Reinforcement of Stereotypes in Television and Media

Reinforce ment of Stereotypes in Television and MediaSince the invention of television, racial, culture and ethnic stereotypes have been employ to condone unknow cultures and ethnicities to those consuming content from this medium. Stereotypes on television were besides used to gain new viewers whose ideals aligned with what was being wassailed in the scheduling as well keep viewers who may have been glowering onto the show because of the stereotypes sh knowledge fit their perceptions of other races, cultures and ethnicities. However, many of these stereotypes paint certain racial, cultural, and ethnic groups in a banish light. These portrayals of race, ethnicity and culture in television negatively impact the way the groups portrayed as seen by people and ar controlled by those who argon in ownership positions at television conglomerates.Stereotypes argon used in television to both frame what little is known most a race, ethnicity, or culture and to frame people in a way th at make the instances relatable to those who are not informed. Media has long been criticized for their representations of African Americans on television. While the quantity of African-American portrayals has increased, the quality of these images has not. 1 enquiry using perceptions have shown that negative exposure to African-American portrayals in the media significantly inclines evaluations of African-Americans in general and have an effect on viewers of only ages and races. 2 Studies have shown that on television, African-Americans are generally put into industrial occupations such(prenominal)(prenominal) as a house cleaner or postal worker while have shown that they are portrayed in roles such as servant, criminal, entertainer, or athlete. This is in stark comparison to the supervisory occupational roles regularly given to white television characters. 3 African-Americans are also regularly given negative personality traits and low achieving statuses. For viewers withou t their own base knowledge of African-Americans, these stereotypical portrayals cause them to create negative assumptions about African-Americans based on what they have seen on television. 4 Many programs on television do not display African-Americans in positive roles, only when instead focus more on reaffirming negative stereotypes. However, media shapes and influences public perceptions and these negative stereotypes have the same impact on public perceptions. 5Stereotypes are reinforced through the media, particularly on television. Because of time and dramatic constraints, producers, mold directors and casting agencies freely admit to stereotyping and using stock characters which are old(prenominal) to the audience. Characters are typecast based on what the script calls for based on stereotypes in an effort to make the hiring and pen processes easier and faster. For decades, workings class men were portrayed as dumb, immature, irresponsible, and lacking in common sense. 6 As African-American men are more frequently typecast into working class, blue-collar occupations, this especially extends to African-American men. The production process in Hollywood studios and associated organizations gives rise to the use of stereotyping to meet the time demands of production. If a production play along had an entire year to complete a season of 22 to 24 episodes, an episode would have to be produced on average every 2 weeks, which includes script writing, casting, staging, filming, and editing. 7 This squelch on the production team causes them to alter as much as possible in order to streamline the process and thus allows for using stereotypes to make script writing and character casting easier.8 Creators will become more likely to stick to what is known to them as they do not have the time to become old(prenominal) enough with a racial, ethnic or cultural group to present a realistic portrayal of that group. For producers, casting directors and casting age ncies, unless the idea nates the story is a contradictory to the stereotype, there is a strong pressure to use existing stereotypes to decrease the time spent casting characters and writing scripts. (Butsch 2014) This pressure also comes from media conglomerates whose main aim is to produce as much content as possible to make as much notes as possible.One of the most obvious trends in media ownership is its change magnitude centralization into fewer and fewer companies. Media ownership has become so intemperate that as of the mid-2000s only five global firms dominated the industry in the United States The Walt Disney Company, Time Warner, News Corporation, Viacom and the German company Bertlsmann AG. (Croteau, Hoynes, and Milan 2011).These conglomerates wield influence that extends to all parts of the multimedia entertainment. They produce newspapers, magazines, radio, television, books, and movies.Narissra M. Punyanunt-Carter. The Perceived Realism of African American Portrayal s on Television. The Howard Journal of Communications. Accessed October 2, 2014. https//library.uoregon.edu/sites/default/files/data/guides/english/howard_journal_communications.pdf ibidemIbid.Ibid.Ibid.Richard Bush, Six decenniums of Social Class in American Television Sitcoms. In Gender, Race, and Class in the Media A vituperative Reader. (Los Angeles, CA SAGE Publishing, 2014), 507.Ibid., 513.Ibid.BibliographyButsch, Richard. Six Decades of Social Class in American Television Sitcoms. In Gender, Race, and Class in Media A detailed Reader, 507-516. Los Angeles SAGE Publishing, 2014Croteau, David P., Hoynes, William D., Milan, Stefania. The Economics of the Media Industry. In Gender, Race and Class in Media A Critical Reader, 28-30. Los Angeles SAGE Publishing, 2014. Originally published in David P. Croteau, William D. Hoynes and Stefania Milan, The Economics of the Media Industry, in Media/Society Industries, Images Audiences (2011).Monk-Turner, Elizabeth, Mary Heiserman, Crystl e Johnson, Vanity Cotton, and Manny Jackson. 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