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Bordo's "Empire of Images" is also available here

Page history last edited by Jared 9 years, 1 month ago

http://chronicle.com/weekly/v50/i17/17b00601.htm

The Empire of Images in Our World of Bodies

By SUSAN BORDO

 

In our Sunday news. With our morning coffee. On the bus, in the airport, at the checkout line. It may be a 5 a.m. addiction to the glittering promises of the infomercial: the latest in fat-dissolving pills, miracle hair restoration, makeup secrets of the stars. Or a glancing relationship while waiting at the dentist, trying to distract ourselves from the impending root canal. A teen magazine: tips on how to dress, how to wear your hair, how to make him want you. The endless commercials and advertisements that we believe we pay no attention to.

 

Constant, everywhere, no big deal. Like water in a goldfish bowl, barely noticed by its inhabitants. Or noticed, but dismissed: "eye candy" -- a harmless indulgence. They go down so easily, in and out, digested and forgotten.

Just pictures.

 

Or perhaps, more accurately, perceptual pedagogy: "How To Interpret Your Body 101." It's become a global requirement; eventually, everyone must enroll. Fiji is just one example. Until television was introduced in 1995, the islands had no reported cases of eating disorders. In 1998, three years after programs from the United States and Britain began broadcasting there, 62 percent of the girls surveyed reported dieting. The anthropologist Anne Becker was surprised by the change; she had thought that Fijian aesthetics, which favor voluptuous bodies, would "withstand" the influence of media images. Becker hadn't yet understood that we live in an empire of images and that there are no protective borders.

 

I am not protected either. I was carded until I was 35. Even when I was 45, people were shocked to learn my age. Young men flirted with me even when I was 50. Having hated my appearance as a child -- freckles, Jewish nose, bushy red hair -- I was surprised to find myself fairly pleased with it as an adult. Then, suddenly, it all changed. Women at the makeup counter no longer compliment me on my skin. Men don't catch my eye with playful promise in theirs.

 

I'm 56. The magazines tell me that at this age, a woman can still be beautiful. But they don't mean me. They mean Cher, Goldie, Faye, Candace. Women whose jowls have disappeared as they've aged, whose eyes have become less droopy, lips grown plumper, foreheads smoother with the passing years. They mean Susan Sarandon, who looked older in 1991's Thelma and Louise than she does in her movies today. "Aging beautifully" used to mean wearing one's years with style, confidence, and vitality. Today, it means not appearing to age at all. And -- like breasts that defy gravity -- it's becoming a new bodily norm.

 

In my 1993 book Unbearable Weight, I described the postmodern body, increasingly fed on "fantasies of re-arranging, transforming, and correcting, limitless improvement and change, defying the historicity, the mortality, and, indeed, the very materiality of the body. In place of that materiality, we now have cultural plastic."

 

When I wrote those words, the most recent statistics, from 1989, listed 681,000 surgical procedures performed. In 2001, 8.5 million procedures were performed. They are cheaper than ever, safer than ever, and increasingly used not for correcting major defects but for "contouring" the face and body. Plastic surgeons seem to have no ethical problem with this. "I'm not here to play philosopher king," said Dr. Randal Haworth in a Vogue interview. "I don't have a problem with women who already look good who want to look perfect." Perfect. When did "perfection" become applicable to a human body? The word suggests a Platonic form of timeless beauty -- appropriate for marble, perhaps, but not for living flesh.

 

Greta Van Susteren: former CNN legal analyst, 47 years old. When she had a face-lift, it was a real escalation in the stakes for ordinary women. She had a signature style: no bullshit, a down-to-earth lack of pretense. (During the O.J. trial, she was the only white reporter many black Americans trusted.) Always stylishly dressed and coiffed, she wasn't really pretty. No one could argue that her career was built on her looks. Perhaps quite the opposite. She sent out a subversive message: Brains and personality still count, even on television.

 

When Greta had her face lifted, another source of inspiration and hope bit the dust. The story was on the cover of People, and folks tuned in to her new show on Fox just to see the change -- which was significant. But at least she was open about it. The beauties rarely admit they've had "work." Or if they do, it's vague, nonspecific, minimizing of the extent. Cher: "If I'd had as much plastic surgery as people say, there'd be another whole person left over!" OK, so how much have you had? The interviewers accept the silences and evasions. They even embellish the lie. How many interviews have you read that began: "She came into the restaurant looking at least 20 years younger than she is, fresh and relaxed, without a speck of makeup."

