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Having grown up in the digital age, I am from the first generation to have never experienced pre-internet life. As a result, my life has been profoundly influenced by screen media. From a young age, exposed to television, digital platforms, and social media, I have always encountered a pervasive narrative: older people are out of touch, senile, and burdensome. In my own home, I observed the impact of this narrative firsthand, with anti-wrinkle creams lining our bathroom shelves and birthdays transitioning from a celebration to reminders of the years gone by. The stark contrast between how I perceive my ageing family members and the stereotypes surrounding ageing spurred a curiosity within me: why do these stereotypes persist, and how do different forms of media aid in perpetuating the narrative? My research is not only an academic inquiry but also a personal quest to understand and challenge the ingrained stereotypes that I, too, have subconsciously absorbed.
Ageism, or discrimination based on age, has flown under the radar for many1. While ageism can impact both young and old alike, this discussion will address ageism directed towards older individuals. It is, therefore, important to note that whenever the term ageism is used within this text, it pertains to older people. The United Nations considers old age to be 60 years or older, however numerous studies examining ageism directed at older adults include individuals aged 50 and above and so will this paper. My decision to focus on older people comes as a result of the frequency of ageist encounters experienced by this age group. Within the US, 93% of older adults reported that they regularly experience at least one form of ageism (Allen et al. 1). This comes as no surprise as 1 in 2 people harbour ageist views - a number that increases even further amongst young people in Europe (Guttmann).
Ageism is both a malady and a symptom of broader societal attitudes. The study “Ageism, Healthy Life Expectancy, and Population Ageing: How Are They Related?” suggests a multitude of factors that influence ageism (Officer et al. 7). While the study found that ageism cannot be distilled to a few root causes, some factors, such as the economic state of a country and gender, correlated to heightened ageist beliefs. While intersectionality is not the primary focus of this paper, it is essential to note the interplay between age, race, and gender. As shown in the Populus UK representative polling, 49% of women feel pressured to stay looking young, while only 23% of men share the same sentiment (Robertson 16). This is a reflection of gendered ageism, within which sexism intersects with ageist stereotypes, placing distinct expectations and pressures on women as they age.
Furthermore, as noted by The UN Independent Expert on the Enjoyment of All Human Rights by Older Persons, “age and race combined create aggravating forms of discrimination and can cause an increased risk of dehumanisation of older persons with minority ethnic background,” (Gutterman 1). This observation highlights how individuals who belong to both older age groups and minority racial or ethnic backgrounds may face compounded discrimination. Whenever one discusses ageism, it is crucial to examine it through the lens of intersectionality to better understand and address the complex dynamics of discrimination and inequality faced by older adults.
Amongst the aforementioned factors, the media we consume also plays a crucial role in shaping our perceptions of ageing, especially when we consider the average person consumes over 7.5 hours of media every day (Stoll). With these numbers in mind, I aim to uncover how on-screen forms of media such as cinema and advertising both reflect and contribute to the perpetuation of ageism. In the next chapter, I will examine the portrayal of older characters in early 2000s romantic comedies and animated movies. Following that, I will analyse the portrayal of older persons in advertisements found in social and traditional media. Finally, I will explore the impact of ageism on their physical, mental, and financial wellbeing. In doing so, I highlight the widespread prevalence and harmful impact of ageism found within screen media.
1 For more information see “Ageism.” World Health Organization.
The creation of the kinetoscope in the late 19th century was the precursor to an industry worth over $136 billion - the film industry. With the rise of subscription-based platforms for consuming movies and TV shows, the average person consumes more film than they ever have before. In the US, people spend an average of 3.18 hours watching TV and 2.46 hours watching digital video per day (Stoll). The impact of film on peoples’ perceptions is undeniable; the movies and TV shows we consume can have the power to change our age, ethnic, and gender perceptions (Mastro et al.; Behm-Morawitz et al. 136). As is related to ageism, we see from Kubrak’s paper, “Impact of Films: Changes in Young People’s Attitudes after Watching a Movie”, that certain films “could strengthen the negative attitudes of very young people (students) towards the elderly” (Kubrak 7). Through the guise of fictional stories, we quickly dismiss the idea that the TV we consume influences our worldview.
Unlike young adults, during their formative years, children may change “their assessments of regulatory, cognitive and emotional characteristics of the elderly people after watching a film about the elderly,” (Kubrak 10). This underscores the impact of early exposure to ageist stereotypes on our perceptions of older individuals. These stereotypes, if not challenged, have the potential to persist throughout one’s life.
