The Media's Mixed Messages About Being a Woman
Where the Girls Are By Susan J. Douglas Times Books
Book review by
Carl Sessions Stepp
Carl Sessions Stepp (cstepp@umd.edu) began writing for his hometown paper, the Marlboro Herald-Advocate in Bennettsville, South Carolina, in 1963, after his freshman year in high school. He studied journalism at the University of South Carolina, where he edited The Gamecock. After college, he worked for the St. Petersburg Times and the Charlotte Observer before becoming the first national editor at USA Today in 1982. In 1983, he joined the University of Maryland journalism faculty full time. In the ensuing 30 years, he also has served as senior editor and book reviewer for AJR, writing dozens of pieces. He has been a visiting writing and editing coach for news organizations in more than 30 states.
Where the Girls Are
By Susan J. Douglas
Times Books
342 pages; $23
Perhaps you've forgotten the wacky "Women's Lib"
episode of "The Beverly Hillbillies," where Jethro sees Granny and Ellie
May carrying a placard reading "Free Women" and yells, "I'm gonna git me
one of them."
Or the "Liberation Movement" installment of "Green
Acres," in which Lisa lectures Oliver on the really hard aspects of being
a woman, like waiting an hour and a half for your nails to dry.
Or the show where Gidget concludes, "I'd set back
women's rights a hundred years exactly where they belong."
But Susan J. Douglas hasn't forgotten. Touring
four decades of popular culture, she unearths these classics and plenty
of others similarly patronizing.
Yet given all this bait, Douglas hasn't written
an angry book. In many ways, she looks back fondly on the culture she grew
up in, patriarchal pomposity and all. A "media-induced schizophrenia,"
she believes, helps explain what it means to be a modern woman.
"American women today are a bundle of contradictions
because much of the media imagery we grew up with was itself filled with
mixed messages about what women should and should not do, what women could
and could not be," Douglas writes.
At the same time media images urged women to be
"pliant, cute, sexually available.. and deferential," they also inspired
them to be "rebellious, tough, enterprising, and shrewd." The same media
that "may have turned feminism into a dirty word..also made feminism inevitable."
Douglas tries to reclaim, on behalf of baby boom
women, a sense of ownership and connection to that complex culture, to
show "there is nothing inherently superior about Elvis or James Dean in
relation to the Shirelles or Natalie Wood."
Girls growing up in the 1950s, she writes, learned
from Disney and fairy tales that the good girls, the ones to emulate, were
the sweet princesses. The wicked ones were those overly made-up queens
and stepmothers coveting power. Yet by the beginning of the next decade,
television had introduced a different, real-life icon: the smart, take-charge
first lady Jacqueline Kennedy, offering "new possibilities for the princess
role."
ύhe 1960s brought the sexual revolution
and the throbbing mixed messages of girl group music, "by turns, boastful,
rebellious, and self-abnegating..strong and empowering..masochistic and defeating."
For every "I Will Follow Him," Douglas finds a "You Don't Own Me." For
every swoon over the mop-headed Beatles, she sees girls who "wanted some
gender boundaries blurred."
Reacting to this "prefeminist agitation," a nervous
pop culture turned women into witches like Samantha and sorceresses like
Jeannie and, of course, flying nuns ridiculous but also subtly affirming
that "male authority wasn't so impregnable or impressive" after all.
By the late '60s, the protest rhythms of Mary
Travers and Joan Baez had unified and emboldened a movement. The baby-talk
feminism of Gloria Bunker gave way to mighty-mouthed Maude, and even the
jiggling Charlie's Angels proved week after week that women working together
could thwart the bad guys.
Yet media messages also contrived to contain the
rising female consciousness, reflecting debate over the Equal Rights Amendment
with the catfight themes of "Dallas" and "Dynasty," "a spectacle: two women..locked
in a death grip that brought them both crashing down."
During the '80s and '90s, "women's liberation
metamorphosed into female narcissism unchained," as media, particularly
advertising, elevated "the flawless rump" over intellectual achievement.
Here, too, though, women could locate models Roseanne and Murphy Brown,
Nina Totenberg and Katie Couric.
Balance is a cornerstone strength of the book.
Amid the litter of old-think sitcoms and pop anthems, Douglas finds enough
treasures to conclude that the media "played a key role in turning each
of us into not one woman but many women a pastiche of all the good women
and bad women that came to us through the printing presses, projectors,
and airwaves."
Certainly there's plenty to be depressed and angry
about here, including the news media's condescending coverage.
Not so many years ago, the respected commentator
Harry Reasoner could dismiss the "girls who are putting together Ms." magazine
for "just another in the great but irrelevant tradition of American shock
magazines."
Douglas' irritation occasionally simmers through,
especially when she mentions Lyndon Johnson, "that vulgar turkey neck..shifty-eyed,
and with all the charisma of raw poultry."
But generally she's less harsh than Susan Faludi
in "Backlash," reconciled to helping women find value in their collective
cultural heritage.
For better or worse, she concludes, the mass media
are no more consistent and monolithic than life itself. "The truth is,"
Douglas writes, "growing up female with the mass media helped make me a
feminist." ###
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