 

This collusion, this myth, that Cher or Goldie or Faye Dunaway, unaltered, is what 50-something looks like today has altered my face, however -- without benefit of surgery. By comparison with theirs, it has become much older than it is.

 

My expression now appears more serious, too (just what a feminist needs), thanks to the widespread use of Botox. "It's now rare in certain social circles to see a woman over the age of 35 with the ability to look angry," a New York Times reporter observed recently. That has frustrated some film directors, like Baz Luhrmann, who directed Moulin Rouge. "Their faces can't really move properly," Luhrmann complained. Last week I saw a sign in the beauty parlor where I get my hair cut. "Botox Party! Sign Up!" So my 56-year-old forehead will now be judged against my neighbor's, not just Goldie's, Cher's, and Faye's. On television, a commercial describes the product (which really is a toxin, a dilution of botulism) as "Botox cosmetic." No different from mascara and blush, it's just stuck in with a needle, and it makes your forehead numb.

 

To add insult to injury, the rhetoric of feminism has been adopted to help advance and justify the industries in anti-aging and body-alteration. Face-lifts, implants, and liposuction are advertised as empowerment, "taking charge" of one's life. "I'm doing it for me" goes the mantra of the talk shows. "Defy your age!" says Melanie Griffith, for Revlon. We're making a revolution, girls. Step right up and get your injections.

 

Am I immune? Of course not. My bathroom shelves are cluttered with the ridiculously expensive age-defying lotions and potions that beckon to me at the Lancôme and Dior counters. I want my lines, bags, and sags to disappear, and so do the women who can only afford to buy their alphahydroxies at Kmart. There's a limit, though, to what fruit acids can do. As surgeons develop ever more extensive and fine-tuned procedures to correct gravity and erase history from the faces of their patients, the difference between the cosmetically altered and the rest of us grows more and more dramatic.

 

"The rest of us" includes not only those who resist or are afraid of surgery but the many people who cannot afford basic health care, let alone aesthetic tinkering. As celebrity faces become increasingly more surreal in their wide-eyed, ever-bright agelessness, as Time and Newsweek (and Discover andPsychology Today) proclaim that we can now all "stay young forever," the poor continue to sag and wrinkle and lose their teeth. But in the empire of images, where even people in the news for stock scandals or producing septuplets are given instant digital dental work for magazine covers, that is a well-guarded secret. The celebrity testimonials, the advertisements, the beauty columns, all participate in the fiction that the required time, money, and technologies are available to all.

 

I've been lecturing about media images, eating problems, and our culture of body "enhancement" for nearly 20 years now. Undergraduates frequently make up a large share of my audiences, and they are the ones mostly likely to "get it." My generation (and older) still refers to "air brushing." Many still believe it is possible to "just turn off the television." They are scornful, disdainful, sure of their own immunity to the world I talk about. No one really believes the ads, do they? Don't we all know those are just images, designed to sell products? Scholars in the audience may trot out theory about cultural resistance and "agency." Men may insist that they love fleshy women.

 

Fifteen years ago, I felt very alone when my own generation said these things; it seemed that they were living in a different world from the one I was tracking and that there was little hope of bridging the gap. Now, I simply catch the eyes of the 20-year-olds in the audience. They know. They understand that you can be as cynical as you want about the ads -- and many of them are -- and still feel powerless to resist their messages. They are aware that virtually every advertisement, every magazine cover, has been digitally modified and that very little of what they see is "real." That doesn't stop them from hating their own bodies for failing to live up to computer-generated standards. They know, no matter what their parents, teachers, and clergy are telling them, that "inner beauty" is a big laugh in this culture. If they come from communities that traditionally have celebrated voluptuous bodies and within which food represents love, safety, and home, they may feel isolation and guilt over the widening gap between the values they've grown up with and those tugging at them now.

