The portrayal of parents in media sometimes depicts gender stereotypes in society, often highlighting the "traditional nuclear family" as opposed to nonconventional configurations. Social Scientists have found that home, family, and romance are three of the most important components of the way characters are presented. Moreover, these qualities are often presented in a stereotypical and traditional fashion. In the 1950s the meaning of the word parent coincided with the nuclear family structure—husband, wife, and children. Parents had a responsibility to uphold traditional gender roles in society. Gender roles in society were as follows: fathers work outside of the home and bring in the bread (take on the role of providers), while mothers tend to housework, make sure they are emotionally available, and look after the children (take on the role of caretakers). In today's time, the definition and responsibility of a parent has become more flexible/adjustable since the 1950s, although some parents tend to stick to their traditional gender roles. For example, two-married-parent families were the most common type of family unit a generation ago; however, in the year 2000 that particular family structure could only be found in one out of four households. Because of the shift in parenting, media outlets took it upon themselves to provide representation for certain family structures outside of the nuclear family, leaving them flexible as well. Mass media has presented a multitude of family structures and has promoted the acceptance of alternate family structures in many ways including television, newspapers, movies, commercials, books, comics, etc. Media is linked to the structure of families, given that parents and their children confide in it when questioning their own family and parenting practices. Its influence impacts parents positively and negatively, either by underrepresentation (dumb, irresponsible) or drawing the perfect picture (good mothers and fathers).
Major theories
Family and gender in general There have been a number of approaches to ultimately study the media's portrayal of the family. One theoretical approach surrounds the cultivation perspective which states that cultivation of a worldview skewed toward that of televised portrayals among heavy viewers. According to a 1976 study done by Gerber and Gross, this type of worldview becomes the social reality of television heavy viewers. Social learning theory has also been used as a theoretical framework for study the effects that the media has on the individual. Evidence also suggests that depictions can have serious consequences. Television, according to a study done by Signorielli in 1990, entrenches the cognitive schema in children that women are happy when they are doing traditional gender roles like staying home to raise children and that men are more ambitious than women are.
Portrayals of fathers Early television fathers were depicted as bumbling fathers in working-class families, for example, Homer Simpson (The Simpsons) or authoritative figures in suburban families, for example, Ward Cleaver (Leave It to Beaver). Over time, changing economic and political situations contributed to changes in family life. As women began to work outside the home and domestic gender roles were adjusted, the idea of the nuclear family changed. Fathers adapted to be more nurturing to their children and more participative in family and domestic roles. Fogel, a television media expert, refers to this as the "new father;" he is a mix of traditional masculinity and traits typically associated with mothers.Fogel, J. M. (2012). A modern family: The performance of "family" and familialism in contemporary television series (Order No. 3519570). Available from ProQuest Dissertations & Theses Full Text: Literature & Language; ProQuest Dissertations & Theses Full Text: Social Sciences; ProQuest Dissertations & Theses Full Text: The Arts; ProQuest Dissertations & Theses Global: Literature & Language; Pro(TRUNCATED). (1027039098). Instead of simply being the breadwinner, the typical idea of the father has shifted to include traits associated with being a “good” father. This relies on both being supportive to his wife and to his children. The transition can be seen in the multi-generational family shown in Modern Family. Jay Pritchett, the father on the show with two adult children, says "90% of being a dad is just showing up." He represents the traditional idea of less involved parenting by the father. In comparison, Phil Dunphy, who has three adolescent children, describes his parenting style as "peerenting," meaning he seeks to be both a peer and parent to his children. His more hands-on approach marks the transition from the father who just need to show up to the "new" father who is actively involved in his children's lives.
