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Feminism in film industry
Women's role in movies in today's society
Women's role in movies in today's society
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Cleo from 5 to 7 is a French New Wave film by Agnes Varda which tells the story of a young pop singer named Cleo who, on the longest day of the year, has two hours to wait until the results of her biopsy come back. At the beginning of the film, Cleo goes to a Tarot card reading which—she assumes—predicts her demise. Though the film is a new wave film, most of which tend to be extremely image conscious, I think the underling existentialist theme that is present in the movie is, in a way, satirizing the shallower side of the film movement and of pop culture. When Cleo is told at the beginning of the movie by the tarot card reader that she will experience a “profound transformation of her being” Cleo is quick to assume this means death and disfigurement. She leaves the reader and looks at herself in a mirror, exclaiming …show more content…
Janice Mouton mentions in her piece a 1929 study conducted by Joan Riviere about the “feminine masquerade.” In which many women of the time—and likely of Cleo’s time—felt their femininity to be an accessory, a mask they lived in rather than who they were. Something made just to appeal to men. I think that is a big statement being made throughout Cleo as well. When she is visited by a gentleman caller whom she is having some kind of affair with (though we are never quite clear on what kind it is), her friend warns her not to tell him she is ill because “men hate illness.” I think Varda was drawing on the way culture viewed femininity. Men were not in love with women as people, they were just in love with the idea of a woman and what they thought a woman should be. Women, it was felt, were to be other-worldly, angelic creatures. They could not experience death, disease, and illness the same way as men do simply because it was no glamorous
“So don't let your mind dwell on just one thought, that what you say is right and nothing else.” (lines 799-800) These were just some of the many words from Haemon to his father (Creon) describing the action that he isn't taking. Haemon's contrasting ideas led to the development of Creon as a tragic hero while also advancing the plot and developing the theme.
Cleofilas grew up in a male dominant household of six brother and father, and without a mother, she no woman figure to guide her, give advice on life, or how to love a man. Cleofilas turned to telenovelas for a woman’s guidance on love and appearance, and she began to imagine her ideal life through the television series. Once Cleofilas was married she moved away into a home with her husband, were she pictured everything to be like the couples on the telenovelas, but she soon starts to realize life isn 't exactly like how they view it in the telenovelas. In the story Sandra make the statement ‘From what see can tell, from the times during her first year when still a newlywed she is invited and accompanies her husband, sits mute besides their conversations, waits and sips a beer until it grows warm, twists a paper napkin into a knot, then another into a fan, one into a rose, nods her head, smiles, yawns, politely grins, laughs at the appropriate moments, leans against her husband’s sleeve, tugs at his elbow, and finally becomes good at predicting where the talk will lead, from this Cleofilas
One way in which Medieval women were undermined and subjugated to men was by being painted as untrustworthy temptresses, and the lady in Laustic, the unnamed lover in Lanval, and the Queen in Lanval are all portrayed as temptresses. For instance, the lady in Laustic spends all night looking over at her lover. She cannot go to the castle next door to see her lover, so instead, all night “The lady, at her window, higher,/Speaks, and looks, only desire.” From this passage we can see the sexual undertones of the story, with lady looking with desire at her lover. Elsewhere it explains that “They had all they wanted, at their leisure,/Except coming together alone, you know,/And going as far as they'd like to go,” clearly indicating the overt sexual nature of the woman’s desire for her lover and his for her. Lanval’s unnamed lover is even more overtly sexual, appearing scantily clad. The first time we meet her, the story tells, “In just ...
...vie, the actresses that played them actually fit the role. Women usually do not have impacts on things, but in this novel, major things happened as a result of these women. These things include dishonest marriages, love affairs, wealth, power, and jealousy. This goes to show that women are not always the innocent ones in novels, or any other type of literature.
