Gender Dynamics Index: Difference between revisions

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{{trope}}{{page should be category}}''MOD: or a collection of categories.''
{{trope}}
 
This index compiles tropes that illustrate how gender is used in fiction.
 
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This index is divided into five sections:
 
* Gender Dynamic Metatropes: Illustrating the underlying dynamic in characterization of male and female charaters that give rise to many [[Double Standards]].
 
* Female Tropes: How the Gender Dynamic Metatropes manifest for female characters.
 
* Male Tropes: How the Gender Dynamic Metatropes manifest for male characters.
 
* Contrasts: Direct contrasts between [[Always Female]] and [[Always Male]] Tropes that illustrate gender dynamics.
 
* In Real Life: Research that illustrates aspects of Gender Dynamics. (Acceptable: studies on double standards in how we view men and women or media that illustrates a double standard. Unacceptable: Political writings aiming to use evidence of double standards to advance an agenda.)
 
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* [[Bait and Switch Lesbians]]
* [[Useful Notes/The Bechdel Test|The Bechdel Test]]: Female characters tend to be limited by their innate value to certain roles, fewer female characters means fewer opportunities to pass the test.
* [[Cat Fight]]: Fights between women are often played as fanservice or amusing bickering rather than legitimate, serious battle.
* [[Cute Monster Girl]]: Female monsters still have to be attractive to human males.
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* [[Karma Houdini]]: more often applied to villainous female characters.
* [[Villainesses Want Heroes]]: All that a villainess needs to be redeemed is true love. Or just good sex.
* [[Would NotWouldn't Hit a Girl]]: Even if she is a [[Complete Monster]], her female parts trump any actions that cause her to deserve a good ass whupin'. Unless, of course, the ass-whupin' is done by another woman.
 
In summary, objectification is when a female character is reduced down to her passive attributes and her agency denied. It can manifest in being valued for fanservice, but more subtly when a female character is characterized as good or competent ''because'' she's female or her negative actions downplayed as the fault of a male character. The implication is that objects, namely women, don't have the ability to make moral choices; their existence is summed up by their attributes and all their apparent 'choices' are the result of the agency of real people, namely men.
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Women are often used for reaction shots. This heightens horror, imparts a sense of urgency and distress, deepens the emotional impact of events, and sets a mood.
 
The reactions of female characters are also used to characterize other characters. A character who causes distress to a woman is usually a [[Designated Villain|villain]] or at best a dark Antihero. This distress can be caused by as little as arguing with her or speaking harshly to her. In extreme cases, this is one reason why the trope [[AbuseDouble IsStandard Okay When ItsAbuse (Female Onon Male)]] exists. The initial female on male abuse is ignored because calling the woman out on it, much less responding in kind, would lead to her being upset.
 
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 "[[The Princess and the Pea]]"). 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 [[Men Are Strong, Women Are Pretty|agency does not make them more feminine]].
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== Male Tropes ==
 
As plot devices and story trappings, male characters tend to be used as [[Men Are the Expendable Gender|expendable minions or pawns]] creating a sense of danger in a story or establishing a [[A Real Man Is a Killer|protagonist as a badass]]. Certain [[AbuseDouble IsStandard Okay When ItsAbuse (Female Onon Male)|actions]] taken against men are more acceptable than equivalent actions taken against women as their emotional effects on men are more easily ignored. Male characterization tends towards focusing on action rather than emotional reaction and men exhibit more proactive emotions. Overall there are for categories to how men are portrayed in fiction: Actified, Proactive, Achievement-orientated and Expendable.
 
'''Actified'''
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In situations where a character needs more passive, nurturing emotions to succeed, male characters are often shown as useless or actively malevolent. This includes raising kids and other family situations.
 
Men's relationship to their children is often portrayed ambivalently. On the one hand if they don't want children and their partners do (or are pregnant) they are often portrayed as [[Panicky Expectant Father|unprepared]] and [[Man Child|immature]]. If their partner [[The Baby Trap|gets pregnant on purpose to jumpstart or upgrade]] their relationship they are usually told to man up rather then having it recognized in story that forcing a person into parenthood is [[AbuseDouble IsStandard Okay When It IsAbuse (Female Onon Male)|abuse]]. Men who want children when their partners do not are often portrayed as [[Heir Club for Men|creepy, controlling and/or borderline abusive]].
 
* [[Awkward Father-Son Bonding Activity]]
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'''Proactive/Reactive'''
 
* [https://web.archive.org/web/20120608021857/http://www.ctv.ca/CTVNews/TopStories/20110524/sexual-attraction-happy-110524/ Women prefer pictures of proud men; men prefer pictures of happy women.]
 
'''Expendable'''
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{{reflist}}
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[[Category:Sociology Tropes]]
[[Category:Characters As Device]]
[[Category:Gender and Sexuality Tropes]]
[[Category:Narrative Tropes]]
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