The text that I have selected for my discussion of the gendered gaze is the popular US sitcom, Two and a Half Men. There are numerous reasons for my decision, obviously it is a very well recognised show but the main reason is due to its strong and arguably controversial depiction of gender. Many have discredited and criticised the show for its inherently negative portrayal of females and even males (Schroeder, 2012, [online]) therefore, I feel it would be very interesting to observe the programme from a gendered gaze perspective.
Now, it is worth noting that the theory of the gaze is rather vast and complex, various theorists have offered alternating perspectives and criticisms which can make it difficult to pin down. One of the most prominent theories in regard to early gaze study was Jacques Lacan’s “mirror stage”, which ‘stresses the illusory nature of the mastery that the child experiences while looking in the mirror’ (McGowan, 2007, p.2).
Moving on to more contemporary and relevant areas of gaze theory, we can begin to look at how Two and a Half Men exerts both the male and female gaze. Filmic theorist Laura Mulvey associates ‘male position with “active” and female position with “passive”’ (Hein, 2008, p.4) which is undoubtedly relevant when discussing Two and a Half Men. Although the male characters are more active, it is worth noting that the recurring female characters who could be considered active (e.g. Berta, Rose) are far less sexualised than the passive supporting female characters (e.g. Kandi, Courtney). This is best evident through the character of Chelsea, who became less sexualised as her presence grew on the show.
Mulvey’s narrative cinema theory presented the female as an object of male desire and the signifier of a threat of castration (Ibid). She also proposed scopophilia declaring that pleasure comes from ‘using another person as an object of sexual stimulation through sight’ (Carilli & Campbell, 2005, p.6). Within Two and a Half Men, most of the female characters we see are the conventionally attractive one night stands and to not sleep with woman like that becomes a point of ridicule.
Now, it is worth noting that the theory of the gaze is rather vast and complex, various theorists have offered alternating perspectives and criticisms which can make it difficult to pin down. One of the most prominent theories in regard to early gaze study was Jacques Lacan’s “mirror stage”, which ‘stresses the illusory nature of the mastery that the child experiences while looking in the mirror’ (McGowan, 2007, p.2).
Moving on to more contemporary and relevant areas of gaze theory, we can begin to look at how Two and a Half Men exerts both the male and female gaze. Filmic theorist Laura Mulvey associates ‘male position with “active” and female position with “passive”’ (Hein, 2008, p.4) which is undoubtedly relevant when discussing Two and a Half Men. Although the male characters are more active, it is worth noting that the recurring female characters who could be considered active (e.g. Berta, Rose) are far less sexualised than the passive supporting female characters (e.g. Kandi, Courtney). This is best evident through the character of Chelsea, who became less sexualised as her presence grew on the show.
Mulvey’s narrative cinema theory presented the female as an object of male desire and the signifier of a threat of castration (Ibid). She also proposed scopophilia declaring that pleasure comes from ‘using another person as an object of sexual stimulation through sight’ (Carilli & Campbell, 2005, p.6). Within Two and a Half Men, most of the female characters we see are the conventionally attractive one night stands and to not sleep with woman like that becomes a point of ridicule.
In contrast, Jackie Stacey put across this idea of the female gaze which is ‘not so much erotic as a desire to become more like the other woman’ (Hollows, 2000, p.57), meaning that characters like Kandi become more of a goal in terms of their body and appearance rather than a source of sexual desire among female viewers. However, she also states that there can be evidence, though not exclusively, of ‘homoerotic desire’ (Ibid). This isn’t focussing on lesbian spectatorship as much as questioning the heterosexuality of the female viewer. Using Kandi as an example again, she not only becomes a symbol of envy with heterosexual female spectators but she can also be a figure of eroticism.
To conclude, I believe that Two and a Half Men is a strong example of the gaze theory and how it can impact the representation of gender. However, as McKay suggested (McKay, 2005), I feel there is a need for more studies regarding the male elements of gaze and gender theory.
Bibliography:
Carilli, T. and Campbell, J. (2005). Women and the media. Lanham, Md.: University Press of America.
Hein, C. (2008). Laura Mulvey, Visual Pleasure and Narrative Cinema. GRIN Verlag.
Hollows, J. (2000). Feminism, femininity, and popular culture. Manchester, U.K.: Manchester University Press.
IMDb, (2015). Two and a Half Men (TV Series 2003–2015). [online] Available at: http://www.imdb.com/title/tt0369179/ [Accessed 25 Nov. 2015].
McGowan, T. (2007). The real gaze. Albany: State University of New York Press.
McKay, J. (2005). Gentlemen, The Lunchbox Has Landed. California: Sage, pp.270-288.
Schroeder, J. (2012). Two and a Half Shades of Masculinity -. [online] The Good Men Project. Available at: http://goodmenproject.com/arts/two-and-a-half-shades-of-masculinity/ [Accessed 25 Nov. 2015].
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