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Feminism Portrayal

INTRODUCTION

Feminism has undergone various definitions, growths, and descriptions within scholarly works since its inception with the different eras in its timeline according it the different dispositions as depicted in the collage. Several authors and feminist theorists offer different perceptions regarding feminism while providing the reasons behind their dispositions. This paper investigates the historical portrayal of feminism through the lens of feminist theorists and social movement scholars from different eras to establish how these discrepancies affect feminist movements and their subsequent presentation in a collage.

Historical Media Representation

Throughout feminist history, there has been an apparent problem in the definition of feminism or its presentation. Authors such as hooks and Taylor offer definitions that portray personal dispositions regarding feminism, represented in the collage. Hooks suggests that the significant limitation stem from media, which poses the question, "since men are not equal… which men do women want to be equal to?"(18). The bottom piece of the collage represents this negative historical rise in media feminism portrayal spanning generational linkages. This portrayal introduces the inequality belief amongst the feminist ideologies that do not expressively tackle race, gender, class, and sexual orientation challenges among its believers that the middle piece in the collage represents. Taylor details these innate misrepresentations arguing that intersectionality exacerbates such limitations with groups such as women of color attracting multiple oppressive tendencies (15). Such presentations portray feminism as a misguided misrepresentation of a particular group without addressing race, gender identity, sexual orientation, and class within its definition which the side pictorial presentations aim to address with the revolution fist-up presentation.

Social and Political Impact on Representation

Conversely, according to the scholarly disposals, the backbone of these limitations derives from social and political contributions animated by the crown pictorial. Taylor coins the term identity politics establishing the relevance of the amalgamation of black women excusing their different oppression regarding race, sexuality, and gender (19). These oppressive distinctions stem from the inadequate definition of feminism which excludes the holistic address of social constructs within the group that the whole collage represents. Hooks highlights that "women in lower class and poor groups…would not have defined women's liberation… since they are continually reminded… all women do not share a common social status” (18). She further affirms that "men are not equal in a white supremacist [structure and] race and class [and] sexism, determine the extent to which an individual will be discriminated against" (18). Therefore, there is a limited positive...