Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Gender roles in hollywood movies
Gender roles in film
Gender roles in movies
Don’t take our word for it - see why 10 million students trust us with their essay needs.
The traditional idea of a patriarchal society is constantly being re-evaluated and modified to approach a world which is equal for both genders. Throughout the film Juno, directed by Jason Reitman, the lack of these traditional gender roles is evident. Though men have historically been considered as the dominant decision making individual, characters such as Paulie and Mark betray this male archetype. Paulie Bleeker is shown to not conform to the idea of males being the dominant decision makers through his interactions with Juno. To begin, when Paulie Bleeker finds out about Juno’s pregnancy he is surprised and caught off-guard. He asks her, “What should we do?” (Juno 8:40) as he is unable to make sense of the situation and looks to Juno for …show more content…
guidance. The portrayal of the reversed male stereotype display Paulie as an incapable male who looks to others for help when he is caught in a dilemma and believes that Juno’s decision will likely be the best. She follows up his question by saying that she will get an abortion, and when she asks if he is fine with that, Paulie responds, “Yeah, yeah...I guess, that, do whatever you think you should do, right?”(9:04). This interaction displays Paulie’s lack of input into the decision that Juno makes because he simply goes along with whatever she says. Male dominance is not shown in this instance because of how unsure he is and him giving Juno the freedom to do whatever she wants contradicts the idea of males being the dominant decision makers. Afterwards, it is shown that Juno decides to give the child up for adoption rather than get an abortion.Throughout this entire process, Paulie is absent and there is no mention of his concern or opinion, which displays his insignificance. As months pass by and Juno gets farther into her pregnancy, she goes to visit Paulie. While the two talk about getting their past band together, Paulie says to Juno, “We could always get back together too, if you want?”(44:49). Juno shrugs off Paulie’s idea and questions whether the two were together in the first place. He remains silent as Juno goes on to list other girls with which he can go out with. Her lack of interest in Paulie causes him to shy away from her and not be able to express his true feelings. Throughout all of their conversations, it was seen that Juno was in control as she guides the discussions and Paulie simply answers her questions. His silence and inability to argue against Juno betrays the male archetype of men being the dominant gender. Mark’s inability to voice his concerns and wants to Vanessa portray him as a skewed depiction of the dominant decision making male archetype.
This is seen through his behaviour and actions as he is shown to almost fear Vanessa and her authority. While Mark and Juno are watching horror movies at his house, Mark quickly turns the TV off when he hears the sound of Vanessa arriving and states, “That’s Vanessa, you better go. She hates it when I sit around and watch movies and don’t ‘contribute’,” (39:14). This scene depicts Mark’s fear of Vanessa because he simply does what Vanessa wants him to do causing her dominance to overshadow his free will. Also, it seems as if Vanessa has told him before not to watch horror movies and out of his fear he quickly turns the TV off. Mark is unable to make his own independent decision and stand up to Vanessa, thus succumbing to what she wants and expects of him. In a later scene, Juno was shown visiting Mark and Vanessa’s home again to inform them of the status of the baby but only finds Mark there. When she asks if Vanessa is home Mark replies, “No, we are safe”(55:05). Indirectly, Mark portrayed Vanessa as a threat and that her absence is valued by them. Mark feels that if Vanessa is present, neither he or Juno will be able to express themselves freely and will be pressured by her. His lack of dominance is shown here because he displays Vanessa as the powerful being and when she is present he is restricted or threatened by her and is unable to make his own decisions. Lastly, when Mark confesses to Vanessa that he does not want the baby, she ridicules his boyish dream of becoming a rockstar stating that, ¨This is something that’s never gonna happen. Your shirt is stupid. Grow up! If I have to wait for you to become Kurt Cobain, then I’m never gonna be a mother”(1:00:34). Vanessa mocks Mark in front of Juno disrespecting him and not valuing his opinion. Male dominance is again not shown here because he remains quiet as she insults
him, and that his decision or choice of not wanting a baby does not matter. Vanessa directly states that it is what she wants, and Mark’s dominance in the decision was not seen at all. Through these interactions between Mark and Vanessa, it is shown that Mark is unable to have an influence on the choices made. His lack of male dominance as a decision making individual portray him as a male who contradicts this archetype. In conclusion, the movie Juno is shown to contradict the ideology of patriarchy. It displays its male characters as individuals who lack dominance in decision making, causing them to not conform to the traditional male archetype. This is evident in individuals such as Paulie and Mark whose opinions seem unvalued throughout the movie. Overall, the shift from traditional gender roles in society has paved the way for a world where equality will exist between both the genders.
Gender relationships are a very explored issue within these texts. In a majority, anyone no matter if they are male or female who do not fit in or do not conform to stereotypes to an extent, can be cast out by that group. Whether it is, their looks, their behaviour, the way they dress, or the way they think and feel, they are judged as different. This ‘outcast’ idea is portrayed in both the films. In the two feature films, the most obvious ‘outcasts’ would be the two ‘hero figures’ the intruders into the created microcosm.