In this chapter, I will focus primarily on romantic comedies from the early 2000s as I believe they influenced my worldview in my early adulthood. Furthermore, they were an easy cash grab for production companies due to their low costs and large box office revenues, making them incredibly popular around the time. By analysing these movies, I aim to reveal the commonplace presence of ageism within movies.
Romantic comedies from the early 2000s were lighthearted, serving as a way for the whole family to unwind and share a few laughs. As society becomes more inclusive and these films age, we are reminded of the societal prejudices that were widely accepted two decades ago and continue to persist today. While the industry has seemingly taken greater care in removing racism and sexism in these movies, ageism often goes unnoticed. A deeper look into the top ten grossing films from this era reveals telling patterns in the portrayal of older persons, highlighting how these films reflect and potentially shape our perception of ageing. This is not to be conflated with the ageism that exists within the movie industry, dictating how roles are cast, but rather how the characters embody the ageist stereotypes we see today. In my exploration, I looked at the following movies: What Women Want (2000), My Big Fat Greek Wedding (2002), The Princess Diaries 2: Royal Engagement (2003), How to Lose a Guy in 10 Days (2003), 50 First Dates (2004), Hitch (2005), The Break-Up (2006), Enchanted (2007), Knocked Up (2007), The Proposal (2009).
Within the aforementioned romantic comedies, there is a frequent occurrence of misrepresentation and underrepresentation of older people. For instance, in My Big Fat Greek Wedding (2002), Gus Portokalos, the father of Toula Portokalos, is portrayed as stubborn, gullible, and victimised. This is exemplified in the scene where Gus finds out that Toula would like to attend college to learn more about computers. Gus initially ignores her before having a breakdown, asking Toula why she wants “to leave [him],” (00:16:49). Within the scene, his body language can be seen as weak, and almost cowardly. His hands start shaking and he starts crying, portraying himself as the victim in this particular instance. This is followed by him exclaiming a few outdated worldviews and insulting Toula. He tells her that she “should get married [and] have babies” instead of pursuing an education as she is starting to “look old,” (00:16:59). The stereotype that older people have outdated views can be seen in more movies from the list; older characters in Hitch (2005), The Princess Diaries 2: Royal Engagement (2003), and What Women Want (2000) can be seen challenging younger characters’ more progressive ideas. The perpetuation of this stereotype results in a generalised view that all older people have outdated ideals and is a tool used by younger people to undermine older people’s views. Such stereotypes are abhorrent and dehumanise older people, boiling them down to a homogenous caricature.
These portrayals have the power to influence our perceptions of older people. When older characters are repeatedly shown as frail, technologically inept, or resistant to change, these stereotypes are reinforced in the dominant narrative about older people outside the screen. According to Jonathan Cohen, this is character identification, “a mechanism through which audience members experience reception and interpretation of the text from the inside as if the events were happening to them,” (Cohen 1). As viewers experience emotional contagion, a phenomenon through which they involuntarily mimic the younger protagonist’s emotions and behaviours, they may internalise the protagonist’s perceptions of the stereotyped older characters, viewing them as universally applicable to all older people. The majority of these movies, which all sold over 10 million copies, are marked as safe for younger audiences. Considering the malleability of personal biases at a young age, as argued by Kubrak, it is clear how these films have contributed to ageist stereotypes.
The same patterns of character portrayal can be recognized in other genres of film; older adults are often marginalised, if not outright excluded, and ageing is frequently depicted in a negative light.
Robinson’s research in “The Portrayal of Older Characters in Disney Animated Films” exemplifies the pervasive nature of ageism beyond the realm of live-action cinema, extending into animated movies that form a significant part of childhood experience. While they found that a majority of the animated films they reviewed positively portrayed older adults, the findings were still troublesome (Robinson 207). A noteworthy portion of character portrayals still mirrors the stereotypes that perpetuate ageism. According to the research, “25% of the characters [were] shown as grumpy, 12% as evil or sinister, 8% as helpless, 3% as senile or crazy, and 2% as the object of ridicule,” (209). From an early age, audiences are exposed to, and potentially influenced by, narratives that negatively frame ageing. Considering this context, negative attitudes toward ageing and older adults are hardly surprising.
Furthermore, those working in the film industry argue that ageism within the industry has not only persisted but, in some cases, worsened2. This internal perspective is critical, as it highlights the systemic nature of ageism in entertainment, affecting not only on-screen portrayals but also off-screen practices. The ageism within the film industry is indicative of a culture that undervalues older individuals, both in fictional narratives and in the workplace. Addressing the mechanisms that fuel ageism requires a shift in perspective, recognizing the beauty of ageing and the value of older persons.
