History Main / GenderDynamicsIndex

7th Jul '16 12:43:56 PM NubianSatyress
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* MenGetOldWomenGetReplaced: Male are important enough to stay around for as long as they need; women are forgettable enough to be disappear unexplained, so that the next woman can take over.

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* MenGetOldWomenGetReplaced: Male are important enough to stay around for as long as they need; women female characters are forgettable enough to be disappear unexplained, so that the next woman can take over.replaced as soon as they get old and unattractive.
7th Jul '16 5:26:47 AM Kitchen90
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Added DiffLines:

* MenGetOldWomenGetReplaced: Male are important enough to stay around for as long as they need; women are forgettable enough to be disappear unexplained, so that the next woman can take over.
3rd Jul '16 1:47:08 PM Morgenthaler
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7th Jun '16 6:59:22 PM Doug86
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* DraftDodging: Historically men who were not willing to die or kill for their country were put to death. In UsefulNotes/WorldWarOne non-enlisted men were shamed with a white feather campaign.

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* DraftDodging: Historically men who were not willing to die or kill for their country were put to death. In UsefulNotes/WorldWarOne UsefulNotes/WorldWarI non-enlisted men were shamed with a white feather campaign.
17th May '16 2:07:34 PM Berrenta
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* WhatTheHellDad
7th May '16 6:42:35 AM TheOneWhoTropes
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One possible consequence of actification is the fact that gay men are viewed as more gay or perverted than lesbians. The focus is on the men's actions, not their emotional responses, which may tend to make people view gay men as [[AllGaysArePromiscuous insatiable sexual deviants]] but gay women as merely looking for love in an [[SelectiveSquick ultimately harmless]] but [[HideYourLesbians inappropriate way]].

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One possible consequence of actification is the fact that gay men are viewed as more gay or perverted than lesbians. The focus is on the men's actions, not their emotional responses, which may tend to make people view gay men as [[AllGaysArePromiscuous insatiable sexual deviants]] but gay women as merely looking for love in an [[SelectiveSquick ultimately harmless]] harmless but [[HideYourLesbians inappropriate way]].
2nd May '16 5:14:05 PM Ferot_Dreadnaught
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* ScreamingWoman: The motivation for many a WhiteKnight to take action.

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* ScreamingWoman: The motivation for many a WhiteKnight KnightInShiningArmor to take action.
1st Apr '16 2:07:53 AM VanHohenheimOfXerxes
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** EunuchsAreEvil: The "logical" extreme of AManIsNotAVirgin.



** NatureAbhorsAVirgin: Almost always a man.



* NatureAbhorsAVirgin: Almost always a man.
28th Mar '16 5:06:50 PM Eievie
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Some tropes end up in both the male and female categories; this is due to the reinforcing nature of misandry and misogyny. Where there's one there is usually the other as well. Also, when adding an example to this page, keep in mind how it reflects and illustrates the dynamics listed -- don't just add it because it's annoying, stupid, or sinister. (That's what the UnfortunateImplications and DoubleStandard pages are for.) Please avoid implicating a gender or group as '''responsible''' for these dynamics as well; they're dynamics, '''everyone''' is responsible for maintaining them, from primary caregivers of children to media moguls to politicians to social activists promoting them while attempting to correct them.

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Some tropes end up in both the male and female categories; this is due to the reinforcing nature of misandry and misogyny. Where there's one there is usually the other as well. Also, when adding an example to this page, keep in mind how it reflects and illustrates the dynamics listed -- don't listed--don't just add it because it's annoying, stupid, or sinister. (That's what the UnfortunateImplications and DoubleStandard pages are for.) Please avoid implicating a gender or group as '''responsible''' for these dynamics as well; they're dynamics, '''everyone''' is responsible for maintaining them, from primary caregivers of children to media moguls to politicians to social activists promoting them while attempting to correct them.



* BaitAndSwitchLesbians / DiscountLesbians

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* BaitAndSwitchLesbians / DiscountLesbiansBaitAndSwitchLesbians[=/=]DiscountLesbians



* PsychoLesbian: A ''true'' lesbian - meaning not bisexual - is perceived as a sexual competitor who refuses to be sexualised, thus evil and crazy.

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* PsychoLesbian: A ''true'' lesbian - meaning lesbian--meaning not bisexual - is bisexual--is perceived as a sexual competitor who refuses to be sexualised, thus evil and crazy.



* {{Tomboy}}: Active and refuses the feminine gender code -- made fun of, expected to grow out of it, presumed to be lesbian.

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* {{Tomboy}}: Active and refuses the feminine gender code -- made code--made fun of, expected to grow out of it, presumed to be lesbian.



