Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Sexuality in society details
Sexuality in society details
Film and gender roles
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Sexuality in society details
“American Beauty” through images and character depiction attempts to portray and question the triteness of middle class sexual mores. One of the main ways director Sam Mendes portrays this is through symbols, especially in the seductive color red, used to represent both sexuality and youth. The characters of the film, through their dialogue and various deceptions to the outside world also pose questions about society’s expectations for sex. Mendes’ also utilizes lighting, props, sets and music as commentary on the sexuality of all of his characters, both sexual reawakening and oppression. The visual style of the film coupled with the character’s unique struggles and views make “American Beauty” a haunting look at the way our culture views gender and sex.
The color red, primarily used in the symbol of a rose, is the most prominent and memorable visual image of the film. The American Beauty rose is a “perpetual rose”, one that regrows every year and is known for its blood red color. When the film opens and we are introduced to Carolyn, the uptight wife of the film’s protagonist Lester, she is snipping the growing roses at the stem symbolizing her stifled and loveless marriage. We see Carolyn’s roses a few other times in the film essentially dying in a vase, never as vibrant as when she first cuts them in the front yard for the whole world to see. However, when Lester first sees Angela, his daughter’s friend from high school, she reawakens him sexually and everything about her is red. She wears blood red lipstick and a red uniform while Lester imagines her with flowing, vibrant red roses. While these characterizations and imagery help establish the rose and the color red as definers of these women’s sexuality, they are a...
... middle of paper ...
...ering associations with their own youth help to form the division between them that drives the story of the film.
The director’s choices in symbols, music and characterizations in “American Beauty” successfully portray several statements about our culture’s sexual beliefs and how Mendes’ characters view their own sexuality. Symbols used to represent youth, conservative ideals and liberal sexual ideals help shape the film’s melancholy portrayal of the suburban middle class. Many of Mendes’ comments are critical, showing conventional aspects of life as drab, dark, and unexciting through plain sets and dull lighting. Being adventurous or rebellious is portrayed positively through upbeat music, bright lighting and vibrant colors. The stylization and character development in “American Beauty” makes many poignant statements about Middle America’s sexual archetypes.
...age and the crisis of integrity versus despair however, the two characters had different characteristics that categorize them in different ends of the crisis. Throughout the movie, the audience is able to visualize what types of issues are dealt with as well as what type of problems the characters had to go through to resolve their crisis. Chelsea also had different issues than Billy due to the fact; each were facing a different stage as well as crisis. Personally this movie provide me a great understanding in human development; I was able to understand why each person does a certain action: for instance my sister is disrespectful and immature because she is facing the adolescence stage as well as the identity versus role confusion stage. I also learned that a crisis can truly affect a person in a negative; if the person is not able to fully deal with their crisis.
To elaborate, Scott argues that as a picture interpreter, we must make a distinction between the “ideal and the real,” to understand the true meaning of an image. She argues how the Gibson Girl and the American Girl were two idealised visions of modern beauty and femininity which made women to try to be like them. These two girls became markers of their decade, ...
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
The famous the note that was left by the teens in detention at the end of the movie shows the social connection between each of their roles in society and how those are tie to society. The teens use the stereotypical names to tell Mr. Vernon who they think they are; the brain, the athlete, the basket case, the princess, and the criminal, they use the names that society has given them because of their reputations, hobbies and looks. They each realize throughout the movie that there is something that connects them to one another which makes them all realize that no matter the stereotypical separation between them, they all have some things in common and can work together for a common goal.
Have you ever had one of those days that were so bad that you desperately needed a night at the ice cream or candy store? The 1970’s was that really bad day, while the night of self- indulgence was the 1980’s. Americans love to escape from our daily stress, and of all the products that allow us to do so, none is more popular than the movies. Movies are key cultural artifacts that offer a view of American culture and social history. They not only offer a snapshot of hair styles and fashions of the times but they also provide a host of insights into Americans’ ever-changing ideals. Like any cultural artifact, the movies can be approached in a number of ways. Cultural historians have treated movies as a document that records the look and mood of the time that promotes a particular political or moral value or highlights individual or social anxieties and tensions. These cultural documents present a particular image of gender, ethnicity, romance, and violence. Out of the political and economic unrest of the 1970’s that saw the mood and esteem of the country, as reflected in the artistry and messages in the movies, sink to a new low, came a new sense of pride in who we are, not seen since the post-World War II economic boom of the 1950’s. Of this need to change, Oscar Award winner Paul Newman stated,
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.
