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Feminism theory and movies
Feminism theory and movies
Analysis of women in film
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smart in order to defeat her. She is still controlled by her programmers. However power is not the only thing the movie tries to express about gender roles. It is very important to note that while EVE is an extremely strong and vicious robot, she is completely dependent on her programmer for instructions. In relation to this, Springer explains that this representation of eve as dependent and naïve, but intelligent is just the basic depiction of females in society(Springer). Instead, throughout the movie, EVE is this evil presence that seeks to destroy but the way she looks is very sexually appealing. EVE is a sexually appealing not only in the way she looks, but the way her body is designed. It is inevitable for men to look at eve and not …show more content…
This theory proposed by Springer is evident throughout EVE of Destruction. For instance, we may know that after the robbery and her programming changes, she will only kill, but we still cant deny how she maintains how attractive and sexual she is depicted. Throughout the movie, EVE’s body is the feminine part of her nature, while her violence is the masculine part of her nature ( Springer). Using this theory further, one can see how EVE’s eagerness to kill and destroy can be representative of her sexual …show more content…
As one can tell, as time progresses movies are more direct in the way they portray gender roles in relation to AI movies. While in videodrome it was not as evident, by EVE of Destruction it is very evident how they view females and just view them as sexual objects regardless of what they are taking part of.
Moving forward in time, Ex Machina first aired in 2015 during a time of reform and progression. In the movie, we are presented to Ava, a robot built by Nathan. Nathan is the CEO of Bluebook, a popular search engine. Amusingly enough, Nathan builds Ava by using information that he obtains from those who use his website. Nathan decides to use the information from his users because he wants to emulate her behavior as that of a human, so he uses all that his users search as a way to determine human thought and capture that within Ava. Using the turning the test, Caleb must determine if Ava was able to manipulate him into thinking that she was not AI. However, after a while of Caleb and Ava being together, she falls in love with him.
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.
The most important events of this film all revolve around the female characters. While there are some male charac...
The robot was seen as a creation of technology and femininity and sexuality through the male imagination. This creation of the robot was to reflect the fear that men have of women and of technology. Women, machines, and nature raise fear in men because they threaten the male dominance and control. The female robot rose fear about threatening male control because of the idea that technology could become so large and advanced that it would go out of control of man and destroy humanity. Maria also posed as a threat to Frederson because of her emotions and nurturing. As seen in the movie, the scene where Rotwang leads Frederson down to the catacombs to watch Maria preach about peace is a direct depiction of the male fear of femininity. This fear comes from Frederson not having any control over this situation because he did not know about the catacombs, which scares him. Men need to control these women because of these insecurities about their own dominance.
Mainstream movies are about men’s lives, and the few movies about women’s lives, at their core, still also revolve around men (Newsom, 2011). These female leads often have male love interests, looking to get married or get pregnant. Strong independent female leads are still exist for the male view, as they are hypersexualized, or the “fighting fuck toy,” (Newsom, 2011). This depiction has created a culture where women are insecure and waiting for a knight on a horse to come rescue and provide for her as well as the acceptance of women
Did the Jews of Germany do enough to prevent their wholesale massacre by the Nazis? Should they have resisted earlier and to a greater degree? Should the Jews in Western countries acted even when Jews within Germany did not? In 1933, there were several different responses to Germany's increasingly anti-Jewish tendencies. Then, on the eve of destruction, before the Nazis had fully planned for their extermination, the German Jews had a chance to affect Germany and their own lives. I have chosen a few of the German Jewish responses to examine in this essay.
In today’s heterosexual and patriarchal society sex and sexual desires revolve around men, and Hoagland sets out seven patterns showing how this is the case. Sex is thought of as a “powerful and uncontrollable urge” and male sexuality therefore is a basic component to male health, sexual acts show male conquest and domination, sexual freedom gives men total access to and over women, rape is, by this logic, natural and women who resist a man’s advances are “‘frigid’”, sex involves losing control and sexual desire, when described as erotic, “involves a death wish (eros)”. The bottom line is that in today’s heterosexual and patriarchal society sex is all about men having a natural power over women; sex involves a total loss of control which creates a split between reason and emotion since being in control is a matter of reason controlling emotions, “we tend to believe that to be safe we must be rational and in control but to...
As Book VIII of John Milton’s Paradise Lost begins, the “new-waked” human Adam ponders the nature of the universe and the motion of the stars (ll. 4-38). When Adam has finished his speech, Milton takes the opportunity to describe Eve, who is listening nearby. We find Eve reclining in the Garden, but with grace, not laziness: “she sat retired in sight,/With lowliness majestic from her seat” (41-42). This “lowliness majestic” is the central phrase to understanding Eve’s character—she is both humble and glorious. Everything that beholds her is captivated by her “grace that won who saw to wish her stay” (43). Even in this paradise, every other beautiful creation is drawn to Eve. She walks among the “fruits and flow’rs,” and they all light up in her presence (44-47). In line 44, Milton replaces “the” with “her” to describe these fruits and flowers, indicating that they belong to her--she is like a mother to all things that “bud and bloom” (45). He even uses the term “her nursery” to describe Eve’s relationship with the Garden, signifying that Eve nurses the growing things like she would her children (46). As their mother arrives, the plants all perk up: “they at her coming sprung/And touched by her fair tendance gladlier grew” (46-47). Eve is beyond beautiful—not only does all creation adore and marvel at her, in her presence, each created thing is renewed. Her glory is found in her outward appearance and her ability to bring things to life, while her humility is in her character. Contrast Eve to the witch-queen Jadis in C.S. Lewis’ Chronicles of Narnia. Both are exceptionally beautiful and possess a sort of magic—Eve to bring things to life and Jadis to destroy them. However,...
