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Feminism in film industry
Classical hollywood cinemarepresentation of women
Essays on women in film
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Women in early cinema illustrated the culture they lived in during the time-period where men expressed their dominance over women. Film helped bring to the forefront these power dynamics through the use of cinematography and mise en scene. Louis Gianette explains in Understanding Movies “In general, the greater the distance between the camera and the subject, the more emotionally neutral we remain (Page 90).” This is significant because it’s through the varying distances of shots that illustrate the emotion women express within the film. In the film Broken Blossoms directed by D.W. Griffith, Lucy the female heroin is constantly shown battling her inner demons as society pushes her into the traditional domestic role of women at the time. In contrast the film Stagecoach by John Ford brings the female character out of the traditional domestic atmosphere and sets them on an adventure through the countryside. The evolution of the female heroin from domestic to adventurers …show more content…
Malroy is cramped in this stagecoach with six other the framing on her doesn’t suggest this uncomfortable fact. The placement of Mrs. Malroy on the far left side of the stagecoach next to the window allows her again this freedom that the gentleman in the middle does not have. The camera cuts to her a few times for reaction shots but during each cut the camera gives her distance. Allowing her distance and framing her against the window again suggests the freedom she has, while embarking on this journey to find her husband. Of course, even with her freedom she does have Hatfield to protect her if anyone starts to impede on her freedom. When one of the men light up their cigar Hatfield insists they put it out, in part for respect to Mrs. Malroy. The gentleman obliges to Mrs. Malroy’s satisfaction, again this is in contrast to any treatment Lucy would receive around Battling Burrows. This film brings forth the apparent change in how women were portrayed in film over only a twenty years
Most people are likely to relate Hollywood with money. If a person lives in the Hollywood area, people assume she or he is probably rich. If she or he is a Hollywood movie star, the person probably makes a lot of money. Therefore, to follow that line of thought, when Hollywood producers make a movie, they make it just for money. And some filmmakers do seem to make films only for the money the movies will earn. The action movie "Die Hard", the fantasy movie "Star Wars", and the adventure movie "Jurassic Park" are examples of exciting movies that were made just for the money by satisfying the audiences' appetite for escapism.
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.
Women were represented in different ways throughout the movie Metropolis, but the underlying theme was women were seen as purely sexual. Maria was seen as the nurturer in the film, but also as a sexual object. She was the one who preached for peace and harmony down in the catacombs to the workers. Maria was also the nurturing maternal figure that was seen walking into the garden with all of the poor children. The vamp, on the other hand, was portrayed blatantly as a sexual object. This whole movie was seen through the eyes of the male perspective, which usually portrays women as sexual objects, and robs them of any identity. Lang shows Frederson as having fear of femininity which involves women's emotion and nurturing.
Heroines in traditional romantic comedies generally show their female charm dominated by the heroes, and docile. However, in Romantic Comedy vs. Screwball Comedy Gehring depicts the screwball comedy as “dripping with eccentrics starting with the archetype zany heroines.” Also, Gerhing says, “heroines assisted by the fact that only she knows a courtship is occurring. ” In other words, he means that heroines in screwball comedies always show their unique nuttiness and try to pursue what they desire as long as they realized that was something they want, which is quite different from the customary docile female in other romantic comedies. These traits are detailed in The Awful Truth and My Favorite Wife; heroines Lucy and Ellen pursue their happiness with apparently daffy behavior, encouragement and their love.
Father of the little girl in The Ring, as he too knows more than he is
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).
There has been a large variety of horror films produced throughout the last fifty years. People are always going to be frightened and scared by different types of horror films. But, what type of horror film scares more people, and were men or women more frightened by these horror films? Each one of the horror films had its own agenda to frighten its audience using several different methods of horror. Some of these methods were more so directed at the female audience than the male audience. Most horror movies show the female as being vulnerable, because in real life females are defenseless against monsters.
