The representation of violence exacted upon women in cinema is inextricable from being projected upon all women. To provide a scene that objectifies the female is to reduce the feminine form to its non-dual state, e.g., a sexual object providing a vessel for male gratification (hubris and sexual) rather then being defined by its duality of sentient and physical forms. Those who construct scenes of violence against women are bound to a moral responsibility to subjectify the woman’s perspective, thus reestablishing the female as a victim rather then an object and rendering the act of violence intelligible (deplorable, open to interpretation). The cast of Quentin Tarantino’s Kill Bill Volume 1 is predominantly female, the main character (“The Bride”) is a fearless heroine who battles other savage villainesses. However, this film’s revenge plot is based on acts of sexual and physical violence (The Bride’s is intended to be murdered, raped, and believes her unborn child was killed) which do not objectify The Bride. Rather then being objectified, she is depicted as a woman who’s honor was forcibly removed. She is reduced to a coma state (an object) by those who victimized her; when she awakens she seeks vengeance. The men responsible for sexually abusing her are objectified by the object they objectified, rendering her superior. Requiem For A Dream establishes the means one will go to in order to serve an addiction. Marion Silver (played by Jennifer Connelly) becomes addicted to drugs and subsequently subjects herself to prostitution so that she may continue to fulfill this habit. In a climactic sequence, she is a reluctant participant in a lesbian orgy as viewed by well-paying male on-lookers. Though I condede Daren Aronofsky may have felt he was justified in objectifying his female characters in such a graphically promiscuous manner because they voluntarily subjected themselves into prostitution, his extensive visual depiction of male gratification at the expense of female integrity is not cathartic and serves no purpose other then providing some alluring eye candy for male watchers. However, not all depictions of violence against women are as easily defined by a just or deplorable representation. In Full Metal Jacket, Stanley Kubrick creates a climax in a moment that rev... ... middle of paper ... ...ion allows the film to exist unto itself with its totality defined by distinctive (independent) subjectivity. Like in many of his other movies, Kubrick litters Full Metal Jacket with symbolism and metaphor, but these directorial techniques need not be examined to enjoy or understand the plot of the movie. Although the split nature of the film expounds upon both the ability of the viewer to concentrate and be distracted by representations (logic vs. overriding emotion), it is also an exhibit for the dualist nature of man, i.e., the final marching chant. The use of a Disney song in any respect implies an association to innocence and good-will; applying it as a closing scene in a sequence that is dominated by a tirade of destruction is a more obvious symbolic gesture on Kubrick’s part. Can man be both malicious & peaceful? Or is man both? Through making both explicit distinctions and connections between mercy and vengeance in the human condition as evidenced in Full Metal Jacket as the preparation for (1st half) and execution of technique (2nd half) when existing in a war-state, Kubrick illustrates the disjunctive corollary (1st half & 2nd half) that war is organized chaos.
Laura Mulvey claims that the camera is almost always masculine and that all women in these films are objectified and punished if they don’t please the male characters by obeying gender roles. Carol Clover, however, believes that there is more to Mulvey’s claim. Clover argues that the boys of the film also die, insinuating that punishment does not just fall on the women. She also argues that the camerawork and the film itself are about gender fluidity; both boys and girls can identify with any character of the film, be it the killer, a boy, or the final girl. Sexual ambiguity, especially in regards to the first-person camera work, are the focus of the films. To some extent, I believe both women’s claims. However, I believe there is more truth in Clover’s argument due to the fact that retributions are inflicted upon all characters regardless of gender. Yet, it does seem that women in horror films have a special place in terms of their sexuality and roles for the film. The women have ambiguous gender rules as evident by the final girl. Her act of fighting is considered a masculine activity. 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
In Laura Mulvey’s “Visual Pleasure and Narrative Cinema”, she presents a number of very interesting facts regarding the ways that the sexual imagery of men and women respectively are used in the world of film. One such fact is that of the man as the looker and the female as the looked upon, she argues that the woman is always the object of reifying gaze, not the bearer if it. And “[t]he determining male gaze projects its fantasy onto the female figure, which is styled accordingly. In their 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 be connote to-be-looked-at-ness” (487). Mulvey makes the claim that women are presented and primped into this role of “to-be-looked-at-ness”. They are put into films for this purpose and for very little other purposes. However, this argument cannot be incorporated with The Treasure of the Sierra Madre; the existence of women in the film is extremely insignificant to an extent that could be considered absent. “In a world ordered by sexual imbalance,” male serves as the dominant figures with which the viewer can identify, women only appear in the film for a very short moment of time. For instance, the appearance of women is only shown when Howard rescues the ill child in the village and his return to the village for hospitality reception...
Pearson, Patricia. When She Was Bad: Violent Women and the Myth of Innocence. New York: Viking, 1997
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).
...s often the stubborn majority, as it is difficult to simply change a characteristic so widely embedded in the framework of cinema. Therefore, it is not my objective to say that all movies must pass the radical Bechdel test or include the presence of a strong, independent female character; rather, we as a society must recognize that we are inherently biased in the topic of gender and must make an effort to exhibit a more conscientious and sympathetic portrayal of women in cinematic media. The simplest resolution can begin with clothing, where an audience’s viewing is not diverted by the lack of clothing from either male or female characters. The task of reinventing cinema is to reinvent a century of subconscious thinking, and only by taking one step at a time can both men and women watch a movie where all characters, both male and female, can be represented equally.
