One thing that I have learned throughout my college career is that woman has always been given the short end of the stick in films. Women have always been objectified and the male gaze has always been the prominent way of viewing and creating films. Usually women’s place in a film is always thought to be pleasurable for the male viewers. The introduction of the term “the male gaze” can be traced back to Laura Mulvey’s essay called “Visual Pleasure and Narrative Cinema.” Mulvey states that in film, women are usually the objects because the camera is focuses on the assumption of heterosexual men as the default target audience for most film genres. Even though her beliefs were written when there were mostly men protagonists present in film, the …show more content…
Even though she is participating in a sport that is typically more masculine, she is still forced to be the object of the film instead of the processor. In this article I will not only be looking at Mulvey’s theory about the male gaze, I will also be examining female athletes in Hollywood, more specifically female boxers. Million Dollar Baby is basically about a female named Maggie (Hillary Swank), who is determined and does not care what it takes to be a boxer. Her journey is slowed down by many obstacles such as her trainer not wanting to train her and also people criticizing her about being a female boxer. When searching this film online I found it interesting that most websites felt like this film was based around Eastwood’s character, Frankie rather than Maggie. This already shows me that male domination is present in this film because I feel as if Maggie has had more obstacles to face but certain websites still to objectify Swank’s …show more content…
Most importantly, after the passing of the Title 1X law the involvement of women in sports has increased. Being that the film industry is one that mimics the cultural events that occur in reality, it has found a way to follow this social movement, creating films in which have female protagonists participating in sporting events in the film. Even though films have incorporated female athletes in their films, Pearson believes that these types of films are still not fully endorsed. In his article he quotes another reasearcher named Sochen stated that, “Since the dominant cultural values assume that all major power positions have been, and therefore, should be occupied by men, it remains unusual, exceptional, and unique to see women in central roles of power in American life and film”Acordding to this reasearcher, in the American society films that have roles of women as central characters are not typical an/or is not
Today’s culture sees a gap between the male and female gender. This is evident in everything from the films we watch, music we listen to, and even in our everyday lives. Historically, this issue has seen an even larger gap, and can be observed in the films that were made during that time. Vertigo and Citizen Kane both show the objectification of women by controlling them, writing them in supportive roles, and placing their value in the way that they look.
These masculine activities performed by females seem to be more acceptable in these films than if a male was actively portraying something feminine, such as cowering in fear. This gives validity to the argument that being masculine or feminine does not rely solely on gender, but rather the actions and reactions taking place for each
Film making has gone through quite the substantial change since it’s initial coining just before the turn of the 19th century, and one would tend argue that the largest amount of this change has come quite recently or more so in the latter part of film’s history as a whole. One of the more prominent changes having taken place being the role of women in film. Once upon a time having a very set role in the industry, such as editing for example. To mention briefly the likes of Dede Allen, Verna Fields, Thelma Schoonmaker and so forth. Our female counterparts now occupy virtually every aspect of the film making industry that males do; and in many instances excel past us. Quite clearly this change has taken place behind the lens, but has it taken
An example of the media degrading and objectifying women is Laura Mulvey’s ‘Male Gaze’ theory. In Laura Mulvey’s essay ‘visual pleasure and narrative cinema’; she discusses the term ‘Male gaze’. In film, the male gaze occurs when the audience is put into the perspective of a heterosexual man, for example, a scene may focus with specific conventions such as slow motion or deliberate camera movements on a sexual aspect of a woman’s body, forcibly putting you as the viewer in the eyes of a male. This theory suggests that the male gaze denies women human identity, manipulating them to the standard of manifest objects to be appreciated solely for their physical appearance. The theory implies women can more often than not only watch a film from
American commercial cinema currently fuels many aspects of society. In the twenty-first century it has become available, active force in the perception of gender relations in the United States. In the earlier part of this century filmmakers, as well as the public, did not necessarily view the female“media image” as an infrastructure of sex inequality. Today, contemporary audiences and critics have become preoccupied with the role the cinema plays in shaping social values, institutions, and attitudes. American cinema has become narrowly focused on images of violent women, female sexuality, the portrayal of the “weaker sex” and subversively portraying women negatively in film. “Double Indemnity can be read in two ways. It is either a misogynist film about a terrifying, destroying woman, or it is a film that liberates the female character from the restrictive and oppressed melodramatic situation that render her helpless” (Kolker 124). There are arguably two extreme portrayals of the character of Phyllis Dietrichson in Double Indemnity; neither one is an accurate or fare portrayal.
