Gender and gender roles as they are represented in media reflect the social norms and value systems surrounding gender in modern society. The portrayal of gender in mediums such as film, music, video games, television, advertisements, and social media, is a subject of ongoing public discourse, social activism and academic research. Femininity, masculinity, gender nonconformity, and transgender identity represent various dimensions of gender in media. Specific issues concerning gender in media include stereotyping, diversity and inclusivity, sexualization, and gender ideals. Within sociology of gender and gender studies, representations of gender in mass media are understood to play a significant role in the social construction of gender.
Representations of women
In film, television and gaming
Diversity and inclusion With respect to the emergence of consumable media in the 21st century, the contributions to media were predominantly male. There was a precedence in representation of men. This pattern was evident across different types of film such as action, comedy, science fiction and more. The inclusion of women in film or media was often on account of the male lead's needs. The popularization of profitable media began briefly before the women's rights movement. As women began to enter the workforce, a demand for jobs in media had surfaced. Women who wanted to enter the media workforce were often faced with reluctance but deemed a necessary asset for films and media. There were disparities in pay and leading roles for women in media early on however with the growing acceptance of women in the workplace, these disparities have gotten smaller over the years. The inclusion of women in media has since been rising steadily. 2024 marked the change of a previously male dominated representation. 2024 was the first year in which there was an equal balance of male and female protagonists in film, both sitting at 42%. In 2024 the percentage of female characters in major roles sat at 39%, an increase of two percentage points from the year before, with female characters with speaking roles also increasing two points from 35% to 37% between 2023 and 2024. There remains an disparity between the ages of men and women portrayed the film, as the report cites Demi Moore—being over 50—in The Substance as an exception to the rule, with 16% of female characters in 2024 being over 40, with only 5% featured being over 60. 55% of male characters, on the other hand, were over 40.
Characterization Media represents women in such ways that reinforces popular tropes. Women in film and television are often reduced to feminine stereotypes, falling into roles and tropes which service the male leads. Historically, women have often been portrayed as caretakers and love interests. Even pioneering female leads of television and cinema, such as Lucille Ball and Doris Day, are portrayed as home-makers, wives, and mothers. Overtime the film industry has been improving on varying the types of role women receive in film. Women were commonly identified in areas in film and advertisement that were stereotypically fit. These scripted representation of women negatively impact stereotypes. There has been growth and advancement in women in STEM related media as well as areas that are more male dominated. Female characters which famously deviate from these stereotypes are Ellen Ripley, Sarah Connor and Buffy Summers. These characters are popular amongst both feminist and conservative critics, and are often cited as examples against the "Girlboss" character archetype, in which a woman is portrayed as cold, uncaring, with a disinterest in both platonic and romantic companionship, bearing similarity to traditional male action leads.
Appearance The physical representations of women's bodies in various forms of media such as modeling, acting, and singing are often limited to slimmer body types. In popular media, women having a taller slimmer build is the standard. Representation of different body types in media that don't make that representation the central focus of the media is rare. Digital alteration is commonly used on underrepresented body types in order to better align with what is considered standard. Prominent physical appearances in media vary geographically based on cultural beauty standards. Appearances of women in children's media such as toys and movies are often emphasizing these standards. The emphasis of these beauty standards in media as well as the lack of representation when it comes to body types is related to children developing insecurities and low self-esteem around body image. Despite the unnatural effects that digital alteration has when used on bodies for media, young women often compare themselves to these portrayals. One of the main motivations for women to appear a standard way in media is to appeal to male audiences for more profit. While women are more likely to consume content of other women no matter what, men are more likely to consume content of women they find attractive. Women are often sexualized order to appeal to the male gaze.
Associated tropes and criticism According to a RADA interview with course director Ingrid Schiller, women were not allowed on stage until 1661. These media tropes may have roots in women's diminished presence in the writing and performance of traditional theatre. An article by Medium author Olga Loves Cinema states that comedic roles were considered "too vulgar" to be played by the 'fairer sex', and that women were included at the expense of "[suffering] beautifully".
Referred pain The "referred pain" plot device involves women undergoing trauma, often of a violent/sexual nature, causing grief for the male lead, often inspiring a quest for vengeance. This trope is featured in such films as Mission: Impossible 2, Moulin Rouge, as well as in the Shakespeare play Titus Andronicus and books like Oroonoko.
The disposable woman The Disposable Woman trope —also known as the Women in refrigerators trope— refers to a trope in which a woman is included in a story for the sole purpose of dying, thus putting the male protagonist through emotional development or inspiring him to embark on a revenge quest. This trope in present in films such as Braveheart, The Matrix Revolutions, The Bourne Supremacy, The Dark Knight, The Amazing Spider-Man 2, Deadpool 2, and Avengers: Infinity War.
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