The Performance of Gender as a Social Construct: Cindy Sherman’s Untitled Film Stills

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The Performance of Gender as a Social Construct: Cindy Sherman’s Untitled Film Stills “Gender is always coming from a source that is elsewhere and directed toward something that is beyond the self, constituted in a sociality in which the subject in incapable to fully author”. Scholar Judith Butler interprets gender as a social construct, or a norm that is promoted through a social consciousness and perpetuated by a society who accepts their roles and, in turn, performs up to them. Within this reflexive interaction, constituents of what society considers being masculine and feminine regulate and develop in opposition to each other. In saying this, it is impossible to consider someone as being truly masculine or purely feminine, but rather, that each subject preforms to the gender that they assume, and/or are endowed with at birth. According to Butler, “Gender is not exactly what one ‘is’ nor is it precisely what one ‘has’”. Though our bodies are often read didactically in terms of definite physical attributes, the concept of gender as a performance has become further explored via contemporary art, and more specifically, in the photographic work of Cindy Sherman. Using the documentary-like medium of photography, Sherman has produced a variety of works that confront this process of interaction and association, as well as the socially constructed nature of gender and identity. Sherman’s work, in an internally subversive manner, repeats archetypes of patriarchal visual tradition, responsible for the construction of the feminine gender. Thus, by revealing the artificial nature of gender, Sherman empowers female spectators to misrecognize the construct of femininity, in attempt to encourage a critical re-visioning. A “theatre within a theatre” could be used to describe the works produced by Sherman, whereby the artist adopts a variety “types” based on objects of

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