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Media representation of gender
Female stereotypes in media
“visual pleasure and narrative cinema" Mulvey
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There is no doubt that Eminem’s performance and music in 8 Mile, an American hip hop drama film loosely based on Eminem’s early life, were phenomenal. His original song “Lose Yourself” that was written for this film even won an Oscar, marking him the first rapper to receive an Academy award. However, viewers are too focused on praising Eminem’s successful transition from rapper to actor and, thus, overlook the role of women in this film, which exemplifies Laura Mulvey’s writings on the male gaze. In “Visual Pleasure and Narrative Cinema”, Mulvey argues that the processes of the film industry are gendered, through the male perspective of females and the influence of filming techniques, such as camera angles. Because of the overly sexualized …show more content…
8 Mile is a reasonably male-dominated film, as this film is meant to convey Eminem’s actual upbringing in Detroit and he had mainly male friends; however, essentially every male character sees the main female characters featured in this film as sexual objects. 8 Mile is about Jimmy “B-Rabbit” Smith Jr., played by Eminem, who is an aspiring rapper from the ghettos of Detroit trying to make it big, but faces many obstacles from his family, friends, and foes in his path to success. Additionally, his character is shaped by these people, in particular, the predominant female characters of 8 Mile: B-Rabbit’s alcoholic mother, Stephanie and his love interest, Alex. As the film progresses, both women are frequently featured in sexual, objectifying scenes. As a …show more content…
briefly encounters Alex for the first time. Jimmy blatantly checks her out as she walks away and the camera, then, zooms in on the lower half of her body, featuring her leather mini-skirt and black boots. Immediately, spectators inherently develop a sexual perspective of Alex, since it is Alex’s pleasing physicality that attracts her to Jimmy in the first place. As a result, “the determining male gaze projects its phantasy on to the female figure which is styled accordingly” (Mulvey 837). Because the male protagonist sees his love interest in this particular manner, movie watchers, the majority being men since this film targets male audiences, sees these female characters in the same way. Additionally, the camera angle becomes gendered, since it is oriented to focus on Alex’s physical features. This underlying action also promotes spectators to fixate these physical features and ultimately prioritizing them above any other feature, such as noticing Alex’s caring personality. Another instance is a female character who is always seen standing beside the character Papa Doc, the leader of a rival rap group that competes against B-Rabbit. She has no lines in the film and often has her arm around Papa Doc or is embracing him, dressed in provocative clothing. It is apparent that her sole purpose in the film is to stand beside Papa Doc in order for him to appear more masculine
November 1998, written for FILM 220: Aspects of Criticism. This is a 24-week course for second-year students, examining methods of critical analysis, interpretation and evaluation. The final assignment was simply to write a 1000-word critical essay on a film seen in class during the final six-weeks of the course. Students were expected to draw on concepts they had studied over the length of the course.
In his most recent album, Kanye West raps, “Now if I fuck this model/ And she just bleached her asshole/ And I get bleach on my T-shirt/ I 'mma feel like an asshole.” He suggests that it is the girl’s fault for getting bleach on his tee shirt, which she only did to make herself more sexually appealing. This misogyny in hip-hop culture is recognized to bring about problems. For instance, the women around these rappers believe they can only do well in life if they submit themselves to the men and allow themselves to be cared for in exchange for physical pleasure. In her essay, “From Fly-Girls to Bitches and Hoes”, Joan Morgan argues that the same rap music that dehumanizes women can be a powerful platform for gender equality if implemented correctly.
Throughout time, women in movies and other similar texts are shown to be generally focused on men. This might make sense if every movie ever made was set in a time where women had absolutely no rights but of course, that is not the case. Older and more modern depictions of women in media, both show women whose lives revolve around men. Even movies that market their female characters as strong and powerful are still shown to be dependent on the male leads and puts them first. Also, since women in movies have more of a focus on men, female to female relationships suffer in the same films. There are very few exceptions to this unfortunate truth.
In the classical Western and Noir films, narrative is driven by the action of a male protagonist towards a clearly defined, relatable goal. Any lack of motivation or action on the part of the protagonist problematizes the classical association between masculinity and action. Due to inherent genre expectations, this crisis of action is equivalent to a crisis of masculinity. Because these genres are structured around male action, the crises of action and masculinity impose a crisis of genre. In the absence of traditional narrative elements and character tropes, these films can only identify as members of their genres through saturation with otherwise empty genre symbols. The equivalency between the crises of genre and masculinity frames this symbol saturation as a sort of compensatory masculine posturing.