Stay-at-home fathers The traditional role of "father" in the household is evolving; fathers are now expected to embrace more hands-on duties with their children. The roles are shifting so much that there has been an increase in "stay at home fathers", compared to previous generations. Also, increases of positively portrayed stay at home fathers in the media have been indicated. Stay at home fathers have made appearances in television shows and documentaries. An increase in media presence can contribute to the understanding and support for men who choose to care for their children. This evolution of "fatherhood" shows the dynamic nature of parental roles. A few overarching themes in fatherhood were found in a study interviewing 32 men across the United States. These themes consist of fathers feeling emotional closeness with their children, positive reaction from others about being a stay at home fathers, and importance and pride in family work. The typical reasons behind becoming a stay at home father: wives high salaries, job “issues”, and wives being relocated for their jobs.
"Disneyland dads" The term "Disneyland dads" refers to fathers who are considered to be the nonresidential parent. However, any father can express this type of characteristic. "Disneyland dads" have the tendency to undertake recreational activities over real parental responsibilities that can include participating in their child's day-to-day activities. In other words, they represent the fun parent while leaving the "residential parent" to deal with child rearing. These dads can be permissive and fail to discipline their children properly. Richard Gilmore, a father and grandfather in Gilmore Girls, is a splitting image of this. Richard is rich and tends to buy his daughter's and granddaughter's love and approval with his money, while his wife, Emily Gilmore takes on the role of the disciplinarian. Mothers can be classified as Disneyland parents also. According to Stewart, information on Disneyland moms is harder to come by given the fact that mothers are more likely to display nurturing behaviors when they are primary caregivers, leaving secondary primary caregiving to the fathers who fall back on more leisure activities.
Portrayals of mothers
New momism Susan Douglas and Meredith Michaels refer to "new momism" as shaping current Western motherhood.Podnieks, E. (2012). Mediating Moms: Mothers in Popular Culture. Montréal, QC: McGill-Queen's University Press. New momism introduces the myth of the perfect mother who assumes all the roles needed of her within the household, does so flawlessly, and emerges from the experience fulfilled and complete. Douglas and Michaels suggest that the media only superficially celebrates mothers by presenting standards, values, and practices that in reality place expectations on mothers that are impossible to reach. New momism is reinforced in the media through portrayals of perfect and unrealistic mothers, and through “news reports emphasizing the unspeakable tragedies that await children of mothers who dare deviate from the One True Path of Momism” according to Judith Stadtman Tucker. New momism also creates the false dichotomy of the “good” versus “bad” mother, and the media supplements viewers with the attitudes and practices that characterize both labels: the good mother is always in control, able to fulfill all responsibilities toward children and husband, while the bad mother is overwhelmed, disorganized, and lost among the chaos.
Mommy wars “Mommy wars," as introduced by Nina Darnton in a June 1990 Newsweek article, represents the media-staged tensions between stay-at-home mothers and working mothers. Stay-at-home mothers criticize working mothers for abandoning their children and homes to build a personal career, while working mothers resent stay-at-home mothers both because of the time and attention they are able to devote to their children, and because of the notion that a mother is only "good enough" if she can devote all her time and attention to the children and household. Susan Podnieks argues that the "mommy myth", as well as the supposed battle between working and stay-at-home mothers, are circulated by news media and talk shows, sparking debates about the proper sphere of women. As a result, the general public believes that "there is a bitter war in the suburban cul-de-sacs of the United States between the complacent minivan-driving stay-at-home moms and the overachieving soon-to-be-burnout working mothers who still think they can have it all." This leads to grouping mothers into rigid and rival categories, leading them to feel insecure about their mothering, and in turn leading them to devalue other mothers in order to elevate themselves.
Media mother police The media mother police refers to the media's surveillance and policing of mothers (specifically famous mothers) by dissecting and evaluating their parenting practices. Susan Douglas and Meredith Michaels use the term to describe child care experts who engage in the practice of watching over famous mothers and judge their efforts. Elizabeth Podnieks uses it to refer to reporters, the paparazzi, and all those involved within entertainment journalism who participate in maternal surveillance. The media mother police simultaneously reinforces The Mommy Myth by showcasing examples of perfect and airbrushed celebrity mothers, and also heightens the stigma of the "bad" mother by exposing the failures and debaucheries of certain celebrating mothers.
Portrayals of single mothers