Stereotyping in the Media: It’s Just a Reflection of Society
Lee-Yung Cossar
Ears listen to the radio. Hands play the piano. The tongue tastes the peach. The nose smells the roses. Eyes—watch movies.
Eyes follow the actors’ actions and critique physical presentation. ‘He is arrogant because of his cocky strut.’ ‘She would rather go shopping than swimming because of her mini skirt and high heels.’ ‘The brunette will be sweeter than the blonde; it’s just the way it always goes.’
To stereotype is “conforming to a fixed or general pattern; especially : a standardized mental picture that is held in common by members of a group and that represents an oversimplified opinion, prejudiced attitude, or uncritical judgment.” (Merriam-Webster)
The film industry has accepted the naturally occurring human quality of stereotyping and uses it to their advantage when casting actors and actresses for various roles in a film. At times, this typecasting takes away from a movie in that the plot is predictable and overdone, but in the case of Lord of the Rings this pigeonholing makes for smoother plot absorption and allows the film to maintain the personality of the multiracial, dynamic Middle Earth. The culture of Middle Earth can be complex to understand and to become integrated with inside the theatre, but because of the typecasting involved with the actors and actresses and their physical appearances the audience can understand, quicker, the differing characteristics of the races and roles. Grasping this insight, the viewer focuses more on how the characters contribute to the movie rather than trying to comprehend who they are in the film.
But, did you ever ponder what society does? . . . Society creates these stigmas in Hollywood. The media stereotypes because society does. “Since our brains naturally classify what we see, we can’t help but notice the differences in physical attribute between one person and another.” (Lester 2) Oftentimes this leads to controversy between the film industry and the audience, but did it ever occur to you that what you do everyday founded the whole idea of pigeonholing in the theatre?
Is this entirely a bad thing? Not at all. To absorb the full intensity of the dynamic epic fantasy Lord of the Rings (LOTR) created by J. R. R. Tolkien you need to let your imagination run rampant, but where shall it run? What path is most effective? The common real life attributes transposed into Middle-earth guide the imagination in the land of hobbits, elves, dwarves, uruk-hai, wizards, and man. With the pre-molded stereotyped understandings that relate to physical characteristics it is easier to shape the magnificent sculpture of Tolkien’s Middle-earth.
Lord of the Rings: The Fellowship of the Ring is the first installment in the LOTR trilogy; therefore, it must not only introduce the basic plot, but also ensure that the audience fully grasps the multifaceted fellowship, which includes the understanding of Tolkien’s multiple races.
Hobbits, or “hole-dwellers” are one of the most unique and distinct races in Middle-earth yet they are quite simple to understand. Why is this? How come we understand these short, happy, humble, and hungry people better than some of our friends that we’ve known for years? As they say, we can read them like a book. Their physical characteristics are readable. An overall characteristic of chubbiness and bushy short hair give them a cherubic sense and is one reason why human sized people appear barely four feet tall. Their round, flushed faces are cheerful and their preference for “a good smoke of pipe-weed with their feet up in front of the fire at the Green Dragon Inn [instead of] gallivanting around the world” displays their unadventurous nature. (Fisher 8) There are two exceptions to this rule, however—Bilbo and Frodo Baggins.
With a charming smile and youthful looks, who could resist loving the less than four feet tall, Frodo Baggins. His young looks characterize his childlike curiosity to explore the world outside the Shire, a trait nearly unheard of in Hobbits. Curly, crumpled, short hair creates a humble look of simplicity and homeliness. Frodo wears richer and deeper colored clothes because he was raised by traveler Bilbo Baggins.
Bilbo, like the others, had to have [an] odd clothes sense. But I (Ngila Dickson, Head of Costume Design) also wanted to set him apart a bit, express the notion he had traveled, met Elves, and was quite a wealthy Hobbit. Consequently, his wardrobe has richer colors and more lustrous fabrics. His red brocade waistcoat with its gold buttons is a direct nod to the text (Russell 107).