Throughout the years, women have been mistreated brutally by gangs in their neighborhood. In a memoir by Luis Rodriguez, Always Running, the main character experiences many random acts such as shootings, rape, and many arrests. Even though, Luis may seem like a very tough young man, he gives the women the respect and love they wish to receive from a gang member. In today’s society, many young girls are attracted to what society calls a “bad boy” because their lifestyle seems exciting. When one decides to join a gang, one must prove their loyalty to their new family by getting “jumped” by the whole gang or committing a serious crime. When a young girl begins to date a gang member, she begins to see how quickly a situation can escalate to a violent scene and abuse. As soon as a young girl is expose to that lifestyle, they tend to get mistreated mentally and physically by other gang
In the article “ From Fly to Bitches and Hoes” by Joan Morgan, she often speaks about the positive and negative ideas associated with hip-hop music. Black men display their manhood with full on violence, crime, hidden guilt, and secret escapes through drugs and alcohol. Joan Morgan’s article views the root causes of the advantage of misogyny in rap music lyrics. In the beginning of the incitement her desires shift to focus on from rap culture condemnation to a deeper analysis of the root causes. She shows the hidden causes of unpleasant sexism in rap music and argues that we need to look deeper into understanding misogyny. I agree with Joan Morgan with the stance that black men show their emotions in a different way that is seen a different perspective.
Lupita Nyongo is up for an academy award for her debut performance in the blockbuster 12 Years a Slave (Butler 2). Despite not being known a year ago, these days Lupita commands an audience when she speaks (Butler, 3). She has recently joined a select list of actors having won an Oscar for their first performances in a feature film (Dyer Jr. 2). On February 28th, Lupita delivered an acceptance speech during the Essence Black Women in Hollywood awards. In her speech, Lupita addressed the preconceived notion of racial beauty in Hollywood. The following essay will seek to prove that Lupita Nyongo speech inadvertently breaks down the barrios of racial beauty by challenging the notion of that beauty is merely skin deep. I will do so by breaking down each portion of her speech and explain how the ethos of her argument helps to support the fight against racial marginalization within Hollywood.
This cultural phenomenon is not exclusive to music, of course. One need not be a sociologist or anthropologist to clearly see this Africanist presence operating in the linguistic as well as aesthetic elements of popular culture today; however, a particularly fascinating and recent development in the use of blackness can be seen in recent Hollywood cinema. No longer a mere source for cultural self-realization, blackness now actively aids in the empowerment and redemption of whiteness and in no other film is this made quite as clear as it is in Frank Darabont’s adaptation of Stephen King’s The Green Mile. A period piece not unlike Darabont’s previous film, The Shawshank Redemption, The Green Mile is also set in a prison during the first part of the twentieth century. The central character, Paul Edgecomb (Tom Hanks), is an affable guard placed in charge of Cold Mountain Correctional Facility’s death row, called The Green Mile by the prison population.
Being one of the world’s most popular art forms, it was inevitable that these archetypes would find their way into film as well. In this essay I will argue that the films Pulp Fiction, Taxi Driver, Watership Down, and Trainspotting are all versions of The Hero’s Journey, consequently demonstrating just how prevalent these archetypes have become in modern cinema. And that mythology and storytelling are important parts of each culture because they prevent the darkness in our hearts from spreading.
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
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.
‘Lad flicks’ or ‘lad movies’ is a type of film genre that emerged in the late 1990s. They are defined as a “‘hybrid of “buddy movies”, romantic comedies and “chick flicks”, which centre on the trials and tribulations of a young man as he grows up to become a ‘real man’. ‘Lad flicks’ respond in part to the much-debated ‘crisis in masculinity’” (Benjamin A. Brabon 116). This genre of film explored what it meant to be a ‘real man’ in the twentieth century and in order to do so, they would have to grow up and leave their juvenile ways behind to enter the heterosexual world. Gender relations in ‘lad flicks’ portray masculinity as a troubled, anxious cultural category hiding behind a humorous façade and also rely greatly on a knowing gaze and irony. The two ‘lad flicks’ that will be analyzed are The 40-Year-Old Virgin (Judd Apatow 2005) and Role Models (David Wain 2008).
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
In recent times, such stereotyped categorizations of films are becoming inapplicable. ‘Blockbusters’ with celebrity-studded casts may have plots in which characters explore the depths of the human psyche, or avant-garde film techniques. Titles like ‘American Beauty’ (1999), ‘Fight Club’ (1999) and ‘Kill Bill 2’ (2004) come readily into mind. Hollywood perhaps could be gradually losing its stigma as a money-hungry machine churning out predictable, unintelligent flicks for mass consumption. While whether this image of Hollywood is justified remains open to debate, earlier films in the 60’s and 70’s like ‘Bonnie and Clyde’ (1967) and ‘Taxi Driver’ (1976) already revealed signs of depth and avant-garde film techniques. These films were successful as not only did they appeal to the mass audience, but they managed to communicate alternate messages to select groups who understood subtleties within them.
Not all films which adhere to the classical Hollywood paradigm eschew issues. The film Singin’ in the Rain follows Don Lockwood, a popular silent film actor, as he attempts to maintain his star status during the advent of “talkies”. Lockwood’s journey manifests fame’s capricious temperament, the studio’s commercial interest, and the influence of outside variables on a film. Singin’ in the Rain uses Lockwood’s struggle with celebrity to expose the importance of public image and self esteem.