I Will (No Longer) Wait: Scripts for Virginity Loss in the Portrayal of Virgins. A Content Analysis of the Dutch Reality TV-show IK HEB HET NOG NOOIT GEDAAN.
Laura van Montfoort (10617892)
University of Amsterdam: Graduate School of Communication Master’s Thesis
Master’s Programme Communication Science: Youth and Media Thesis Supervisor: Annemarie van Oosten
Abstract
The way we think about sex is guided by certain sexual scripts that tell us what is ‘appropriate’ and ‘normal’ within our culture when it comes to sex (Simon & Gagnon, 1986). The media play an important role in creating and presenting these sexual scripts, for example for a concept such as virginity loss. Previous research about sex in the media has shown how and which scripts are presented. However, most research is focused on traditional types of media, such as magazines and movies. Also, the body of research on this topic often is set in an American context. Since culture is an important determinant in the process of (sexual) scripting, this research focuses on the representation of virginity loss in the fairly untouched Dutch culture and media. Moreover, this research shifts its focus from magazines and movies to a more novel media genre: reality television. In identifying which scripts for virginity loss were predominant in the Dutch reality show IK HEB HET NOG NOOIT GEDAAN, it was found that more extreme perspectives on virginity loss were presented the most. Both the abstinence (you have to wait) and urgency script (you cannot wait any longer) were found most often. Also, in analysing the results, it was found that gender is a significant determinant in presenting scripts for virginity loss, such that couple and female storylines used the abstinence script far more often than did male storylines.
Keywords: social scripting theory – sexual scripting – virginity loss – reality TV – gender – media effects
Introduction
Losing your virginity is, in most people’s lives, a highly meaningful event. It has great cultural significance, marking a transition from adolescence into adulthood, the start of your sexual life and, in some cases and cultures, the start of marital life (Humphreys, 2013; Carpenter, 2002; Carpenter, 2009; Kelly, 2010). Since
adolescence marks a period of physical and psychological changes that create interest in sex and (sexual) desire, it is not uncommon that virginity and virginity loss are important themes in the lives of adolescents specifically (Bukatko, 2007). The actual event of individual virginity loss, which is commonly referred to as first vaginal intercourse, also indicates clear implications for broader societal issues. Losing your virginity as a woman means you start risking pregnancy for the first time. Starting your sexual life means the start of commercial interests such as buying condoms, or pharmaceutical consequences such as taking birth control and risking sexually transmitted diseases. In sum, losing your virginity is not only a relevant personal event, but it is also an important happening on a more public level.
In relation to sex and virginity loss, the media is an important source of information for teenagers (Kelly, 2010). For example, educational sex programmes aim to inform youngsters about the risks of having sex, but also about what is
appropriate and how one should feel and behave (Carpenter, 2002; Carpenter, 2009). The fact that media content affects the knowledge and judgments of its audience, gives notion to the wider concept of social scripting (Simon & Gagnon, 1986). Scripting theory tries to explain behaviour: people do what they do according to certain scripts that exist within society, showing us what is ‘appropriate’ or ‘normal’ and what is not. A social script of virginity loss is therefore a socially constructed meaning of virginity loss (Simon & Gagnon, 1986). The media help create a social
script for concepts such as virginity (loss), in addition to the meaning that peers, family, school and health professionals give to it. In line with this notion, research has shown that there is an important relationship between television viewing and sexual behaviour and attitudes amongst adolescents (Ward & Friedman, 2006). Examining which scripts for virginity loss are presented in Dutch television shows thus tells us something about the socially constructed meaning of the concept. Information about this might help explain (sexual) behaviour and could indicate whether certain sexual scripts within the media are desirable, or whether their presentation should be
changed. This information could also be an important motivation for investigating the possible effects of the media on the sexual behaviour of adolescents.
In the past, various researchers have identified social and sexual scripts within media outlets such as magazines, movies and television shows. The concept of
virginity loss has been the subject of a number of studies (Carpenter, 2002; Carpenter, 2009; Joshi, Peter & Valkenburg, 2011; Kelly, 2010; Sonnenberg-Schrank, 2013), which this current study is complementing. However, little attention has been paid to the specificity of the scripting of virginity loss within a Dutch cultural context. Most of the research is directed towards American media content and culture (Kelly, 2010; Carpenter, 2002; Carpenter, 2009), focusing mainly on more traditional types of media, or comparing the Dutch to the American media (Joshi et al., 2011). Comparing the media within these cultures has indicated how they differ substantially on several levels, which makes a distinction and complementation focusing only on media within the Dutch culture necessary.
