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In response to the tabloids body shaming, Dolly began to answer interview questions about her weight in hopes of setting the record straight. She explained in an interview with Vanity Fair that her cycles of weight gain and weight loss were the result of personal heartbreak. This answer “played into the rise and fall narratives of love and loss, sin and redemption, popular with country audiences”. Consequently, Dolly regained control over the conversations of her body by providing a story that was much more appealing to the tabloid’s audience. Dolly’s self-empowerment challenged the media’s division of a southern woman’s body and self by connecting her physical appearance to her intimate emotions.
As previously mentioned, the film was heavily
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Steel Magnolias was an adaption of Robert Harling’s play of the same name. The story was based off his experience with his sister’s death due to Type 1 diabetes. At the time of the film’s release, Reagan had just left the presidency and George Bush entered office. The shift towards conservative politics brought on by Reagan continued to cause social anxiety and conflict in what some refer to as “the war on women’s rights.” On April 9, over three hundred thousand protestors marched on DC in support of legal abortion. Then in July, the Supreme Court reached a decision in the case of Webster v. Reproductive Health Services that gave individual states the right to restrict abortion. Finally, on October 23rd President Bush vetoed a bill that would have provided funding for abortions for women who were victims of rape or incest. He appointed Clarence Thomas to the Supreme Court and stood by this nomination even after Anita Hill came forward with sexual harassment claims. After this, Bush lost the support of moderate, and some conservative, women. Despite these struggles, feminism was on the decline in part because of the severe backlash against the movement in the media. This resulted in the rise of the postfeminist, a woman who believed feminism had accomplished its main objectives and now it was time to alienate themselves from the …show more content…
Steel Magnolias is a paradigmatic example of movement to high sentimentality in the 1980s p. 42
• Steel Magnolias was filmed on location in Natchitoches, Louisiana and directed by Herbert Ross. 1991 Backlash: The Undeclared War against American Women by Susan Faludi o Southern chick flicks on the heels of conservation reactions against gains made in women 's liberation during the 1960s and the 1970s o " Hollywood producers influenced by the backlash trend in the media, created a series of movies that pitted the angry career woman against the domestic maternal "Good woman"."
Feminism is displayed exceptionally well in both films. In Steel Magnolias, Clairee took her husband’s place as mayor and role model for the town. This was very unusual for a woman to do and in some places, still is. Ouiser is a very wealthy woman who takes care of herself and does not let anybody push her around. She shows this in the beginning of the film when she takes on Drum in an argument about him shooting at the
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.
She insults the article by telling her audience, “Gossip magazines keep us constantly abreast of what 's happening to the bodies of famous women.” She even talks about disciplining herself to lose weight to let audience know that she is over weighted. Some of the text that the authors use, people can relate too, and understand that the author has been through the same situation. Gay uses the word denial to explain the outraged of how people deny themselves to maintain their ideal bodies. The article is convincing, and the appealing of the author tone sets the mood of this article. Roxane Gay contrast on how these television shows are not the shows you want to watch. She also gave the audience other examples on a positive effect of losing
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,
movies also focused on many social issues in society during the 90’s. Movies such as
While her acting and musical talents were safe from disparagement, her weight and changing body were not. The tabloids avidly chronicled her weight loss prior to the film and her weight gain after, and claimed that she had had extensive plastic surgery as the dimples on her cheeks were no longer noticeable. The media also frequently commented on the size of her breasts. One month the tabloids would say she had had a breast reduction, the next month she had had breast implants put in that were so large they were detrimental to her health. The media’s conflicting treatment of Dolly during this time reveals an important contradiction in the media’s perception of southern womanhood. When the conversation centered around Parton’s career or personality, the media focused on her as a businesswoman and praised for her charm and wit. For instance, the casting announcement for The Best Little Whorehouse in Texas described the female lead as “a super lady played by Parton with all her accustomed humor, warmth and charm.” This type of praise indicates that mainstream media perceived the southern woman to be strong, independent, intelligent and in possession of other qualities that transcended earlier characterizations of them as gossiping housewives. However, when the conversation turned towards Dolly’s physical appearance she was reduced to a sexual object and treated without the respect she had previously earned. Thus, the media’s paradoxical treatment of Parton reveals that the press’s conceptualization of southern womanhood in the 1980s sharply separated a woman’s identity from her physical body. The bodies of southern women were objects of public display to be inspected and judged without dignity, while their identities was viewed as complex, powerful and worthy of
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).
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.
...es, in the eyes of the modern moviegoers, this position is no longer reasonable due to the strides already made by women in quest for equality. It is a reflection of how the past American society treated its women and draws to the traditional inclination of the Americans to achieve financial independence as seen in this post war film.
Web. 30 Apr. 2014. Sharot, Stephen. "The 'New Woman', Star Personas, And Cross-Class Romance Films in 1920s America.
Noted in Yvonne Tasker’s Working Girls: Gender and Sexuality in Popular Cinema, Goldie Hawn says this about women's role in the film business “There are only thee ages for women in Hollywood: Babe, District Attorney and Driving Miss Daisy” (1998, p. 3). While Haw...
middle of paper ... ... Greenberg, H. R. & Greenberg, H. R. "Rescrewed: Pretty Woman's Co-opted Feminism. " Journal of Popular Film and Television 195605th ser. 19.1 (1991): 1-8.
Pretty Woman, 1990s Hollywood movie, embodies many new as well as old values and ideologies. I was surprised when I saw that, the old themes and sexual stereotypes are not completely abandoned, but the old portrayals of gender stereotypes are transmuted.
...on how they have overcome this demeaning concept, it is still present in many of the films created today. Laura Mulvey, a feminist of the Second Wave, observed the evolution of female representations in films. She concludes that films still display dominant ideologies that prevent social equality between men and women. Mulvey came up with three common themes that mainstream films continuously promote within their films. These three common themes reinforce that women are always going to be seen as nothing more but objects. They do not serve any symbolic purposes except to help advance the story by motivating the objectives of the male characters. As evident, Happy Endings is one particular film that embodies all of these traits and as a result, the female characters are perceived as sexual objects in both the perspectives of the male character(s) and the spectators.