On the one hand, this could be seen as a positive benefit to female characters because they avoid [[KarmaHoudini punishment]], but on the other hand, the lesser consequences make the moral choices of female characters less compelling -- thus female characters less compelling.

Additionally, media exerts influence on how we model our own choices in life. By softening the consequences of a female character's moral choices with excuses -- or presenting women as morally perfect to begin with -- the potency of moral choice is removed for both female character and female audience. Girls learn that their femaleness -- passive attribute -- is always more important to an outcome than their actual actions.

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On the one hand, this could be seen as a positive benefit to female characters because they avoid [[KarmaHoudini punishment]], but on the other hand, the lesser consequences make the moral choices of female characters less compelling -- thus compelling--thus female characters less compelling.

Additionally, media exerts influence on how we model our own choices in life. By softening the consequences of a female character's moral choices with excuses -- or excuses--or presenting women as morally perfect to begin with -- the with--the potency of moral choice is removed for both female character and female audience. Girls learn that their femaleness -- passive attribute -- is femaleness--passive attribute--is always more important to an outcome than their actual actions.



In terms of characterization, female characters often put more emphasis on their emotional reactions to events and actions taken by others than actual actions taken in response. A female character's emotional sensitivity is seen as a big part of her femininity (see "Literature/ThePrincessAndThePea"). In essence, the more vulnerable, the more delicate, the more she suffers, and the greater emphasis on her inability to recover or take proactive action -- her victimhood -- the more feminine she appears. Even in modern works this holds true. Active women may be portrayed as positive characters, but their [[MenAreStrongWomenArePretty agency does not make them more feminine]].

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In terms of characterization, female characters often put more emphasis on their emotional reactions to events and actions taken by others than actual actions taken in response. A female character's emotional sensitivity is seen as a big part of her femininity (see "Literature/ThePrincessAndThePea"). In essence, the more vulnerable, the more delicate, the more she suffers, and the greater emphasis on her inability to recover or take proactive action -- her victimhood -- the action--her victimhood--the more feminine she appears. Even in modern works this holds true. Active women may be portrayed as positive characters, but their [[MenAreStrongWomenArePretty agency does not make them more feminine]].



This is likely a result of the [[http://en.wikipedia.org/wiki/Women_are_wonderful Women Are Wonderful]] effect. What is good for women is seen as good for everyone; conversely, what is bad for women is seen as bad for everyone. This may sound favourable (and in certain [[Film/{{Titanic 1997}} circumstances]], it [[MenAreTheExpendableGender definitely is]]); however, it limits women's [[StayInTheKitchen drive to achieve]] and makes their [[MenActWomenAre passive]] [[MenAreGenericWomenAreSpecial attributes]] more important then their [[FauxActionGirl personal successes]] -- what's valuable about women is something they have no control over and don't [[MaleGaze build for themselves]].

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This is likely a result of the [[http://en.wikipedia.org/wiki/Women_are_wonderful Women Are Wonderful]] effect. What is good for women is seen as good for everyone; conversely, what is bad for women is seen as bad for everyone. This may sound favourable (and in certain [[Film/{{Titanic 1997}} circumstances]], it [[MenAreTheExpendableGender definitely is]]); however, it limits women's [[StayInTheKitchen drive to achieve]] and makes their [[MenActWomenAre passive]] [[MenAreGenericWomenAreSpecial attributes]] more important then their [[FauxActionGirl personal successes]] -- what's successes]]--what's valuable about women is something they have no control over and don't [[MaleGaze build for themselves]].



* RapeIsASpecialKindOfEvil: But only if it happens to a woman and ''if'' the perpetrator is male. [[DoubleStandardRapeFemaleOnFemale Otherwise...]]

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* RapeIsASpecialKindOfEvil: But only if it happens to a woman and ''if'' the perpetrator is male. [[DoubleStandardRapeFemaleOnFemale Otherwise...]]Otherwise…]]



Although seemingly positive, this may, again, be a reflection of ambivalence towards female power. We feel more comfortable examining all aspects of male power, including the negative ones; these examinations make us far more uncomfortable when it comes to female power -- this ambivalence in some cultures manifests as portraying female power as all bad and in ours as all good. Perhaps because a balanced portrayal would make female power more grounded and ''real'' rather then stereotypical and unreal thus dismissible as fantasy.

Modelling failure -- as well as success -- in female characters is also one way of empowering women to view their success as a result of personal effort rather than unchanging attributes (See Real Life for research into why this is so very important). Also, most powerful people in real life are rarely all good or all bad, just ''effective''.

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Although seemingly positive, this may, again, be a reflection of ambivalence towards female power. We feel more comfortable examining all aspects of male power, including the negative ones; these examinations make us far more uncomfortable when it comes to female power -- this power--this ambivalence in some cultures manifests as portraying female power as all bad and in ours as all good. Perhaps because a balanced portrayal would make female power more grounded and ''real'' rather then stereotypical and unreal thus dismissible as fantasy.