Also, a genre more novel such as reality television has not yet been examined in relation to the scripting of virginity loss, while its characteristics may imply even more, or at least different, ways of influencing its audience. Since reality TV
programmes (claim to) show real situations in the everyday life of real people and not actors, the representations appear more real to its audiences than do staged scenes. The images can therefore be more recognisable for the people that watch the show, making the characters more relatable and maybe more influential (Gottfried, Vaala, Bleakly, Hennessy & Jordan, 2011).
Theoretical background Social and Sexual Scripting
In many of the studies discussing sex in the media, social scripting is a reoccurring phenomenon. Scripting theory relies on the notion of scripts being a metaphor for conceptualizing behaviour within social life (Simon & Gagnon, 1986). Scripts are, according to theory, the guiding concepts that help people make choices about their behaviour. Simon and Gagnon were the first to link this already existing scripting theory to sexual scripting. They point out how scripting theory can also be applied to human sexuality:
(…) the sexual is not viewed as an intrinsically significant aspect of human behavior; rather, it views the sexual as becoming significant either when it is defined as significant by collective life or when individual experiences or development assign it a special significance. (1986: 104)
Simon and Gagnon relate to the effect and process of social scripting as sociogenic influence: the way social and sexual scripts find their actual way into people’s minds and behaviours. When we keep the concept of virginity loss in mind, it is not hard to understand how sexual scripting acts as a social guidance in
constructing meaning, since
(…) the most basic sources of sociogenic influence are the cultural scenarios that deal explicitly with the sexual or those that can implicitly be put to sexual
uses. Such cultural scenarios not only specify appropriate objects, aims, and desirable qualities of self-other relations but also instruct in times, places, sequences of gesture and utterance and, among the most important, what the actor and his or her coparticipants (real or imagined) are assumed to be feeling; qualities of instruction that make most of us far more committed and rehearsed at the time of our initial sexual encounters than most of us realize. (1986: 105)
In other words, social and sexual scripts are defining what is acceptable and appropriate in relation to losing your virginity, but depend highly on cultural
determinants. In presenting prevalent scripts, the media may play an important part in the representation of virginity loss and the way culture determines these norms and values.
Sexual Scripting in the Media
As was mentioned before, the media play an important role in providing information and social guidelines in relation to sex. Steele (1999) recognizes the importance of the media in developing scripts for (teenage) sexuality, next to the influence of family, friends and school. She investigated the way adolescents actually use or make sense of the media content they are provided with: shifting the focus from media content to media practice. In doing so, she relies on the notion that “… teens’ interactions with media are part of the dialectical process of becoming, that characterizes human existence” (Steele, 1999, p. 334). In other words, adolescents use media when forming an (sexual) identity, next to their interactions with family,
friends and school. This identity, in turn, is associated with (sexual) behavior and attitudes, but also predicts their preferences for certain media types (Steele, 1999).
Media content within television shows, movies and magazines provide guidelines for giving meaning to the concept of sex, and at the same time reflect the scripts that exist within certain cultures. An example could be a movie that places an emphasis on sex in particular in a male-female relationship. Presenting a heterosexual script and rejecting a homosexual script could contribute to the fact that the viewers of that movie refer to a heterosexual script when they think about ‘appropriate’ sex (Pardun, L’Engle & Brown, 2005).
Reality TV and Sexual Scripting
One type of media that may be particularly relevant when investigating social and sexual scripts is reality TV. The popularity and rise of reality TV shows is hard to deny these days: a great deal of the primetime shows broadcasted on the big networks (in the Netherlands and abroad) show real people dealing with their day to day life and struggles (Barton, 2009, Beck, Hellmueller & Aeschbacker, 2012; Hall, 2006). While there is no evidence that exposure to reality TV has more influence on its audience than other types of television programmes, there are implications that such a connection is likely and possible. Most research on this topic focuses on that:
examining the way reality TV influences its audience (Ward & Carlson, 2013; Zurbriggen & Morgan, 2006; Potter, 1986).