Director Stephen Frears chose, when filming this movie, to use traditional 35mm film for the scenes featuring the Royal Family. He chose to use traditional 35mm film to reflect the traditional views of the Royal Family. The syntax analyzed the language provided by the syntax helped understand the Royal Family traditional culture. The Royal Family at the beginning of the film had deep traditional roots and don’t agree with the progressive members of the society at large. After Princess Diana’s death the Royal Family believed that the arraignments should be kept as a private matter of her family. The Royal Family strongly believed that the Princess Diana was no longer part of the Royal Family since her divorce to the son of Queen Elizabeth II. Their traditional culture did not approve of Diana’s actions therefore they clashed views with the modernized government and Tony Blair’s suggestions to attend a public funeral for Diana, speak to the nation about Diana, and fly a Union flag at half-mast. The Queen and the Royal Family when adviced with these suggestions think it is a...
A director is successful when they take the audience away from comfort and security. In the film American Beauty, director Sam Mendes effectively achieves this. Creating a sense of discomfort and insecurity throughout the film allows the viewer to have a more in depth knowledge of the underlying themes within the film. Mendes strips viewers away from a sense of comfort and security through the portrayal of a dysfunctional family and the use of aggressive verbal slurs.
Film scholar and gender theorist Linda Williams begins her article “Film Bodies: Genre, Gender and Excess,” with an anecdote about a dispute between herself and her son, regarding what is considered “gross,” (727) in films. It is this anecdote that invites her readers to understand the motivations and implications of films that fall under the category of “body” genre, namely, horror films, melodramas, (henceforth referred to as “weepies”) and pornography. Williams explains that, in regards to excess, the constant attempts at “determining where to draw the line,” (727) has inspired her and other theorists alike to question the inspirations, motivations, and implications of these “body genre” films. After her own research and consideration, Williams explains that she believes there is “value in thinking about the form, function, and system of seemingly gratuitous excesses in these three genres,” (728) and she will attempt to prove that these films are excessive on purpose, in order to inspire a collective physical effect on the audience that cannot be experienced when watching other genres.
Madison, D. Soyini. "Pretty Woman Through the Triple Lens of Black Feminist Spectatorship." From Mouse to Mermaid: The Politics of Film, Gender, and Culture. Indianapolis: Indiana UP, 1995. 224-35. Print.
Like most popular gender-bending films, Some Like It Hot calls us to critique constructions of sexuality and gender both within the context of historicized moment of the films production and from the perspective of later generations. Every time the two men presented themselves as women several assumptions were made as to how women look, of their intelligence, and of how they act. This was the female image at the time; the high heels, the dress, and even the stereotypical “party girl” were all characteristics of the female. The film defines gender differences by portraying wo...
...and through an unfolding of events display to the reader how their childhoods and families past actions unquestionably, leads to their stance at the end of the novel.
The film follows the stories of Anthony, Bianca, Daisy, Emily, and Francisco as their family’s attempt to improve the quality of their education. It was assumed
“Year after year, twenty-something women come to New York City in search of the two L's: labels and love” is the very catchy line that opens the film with Fergie’s ‘Labels or Love’ as the soundtrack and The Big Apple as its introductory shot. The scaling deduced from the bird’s eye-view-point of New York City, showing its Metropolitan atmosphere with skyscrapers and the famous Brooklyn Bridge; to the urbanites of the City; then to the lead actors of the film. A fifteen year-old girl watches the film, mesmerizing the ecstatic city while admiring the skinny white bodies of the ladies. And last but never forgotten, she gets carried away with the funky upbeat rhythm of the song emphasizing “Gucci, Fendi, [and] Prada . . .” That is the introduction of Sex and the City and the focus of its cinematography. With its elements, the movie can honestly influence teenage girls. Yet as much as critics such as Maya Gordon of Psychology of Women Quarterly say how media contributes to the sexual objectification and values women “based on their appearance,” this film should be an exemption.
This film really focuses on the characters. Their thoughts, anger, distress, and mistakes become part of your mistakes. This deals with a father’s s priority and how he will achieve that priority by using unethical ways like torturing an innocent man. Bringing up child abduction and torture are