Accordingly, I decided the purposes behind women 's resistance neither renamed sexual introduction parts nor overcame money related dependence. I recalled why their yearning for the trappings of progression could darken into a self-compelling consumerism. I evaluated how a conviction arrangement of feeling could end in sexual danger or a married woman 's troublesome twofold day. None of that, regardless, ought to cloud an era 's legacy. I comprehend prerequisites for a standard of female open work, another style of sexual expressiveness, the area of women into open space and political fights previously cornered by men all these pushed against ordinary restrictions even as they made new susceptibilities.
The author wanted to provide a realistic view of life in this era and also wanted to bring to life what everyday women felt like then. The subject and writing style could be seen as plain but that is to let you (the reader) be able to feel yourself in the time and place and thus be able to feel the emotional context of the events that happen to the charcters.
Furiosa and the Vuvalini are seen as individual people and subjects rather than objects because no one has very much power or control over these women. Practicality is the main focal point of dress for Furiosa and the Vuvalini, as they are dressed for the climate, weather conditions, and easy mobility. The wives clearly start off the film as objects under Immortan Joe’s control, but soon flip the script and make themselves subjects after breaking away. They are no longer the damsels in distress, as they are now helping to save themselves and and the rest of their group. The wives dress somewhat provocatively, but that does not stop them from aiding in fending off the enemy. What you look like and what you wear does not make you any less of a feminist, or a person for that matter, than someone else. The film also shows that even if at one point you were considered an object of sorts, you have the ability to be more than just property.
She tells the girl to “walk like a lady” (320), “hem a dress when you see the hem coming down”, and “behave in front of boys you don’t know very well” (321), so as not to “become the slut you are so bent on becoming” (320). The repetition of the word “slut” and the multitude of rules that must be obeyed so as not to be perceived as such, indicates that the suppression of sexual desire is a particularly important aspect of being a proper woman in a patriarchal society. The young girl in this poem must deny her sexual desires, a quality intrinsic to human nature, or she will be reprimanded for being a loose woman. These restrictions do not allow her to experience the freedom that her male counterparts
She says, “To mourn over the miseries of others, the poverty of the poor, their hardships in jails, prisons, asylums, the horrors of war, cruelty, and brutality in every form, all this would be mere sentimentalizing.” This reflects the personality of women to be very kind, but also shows that men don’t show the mercy or affection needed in some areas. She also showed this in the quote from the first paragraph, “...while mercy has veiled her face and all hearts have been dead alike to love and hope!” She implied that men aren’t showing the love they must show in order to have peace, therefore bringing destruction. She then reminded us that mother nature is trying to repair all of the destruction in the world. She used the term “mother nature” because it causes the audience to connect the earth with the gender of the woman and how they are kind is
We don’t know if the speaker is male or female. But, the language of the speaker is very direct and sometimes we are getting facts that are horrible. This attitude of the speaker about Helen gives you the understanding and feel for what they think about her and why. The poem speaks about the hatred of a beautiful woman. Throughout the poem, Helen's beauty makes her into a victim of desire. She is talked about by her appearance and beauty. It can be inferred that the speaker is speaking for woman who are subject to objectification. She is reaching out to innocent women and stating that it is wrong to place blame upon their appearance, something that women have no control over. The In To Helen the speaker we know is a male. He is in love with Helen he’s also educated on classical allusions, in each stanza he has some references to Greek mythology, and the classical references parallel to danger or love gone wrong. He mentions her beauty, face, hair, and uses similes to compare her to a
In order to discern between the Victorian and Romantic themes, Bronte selects certain characters to portray the perfect stereotype of each theme. Mademoiselle Celine Varens is the model of the Romantic attitude. Varens a “French opera-dancer” found herself as the “grande passion” of Mr. Rochester. The amour between Rochester and Varens started in a “complete establishment of servants, a carriage, cashmere, diamonds, dentells, etc.” and ended with Rochester “finding her out” with another man. Varens’ irrationality did not only affect Rochester, but also her child: “she abandoned her child and ran away with a musician or singer.” Celine Varens, a woman in a daring profession, led a life of passion, freedom and irresponsibility. Her life was ballad of adventure idolized by Romantics but frowned upon by society. Mrs. Reed is the perfect representative of Victorian realism. She had all the visual attributes found in a Victorian styled lady. She possessed gentry as the mistress of Gateshead Hall and her material wealth was made obvious by the luxuries found in her home –“a bed supported on massive pillows of mahogany, hung with curtains of damask”—and in her children “in their Muslim frocks and scarlet sashes.” Besides wealth and gentility, Mrs. Reed also maintained Victorian characteristics of insularity and censoriousness.