Americans have argued for a long time about laws that would allow professors or students to carry firearms on college campuses. Do gun-control laws on U.S. college campuses reduce violence, or they take weapons from honest citizens while leaving them in the hands of criminals? According to Villahermosa, “allowing guns on campuses will create problems, not solve them.” (“Guns Don’t belong in the Hand of Administrators, Professors, or Students” para. 1) I totally agree with Villahermosa’s point of view, and I believe that guns bring violence. Overall, gun related crimes on college campuses are a major problem in the United States, today.
Allowing guns on college campus can create tension on the campus and possibly increase the rate of gun violence in schools.
Picture yourself as a woman in the 1940s. Life is rather mundane, you’re nothing but a housewife. You cook, clean, raise children, and dote upon your manly husband, your behavior is reinforced through film – an industry dominated by the patriarchy which stresses what a woman should do, and how a woman should act. Now, imagine you’re about to change all that. Picture yourself as the Femme Fatale. The Femme Fatale’s role in film, especially that of film noir became the ultimate reflection of the everyday defiant woman seeking equality. Therefore, in film noir, the femme fatale was able to significantly transgress the status quo of the societal norms of femininity and gave a voice to women which can be seen through her emergence post-WWII, the prewar norms of femininity and how she changed them, and her influence on women of the time.
Throughout history, the issue of mass school shootings has been an area of concern. Though it has always been an issue, it rarely occurs, and this is a major reason people oppose being able to carry weapons on college campuses. People realize that they could save lives but do not think these events happen often enough to equal the risk. Many people’s reason for opposing the right to carry weapons on college campuses comes from the idea that if a shooter wants to kill someone, he or she would not stop just because weapons are allowed. These people believe that a determined shooter would just go into deeper depths of planning the attack around others who are carrying a weapon. Though this is a valid point, I still believe it would make it more difficult for shooters to be successful in their attacks if individuals were carrying a permitted weapon.
When one wants to be a teacher, he or she must consider quite a few different aspects in order to know whether or not the career opportunity is right for him or her. Educators have decided why they wanted to become a teacher for many different reasons, whether it be because it is their calling, or any other reason. When becoming a teacher, one must think about what he or she hopes to accomplish as a teacher. Another thing he or she may think about is who influenced his or her decision in choosing a teaching career. Reflecting on my past experiences in school, I know of a few teachers who leave legacies in students’ lives and at the school he or she taught at.
If you watch movies these days you know you’re sure to see some sort of violence whether it be a killing, beating, or some kind of cruel act. Now every time you watch TV, you are likely to see a commercial promoting a new movie with a catch title such as “Scream” or “Fear.” Whether you think these movies are necessary or not, production companies know they will get the viewers and this is why they keep making them.
Teachers have the role of shaping students for tomorrow. They help them academically, personally, and socially. I cannot think of any other career that would be as rewarding as teaching. A teacher has the opportunity everyday to change a student’s life. One of the reasons I want to become an educator is because I want to have a positive influence on a student’s life. I think in today’s society it’s crucial for students to feel like they have a positive role model. I have seen what a large impact teachers have made on their student’s lives. That has made me to want to strive and do the same. Another reason for choosing this profession is that I simply love working with children. I do not think that there is any greater moment that when a student catches on to what you are teaching them. This makes the student feel better and it makes you feel like you have succeeded at your job. The final reason I want to become a teacher is that I feel that I have many great ideas, and I would love to communicate these ideas to my students.
My choice to become a teacher was not made lightly. This decision was a culmination of a process of reflection about what I wanted to do with my life. I have chosen a career in education because I believe that it is one of the most important functions performed in our culture. I believe that teachers individually and collectively have the ability to not only change the world, but to improve it. Within the process of teaching, I hope to find both personal and professional renewal. I want to be a part of a noble profession with the hope of one day being counted among those in whom future teachers find inspiration.
Teaching has been my dream profession since I was in eighth grade and has helped motivate me to be my best self ever since then. The summer going into eighth grade my girl scout troop did our silver award project where we created a summer academic curriculum for once homeless preschoolers and kindergarteners, that were currently in transitional housing at Saint Elizabeth lodge, who were behind in school. Every Wednesday that summer I spent two hours teaching and playing with those children and my life has not been the same since. Another reason I want to go into the teaching profession is because of the indescribable feeling when you get to see a child’s eyes light up when they finally achieve and comprehend something you have been teaching them and they have been struggling with. Seeing a child after this moment is exceptionally rewarding, because they are typically extremely happy and proud of themselves and that feeling will help them problem solve, build confidence, and face more difficult challenges in the future. Lastly, I want to be a teacher, because education is essential to have in the world we live in today. Getting an education provides people with the skills they need to succeed in life and to achieve their goals. I hope that by becoming a teacher I can help children learn the skill sets that will help them achieve later in life.
This paper explores four main questions. Those questions are why I want to become a teacher, what or who influence me, what I hope to accomplish as a teacher, and what will by my legacy in my classroom. The answers based upon these questions will vary depending what they are asking. I will explore each question in depth and make it unique to me. Personally, I have a connection with teaching because back at home I used to work at a child development center and had my own classroom of fourteen little three year- olds. Therefore, I want to become a teacher because I love being with kids and it would be a dream come true. I want to accomplish many things as a teacher, but mainly gain the trust from my students. Also, the person who influenced me to decide to become a teacher is my neighbor/best friend, and she made me realize that my legacy in my classroom would not just be to make sure the students learn, but to make my students feel loved.