Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Role as a woman in Egyptian society
Gender inequality in literature examples
Patriarchy in ancient civilizations
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Role as a woman in Egyptian society
Taymoor and Shafika as a Chick Flick.
Chick Flick films are mostly appealing to female viewers, they discuss issues that are relevant to women, and they have a female protagonist. However, slight changes exist depending on the origin of the film. Egyptian films are more determined on setting gender binaries than Hollywood films. Upon looking at an Egyptian Chick Flick from a Women’s Studies’ student’s point of view, it is way more engrossing, hence it is full of the standard chauvinistic ideals held by the Egyptian society. “Taymor and Shafika” is a fine example of the remarkably patriarchal works produced by the Egyptian film industry.
Shafika, a young PHD holder, and Taymor, a hardworking police officer, are in love with each other ever
…show more content…
If a woman is vocal about demanding her rights, it will not lead anywhere and she will eventually give in to the patriarchal order. It’s as if a woman abandoning her future for a man’s sake is like natural order. “A woman is predestined to her husband and her home” Shafika’s mother tells her this at some point. The romantic narrative in the film is played out as the only narrative of value for Shafika. No matter how successful Shafika becomes, her relationship with Taymor is the central theme in her life. Technically, Shafika is more successful than Taymor but that does not change their gender roles in the film. In Nawal El Saadawi’s essay “Writing and Freedom” she says: “The creative man has a wife who delights in his success and feels happier as he becomes more successful. The creative woman has a husband who gets depressed when she succeeds, and gets increasingly more depressed as she becomes more successful.” This concept is screened by the script writer Tamer Habib and reshaped in a way to make Taymor’s dissatisfaction with her success be seen as merely a result of his jealousy and possessiveness of
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
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.
‘Lad flicks’ or ‘lad movies’ is a type of film genre that emerged in the late 1990s. They are defined as a “‘hybrid of “buddy movies”, romantic comedies and “chick flicks”, which centre on the trials and tribulations of a young man as he grows up to become a ‘real man’. ‘Lad flicks’ respond in part to the much-debated ‘crisis in masculinity’” (Benjamin A. Brabon 116). This genre of film explored what it meant to be a ‘real man’ in the twentieth century and in order to do so, they would have to grow up and leave their juvenile ways behind to enter the heterosexual world. Gender relations in ‘lad flicks’ portray masculinity as a troubled, anxious cultural category hiding behind a humorous façade and also rely greatly on a knowing gaze and irony. The two ‘lad flicks’ that will be analyzed are The 40-Year-Old Virgin (Judd Apatow 2005) and Role Models (David Wain 2008).
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...
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).
It revolves around the issues of gender oppression, sexual assault, and importance of social status. Alifa Rifaat manages to express her opinions towards these themes by writing about a typical Egyptian marriage. She puts in focus the strong influence that a patriarchal society has. She also manages to prove how important social status is in society. The uses of literally elements such as theme and irony help express this view. It shows that in a typical Egyptian society women are commonly oppressed by all males in society
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.
Both el Saadawi and Al-Shaykh both show how perception and expression are both affected within the confines of politics, social opportunities, and male privilege depicted in their stories. Whether the reader is a follower of the feminist movement or not, it is very clear and easy to see that these women are not being treated with the respect that any human being deserves. The misogynistic stranglehold on society, especially in this part of the world, is excessive and avoidable in today’s world but it is very likely that the traditional, conservative ways of the past will continue to control and inhibit women from being able to be fully treated as equals for many years to come, perhaps even after this generation has
In Brenda Cooper’s article “Chick Flicks,” she argues, the film, Thelma and Louise employs mockery as a narrative tool, and functions to produce a defiant narrative which fiercely confronts and denounces patriarchy. Societal norms are able to create a kind unconscious compliance, resulting in self-imposed coercion and oppression. A film like Thelma and Louise brings consciousness to women’s own complicity in social norms like patriarchy, so they can no longer blindly follow these norms. This leaves women in either a state of denial and resistance or a state of evolution and change. Through mockery this film sheds light on accepted norms, and in some, causes a defensive response, as it
Also, the film revealed women empowerment and how superior they can be compared to men. While demonstrating sexual objectification, empowerment, there was also sexual exploitation of the women, shown through the film. Throughout this essay, gender based issues that were associated with the film character will be demonstrated while connecting to the real world and popular culture.
The novel Woman at Point Zero by Nawal El Saadawi and the article “With Tasers and placards, the women of Egypt are fighting back against sexism” by Laurie Penny can be connected both internally in regards to the text and outwardly to the time and place surrounding the novel and article. Although Woman at Point Zero provides a fictional journey, one that is at heart and by inspiration very genuine, the ideas incorporated into this novel are just as authentic as those provided by the first hand account given by Laurie Penny. Woman at Point Zero follows the story of one woman, Firdaus, who is forcibly raped on numerous occasions. Firdaus later finds security by means of prostitution, which leads her to be targeted on a more authoritative scale. Ultimately Firdaus finds strength to retaliate against the men who have harmed her, as can be seen when she defends herself, killing her pimp. Penny documented her experience at a women’s march in Egypt, after interviewing after obtaining views of the social injustices occurring in this region. The very similar infrastructure for these texts allows one to easily draw connections. Both article and novel can be connected through the familiar settings of the authors, the techniques used to convey the situation of Egypt, and the direct intentions that the authors held and ultimately saw into fruition.
Feminism is a movement that supports women equality within society. In relation to film, feminism is what pushes the equal representation of females in mainstream films. Laura Mulvey is a feminist theorist that is famous for touching on this particular issue of how men and women are represented in movies. Through her studies, she discovered that many films were portraying men and women very differently from reality. She came up with a theory that best described why there is such as huge misrepresentation of the social status quos of male and female characters. She believed that mainstream film is used to maintain the status quo and prevent the realization of gender equality. This is why films are continuously following the old tradition that males are dominant and females are submissive. This is the ideology that is always present when we watch a movie. This is evident in the films from the past but also currently. It is as if the film industry is still catering to the male viewers of each generation in the same way. Laura Mulvey points out that women are constantly being seen as sexual objects, whether it is the outfits they wear or do not wear or the way they behave, or secondary characters with no symbolic cause. She states that, “in 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 connote it-be-looked-at-ness.”(Mulvey pg. 715). Thus, women are nevertheless displayed as nothing more than passive objects for the viewing pleasure of the audience. Mulvey also points out through her research that in every mainstream movie, there is ...
Romance movies have this weird love that goes on in them. Some characteristics include; sex scenes, lovey dovey affection, hate (sometimes) that ends up in love, marriages, divorces, new found love, and really anything that can happen between a man and female, female and female, man and man, whichever someone prefers. Romance movies are often seen as “chick flicks” while some may agree, others disagree. The ONLY reason they are considered “chick flicks” is because it’s a romance and theirs sappy love. There is no real evidence of it being labeled as a “chicks only flick”, men actually prefer to watch some of those movies. It doesn’t make them weak, homosexual acting, a pansy, or anything else men might call other men. Romance movies and novels are highly bought in stores. Who knows? It may be bought by your future husband or wife. And, since this paper is describing the differences, parents might look at this and decide whether or not to show the kids these types of
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).