Since the beginning of time, women have been seen as different from men. Their beauty and charms have been interpreted as both endearing and deadly to men. In the Bible, it was Eve’s mistake that led to humanity’s exile from the Garden of Eden. However, unlike in the Bible, in today’s world, women who drive men to ruin do not do so through simple mistakes and misunderstandings, they do so while fully aware of what effects their sexuality can cause. One thing remains constant through these portrayals of women, and that is that they are portrayed as flawed creations and therefore monstrous. It is a woman’s sex drive and sexuality that can lead to her monstrosity. The femme fatale is an enticing, exquisitely beautiful, erotic character who plays the ultimate trick of nature: she displays her beauty, captures the man and goes in for the kill. Films such as Adrian Lyne’s Fatal Attraction and stories such as Geoffrey Chaucer’s The Wife of Bath’s Tale, and Sir Gawain the Green Knight use the femme fatale as a means of making a woman into a monster; the femme fatale can never win in the battle of the sexes. But what is it that makes the femme fatale such a dangerously character for the hero as well as the readers or viewers?
Evelyn Cunningham once said, “Women are the only oppressed group in our society that lives in intimate association with their oppressors.” For thousands of years women have been oppressed, not in the bondage of slavery but in the bondage that comes from a lack of education and a dependence on men for their livelihood. Women have been subjected to scrutiny and ostracization, belittling and disparaging comments, and even at times they have been feared by men. Women themselves have even taken on the beliefs that they require a man in their life to be taken care of and have a satisfying life although some women and even some men have seen that the differences between the sexes is purely physical. This oppression, as well as the enlightenment of some, is well noted in many literary works. Literature has often been an arena for the examination of the “woman question,” as it was termed in the Victorian age. Four works that examine the role or view of women in society are John Stuart Mill’s The Subjection of Women, T.S. Eliot’s “Love Song of J. Alfred Prufrock,” Virginia Woolf’s A Room of One’s Own, and Carol Ann Duffy’s “Medusa.” Although each work examines a side of the woman question in its own way with a variety of views on the question, all of the works examine the fear that women incite in men, the idea that women are dependent on men, and the idea that women are separate from men in some way and each piece works to show that there is actually an interdependence between men and women that is often not expressed.
Confessional poetry of women poets of the then 1950s and 1960s opens a new vista for them to express their ‘self’ and to foreground their identity. These poets feel the need for self-affirmation because of their experience of marginalization in society. They found all the experiences are gendered in the 1950s and 1960s patriarchal society and so they also develop a gendered image of their ‘self’ in their confessional poetry. At the time when Sexton and Plath were children, the authoritarian figure within the nuclear family was the father and so he was the representative of society’s rule. Hence, the delineation of the Electra complex in their confessional poetry is one of the approaches of scratching their gendered ‘self’ because through the Electra complex the poets inscribe the female sexuality into the text. So, “with their autobiographical works, they write themselves into the canon and represent and deconstruct cultural images and linguistic codes of ‘woman’ and suggest alternative modes of self and identity” (Carmen
‘Paper Giants, the birth of Cleo’, recounted the story of how, against a foundation of developing women's liberation, the triumph of the Whitlam government, and the Packers' coming loose of their medium field, Ita Buttrose became a director of an incipient and controversial magazine. Divided from the impressive sentiment of history and sloppiness the smaller than expected arrangement summons, it focussed on Buttrose as a trailblazing social symbol.