from Akron, Ohio — home to that state’s largest concentration of meth labs  — Congdon-Hohman finds the following:

  • For homes sold within an eighth of a mile after a lab is discovered, there is a 10.5% decline in sales prices.
  • Within the first year of the discovery the decline can be as much as 19%.
  • For homes sold within a quarter of a mile after a lab is discovered, there is a 4.5% decline.
  • The declines persist for at least two years.
  • It didn’t matter if an additional meth lab was discovered — just a single busted cook site can take down several blocks.

Summary: you don’t want meth makers on your street, particularly if you want more money when you sell your house. If reduced property values aren’t enough, I suspect the typical suburbanite also doesn’t want meth makers on their street because they don’t fit the image of a happy, stable, law-abiding neighborhood.

Exploring the urban and island geography of Grand Theft Auto V

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One reporter focuses less on the gameplay of the new Grand Theft Auto V and instead examines the landscape:

These are places where, within wide virtual borders, the player is granted freedom to explore. What makes Los Santos so different is its scale, interactivity and ambitions — here is a digital sandbox so habitable that the game itself comes with a large paper map that, as I explored Los Santos and its surroundings, I referred to as often as I would a map describing a real-world place I’ve never been.Indeed, not unlike a real place that offers too much, I made a small list of places I wanted to visit here and things I wanted to do: haircut, strip club, take in a movie ($20 in Los Santos), maybe ride a bike to the top of a mountain and leap off. All of which you can do. If, like me, you overbook vacations with activities, you will find plenty to do. Conversely, if you’re the kind of traveler who eventually pines for a hotel room to take a nap in after a day of playing tourist, Los Santos offers that, too…

The island itself is Ireland-shaped — curious, considering that the game’s creators are primarily Scottish and British. The north side of the island is Blaine County, with mountains at its east and west coasts and Mount Chiliad to the far north. A desert borders the Alamo Sea in the interior, and salt-water-eaten trailer parks line the northwest oceanfront, the Great Ocean Highway ringing it all. If previous “Grand Theft Auto” games offered riffs on Miami and New York City, this is basically San Francisco mashed against Los Angeles, an alternate reality where Napa Valley is a 10-minute commute from the Paramount backlot.

Tellingly, it also feels as geopolitically accurate and culturally barren as the places it satirizes: a Los Angeles of the mind, where a peek inside studio gates reveals a sci-fi movie being filmed, a bike ride into the forest is greeted by screeching mountain lions and extreme wealth and poverty are never far apart. Conversation with Los Santosians is mostly limited to real estate, celebrity chitchat and random threats, though, generally, your existence is so inconsequential to the day-to-day fabric of Los Santos that you feel like a ghost.

Sounds like a dystopian Los Angeles crossed with a strange island. What more could be needed in a virtual sandbox?

While I’ve seen academics occasionally address virtual worlds – Second Life seemed to prompt some study – it would be interesting to see more full studies of these sprawling virtual worlds that are common in some of the more popular games. Think about games like Skyrim, World of Warcraft, Assassin’s Creed, Minecraft, and others that offer interesting and often realistic settings. Yet, does this space have the same logic as space in the non-virtual realm? What exactly distinguishes these spaces from real spaces?