However, research about the relationship between scripts in reality TV and forming sexual attitudes is scarce. Reality TV is about real people and characters, in real-life situations, making it realistic and therefore maybe even more influential than for instance fictitious movies (Beck et al., 2012). Additionally, research has shown that adolescents in particular, prefer media content with storylines that are credible and relatable (Steele, 1999). The fact that the storylines in reality TV are real people makes it easier to relate to them instead of to (famous) actors who are playing a role.
Moreover, research also shows that reality TV is an important source of information about sex for adolescents, just because they can relate to the characters so easily. That way, the information adolescents get and the sexual scripts that are being presented to them, are easier to implement into their own lives (Beck et al., 2012).
Scripts for Virginity Loss in the Media
Looking at the body of research about virginity loss in the media, it is clear to see that sexual scripting lies at the heart of the academic theory. For instance, Kelly (2010) looks at virginity loss narratives in teen drama television series in the U.S. She builds upon previous research by Carpenter (2009) who examined virginity loss in popular American movies. Both Kelly (2010) and Carpenter (2009) acknowledge that the scripting of virginity loss influences the formation of sexual identities of
adolescents and the initiation of their first sexual experiences.
Carpenter speaks in a more general way of three metaphors through which virginity loss is usually referred to by people, deducting these metaphors from first hand interviews with adolescents. Carpenter notes that the metaphors used by her respondents could be conceptualized as sexual scripts (2002; 2009). The first
metaphor is looking at virginity as a gift: in this metaphor, losing your virginity is “a scenario in which a virgin would give his/her virginity to a beloved partner, who would in turn reciprocate with the similarly valuable gift of love and deepened commitment to the giver” (Carpenter, 2009, p. 815). The second metaphor, virginity as a stigma, is a more negative way of looking at virginity and makes the event of virginity loss an ideal scenario “… in which a virgin rid himself or herself of that shameful trait” (Carpenter, 2009, p. 815). The third and final metaphor, virginity as a rite of passage or process, places losing your virginity as a logical step in the context of growing up (Carpenter, 2009).
Kelly (2010) replaces these three metaphors by three sexual scripts through which virginity loss is referred to in the media. The abstinence script (1) shows parallels with the virginity as a gift metaphor, placing a high value on virginity and emphasizing the delay of virginity loss. The urgency script (2) flows from the virginity as a stigma metaphor, representing virginity loss as necessary and urgent. The management script (3) suggests teenagers’ sexual behaviour is inevitable and focuses on managing the risks associated with virginity loss, seeing virginity loss as a part of the process of growing up (Kelly, 2010).
An example of how these scripts are being operationalized within the media can be found in Kelly’s article. She examined 17 seasons of 10 different American teen drama series, analysing which scripts were used throughout the programmes. In the storyline of Haley, a character in the teen drama series ONE TREE HILL, Kelly shows how the abstinence script is clearly presented by the storyline. In one episode, Haley states how she can only give her boyfriend the ‘gift’ of her heart, but not the gift of her virginity. She also claims that sex should only be a part of marriage, and emphasizes how she wants to wait to have sex until she is sure she found the right person. The emphasis on waiting for the right person, the marital life and referring to virginity as a precious gift are all determinants of the abstinence script (Kelly, 2010).
Cultural Dimensions and Gender
In scripting theory, cultural scenarios are the overarching guidelines that provide scripts for various concepts. Therefore, the notion of culture cannot be dismissed: different cultures offer different scripts. Hofstede (2001) has developed a substantial theory about cultural dimensions of national culture in which countries may vary. As is mentioned before, research about virginity loss in the media has mainly focused on media within American culture. However, using the dimensions of
Hofstede, we can clearly see why the outcomes of these analyses cannot be
generalized towards the Dutch culture: both cultures differ substantially on one (the masculinity/femininity) dimension. Whereas the American culture is a highly masculine one, according to Hofstede, the Dutch culture is feminine. This particular dimension is obviously interesting when it comes to relating culture to representations or scripts for sexual concepts: not surprisingly since this dimension speaks of the two sexes, male and female.