Having Frodo, like his uncle Bilbo, slightly standing out in the manner of dress also reflects the seriousness he is putting forth in the quest to destroy the Ring and places him on a pedestal separating him from the traditional hobbit characteristics. After leaving the shire on this quest, he loses his quick smile and gains a more mature caricature because of the emotional draw the Ring creates. His physical state paints the image of his soul—a place of conflict and more importantly, determination. “Even the smallest person can change the course of the future.” Frodo intends to do just that, but not without some help.
Frodo’s friend, Samwise Gamgee, or Sam, seems to fit the Hobbit lifestyle perfectly. He is simple minded, loves to eat, and is shy. “Quiet, solid, and dependable, Sam has always been the perfect companion for his friends and master, Frodo Baggins, to whom he is devoted.” (Fisher 17) His large heart and immense friendship with Frodo is seen through his cherubic face and slow, but sweet smile. As Frodo’s best friend, his role in the movie is nothing more. He is no hero nor does he have any skills that aid in the quest, but the moral and emotional support he lends Frodo means that Frodo doesn’t have to carry the full burden on his back, instead having a friend to share the load. Frodo’s complexity is contradicted by Sam’s simplicity—that is why they work so well together. The image of best friends being opposites is seen here as another stereotype from society. Also, the typecasting that fatter people are kinder and jollier than the rest of the general populous comes into play with the hobbits. Although politically incorrect in America’s society, it has to be accepted that having a shaped piece of clay versus a blob of clay aids significantly in the completion of the work of art.
The hobbits were simple enough to understand, but now moving on to the elves. These creatures may be the most complicated and mysterious race to grasp in LOTR. Elves are explained in the movie to the extent needed to see their role in the plot, but after that point their past is a mystery and their future is ambiguous. This amount of mystery adds to their sophisticated allure and allows the audience to understand the elves situation in their own way—whether they envy or pity the elves. “. . . [Y]oung and old at the same time . . . so alive, but so sad.” Elves are immortal, yet they can die from grief and great stress. “They live in both worlds at once—the Seen and the Unseen.” Many “have already passed over the Sea of Undying Lands, where they may continue to live forever in bliss, away from the cares and trials of a war-torn world.” (Fisher 30) However, some still remain in Middle-earth. These enchanting people are tall and slender, walking “lightly upon the earth”. Their intense beauty, keenness of eye, and mellifluousness of speech show their possession “of great magic and the ability to create things of immense beauty, craft and enchantment—including the Rings of Power, weaponry, music, language, and lore.” (Fisher 30)
Prince Legolas, an Wood elf is slender and clean cut. His long golden locks not only make him look tall, but also set him apart as having heritage in Lorthlorien—the Golden Wood. “Legolas has this extraordinary aloof beauty, and is the most athletic of the characters.” (Russell 114) His archery is superb and lends to the fact that he can see farther and clearer than any other members of the fellowship. His intense expression depicts the devotion and pledge of duty to the fellowship and to his race. Although of the same race, dark and light haired elves are quite different in many aspects.
Arwen, a dark haired elf, is often seen in dark clothing outside Rivendell during her adventures. In the protection of the misty Rivendell, she is transformed into a ravishing princess cloaked in long, lightweight, flowing robes. Her long, smooth dark hair accentuates her stature and also makes her look long or sad. She, like Frodo, also has a burden on her shoulders—she has to decide whether to follow her ancestors to another realm of the elves where she can live out her immortal life or she can stay in Middle-earth and give up her immortality for the love of a mortal man, Aragorn.
The physical differences between elves also signify the difference in their struggles. Dark haired elves seem more internally burdened with the protection of their race and homes while Lothlorien elves seem more involved with the war at hand and fighting for the good of Middle-earth not just themselves.