2 See Eisenberg, Richard, et al. “Ageism in the Media: An Insider’s Perspective.”
With the commonplace of media in our lives, constant exposure to advertising is a given. Whether we are engrossed in a television series, navigating through websites, or scrolling through social media, advertisements are woven into our media consumption experience. While there are no official numbers on how many advertisements the average person encounters throughout the day, screen media is almost impossible to consume without being interrupted by advertisements. This becomes even more dangerous when paired with the immense amount of data collected by digital platforms, providing advertisers with our preferences, behaviours, and, implicitly, our vulnerabilities.
The importance of scrutinising ageism within advertisements is clear. A survey conducted by the AARP (formerly the American Association of Retired Persons) highlights this concern, with around 62 percent of respondents over 50 expressing a desire for advertisements to portray more realistic images of their demographic (Dychtwald). Despite this evident call for change, advertisements continue to be riddled with ageist stereotypes. The misrepresentations highlight a broader issue of ageism in advertising, a problem that persists despite the clear voices of those it affects most.
In my exploration, I will analyse an advertisement found on a social media platform and a Super Bowl advertisement. By carefully analysing examples from these two different realms, I aim to present the presence of ageism within advertising and its harmful effects.
Social media platforms have become central to the daily life for a majority of individuals. Data from 2024 indicates that the average internet user spends approximately 143 minutes per day on social media platforms (Dixon). Alongside this increased usage, there has been a trending increase in advertising spending on these platforms, exposing users to a growing volume of targeted advertisements (“Social Media Advertising Spending”). This trend suggests what used to be our social experience has become our shopping experience, with targeted advertisements becoming a large part of our social media engagement. The increase in time spent on social media and exposure to targeted advertising underscores the importance of uncovering the ageism that can be found within the advertisements.
In 2023, LinkedIn, a social media platform built for professionals, released an advertisement portraying an older woman, Mrs. Ramos, being interviewed about her son’s job. The intended “humour” of the advertisement is derived from her believing that her son sells clouds. We know that he works in cloud computing and that no sane person would believe cloud salespeople exist. This concept is utterly absurd, ageist, and harmful. The advertisement plays into the stereotype that older people are technologically inept and their cognitive abilities have declined to the extent that they would believe in such ludicrous ideas.
By looking at Mrs. Ramos’ appearance, we see further stereotypes used to represent older people. She is wearing bland clothes that could be seen as outdated and glasses that signify her vision is impaired. She sits slightly hunched over, signifying to the viewer that she may not be taking care of her body. These are all tropes often used in screen media, instilling within the viewer that all older people look like this. Beyond the woman’s appearance, her demeanour contains further ageist tropes common in these advertisements. She speaks slowly with a soft tone of voice and she keeps her hands on top of each other in her lap. These visual cues not only perpetuate ageist stereotypes but also contribute to the normalisation of narrow perceptions of older individuals.
The final remark from Mrs. Ramos that she “shouldn’t have let [her son] play so many video games,” serves as an illustration of another ageist stereotype: the belief among older generations that video games are fundamentally harmful (LinkedIn 00:18). This stereotype perpetuates the idea that with age comes a disconnect from contemporary society, suggesting older people are out of touch with younger generations.
The advertisement concludes with the tagline “Parents don’t understand B2B. LinkedIn does,” (00:21). While LinkedIn may understand B2B, the advertisement shows a lack of understanding of inclusivity and being pro-aging. To add to the damage done by creating and publishing the advertisement, they took a defensive stance, stating that “although … some viewers would find the advertisements to be distasteful, they considered viewers would likely interpret the advertisements as light-heartedly suggesting that the acronyms and technical jargon associated with certain IT jobs that did not exist until relatively recently may not be generally understood by the older generation,” (Callaham) This response exemplifies how lightly society treats ageism, hiding behind guises of humour and not acknowledging the harm that comes with it.
With the rise of streaming platforms such as Netflix, which offer uninterrupted viewing of movies and TV shows, traditional television has seen a decline. According to the July 2023 Nielsen report, cable and broadcast TV in the US fell to a combined 49.6% of overall viewing time in July (“Streaming Grabs a Record”). However, there are exceptions to this decline, particularly in sports broadcasting. Large sports events such as the Super Bowl still bring in millions of viewers every year. Super Bowl LVIII was the most-watched program ever, averaging 123.4 million viewers across all platforms, with 120.0 million watching on CBS (“Super Bowl LVIII Is Most-Watched”).