Joshi et al. (2011) decided to do just that, and compared the Netherlands and the United States of America against the backdrop of Hofstede’s cultural dimensions, zooming in on the representation of the concepts of both virginity loss and pregnancy in teen girl magazines. What the researchers expected and did find was that in
comparison to American magazines, the Dutch magazines approached virginity loss quite positively. Therefore we can conclude that scripting virginity loss through the management or urgency script is more likely than through the abstinence script in Dutch media. While their research did see how virginity loss was treated positively in Dutch media, it did not find real negative treatments towards the concept of virginity itself. This leads to the conclusion that the abstinence script (with a negative
perspective on virginity loss) is not common within the Netherlands, but neither is the urgency script very likely to be found (with a negative perspective on being a virgin) (Joshi et al., 2011). The most moderate of the three scripts, the management script, is the one that, according to theory, fits the Dutch culture best. This script is in line with the cultural dimensions Hofstede gave to the Netherlands, seeing it as a feminine culture in which premarital or adolescent sex is socially acceptable, as long as it is respectful and gender-equal (1998).
Even though this current research is not focusing on comparative elements of two cultures, it does aim to provide a framework for analysing how certain concepts are scripted a certain way, within Dutch culture. Since the Dutch culture is a feminine one, it raises certain assumptions about the way social scripts for concepts are
constructed. Here lies the construction for forming later hypotheses: the scripting of virginity loss in the media is an outcome of the Dutch cultural context and sexual climate that already exists.
Following the outcomes of Hofstede by assuming that the Dutch culture is feminine, we can make predictions about how this reflects on virginity loss in Dutch media. More concrete, the scripting of virginity loss in the media relies heavily on the feminine Dutch culture, which encompasses messages about how both men and women are modest, tender and concerned with the quality of life (Hofstede, 1998). These messages are therefore expected to be found in the way sex in general and virginity loss in specific is scripted, and the ways both sexes present scripts for virginity loss are expected to be equal.
Explicitly linking Kelly’s three scripts for virginity loss to Hofstede’s theory (1998), and to the outcomes of the research done by Joshi et al. (2011), one could assume that the most moderate, the management, script is mostly associated with the feminine, Dutch culture. One of the determinants for the management script is the focus on “appropriate” sex: virginity loss is ok whenever the teenager is 16 years or older, in a monogamous and respectful romantic relationship and uses contraception (Kelly, 2010). The indication that sex should be in a respectful relationship is in line with the concept of gender equality, which is part of the femininity determinant used by Hofstede (1998).
Contradicting the assumption that gender roles in sexual scripting are equal (in particular for the Dutch culture), is the body of research on how sexual scripts may differ between both genders. Wiederman (2005) discusses how primary anatomical differences between boys and girls predetermine a difference in using sexual scripts. This already starts with little boys being taught to handle their penis while urinating, while girls are not being taught to touch their vagina. Additionally, girls receive more parental communication about sex than boys do, most of which is focused on warning for sexual risks and dangers (Wiederman, 2005). This results in young women being more cautious in their sexual behavior, which in turn could lead to more female representation of the abstinence or management script for virginity loss, when connecting Kelly’s theory to Wiederman’s.
Present Study
The present study aims to combine all the elements as they are mentioned above. It is clear that the media play an important role in shaping attitudes, behaviours and the construction of meanings. Reality TV might play an even more influential role when it comes to affecting its viewers, and in presenting an existing or creating a new script. Scripting is the underlying mechanism that explains how media help give meaning to certain concepts, and thus also for how media give meaning to virginity loss. Gaps in the research concerning this area are that the scripting of virginity loss has not been analysed within reality TV, and neither within the Netherlands (with the exception of sexual scripts in magazines in a comparing matter; Joshi et al., 2011). Therefore this current research is necessary to make the field of research more complete. In sum, this research is guided by two research questions:
1. Through which scripts is virginity loss mainly presented in Dutch reality TV, in particular in the Dutch reality TV show IK HEB HET NOG NOOIT GEDAAN?
The obvious hypothesis (H1) that underlies this question is that it is expected that reoccurring scripts are going to be found in IK HEB HET NOG NOOIT GEDAAN (translated: ‘I have never done it before’). Since the Dutch culture is determined as feminine by Hofstede’s theory (1998), the second and third hypotheses for this research question is that it is most likely that the management script is going to be found most often (H2), compared to the abstinence script, which is expected to be found the least often (H3). These assumptions are also based on the research done by Joshi et al. (2011), who found that virginity loss was treated quite positively in Dutch magazines, in comparison to the way it was treated in American magazines.