... God’s creation in her eyes. Equally, by embodying reason, Eve is able to gain the benefits of knowledge through experience, thus bringing her closer to Adam and God. Finally, in my examination of the Paradise Lost, I could not perceive Milton’s patriarchal or misogynist sentiment, as do many of his readers. Eve’s virtues are not inferior to Adam’s, and Adam has to learn some of her virtues, as she has to learn his. In this way, Milton does not stratify the value between male and female; they are simply human. Although the question of gender hierarchy may never be aptly answered, Milton in Paradise Lost states his controversial estimation of the ideal gender relationship – equality.
In our present era, there is no doubt that the evolution of women's rights has come a long way. It is in the Western Culture that these values for which women have fought for generations, are in conflict with Genesis 1-3. The events that occur in this "creation story" are crucial in that it begins when God creates man in his own likeness and man is given domination over all living things. The significance is the prominence given to men; God is male and his most important creation is male. The biblical account underlines the supremacy of man while making it clear that women play an inferior role. Furthermore, the biblical account also describes how woman are disobedient and yield to temptation, the result of which is the expulsion of both Adam and Eve from the Garden of Eden. In the poem "How Cruel is the Story of Eve", Stevie Smith's castigation towards the biblical story of Eve demonstrates how women have been victims of despair and suffering since the beginning of time. She holds it responsible for cruelty towards women in history, she implies that the values derived from the story of Eve were forced upon women without choice, and finally, she challenges the authenticity of the religious tale on a whole. Without a doubt, women have fallen victim to an untrue, religious tale from the beginning of time, and the poem is an outcry representing the suffering of women throughout history.
In Sigmund Freud’s “Sexual Morality and Modern Nervousness”, contained in Sexuality and the Psychology of Love, the writer presents separate roles for men and women as it relates to sexuality, even referring to a “double code of morality” (22) for the genders. In his paper the former often takes the role of the subject while the former becomes the object. In fact, women are described as the “true sexual guardians of the race” glorified, it seems, instead of truly studied. However, in one particular section of the essay, Freud turns his focus onto the female sexuality. In specific he references the various factors that, in his eyes, can influence the female sexual formation. The primary influences being that of the society, primarily the institution of marriage, and that of the family, which would include both a woman’s parents and children. After discussing these elements, Freud then
...emale sexuality or the "castration" undertones. Female viewers, on the other hand, could be angered by the characterization of female sexuality as being something monstrous and almost inhuman. This is the kind of response, however, that can bring into a dialogue contemporary society's prevailing notions of sexuality.
The justification for the subjugation of woman has been a hotly debated subject throughout the ages and several ideals and theories have arisen because of it. One of the most common justifications is the story of Adam and Eve, however like most biblical stories as well as many other translated texts, the story of Adam and Eve is up to interpretation. Two exemplary authors who have thoroughly interpreted the story of Man’s great sin have presented their own respectable views on Eve’s actions and helped broaden the views on feminism. The authors Speght and Milton present arguments against Eve’s failure as a justification for the subjugation of women.
... strips away female sexuality, life ends. Aggression does not create life. The eradication of the conflict-boundary is a self-sacrificing effort by the men, who in so doing, deny everyone sexual satisfaction to balance the aggression, thus resorting to fatal violence and ending their immortality through procreation.
Throughout "Eve's Apology," Layner confidently makes her point of female inequality and female injustice by using poetic devices, while continuing to keep an ironic tone and bring out unusual language. She is clearly trying to prove that woman and men are equal. She suggests that because Adam is a man, thus "stronger" than Eve, he should be held responsible for eating the forbidden fruit rather than the "weaker" Eve. Layner believes that men should not look down upon women as lesser and weaker than themselves; she successfully proves that women deserve an equal status with men. Throughout the poem, Layner makes the point that the reason men have always been condescending to woman is dishonest because men are actually more at fault for the pain we endure today.
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. 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. This was an astonishing change for the American industry of film. Sometime later, in 1984, Linda Hamilton starred in ‘The Terminator’, a film where she was not the leading character, but a strong female character as Sarah Connor. She had a combination of masculine and feminine qualities as “an androgynous superwoman, resourceful, competent and courageous, while at the same time caring, sensitive and intuitive” (Hirschman, 1993, pg. 41-47). These changes made in action films for female’s roles stirred up a lot of excitement in the “Western society” (Starlet, 2007). The demand for strong female characters in action films grew to a new high when Angelina Jolie starred in ‘Tomb Raider’ in 2001 and then in the sequel, ‘Tomb Raider II: The Cradle of Life’ in 2003 as Lara Croft. Her strong female character was not only masculine, but was also portrayed as a sex object. Most often, strong women in these types of films tend to fight without even gaining a mark. At the end of each fight, her hair and makeup would always be perfect. The female characters in these action films, whether their role was as the lead character or a supporting character, had similar aspects. I...