In my research essay for my English Composition 2 class, I will be analyzing the different gender roles in Notes from the Underground and Death of a Salesman. Often times, in American Literature work, gender roles are used very differently due to whomever wrote it. This story and play fall into the category of “traditional” gender roles that are given to males and females based off of society and what is expected of males and females. I will use the gender approach to explain that roles in families and society are based off of gender. I will also compare a feminist approach to the gender approach and see how they are different. In Author Miller’s Death of a Salesman and Fyodor Dostoyevsky’s
Women’s roles in movies have changed dramatically throughout the years. As a result of the changing societal norms, women have experienced more transition in their roles than any other class. During the period of classical Hollywood cinema, both society and the film industry preached that women should be dependent on men and remain in home in order to guarantee stability in the community and the family. Women did not have predominated roles in movies such as being the heroin. The 1940’s film Gilda wasn’t an exception. In Gilda, the female character mainly had two different stereotypes. The female character was first stereotyped as a sex object and the second stereotyped as a scorned woman who has to be punished.
In today’s world, men and women are perceived equally by the society. In the past, authority and control define men while women are given the characteristic of helplessness. Men are able to get hold of high positions while women usually are subservient to them. In movies, we would usually see women portray roles that are degrading due to the stereotypical notions they associate with this gender group. Moulin Rouge, a movie set during the 1900s narrates the story of a courtesan woman, Satine, as she undergoes hardships to earn money, experiences love but unfortunately, due to her irrational choices, faces tragic consequences at the end. Satine is a symbol of how women are being treated by the society during the era before post-feminism, where men have superiority over women. As the plot develops, Satine transforms from a worthless prostitute to someone who is courageous and willing to face her fears in order to attain her aspirations. Psychoanalyst theory and feminist analysis are apparent throughout the film. The male gaze, fantasy and feminism are three topics that will be covered in depth in this essay through relating it to the movie.
My Mise-en-scene analysis is on American Beauty on page 217: number 1(The dinner scene). The frame itself is a very closed, tight shot; there is no way for the characters to escape and they're left with only confronting each other in this very little space. The shot of the camera isn't necessarily far away or close either. It's neutral, and we can see the full action of the family's dinner conversation happening right in front of us. My eyes were immediately attracted to the bright, white table and then my eyes focused on the faces of the family. The scene's texture is slightly fuzzy, and is not very detailed. But the character's faces are still recognizable. The foreground of this scene is the table with the man and woman sitting at each end; the middle is the girl-who is
The American black comedy The Wolf of Wall Street directed by Martin Scorsese was released December 25, 2013 and stars the likes of Leonardo DiCaprio, Jonah Hill and Margot Robbie. While on face value The Wolf of Wall Street looks like a film about excessive cocaine binges, long evenings filled with men with cigarettes, large portions of alcoholic consumption, having many sexual escapades with various women and even dwarf tossing from time to time, the film is deeply rooted in perception gender within the genre of The Wolf of Wall Street. The word ‘genre’ is rooted into a similar category as
Film scholar and gender theorist Linda Williams begins her article “Film Bodies: Genre, Gender and Excess,” with an anecdote about a dispute between herself and her son, regarding what is considered “gross,” (727) in films. It is this anecdote that invites her readers to understand the motivations and implications of films that fall under the category of “body” genre, namely, horror films, melodramas, (henceforth referred to as “weepies”) and pornography. Williams explains that, in regards to excess, the constant attempts at “determining where to draw the line,” (727) has inspired her and other theorists alike to question the inspirations, motivations, and implications of these “body genre” films. After her own research and consideration, Williams explains that she believes there is “value in thinking about the form, function, and system of seemingly gratuitous excesses in these three genres,” (728) and she will attempt to prove that these films are excessive on purpose, in order to inspire a collective physical effect on the audience that cannot be experienced when watching other genres.
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...
Independent film is in many ways, an oxymoron. At one point the well-known independent films truly were independent from the influence of the major studios. They were creations from the artistic ideas and expressions of persons free from the influence and oversight of a studio. While there still is a plethora of independent filmmakers throughout the country and worldwide, the independent films that receive the most exposure tend to at some point receive support from a major studio or one of the studio’s distributors. The problem with independent film is the label people associate with it. What constitutes an independent film? Is it total creative autonomy free from a studio, and inevitably, free from the financial support that studio and their