The popular film from 1977 known as Star Wars Episode IV: A New Hope written and directed by George Lucas, there are many uses of archetypes, which include use of the colors blue and green in light sabers, and the color gold in the character, Luke Skywalker’s, clothing at the end of the movie. The use of these colors throughout the movie help to show the heroic cycle of Luke Skywalker by bringing out the changes he goes through from his purity, to his rebirth, and then finally when Luke gains wisdom from his journey.
The film Klute, directed by Alan J. Pakula attempts to subvert this theory, but ultimately proves Mulvey correct in the system of the active male and passive female, that the male controls the film and drives the story forward. Jane Fonda’s character, Bree Daniels, sees herself at the
After discovering a God-given talent, a young boy struggles to achieve his only dream; to become the best there ever was. Baseball is all he has ever known, so he prevails through the temptations and situations laid before him by those out to destroy his career. His hopes and dreams outweigh all the temptations along his journey. These hopes, dreams, and temptations are depicted through archetypes in the movie The Natural.
Consistent in literature throughout every era and culture, archetypes represent a recurring image, pattern, or motif mirroring a typical human experience. An idea developed by Carl Jung, archetypes in literature exist as representations reflecting vital perceptions of the human psyche expressing the manner in which individuals experience the world. Using Jung’s concept, writers of all epochs embeds archetypes in structures, characters, and images of their narratives. John Gardner, in his novel Grendel, integrates several of Jung’s archetypes into his epic tale derived from the early story Beowulf. Gardner associates Jung’s personas of the outcast, the shadow, and the mentor-pupil relationship through the identities of Grendel, the narrator of events, and the dragon.
Gender roles are a common if outdated, categorization of the ‘right’ ideas of what men and women are to do and be. Often unchanged throughout the decades and appearing to just develop into more complex entities as the year’s pass. These roles encompass ideas of day-to-day life, personal interactions, and often job prospects as well. Although vilified and greatly disliked by many, to the point people go against them, these roles are often portrayed in films, both old and new. The film we have just watched, His Girl Friday, has some instances of these roles and showcases the main character, Hildy, breaking a few of these gender roles.
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 film Blade Runner (1982) directed by Ridley Scott depicts women in a negative connotation. Blade Runner is considered a popular science fiction film and is seen to have shaped the genre, however, the film displays women as sex symbols and secondary characters, who are unimportant to the storyline. The film is centered around strong male leads who use their authority and power to abuse, belittle and sexualize women. The film’s misogynistic point of view gives the impression to the audience that this treatment of women is acceptable, which is offensive and completely inaccurate.
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
Believe it or not, gender scripts shape our everyday lives. The way we think, act, or even the way we interact with one another is undeniably influenced by gender roles. References toward gender are placed subliminally around us in ads, billboards, and on the television. These messages subconsciously tell us as a society what is acceptable behavior and what is not. As learned in class, gender scripts are socially constructed behaviors that society sets for all of us to follow. If someone behaves differently from the already established norms, that person is looked as weird or as an outcast from the rest of the group. The iconic film Love and Basketball allows us as viewers to see gender scripts being defied and role reversal emerged.
The Odyssey is a gateway into the lives and minds of Ancient Greeks and their culture. It shows their fears, views on life, and things looked up upon by the Ancient Greeks through archetypes. These archetypes are some of the best tools to learn about ancient civilizations such as the Greeks. There are plenty of archetypes in The Odyssey that help it relate to real-world situations even now while it was written over three thousand years ago. Three examples of them are the hero, the monster, and the journey for love. The hero tells about a character overcoming amazing obstacles to do good and what he needs to do. That happens in life now in many different ways but overall the same idea. The monster is like a big obstacle
Carl Jung was a disciple of Sigmund Freud, despite the two having conflicting ideas. One of Jung’s most well known and accepted theories was the existence of different types of archetypes in the brain. These include the ego, which is where our conscious awareness and sense of identity reside, and the shadow, which is the part of the unconscious mind consisting of repressed weaknesses, shortcomings, and instincts. In the novel A Separate Peace, by John Knowles, the protagonist Gene exemplifies the shadow, while his friend, Finny, personifies the ego. The author narrates through the shadow, though he clearly supports the ego. However, he also makes it apparent that it is wrong to be dominated by either archetype.
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 ...
In western films such as Juno, feminism is more positive as female characters are made to be stronger and more career driven than female characters in Malaysian films. In Juno, the female lead has a mind of her own, makes her own decisions which is the total opposite of the female lead in Ombak Rindu. Feminist culture in Western countries are more forward and are growing stronger as compared to times of classical Hollywood cinema. However, Malaysian films still try to keep the tradition alive even in modern films by reinforcing partriarchy and never forgetting to remind women not to stray from their traditional roles. These two films are very different in terms of feminist culture as they are tradition.