 

In the world in which our children are growing up, there is a size zero, and it's a status symbol. The chronic dieters have been at it since they were 8 and 9 years old. They know all about eating disorders; being preached to about the dangers turns them right off. Their world is one in which anorexics swap starvation-diet tips on the Internet, participate in group fasts, offer advice on how to hide your "ana" from family members, and share inspirational photos of emaciated models. But full-blown anorexia has never been the norm among teenage girls; the real epidemic is among the girls with seemingly healthy eating habits, seemingly healthy bodies, who vomit or work their butts off as a regular form of anti-fat maintenance. These girls not only look "normal" but consider themselves normal. The new criterion circulating among teenage girls: If you get rid of it through exercise rather than purging or laxatives, you don't have a problem. Theirs is a world in which groups of dorm girls will plow voraciously through pizzas, chewing and then spitting out each mouthful. Do they have a disorder? Of course not -- look, they're eating pizza.

 

Generations raised in the empire of images are both vulnerable and savvy. They snort when magazines periodically proclaim (about once every six months, the same frequency with which they run cover stories about "starving stars") that in the "new" Hollywood one can be "sexy at any size." They are literati, connoisseurs of the images; they pay close attention to the pounds coming and going -- on J. Lo, Reese, Thora, Christina Aguilera, Beyoncé. They know that Kate Winslet, whom the director James Cameron called "Kate Weighs-a-lot" on the set of Titanic, was described by the tabloids as "packing on," "ballooning to," "swelling to," "shooting up to," "tipping the scales at" a "walloping," "staggering" weight -- of 135 pounds. That slender Courtney Thorne-Smith, who played Calista Flockhart's friend and rival on Ally McBeal, quit the show because she could no longer keep up with the pressure to remain as thin as the series's creator, David E. Kelley, wanted them to be. That Missy Elliot and Queen Latifah are not on diets just for reasons of health.

 

I track the culture of young girls today with particular concern, because I'm a mother now. My 4-year-old daughter is a superb athlete with supreme confidence in her body, who prides herself on being able to do anything the boys can do -- and better. When I see young girls being diminished and harassed by the culture it feels even more personal to me now. I'm grateful that there's a new generation of female athletes to inspire and support girls like my daughter, Cassie. That our icons are no longer just tiny gymnasts, but powerful soccer, softball, and tennis players, broad-shouldered track stars -- Mia Hamm, Sarah Walden, Serena Williams, Marion Jones. During a recent visit to a high school, I saw how the eyes of a 14-year-old athlete shone as she talked about what Marion Jones means to her, and that fills me with hope.

 

But then, I accidentally tune in to the Maury Povich show, and my heart is torn in two. The topic of the day is "back-to-girl" makeovers. One by one, five beautiful 12-, 13-, and 14-year-old "tomboys" (as Maury called them) are "brought back to their feminine side" (Maury again) through a fashion makeover. We first see them in sweatshirts and caps, insisting that they are as strong as any boy, that they want to dress for comfort, that they're tired of being badgered to look like girls. Why, then, are they submitting to this one-time, on-air transformation? To please their moms. And indeed, as each one is brought back on stage, in full makeup and glamour outfit, hair swinging (and, in the case of the black girls, straightened), striking vampy supermodel "power" poses, their mothers sob as if they had just learned their daughters' cancers were in remission. The moms are so overwhelmed they don't need more, but Maury is clearly bent on complete conversion: "Do you know how pretty you are?" "Look how gorgeous you look!" "Are you going to dress like this more often?" Most of the girls, unsurprisingly, say yes. It's been a frontal assault, there's no room for escape.

 

As jaded as I am, this Maury show really got to me. I wanted to fold each girl in my arms and get her out of there. Of course, what I really fear is that I won't be able to protect Cassie from the same assault. It's happening already. I watch public-television kids' shows with her and can rarely find fault with the gender-neutral world they portray. We go to Disney movies and see resourceful, spirited heroines. Some of them, like the Hawaiian girls in Lilo and Stitch, even have thick legs and solid bodies. But then, on the way home from the movies, we stop at McDonald's for a Happy Meal, and, despite the fact that Cassie insists she's a boy and wants the boy's toy -- a hot-wheels car -- she is given a box containing a mini-Barbie. Illustrating the box is Barbie's room, and my daughter is given the challenging task of finding all the matching pairs of shoes on the floor.