The Super Bowl’s popularity is partially due to the halftime show and Super Bowl advertisements. A consumer survey conducted by AdTaxi revealed that 34% of viewers were not interested in the game itself, but rather in the commercials (Game Day Trends & Analytics 5). Paired with the millions of people watching, it comes as no surprise that brands spent approximately $650 million on Super Bowl LVIII advertising placements (“Super Bowl LVIII AD Spending”).
Traditional media advertising is still important, and advertisers should be doing their due diligence in creating inclusive advertising. This, however, is not always the case. Even when making advertisements for the Super Bowl, advertisers bring forth polarising, problematic commercials. Whether it’s an advertisement that fuels “anti-gay bullying” like the Snickers “Kiss” commercial3 or an advertisement that uses immigration as a marketing tool like 84 Lumber’s “The Journey Begins” commercial4, advertisers continuously miss the mark.
E-Trade’s 2018 Super Bowl advertisement portrayed older people working jobs ranging from DJing to office jobs. Its main message was that ⅓ of Americans have no retirement savings and end up working into their later life. Lea Stendahl, Chief Marketing Officer at E-Trade, stated that “right now, it’s the right message at the right time,” (Wallace). I agree that financial literacy is important, but the messaging of the advertisement fell flat and the portrayal of older people was disheartening.
While conceivable that E-Trade’s choice of less conventional jobs was an attempt to challenge prevailing biases surrounding older adults, further analysis of the advertisement reveals that the portrayals are far from empowering. The older people are reduced to caricatures that reflect society’s view of them. For instance, one segment features an older man riding a mobility scooter through the office while wearing an overly formal suit with splashes of colour and glasses (E-Trade 00:14). He is juxtaposed with a younger man riding a hoverboard, with a tablet in his hands and AirPods in his ears. The older man looks up at him with a bewildered look. This scene is riddled with ageist stereotypes: the older man is not physically fit enough to walk around the office and is confused by modern technology. Later in the advertisement, an older woman is seen dropping a stack of mail as she walks through revolving doors and a firefighter getting thrown about by the water hose he is holding (00:17, 00:40). These depictions portray older people as physically inept; they are demeaning and present older people as frail, confused, and incompetent. Despite presumably benevolent intentions, the advertisement does not successfully empower older adults in their financial freedom. Instead, it presents older adults in a satirical light that perpetuates the exact ageist stereotypes that marginalise older adults in the workplace.
3 The advertisement was “criticised by the Human Rights Campaign and the Gay and Lesbian Alliance Against Defamation for fuelling ‘anti-gay bullying’,” (Clark).
4 84 Lumber stirred controversy for depicting a family encountering the border wall in an attempt to cross the United States border (Clark).
Ageism is prevalent in film and advertising, presenting itself in the form of underrepresentation and misrepresentation of people over 50. Older people are systematically portrayed as incompetent, grumpy, lonely, and confused; they end up marginalised and seen as dependent and cognitively impaired. This age-based prejudice manifests in how society dismisses older adults, and terms like “elderly,” “geezer,” and “senior” imply the existence of a homogeneous and inferior group.
This devaluation of older people results in a plethora of concerning effects. According to the Centre for Ageing Better, ageism leads to problems with mental health, physical health, and financial wellbeing amongst older adults (Ageism: What’s the Harm? 3). To better understand the importance of changing the narrative around older people in the media, all of these topics must be addressed.
One of the detrimental impacts of ageism is on the psychology of older people. Consistent exposure to ageism has been proven to have an impact on the mental well-being of adults. According to a literature review published in Gerontology & Geriatric Medicine, increased “experiences or perceptions of ageism (or age discrimination) was associated with an increase in depressive symptoms as well as stress and anxiety” amongst people over 60 (Kang et al. 8-9). According to Julie Ober Allen, PhD., M.P.H., a potential reason why older people experience heightened stress and anxiety is an increase in cortisol levels as a result of the fight-or-flight reaction to ageist beliefs (D'Arrigo). This increase can lead to worsened health conditions and even premature mortality (D'Arrigo).
Furthermore, the aforementioned literature review found that many of the 13 studies reported a negative association between life satisfaction and ageism experience. Higher life satisfaction has been linked to a plethora of benefits in mental health as well as physical health. According to research, it is also tied to higher optimism, purpose in life, and mastery while lowering hopelessness, perceived constraints, and loneliness (Kim et al. 21). On the physical health end of the spectrum, higher life satisfaction reduces the risk of depression, chronic pain, sleep problem onset, mortality, and more (21).