The great stature and magnificent aura surrounding all elves are comparable to great businessmen of America with their clean cut look and expensive accessories adorning them and their surroundings. Being the elite in a society oftentimes involves carrying a heavy internal burden whether it is the sadness of a diminishing race or the sadness that power and wealth often bring. Again, this statement is politically incorrect, but when you read it did you think of a hardworking corporate man or did you think of the many large and powerful men that the media often portrays? No matter how hard you try the repetition of images as they enter your brain become more firmly molded. As Walter Lippman wrote in his 1962 book Public Opinion, “Whether right or wrong, . . . imagination is shaped by the pictures seen . . . . Consequently, they lead to stereotypes that are hard to shake.” (Lester 2)
Moving on from the elite of society to a race of the free peoples of Middle-earth that aren’t magnetic or mystical in any way, we now come to the strangely likeable dwarves. They are tough and stout with red-brown burly hair. Just seeing them you pigeonhole them to be stubborn, proud, and indomitable. Their unemotional faces and short, wide figures characterize their warrior heritage and lifestyles. Their heavy armor and fine weaponry display their skill at molding metal and stone to fighting perfection. Dwarves are especially famed for their mithril, an amazingly hard and light, highly prized silver metal. From this the Dwarves have a reputation for greed and gold-hunger. Through the deep set, grimacing eyes of the Dwarves towards the Elves, it is clear that these two races are involved in their own civil battle. It seems ironic that the tallest, most beautiful and majestic creatures are feuding against one of the smallest, roughest, and toughest (physically) races.
A prime example of a dwarf is Gimli. He is stocky, tough, and determined. His warrior nature is shown through the way he carries two large and small axes. He is always ready, always prepared, always dirty. Gimli is always dirty. He has no need to be clean because he is a warrior and fighting is dirty. His hand to hand combat style requires much bravery and perseverance, characteristics seen in his bushy brow and worn arms.
Although Dwarves and Elves are weary of each other in the Fellowship, Gimli and Legolas try to get along although they have always considered the other race their enemy. The concept that there is now, in the Third Age of Middle-earth, only one true enemy that needs to be defeated brings together all the free people of Middle-earth, battling as one—the Good, the Fellowship.
These Good free peoples of Middle-earth have joined together to combat the dark powers. “The Enemy has many spies in his service, many ways of hearing . . . even birds and beasts . . . .” There are many servants of the evil Sauron such as Trolls, Wargs, Orcs, Uruk-hai and other monsters. “Long ago, Elves were taken captive, tortured and mutilated in the dungeons of the Dark Lord, until they had been transformed from the most beautiful and noble of the world’s folk into a ruined and terrible new form of life: Orcs.” (Fisher 64) They hate the light, dwelling only in darkness reflecting their dark and demonic energy. Their ugliness and evil nature is matched by their horrific language which delineates from Westron, the native language of Middle-earth, but has been twisted in the Orc’s mouth and takes on a vile sound and incorporates some “words and phrases of the guttural Black Speech of Mordor, whence they originate.” (Fisher 65) By crossing Orcs with Goblin-men, the wizard Saruman had breed his own rave of super-Orcs—Uruk-Hai. These creatures which are “taller and straighter than men, massively muscled, black-blooded and lynx-eyed” are “a race of creatures of unparalleled power and brutality.” “They are easily identifiable by the mark of the White Hand of Saruman which they bear in battle.” (Fisher 69) These disgusting creatures cannot be comparable to anything that we have been exposed to. Their horrifying features and vomit-worthy looks are parallel to their equally unattractive shallow or nonexistent inner selves. Because of the fact that these creatures have no similarities whatsoever to us and there can be absolutely no stereotype to fit them besides the fact that anything so visually displeasing churns our internal fluids in the same sickening manner every time we see them.
Now, onto the more pleasing Istari or brotherhood of the wizards. The two wizards in LOTR’s are Gandalf the Grey and Saruman the White. In the plot, they epitomize good and evil, respectively. Gandalf travels the countryside and aids common folk such as the hobbits using his powers, otherwise seen as fireworks, to please the people of Middle-earth. Saruman uses his powers to create hideous creatures, Urak-Hai. He ignores society and his actions only benefit himself and no one else. In contrast to the previously explained races, the Istari cannot be read like a book for they are in disguise.