In her essay “Visual Pleasure and Narrative Cinema”, Laura Mulvey discusses the subject of how female characters, through various methods, are subjected to erotic objectification, by both the characters on screen as well as the spectators within the auditorium. While Mulvey makes an excellent point in acknowledging female’s exposure in cinema, she fails to realize that male characters are just as likely to be subjected to the same kind of objectification, depending on what type of audience the motion picture is directed at. Mulveys claim depends on a generalization of a homogenous audience and characters that only consists of heterosexual men. When transferring Mulveys claim onto homosexual male characters starring in a production that is in first-hand directed towards a gay audience, the erotic objectification of male characters share several similarities with those Mulvey describe women to be exposed to in her essay. Consequently, erotic objectification is governed by different circumstances, in which the audience plays a large role.
...t Like Beckham. This film also showed the stereotyping of women's sexual preferences that female women must endure. Another problem that women can face is a lack of venue for their athletic ability. Monica was forced to go overseas in Love and Basketball so that she could play professionally. Fortunately, she did eventually find a way to play in the US. What all these films demonstrate is that the image of women in sports is continually evolving. From the start of Dare to Compete when female athletes were almost unheard of to the present day, there has been change at every step of the way. Hopefully, by the time this century has ended, women will be able to assume their own personal identities, rather than being labeled as a certain 'type' simply because they are athletic. I think the progress we've seen so far is a great indicator that this may someday be possible.
The most important events of this film all revolve around the female characters. While there are some male charac...
In films, female characters ‘reflect and perpetuate the status and options of women in today’s society’ and play
How does the film support or negate tgis point? In Visual Pleasure and Narrative Cinema, Mulvey states that, “Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story, and as erotic object for the spectator within the auditorium, with a shifting tension between the looks on either side of the screen.” (Mulvey 40). A woman’s role in the narrative is bound to her sexuality or the way she draws attention away from the narrative.
These movies allowed female characters to embody all the contradictions that could make them a woman. They were portrayed as the “femme fatale” and also “mother,” the “seductress” and at the same time the “saint,” (Newsom, 2011). Female characters were multi-faceted during this time and had much more complexity and interesting qualities than in the movies we watch today. Today, only 16% of protagonists in movies are female, and the portrayal of these women is one of sexualization and dependence rather than complexity (Newsom, 2011).
Led by Laura Mulvey, feminist film critics have discussed the difficulty presented to female spectators by the controlling male gaze and narrative generally found in mainstream film, creating for female spectators a position that forces them into limited choices: "bisexual" identification with active male characters; identification with the passive, often victimized, female characters; or on occasion, identification with a "masculinized" active female character, who is generally punished for her unhealthy behavior. Before discussing recent improvements, it is important to note that a group of Classic Hollywood films regularly offered female spectators positive, female characters who were active in controlling narrative, gazing and desiring: the screwball comedy.
Women have made progress in the film industry in terms of the type of role they play in action films, although they are still portrayed as sex objects. The beginning of “a new type of female character” (Hirschman, 1993, pg. 1). 41-47) in the world of action films began in 1976 with Sigourney Weaver, who played the leading role in the blockbuster film ‘Aliens’ as Lt. Ellen Ripley. She was the captain of her own spaceship, plus she was the one who gave out all the orders. Until then, men had always been the ones giving the orders; to see a woman in that type of role was outlandish.
Feminism is a movement that supports women equality within society. In relation to film, feminism is what pushes the equal representation of females in mainstream films. Laura Mulvey is a feminist theorist that is famous for touching on this particular issue of how men and women are represented in movies. Through her studies, she discovered that many films were portraying men and women very differently from reality. She came up with a theory that best described why there is such as huge misrepresentation of the social status quos of male and female characters. She believed that mainstream film is used to maintain the status quo and prevent the realization of gender equality. This is why films are continuously following the old tradition that males are dominant and females are submissive. This is the ideology that is always present when we watch a movie. This is evident in the films from the past but also currently. It is as if the film industry is still catering to the male viewers of each generation in the same way. Laura Mulvey points out that women are constantly being seen as sexual objects, whether it is the outfits they wear or do not wear or the way they behave, or secondary characters with no symbolic cause. She states that, “in traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote it-be-looked-at-ness.”(Mulvey pg. 715). Thus, women are nevertheless displayed as nothing more than passive objects for the viewing pleasure of the audience. Mulvey also points out through her research that in every mainstream movie, there is ...