Moreover, self-directed ageism has also been shown to have a direct impact on lifespan. A study conducted by Becca R. Levy found that a positive perception of ageing, after accounting for age, gender, socioeconomic status, loneliness, and functional health, has the potential of increasing one’s life by an average of 7.5 years (268). According to Levy, “the effect of more positive self-perceptions of aging on survival is greater than the physiological measures of low systolic blood pressure and cholesterol,” both of which saw an increase in lifespan by 4 years or less (268). Even no history of smoking and tendency to exercise have “been found to [only] contribute between 1 and 3 years of added life,” in comparison (268). Maybe if we start addressing the damaging impact of negative perceptions of ageing as seriously as smoking in recent years, we will see a greater push to tackle ageism in screen media and beyond.
All of these findings highlight the importance of tackling ageism, revealing its damaging effects on older adults. They demonstrate that ageist beliefs and stereotypes are not merely abstract issues, but have real psychological consequences. Considering that old age is a universal experience, the importance of addressing ageism becomes even more apparent. By addressing and eliminating ageism, we can foster a higher quality of life throughout the ageing process.
Beyond its impact on mental and physical wellbeing, ageism has significant repercussions on the financial wellbeing of older people. This stems from discrimination in the workplace which manifests through biases during hiring, career development, and wage practices. The stereotypes surrounding older adults frame them as unfit for work, resulting in difficulties with employment over the age of 50 (Grimm). As Judith D. Fischer notes, older workers face significantly longer periods of unemployment compared to other age groups after job loss (Fischer 226-227). Furthermore, they are likely to take a significant pay cut if re-employed due to the devaluation of older people in the workplace (227).
This is a significant issue, especially for those who are not yet eligible for retirement benefits or those without adequate retirement savings. These patterns force many to retire early, often having to rely on family to make do. According to Anne R. Somers, forced retirement has the potential of growing “into one of the major domestic conflicts of the next few decades” in the US (Somers). This not only has adverse physical and mental effects on the individuals, but also carries with it societal costs as more people become reliant on social safety nets and public services.
These employment challenges underscore the urgent need to dismantle ageist stereotypes in the workplace and ensure that older adults receive equitable treatment in hiring, career development, and compensation. Ageism in the workplace is not a secret, according to the Centre for Ageing Better, “employers [often] even recognise that age discrimination occurs in their organisations,” (Ageism: What’s the Harm? 13). The issue lies in a lack of action from policymakers and a lack of attention from the general public. Changes must be made to ensure job security over 50, policymakers must strengthen anti-discrimination regulations and public campaigns are necessary to challenge ageist stereotypes. Only through action can we create an environment where older people can experience secure employment and no workplace bias.
In 1989, Robert M. Butler, who coined the term “Ageism,” argued that ageism will never disappear completely due to our fears about ageing. Despite these deeply-rooted fears, awareness about ageism is becoming more widespread, providing hope that we can collectively overcome our fear of ageing. Researchers and pro-ageing advocates are challenging ageist prejudices that have consistently marginalised older people.
Within screen media, underrepresentation and misrepresentation of older people is a pervasive issue. As seen in my exploration of early 2000s romantic comedies, older characters are absent or reduced to stereotypical portrayals. Advertisers similarly disregard the diversity of older populations and reinforce harmful stereotypes, as illustrated in Chapter 3, despite vocal pushback from those affected.
The stereotypes within screen media lead to the dehumanisation of older people which manifests itself in workplace discrimination, language used when referring to older adults, and other societal attitudes. As seen in Chapter 4, addressing these issues is crucial as experiences of ageism negatively affect the mental, physical, and financial well-being of a growing population. Filmmakers, producers, and writers must actively increase the number and diversity of older age groups in their work, while keeping portrayals of older people realistic.
While the research provides insights into the ageism that can be found in screen media, it does have limitations. The content analysis pertained to a limited set of movies and advertisements. Therefore, it may not capture the full breadth of ageism across different genres and forms of screen media. Furthermore, much of the research was qualitative and relied on a subjective interpretation of the media. Further research is recommended to address these limitations, expanding the scope to a wider variety of screen media. More quantitative studies, such as content analysis with larger datasets, could also provide a more comprehensive image of ageism in screen media.
As an extension of this essay, I have created a physical publication expanding on the multifaceted topic of ageism. Amongst the aims of the publication, it further examines ageism in movies, features interviews with voices affected by ageism, and provides steps towards challenging one’s ageism. By combining these mediums, I hope to raise awareness of ageism, illuminate the beauty of ageing, and encourage everyone to take steps towards a more inclusive future.
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