Secondly, the body of research on gender and sexual scripting is somewhat contradicting. On the one hand, Wiederman (2005) states that in general, differences between both genders in presenting sexual scripts are obvious. On the other hand, Hofstede (1998) implies that in particular for feminine cultures like the Dutch, gender roles are expected to be equal. Therefore, no explicit hypothesis can be formulated, but a second research question is aimed at exploring how this works for the Dutch reality TV show IK HEB HET NOG NOOIT GEDAAN:
2. Are there differences between male, female and couple storylines in the type of scripts through which virginity loss is being presented in IK HEB HET NOG NOOIT GEDAAN?
Method Research Design and Sample
In this study a content analysis has been conducted of the Dutch reality TV show IK HEB HET NOG NOOIT GEDAAN (‘I have never done it before’). The show was first aired in the spring of 2013, marking the start of the first season of 8 episodes. A year later, in the spring of 2014, the second season producing 8 more episodes started.
The Dutch commercial network RTL5 has broadcast all of the episodes. So far, no third season has been broadcasted but the website of the show tells us that the producers are working on another season.
The programme is a reality show, focused on the main theme of losing your virginity. It casts multiple real Dutch people between 18 and 49 years old who are still virgins. The design of the show is such that the storylines of the people that are being followed are central, with scenes of them going on dates, living their daily lives and commenting on these events themselves. The whole programme is guided by a voice-over, which regularly comments on the things you see as a viewer.
Following the research done by Kelly (2010), the unit of analysis has been the storylines within the programme: a series of related events that continues over several episodes (Kelly, 2010). In this case, each storyline could be identified as the story of one of the persons being portrayed. Since the storylines are spread out throughout the episodes of the seasons with some characters even being casted in both seasons, the sample consists out of all the storylines that can be found within the 16 episodes. There is a total number of 18 storylines. Whole episodes of each 40 minutes were analysed, which makes the total amount of minutes that have been analysed approximately 16*40=640 minutes.
Scripts for Virginity Loss
Building on the metaphors for losing your virginity by Carpenter (2002; 2009), Kelly (2010) identified three scripts for virginity loss as they were being presented in the teen drama television programmes she examined. The same scripts were used in the current study. The scripts were coded with a codebook (Appendix I), marking every time the concept of virginity loss was mentioned. Each script could be recognized by several determinants.
The abstinence script. The abstinence script flows from the virginity as a gift
metaphor. Whenever the abstinence script is being presented, virginity is being referred to as a gift that one gives to one another. To recognize this script, we have to look for themes that are positive towards virginity, but negative towards virginity loss: being a virgin is a good thing within this script. This script therefore represents the positive consequences of maintaining virginity, and focuses on the negative sides of losing it; on the physical, mental and social dangers of premarital sex (Kelly, 2010).
The determinant for the abstinence script which was found most often was whether a storyline put an emphasis on choosing the right person (often a husband or wife) for losing his or her virginity to. An example of this is when Madelinde
mentions in the first episode of season one how she believes that sex is only meant for two people who genuinely love each other.
The management script. The management script flows from the virginity as
a rite of passage metaphor. Whenever this script is presented, teenage sexual activity is referred to as inevitable, if not desirable. It focuses on managing the physical, social and emotional risks associated with virginity loss, but in a more positive and logical way than with the abstinence script. However, within this script there seems to be an emphasis on “appropriate” virginity loss in the process of growing up (for example, only losing your virginity when you are “ready”). This script is positive towards virginity loss and its consequences whenever sex is “appropriate”, but negative when it is “inappropriate” (Kelly, 2010).
For the management script, it was most often mentioned how the situation when losing your virginity should be “appropriate”. An example of this is when Rob
mentions in the first episode of season two how he wants to lose his virginity, but not on a first date with someone, which is considered inappropriate.
The urgency script. The urgency script is based on the virginity as a stigma
metaphor. It has a highly positive perspective on losing your virginity: not only is sexual activity highly enjoyable and desirable, it also is necessary to gain a gendered identity, to be perceived by others as desirable, and to achieve social status. Therefore the concept of virginity is treated negatively within this script, while the event of losing your virginity is considered as highly positive. Themes that we look for when recognizing this script are thus the stigma of virginity and getting rid of this, the desperation to have sex, and the positive consequences of finally losing your virginity (Kelly, 2010).
In recognizing the urgency script, there was often an emphasis on fast and urgent virginity loss. An example of this is when Friso in the last episode of the second season says how he hopes that his deflowering will happen as soon as possible.