 

Later that day, I open a Pottery Barn catalog, browsing for ideas for Cassie's room. The designated boy's room is in primary colors, the bedspread dotted with balls, bats, catching mitts. The caption reads: "I play so many sports that it's hard to pick my favorites." Sounds like my daughter. On the opposite page, the girls' room is pictured, a pastel planetary design. The caption reads: "I like stars because they are shiny." That, too, sounds like my daughter. But Pottery Barn doesn't think a child can inhabit both worlds. If its catalogs were as segregated and stereotyped racially as they are by gender, people would boycott.

 

I rent a video -- Jimmy Neutron, Boy Genius -- for Cassie. It's marketed as a kids' movie, and the movie is OK for the most part. But then we get to the music video that follows the movie, unaccompanied by any warnings. A group I've never heard of sings a song called "Kids in America." Two of the girls are 13, two are 15, and one is 16 -- their ages are emblazoned across the screen as each makes her appearance. They are in full vixen attire, with professionally undulating bodies and professionally made-up, come-hither eyes.

 

Why are we told their ages, I wonder? Are we supposed to be amazed at the illusion of womanhood created by their performance? Or is their youth supposed to make it all right to show this to little kids, a way of saying, "It's only make-believe, only a dress-up game"? It wasn't so long ago that people were outraged by news clips of JonBenet Ramsey performing in children's beauty pageants. In 2002, toddler versions of Britney Spears were walking the streets on Halloween night. Can it really be that we now think dressing our daughters up like tiny prostitutes is cute? That's what the psychologist Sharon Lamb, author of The Secret Lives of Girls, thinks. She advises mothers to chill out if their 9-year-old girls "play lovely little games in high heels, strip teasing, flouncing, and jutting their chests out," to relax if their 11-year-olds go out with "thick blue eye shadow, spaghetti straps and bra straps intertwined, long and leggy with short black dresses." They are "silly and adorable, sexy and marvelous all at once," she tells us, as they "celebrate their objectification," "playing out male fantasies ... but without risk."

 

Without risk? I have nothing against girls playing dress-up. But flouncing is one thing; strip teasing is another. Thick blue eye shadow in mommy's bathroom is fine; an 11-year-old's night on the town is not. Reading those words "without risk," I want to remind Sharon Lamb that 22 to 29 percent of all rapes against girls occur when they are 11 and younger. We might like to think that those rapes are the work of deranged madmen, so disconnected from reality as to be oblivious to the culture around them. Or that all we need to do to protect our daughters is simply teach them not to take candy from or go into cars with strangers. The reality, however, is that young girls are much more likely to be raped by friends and family members than by strangers and that very few men, whether strangers or acquaintances, are unaffected by a visual culture of nymphets prancing before their eyes, exuding a sexual knowledge and experience that preteens don't really have. Feminists used to call this "rape culture." We never hear that phrase anymore.

 

Still, progressive forces are not entirely asleep in the empire of images. I think of YM teen magazine, for example. After conducting a survey that revealed that 86 percent of its young readers were dissatisfied with the way their bodies looked, YM openly declared war on eating disorders and body-image problems, instituting an editorial policy against the publishing of diet pieces and deliberately seeking out full-size models -- without identifying them as such -- for all its fashion spreads. A colleague suggested that this resistance to the hegemony of the fat-free body may have something to do with the fact that the editors are young enough to have studied feminism and cultural studies while they got their B.A.'s in English and journalism.

 

Most progressive developments in the media, of course, are driven by market considerations rather than social conscience. So, for example, the fact that 49 million women are size 12 or more is clearly the motive behind new, flesh-normalizing campaigns created by "Just My Size" and Lane Bryant. Ad campaigns for these lines of clothing proudly show off zaftig bodies in sexy underwear and, unlike older marketing to "plus size" women, refuse to use that term, insisting (accurately) that what has been called plus size is in fact average. It's a great strategy for making profits, but a species of resistance nonetheless. "I won't allow myself to be invisible anymore," these ads proclaim, on our behalf. "But I won't be made visible as a cultural oddity or a joke, either, because I'm not. I'm the norm."

