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Sexism and female oppression in the film industry
Sexism in films essay
Sexism in films
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A firestorm of controversy broke out last week after Last Tango in Paris director Bernardo Bertolucci's old interview resurfaced on the internet. In the 2013 video clip, the director revealed the infamous 'butter' scene in the film was shot without the consent of then 19-year-old Maria Schneider .
In the scene, Marlon Brando uses butter as lubricant while having simulated sex with Maria. The Hollywood controversy also reminded us of a similar story that unfolded in Bollywood decades ago. The actor involved was Rehka and the year was 1970. Rehka, who was just 15 at the time, was kissed on her lips by senior actor Biswajeet without her consent, while shooting for Anjana Safar. The film's director Raja Nawathe had a justification for his utter
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Filmmakers must take the female actors into confidence and their consensus, irrespective of how small or big a scene is. Actors don't get paid to be humiliated or to be taken advantage of.
Now the media is dubbing these famous 'love scenes' as rape and molestation of actors involved. We had a chat with actor Priyamani and sought her experience of acting in a disturbing scene in one of her films. Her Muththazhagu character from 2007 blockbuster Paruthiveeran is one of the landmarks in her acting career. The film's climax scene turned this romantic drama into a gut-wrenching tragedy.
Muththazhagu gets brutally gang-rapped by four men and succumbs to the pain and injury she suffered during the attack. Priyamani talking to indianexpress.com, explained how thoughtful and considerate was her director while filming this disturbing
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Following the release of Last Tango in Paris, Maria resorted to drug abuse even as she was reeling under depression and never performed a nude scene again.
"It is not easy to perform such scenes," she said."While dubbing for the film, I saw the whole scene first to understand and get the feel of the scene. I was really haunted by the scene. I started crying at the dubbing studio. I had acted in that scene, but still it got to me. I was like how can such a thing happen to such a girl. I could not dub for four days after that. Then my mother and director spoke with me and help me calm down." "Throughout that dubbing process director was with me and helped me finish my job," she added. "I don't think I would have been able to do it without his support."
"Female actors' contribution to films are at par with male actors. So just because they singed the film, they can't be taken for granted. They should be taken into confidence, while shooting. If a female actor is not comfortable with how a scene is shot and says no, it means no. They should not go ahead with the
According to Laura Mulvey, women function on two levels in Hollywood classical cinema: as an erotic object for the character in the diegesis, and as an erotic object for the spectators in the theater. Explain Mulvey’s argument and apply it to either Klute or Jeanne Dielman. (your answer should not be confined only to examples of men looking at women, but may also consider the possibility of women looking at women.) If Mulvey is correct, can women ever function as active participants in the narrative? How does the film support or negate tgis point?
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...
Today, only 16% of protagonists in movies are female, and the portrayal of these women is
I noticed many scenes where the background male dancers for Victoria during her performances, did very feminine dance movements. A great example of a scene where the director uses gender based non-verbal messages would be when the director, off camera, cues Julie Andrews to throw her hands up after removing her wig at the end of her first performance. In my opinion, her throwing her hands up was a way of solidifying the audience's perspective of her being a man.
The use of original practices, the costumes and male characters used to play the role of female characters are due to the different gender identity attributes and sexuality concerns from the play. Although the producer insists that the use of male characters to play female roles was mainly to show case the original set-up and forms of acting it can also be attributed to the producer wishing to raise different sexualities from the audience. The different actors who play the roles of females while they are male characters have been used by the producer to raise different sexualities since the heterosexual people in the audience view of the audience since gender as asserted by Bulman is performative rather than
In conclusion, todays cinematic evolvement through being more accepting of sexual themes as well as representation of different sexual orientations, in both characters and audience alike, contributes to further objectifying people in an erotic sense to please different kind of spectators. Furthermore, it enables male characters to be subjected to erotic objectification and is therefore not a portrayal exclusive in portraying females. However, this remodels the way male and female characters are depicted as it in a sense equalizes them through the same kind of degrading portrayal as sexual objects.
because it demonstrates that the whole film is going to be about women’s roles in the
According to The Hollywood Reporter staff, Bridesmaids made $26.2 million opening weekend, far exceeding the expectations of the anticipated $15-17 million prediction (“Bridesmaids’ Producer Judd”). Apatow believes gender should not matter. He states, “I don’t see comedy in genders. I see it more as, something’s funny or it’s not (“Bridesmaids’ Producer Judd”).” This is also why he believes this film is well to both men and women. Apatow explains that it is a challenge to tell men this movie is also for them, but as soon as they find out it is funny, they’re in. The same source continues to explain how Apatow felt pressured for Bridesmaids to do well, because if he did not succeed, studio executives would use the female cast as a result to its failure, causing them to refrain from female-led movies. Luckily, the opposite lesson was learned. Bridesmaids attracted a neglected crowd of moviegoers who would prefer to see more films such as this one. Apatow hopes the success brought by Bridesmaids will put an end to the gender stereotype of female roles in movies. Apatow brings attention to the fact that no one ever considers the opinion of women when it comes to films. No one asks the question, “will women come to watch this movie?” They just assume that they will because they have no other option (“Bridesmaids’ Producer
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.
In her essay, “Women's Cinema as Counter-Cinema”, Claire Johnston proposed a path to creating Women's cinema to counter the numerous dominant male-oriented mainstream films. In it, she argues that you must first understand the ideology that is found in mainstream movies, and the ways that women are portrayed within it. She determined that there were two principle concepts to understand: how women are visually represented, and the effect that women have upon the creation of meaning within the film. The how refers to all the film techniques used in the creation of the image: lighting, hair, makeup, choice of lens, choice of wardrobe, and the framing of the camera shot are some examples. These are often done to increase the attractiveness of the female character, and creates a sign for the audience to accept and decode. The effect of the female character is limited to her physical traits and the impact that her presence has on the male protagonist, typically to send him off on an Oedipal journey.
"Jhumpa Lahiri’s “Sexy” – A Review." Jim Breslin. N.p., n.d. Web. 25 Mar. 2014. .
actresses often prefer a certain type of role, experience is so important to success in this
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. 1). 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.
Women were prohibited because many of the performers were cheap mistresses outside of the theater and because of fights among the actresses' courters (Graves 378, Johnson 1). The government thought this set a bad example and proclaimed that only men could perform kabuki. The restriction of females performing kabuki was a positive strategy because it stressed the significance of talent instead of attractiveness. In addition it emphasized acting instead of dancing (Johnson 1). Along with the ban also came the introduction of onnagata performers, or males that portrayed ladies. (Graves 378)