Coding the Data
The coding of the data was done manually, using the codebook that can be found in Appendix I. To check the reliability of the coding process, a second coder coded one episode of IK HEB HET NOG NOOIT GEDAAN. In the first episode of season one, the first coder (me) found fourteen statements made in the storylines, that could be coded as one of the determinants of one of the three scripts for virginity loss. The second coder found twelve statements that she coded as a determinant of one of the three scripts. These two samples were checked on agreement and a Krippendorff’s Alpha of .91 was found; an acceptable number of reliability (Lombard, Snyder-Duch & Bracken, 2002).
Results Description of Characters and Storylines
The total number of storylines that have been identified is 18. There were 11 male storylines, 5 female storylines, and 2 of the storylines consisted out of a heterosexual couple. All of the people that constructed a storyline were of Dutch nationality. Nearly all of them were of white ethnic background, except for Alida and Melissa. The age of the characters ranged from 18 to 49 years old. One female
storyline, the one of Melissa, was openly homosexual, and Guynio, a 19-year-old male, stated to be bisexual. All other people representing storylines claimed to be heterosexual, looking to lose their virginity to someone of the opposite sex. One of the storylines, the one of Michael, claimed to have actually lost his virginity during the recording of the series.
Most of the storylines represented one specific reoccurring script whenever the concept of virginity loss was mentioned. Some characters, like Macy and Melissa, were quite contradictive in using scripts for virginity loss. For this research, the storylines were used to identify and recognize the scripts, but for the main results, the scripts that were reoccurring throughout the whole series were analysed.
Scripts for Virginity Loss
The first research question asked: through which scripts is virginity loss mainly presented in Dutch reality TV, in particular in the Dutch reality TV show IK HEB HET NOG NOOIT GEDAAN? For testing this, a simple frequency test was executed. Reocurring
scripts for virginity loss have indeed been Figure 1 0 5 10 15 20 25 30 35 40 Abstinence
found, which leads to the first hypothesis (H1) being accepted. Overall, the management script was used least often, while the urgency script was used most often, just a little bit more often than the abstinence script (Figure 1). Figure 1 shows how the urgency script was found most often (36 times), the abstinence script was found second most often (34 times) and the management script was found the least often (17 times). This means that the second hypothesis formulated in the
introduction, about how the management script was expected to (H2) be found most often, can be rejected. The hypothesis which stated that the abstinence script was expected to be found the least often (H3), can also be rejected.
As we have seen in Figure 1, both the abstinence and the urgency script are found most often. Since we know that the urgency and abstinence script are used more often than the management script, a general linear model test has been performed to see whether this difference is significant. However, the difference in used scripts cannot be significantly confirmed with a Wilks’ Lambda = 0.69, F(2,16) = 3.59, p = 0.052. This difference however is marginally significant: it is only 0.002 more than the allowed statistics for it to be actually significant (p < 0.05).
The second research question asked whether there are differences between male, female and couple storylines in the type of scripts for virginity loss through which the concept is being presented. To test this, a MANOVA has been executed to see whether the differences in used scripts between male, female and couple
storylines are significant. In Figure 2 and Table 1 we can see that there are quite some differences in the means of used scripts for virginity loss for male, female and couple storylines. The urgency script is by far used most often by male storylines, and not once for couples. As for the management script the differences are smaller, and the abstinence script is used least often by male storylines. These differences are
significant with a Wilks’ Lambda = 0.20, F(6,28) = 5.42, p = 0.001. However, when we look more closely, we can see that the difference is only significant for the
abstinence script with F = 21,95 and p = 0,000. This does not go for the urgency script with F(2,15) = 0.69 with p = 0,518 and management script F(2,15) = 1.25 with p = 0.316.
Figure 2
Storyline Mean (M) Standard deviation (SD) Abstinence script Male .64 .924 Female 2.80 1.483 Couple 6.50 2.121 Management script Male .73 1.272 Female 1.00 1.732 Couple 2.00 1.414 Urgency script Male 2.64 2.803 Female 1.40 1.342 Couple 0.00 .000 Table 1 Discussion
Building upon the research done by Carpenter (2002; 2009) and Kelly (2010), this research has put the representation and scripting of virginity loss in the media into a Dutch context. Assuming that the dimensions Hofstede (1998, 2001) attributed to the Dutch culture still determine the Dutch national and cultural context, predictions about how virginity loss would be scripted on Dutch television, could be made. In
0 1 2 3 4 5 6 7 8
Abstinence script Management script Urgency script
Male Female Couple
answering the research question about which scripts for virginity loss were used most often in a Dutch reality TV programme, several conclusions can be drawn.