 

The amorality of consumer capitalism, in its restless search for new markets and new ways to generate and feed desire, has also created a world of racial representations that are far more diverse now than when I wrote Unbearable Weight. This is another issue that has acquired special meaning for me, because my daughter is biracial, and I am acutely aware of the world that she sees and what it is telling her about herself. Leafing through current magazines, noting the variety of skin tones, noses, mouths depicted there, I'm glad, for the moment, that Cassie is growing up today rather than in the '70s, when Cheryl Tiegs ruled. It's always possible, of course, to find things that are still "wrong" with these representations; racist codes and aesthetics die hard. The Jezebels and geishas are still with us; and, although black male models and toddlers are allowed to have locks and "naturals," straight hair -- straighter nowadays than I ever thought it was possible for anyone's hair to be -- seems almost mandatory for young black women.

 

It's easy, too, to be cynical. Today's fashionable diversity is brought to us, after all, by the same people who brought us the hegemony of the blue-eyed blonde and who've made wrinkles and cellulite into diseases. It's easy to dismiss fashion's current love affair with full lips and biracial children as a shameless attempt to exploit ethnic markets while providing ethnic chic for white beauty tourists. Having a child, however, has given me another perspective, as I try to imagine how the models look through her eyes. Cassie knows nothing about the motives of the people who've produced the images. At her age, she can only take them at face value. And at face value, they present a world that includes and celebrates her, as the world that I grew up in did not include and celebrate me. For all my anger, cynicism, and frustration with our empire of images, I cannot help but be grateful for that.

 

And sometimes, surveying the plastic, digitalized world of bodies that are the norm now, I am convinced that our present state of enchantment is just a moment away from revulsion, or perhaps simply boredom. I see a 20-something woman dancing at a local outdoor swing party, her tummy softly protruding over the thick leather belt of her low-rider jeans. Not taut, not toned, not artfully camouflaged like some unsightly deformity, but proudly, sensuously displayed, reminding me of Madonna in the days before she became the sinewy dominatrix. Is it possible that we are beginning to rebel against the manufactured look of celebrity bodies, beginning to be repelled by their armored perfection?

 

Such hopeful moments, I have to admit, are fleeting. Usually, I feel horrified. I am sharply aware that expressing my horror openly nowadays invites being thought of as a preachy prude, a relic of an outmoded feminism. At talks to young audiences, I try to lighten my touch, celebrate the positive, make sure that my criticisms of our culture are not confused with being anti-beauty, anti-fitness, or anti-sex. But I also know that when parents and teachers become fully one with the culture, children are abandoned to it. I don't tell them to love their bodies or turn off the television -- useless admonitions today, and ones I cannot obey myself -- but I do try to disrupt, if only temporarily, their everyday immersion in the culture. For just an hour or so, I won't let it pass itself off simply as "normalcy."

 

The lights go down, the slides go up. For just a moment, we confront how bizarre, how impossible, how contradictory the images are. We laugh together over Oprah's head digitally grafted to another women's body, at the ad for breast implants in which the breasts stick straight up in the air. We gasp together as the before and after photos of Jennifer Lopez are placed side by side. We cheer for Marion Jones's shoulders, boo the fact that WNBA Barbie is just the same old Barbie, but with a basketball in her hand. For just a moment, we are in charge of the impact the faked images of "perfect" bodies have on us.

 

We look at them together and share -- just for a moment -- outrage.

 

Susan Bordo is a professor of English and women's studies at the University of Kentucky. This article is excerpted from her new preface to the 10th-anniversary edition of her book Unbearable Weight: Feminism, Western Culture, and the Body, to be published next month by the University of California Press. Copyright © 2004 by the Regents of the University of California.

http://chronicle.com

Section: The Chronicle Review

Volume 50, Issue 17, Page B6

 

Comments (1)

toma said

at 1:04 pm on Sep 27, 2011

Group Three: Toma', Derek, Samey, Ahmed, & Nour.

In “Empire of Images” Susan Bordo analyzes the so called “beauty techniques” that the stars use. She uses personal experiences and statistics to show how the images of the stars portrayed in the media are believed to be acceptable. The media continuously throws these young and youthful images at us each day, tempting us to want to look like these stars. Maybe women just want to have their own originality and identity.

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