Modelling failure -- as failure--as well as success -- in success--in female characters is also one way of empowering women to view their success as a result of personal effort rather than unchanging attributes (See Real Life for research into why this is so very important). Also, most powerful people in real life are rarely all good or all bad, just ''effective''.



* RapeAndRevenge: Rape is often seen as an acceptable in-universe motivation for a female character to become a {{Badass}} -- thus embracing greater agency -- and avenge herself. In a way, this supports the idea that agency and action are innately male; only women who are deeply wronged by men become active and only then to punish men for their actions against them -- being forced into an active role becomes part of the negative emotional fallout of rape for the woman. This is a somewhat old-fashioned trope.

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* RapeAndRevenge: Rape is often seen as an acceptable in-universe motivation for a female character to become a {{Badass}} -- thus {{Badass}}--thus embracing greater agency -- and agency--and avenge herself. In a way, this supports the idea that agency and action are innately male; only women who are deeply wronged by men become active and only then to punish men for their actions against them -- being them--being forced into an active role becomes part of the negative emotional fallout of rape for the woman. This is a somewhat old-fashioned trope.



* EverythingsBetterWithPrincesses: Princesses, by default, combine both Relational and Reactive dynamics: they are defined mainly by their relation to the (usually male) monarch and are born into high status, (usually) without having to work for it. Motivational role is often included for free in [[SaveThePrincess classical plots]], and said high status complements the Achievement-Oriented male dynamic, since "[[StandardHeroReward getting a princess]]" sounds better than "getting a girl". Following subtypes are particularly affected:

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* EverythingsBetterWithPrincesses: Princesses, by default, combine both Relational and Reactive dynamics: they are defined mainly by their relation to the (usually male) monarch and are born into high status, (usually) without having to work for it. Motivational role is often included for free in [[SaveThePrincess classical plots]], and said high status complements the Achievement-Oriented male dynamic, since "[[StandardHeroReward getting [[StandardHeroReward "getting a princess]]" princess"]] sounds better than "getting a girl". Following subtypes are particularly affected:



The difference between Reactive and Motivational dynamics is focus. With the Reactive dynamic, the focus is on female characters' reactions to events; with the Motivational dynamic, the focus is on female characters motivating other characters. Often female character's reactions will be used to set up the motivations of other characters -- or help the audience buy into those motivations. A classic female-reaction/character-motivation set up involves a scene of a [[DamselInDistress distressed damsel]] [[ChainedToARailway chained to train tracks]] [[ScreamingWoman screaming her head off]] paired with a shot of TheHero rushing to her rescue on his [[CoolHorse white steed]]. There is no question what's motivating his action.

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The difference between Reactive and Motivational dynamics is focus. With the Reactive dynamic, the focus is on female characters' reactions to events; with the Motivational dynamic, the focus is on female characters motivating other characters. Often female character's reactions will be used to set up the motivations of other characters -- or characters--or help the audience buy into those motivations. A classic female-reaction/character-motivation set up involves a scene of a [[DamselInDistress distressed damsel]] [[ChainedToARailway chained to train tracks]] [[ScreamingWoman screaming her head off]] paired with a shot of TheHero rushing to her rescue on his [[CoolHorse white steed]]. There is no question what's motivating his action.
6th Mar '16 4:28:31 AM mario0987
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* GirlsNeedRoleModels: Many of these "role models" are still 2D characters characterised by been female and badass and are still inferior to the other, better characterised, male characters. They may also be used as a DamselInDistress when the plot requires the men to save someone or be MsFanservice.

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* GirlsNeedRoleModels: Many of these "role models" are still 2D characters characterised by been female and badass female, badass, whether they are the male protagonists LoveInterest and are still inferior to the other, better characterised, male characters. They may also be used as a DamselInDistress when the plot requires the men to save someone or be MsFanservice.



* ParentingTheHusband: Takes WomanAreWiser to it's most insulting by portraying all men as idiots.

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* ParentingTheHusband: Takes WomanAreWiser WomenAreWiser to it's most insulting by portraying all men as idiots.idiots in need of a woman to guide them.



* IHaveBrothers: May overlap with NeverASelfMadeWoman to imply that Tomboy traits come from older, male siblings.

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* IHaveBrothers: May overlap with NeverASelfMadeWoman to imply that Tomboy {{Tomboy}} traits come from older, male siblings.



* ManlyMenCanHunt: Once again implies men should love the trill of killing.

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* ManlyMenCanHunt: Once again implies men should love the trill thrill of killing.
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