Scripts for Virginity Loss in Dutch Reality TV
Using three different scripts for virginity loss (the abstinence, management and urgency script), the Dutch reality show IK HEB HET NOG NOOIT GEDAAN was examined and analysed. In the coding process, the different storylines were used as coding units in recognizing certain scripts. Hofstede’s theory implied that the management script would be found most often, since the programme is set in the feminine Dutch culture, in which gender equality and respectful relationships are important. This gender equality and emphasis on “appropriate” and respectful sex and virginity loss is also one of the determinants of the management script. However, the results show that the scripts for virginity loss in IK HEB HET NOG NOOIT GEDAAN are less moderate. Both extremes within the scripts were by far used the most often: the abstinence and the urgency script. This surprising outcome shows that the Dutch culture is not as matter-of-fact as it is often expected, and being a virgin is actually still something special, in particular when you reach a certain age. The fact that a show such as IK HEB HET NOG NOOIT GEDAAN exists already implies this notion: apparently it is worth the effort to make a television programme out of people’s virginity, and this is highly entertaining for a large group of people.
The difference in used scripts for virginity was marginally significant. When it comes to actual numbers, the urgency script occurred most often, implying that being a virgin is undesirable, as if virginity is some sort of a stigma or disease one has to get rid of.
The abstinence script occurred almost as often as the urgency script, showing the audience another perspective on virginity: as if it is a valuable possession that one
should give as a gift to one special person. What was remarkable was that especially the couple storylines emphasized this script: this could imply that even for those who already have found that one special person, it is worth the wait to make it official and get married first. This marks a determinant that was not part of this research but nevertheless should be mentioned: religion. Both couples were waiting to lose their virginity, because both or one of them wanted to stay true to their (strict) religion.
Even though age was also no determinant for the current research, it should be noted that all people who were casted on the show were eighteen years or older. This implies that being a virgin after the age of eighteen is extraordinary: only then you are casted in such a show. At the same time, it also implies that sex is something for adults, which in the Netherlands you are considered to be after you turn eighteen.
Gender and Scripts for Virginity Loss
Like it is stated before, in coding all the data, the storylines were the coding units. The different sexes of these storylines were an important determinant that while doing the research, appeared to have some significance. As most assumptions and hypotheses that this research is built upon flow from Hofstede’s theory, it was questioned whether differences in used scripts for virginity would occur on gender level. The Dutch culture is, according to Hofstede, a feminine one, which would imply that gender roles are very equal and therefore possibly used scripts for virginity loss would also be fairly equal amongst sexes. However, what was found was that in particular the abstinence script showed a significant difference when it comes to the gender of the storylines. Female and couple storylines used the abstinence script for virginity loss significantly more often than did the male storylines. This might imply that the Dutch culture has changed since Hofstede developed his theory, and that the
femininity of the Dutch culture should be moderated. The results could also imply that the cultural dimensions of Hofstede cannot be applied to virginity loss.
Limitations and Future Research
Even though this current research is fairly unique and one of the first in examining scripts for virginity loss in specific Dutch (reality) television content, it does have some limitations. First and foremost, the fact that it is quite specific makes it hard to generalize. It only analyses one specific (reality) programme that was set in a certain limited period in time: 2013 and 2014. This does mean that the data is very recent and could give us an indication about what the current media landscape and the scripts for virginity loss look like now.
Second, examining a television programme in which people talk about their virginity and how most of them are seeking to lose it, already implies that being a (adult) virgin is an issue in the Netherlands. Therefore it is obvious that urgency scripts would definitely be found. However, also the other scripts were found, which balances this limitation to a minimum. Further investigation could mimic Kelly’s research within the Netherlands, focusing not only on reality TV that centres around virginity loss, but also on shows that have wider subjects and deeper storylines.
As was mentioned before, some determinants of the storylines were not included in this research: only gender was outstanding enough to be an interesting variable in this research. Future research could investigate deeper whether there are other determinants that could be significant in analysing scripts for virginity loss, such as age, nationality or religion.
