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Gender Roles on Television Shows

Media producers often attempt to provide their audiences with a window on the world. However, because of the one-dimensional nature of television and the complex multidimensionahty of social reality, such windows seldom offer accurate views of the world. Even perceived unscripted television programs such news broadcasts, at closer inspection, are not so unscripted after all. Journalists' and newsroom editors' personal biases, often unintentionally, influence how information is framed as “news.” By definition, news selection processes, a standard in journalism protocol, distort social realities because these processes isolate information from their complex, multidimensional contexts. Journalists, like their audiences, process information through preestablished interpretive frameworks, processes that are, therefore, inherently biased. Given the multifaceted nature of information and the ways in which individuals construct social reality, news, which essentially consists of reproduced information, largely reflects a journalist's subjective interpretations.

Thus, media messages are rarely exact reflections of social reality, and yet people often rely on these messages to construct their self-identities. Because people's self-perceptions are reflexively constructed, the reflective power of television as mirror is significant. People tend to use what they see on television to reinforce their existing frameworks of interpretation. These frameworks, in turn, influence how they see others, and through interactions with these others, ultimately, how they perceive themselves. The concept of television as a mirror is a central element in many gender scholars' concerns of the negative impacts of stereotypical television gender role portrayals on women's and men's self-esteem and, subsequently, society.

Historically, gender roles portrayed in television shows reflected social patriarchy. Incomplete and narrowly defined relative to race and social class, these stereotypes tend to reinforce social inequalities. At the same time, they give visibility to the social status quo and, as such, contribute to the construction of a feminist consciousness in popular culture and to the mobilization of people willing to fight for gender equality. Television gender stereotypes are thus a so-called double-edged sword: although they perpetuate the social status quo, but they also politically empower and mobilize those who are marginalized by it. This entry describes the interaction of gender roles and television.

Gender Roles on Television Shows in Historical Perspective

In the 1950s and 1960s, television producers' portrayals of women and men tended to reproduce gender roles from traditionally masculine perspectives. During this period, men's roles were much more varied and numerous than women's were. Images of men thus dominated most television shows. Men were often portrayed as breadwinners and working professionals, but, in contrast, fewer than half of the women in television shows were depicted as having any form of paid employment. Most women were relegated to roles as wives and mothers within the context of the family and home, reinforcing the common view of women as nurturers and caregivers.

The formatted “woman-as-housewife” role was typified by Barbara Billingsley's June Cleaver in the 1960s television series Leave it to Beaver. In the series, June Cleaver is preoccupied with the well-being of her family, maintaining an orderly home for her husband and two sons, and tending to her domestic duties while demurely dressed in pearls and (not too) high heels. For many critics, June Cleaver exemplifies the ways that women in mid-20th-century television were kept in positions of social powerlessness. Despite her social dependence, Cleaver never complained and carried out her duties as mother and wife with a smile, in the self-sacrificing way that was expected of women of the day.

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