This research can also be an important motivation for researching the effects of the sexual scripts that are being presented in the media. As some research has shown, exposure to sexual content creates earlier sexual initiation with teenagers and
thus earlier virginity loss. It is therefore interesting to examine how exposure to certain sexual scripts in the media lead to certain sexual behaviour. Since this study has shown how the two most extreme scripts for virginity loss were found more often than the more moderate script, it could mean that sexual behaviour or perceptions on sex amongst Dutch teenagers are also becoming more extreme. It might mean that youngsters are being pushed to the perception of virginity as either some negative asset you do not want to possess, or as something holy and sacred, whereas a more ‘healthy’ view of sex as being a part of life, but something you have to be responsible and sensible about, is being neglected.
Since the results show that gender is an important determinant in presenting scripts for virginity loss, future research could therefore also focus on differences and equalities in gender when it comes to sexual scripting and scripts for virginity loss within the (Dutch) media. Apparently, Hofstede’s cultural dimensions are either out-dated or cannot be applied to the concept of virginity loss within the media. Future research could focus more on how Hofstede’s theory relates to the portrayal of
sexuality in Dutch media and the role of gender equality herein. This will enable us to see whether the dimensions need to be changed, or whether a new model needs to be developed for sexual scripting and the scripting of virginity loss
Conclusion
In a final concluding paragraph, it is time to reflect and explicitly answer the research questions. The first question, which asked through which scripts virginity loss was presented in Dutch television shows, can be answered by saying that virginity loss was mostly scripted through the urgency and the abstinence script, and least through the management script. In fact, all three scripts could be found in the analysis of the reality show IK HEB HET NOG NOOIT GEDAAN, but the significance of the
differences was only marginal. The second question, which asked whether there are differences between male and female storylines in the type of scripts through which virginity loss is being presented, can be answered by yes, there are differences. However, only for the abstinence script, these differences were significant.
This research has shown that scripting virginity loss in Dutch reality TV is done in a way that can be called unexpected for a Dutch context. This implies that either the show IK HEB HET NOG NOOIT GEDAAN is not representative of the Dutch culture, or it means that the way Hofstede has defined the Dutch culture is out-dated, or that Hofstede’s theory does not apply for virginity loss. This research therefore suggests more investigation into this subject, to determine which of the assumptions can be proven to be untrue and need to be revised.
In sum, this research has shown that in IK HEB HET NOG NOOIT GEDAAN, extreme perspectives on virginity loss are emphasized: the characters either wait, or they cannot wait any longer. Watching a popular show presenting such scripts might influence its audience in thinking about and acting upon virginity loss. Using the results of this research could thus be a way for media professionals, parents and health educators to determine which script for virginity loss is desirable within a Dutch context.
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Appendix I – Codebook Abstinence script
A1 There is an implicit or explicit reference to virginity as a gift
A2 The pleasures of being a virgin are mentioned A3 The positive consequences of being a virgin are
mentioned
A4 Keeping your virginity until marriage is mentioned A5 Sex is mentioned as a part of marital life
A6 The physical dangers of having sex are mentioned A7 The mental dangers of having sex are mentioned A8 The social dangers of having sex are mentioned A9 The negative consequences of premarital sex are
mentioned
A10 There is an emphasis on waiting to lose your virginity
A11 There is an emphasis on choosing the right person (husband/wife) for losing your virginity to
A12 The event of losing your virginity is mentioned as having great value
Management script
M1 Sexual activity is mentioned as being inevitable M2 Managing the physical risks is mentioned M3 Managing the emotional risks is mentioned M4 Managing the social risks is mentioned
M5 Contraception is mentioned as something positive M6 Virginity loss is mentioned as a rite of passage M7 There is an emphasis on “appropriate” virginity loss M8 The positive consequences of appropriate sex are
mentioned
M9 The negative consequences of inappropriate sex are mentioned
Urgency script
U1 Virginity loss is mentioned as highly enjoyable U2 Virginity loss is mentioned as necessary for
gaining a (gendered) identity
U3 Virginity loss is mentioned as helping to achieve social status
U4 Virginity loss is mentioned as making you look desirable as perceived by others
U5 The stigma or negativity of being a virgin is mentioned
U6 The person is deceptive about his or her (absent) sexual history
U7 The person mentions how he or she is desperate to have sex
U8 The positive consequences of virginity loss are mentioned
U9 The negative consequences for unsuccessful virginity-loss attempts are mentioned
U10 There is an emphasis on fast and urgent virginity loss
U11 The inexperience and fear of sex is being referred to as comical
U12 Male fear of competence is being mentioned U13 Being a virgin is mentioned as excluding an
