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Portrayals of women in media
Female gender stereotypes in media
Portrayals of women in media
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When in a dangerous situation, the first instinct of any victim is to enter the defense mechanism of “fight-or-flight.” This defense mechanism is known for an individual to either attack the situation or flee it before the individual is harmed. In many cartoons, characters are known for their witty escapes, or neither realistic nor survivable fight mechanism against the threating situation. In the “Bugs Bunny” cartoons, “Bugs Bunny would never submit meekly to an opponent no matter how overwhelming” so he uses another approach to fight or approach the threatening situation in order to make an effective escape (Lee 4). In the “Bugs Bunny” cartoons “A Corny Concerto,” “Hare Ribbin,’” “Stage Door Cartoon,” and “What’s Opera Doc?” Bugs approaches …show more content…
The persona of the ballerina is seen as a female role is shared with the mermaid. Many know mermaids as beautiful, female creatures of mythology. Specifically they are known as sea nymphs that are half-human with the tails of a fish. Bug uses the idea of the female mermaid to seduce the dog from being eaten once again in the cartoon “Hare Ribbin.’” Bugs initially disguises himself as a female mermaid with long, blonde hair and bright, red lips. Bugs manages to “[display] all the common signifiers of femininity, down to the physical morphing of his eyes and mouth from masculine to feminine (“Queens in American Popular Culture” 258). In order to seduce the dog, Bugs begins to sing, “Would it be wrong to kiss?” to lure the dog over to the rocks he is laying upon on. Another term for such a mermaid is a siren. The siren is known for singing her deadly song to pursue men and lure them into life threatening situations. For example, in mythology they are known to lure sailors into stormy rocks, which would inevitably crash and destroy the ship. In “Hare Ribbin,’’” Bugs as the mermaid use this same tactic to put the dog under his harmonic spell, which is highly effective. The dog drops everything he is doing to pursue the beautiful mermaid who bats her eyes at him upon seeing his reaction. Bugs is capable of escaping the threatening situation by altering …show more content…
Instead he uses a more historic figure that is commonly known for their vicious nature. However, instead of portraying this figure as vicious it portrays it the completely opposite. In “What’s Opera Doc?” Bugs next plot involves him being a female Viking. He has the complete disguise from the long, blonde hair to the majestic horse, which too is female emphasized with its pink colored mane and pearly, white coat. Similar to the mermaid in “Hare Ribbin,’” Bugs as the female Viking has a harmonic voice that easily lures Elmer, who does not appear to realize the danger that could come with pursing this suspicious, female Viking. Instead, Elmer is completely fooled returning his proclaimed for the female Viking when she sings, “Be my
Homer utilizes imagery to create the scene in which the Sirens attempt to lure Odysseus. Homer describes the voice of the Sirens to be "ravishing" which presents how powerful the Sirens voice can be. Odysseus is swayed by the voices and urges the crew to let him go to the Sirens, however, the Sirens could not bring Odysseus to them.
The sirens are known for their song that kills people. In the book, Odysseus told the men to tie him down to listen to the song even if it meant it was going to kill him. In the movie, Pete heard the sirens and told Ulisses to stop the car. He ran out to the river while the other two followed. There, there was three women singing in the river washing their clothes. The men were in a trace because the girls were giving them a sexual trance. They woke up the next day and Pete was gone. Delmer thought he turned into a frog because there was a frog in Pete’s clothing. Ulisses and Delmer continued on their journey to find the
Ever heard of a story that sings of the “Angel of Music” and the “Phantom of the Opera”? A tale that once you have listened to the sweet melody that you will realized that you've pasted the “Point of No Return”? This love triangle has captivated multitudes ever since the 1910 original Phantom of the Opera was published in France by Monsieur Leroux, although most story lovers recall the musical of the same name by Andrew Lloyd Webber or the motion picture adaption. Although this story has been entertaining people for over a century, in this new era have prerecorded voices and movements begun to overshadow the talented performers of live theater? Although “The lavish screen adaptation of Andrew Lloyd Webber's Phantom of the Opera (2005) only deepened the damage” of the dislike of musicals made into film “with non-stars in the leads and an unimaginative production,”(Musical),which version, the live performance or the film, makes the story more attractive? To answer these questions, permit this essay to analyze two methods of storytelling: 2011 live performance Andrew Lloyd Webber's The Phantom of the Opera at the Royal Albert Hall and the 2005 film, and decide if music and story lovers everywhere have too “turned from true beauty”.
This is where the role of the monster comes in, it wants a female for
Sirens: the dangerous, yet beautiful majestic creatures of the sea, who led nearby sailors to shipwreck with their enchanting voices. Some say voices can’t entice people enough to lead them overboard to their death, but those people have not had the dreadful pleasure of coming in contact with the dangerously, scary sirens. Those who have read Homer’s text, “The Odyssey,” know how dangerous these creatures can be. As evidenced from Homer’s text, sirens have many strengths, they do many things to show strengths also, and finally, as shown in the text, it's obvious they play the role as antagonists.
“Nick’s reluctant emphasis on the ethereal and mesmerizing qualities of Daisy’s voice at once deflects and betrays his implicit awareness that this voice is inseparable from a mortal, sexual human being.” (Hotchman 3). Though he is not attracted to his cousin in any way, her voice still has the ability to sweep him up into her spell. Once she stops talking, however, the spell is broken, leaving the individual betrayed. “The instant her voice broke off ceasing to compel my attention, my belief, I felt the basic insincerity of what she had said. It made me uneasy, as though the whole evening had been a trick of some sort to exact a contributory emotion from me” (17). Nick’s words of “trick” reflect directly to Daisy’s voice containing a siren-like allure. Everything about a siren’s song is a “trick.” This is not the only time her voice is described as thus. “Daisy’s voice was playing murmurous tricks” (104). “Murmurous” sets a secretive, intimate tone, one that is the exact opposite of “trick.”Once their song is stopped the one who is tricked becomes aware of themselves. And yet even though this is true, Daisy is able to reel men back under spell even after they have become aware of her game. Even though Nick is aware of her “trick,” he finds himself falling for “the exhilarating ripple of her voice [that] was a wild tonic in the rain. I had to follow the sound of it for a
Odysseus uses his brain to sail past the Sirens without being entranced by their sweet song. A Siren is a bird-woman who bewitches everyone that approaches. The Siren women sing a seductive song. Their song has many powers. As Nugent says “as in the days of the musician Orpheus, music still has power to soothe the savage beast, to ally anxiety, and to connect with the divine through contemplation” (Nugent 45-54). Circe tells Odysseus, “There is no homecoming for the man who draws near them unawares and hears the Siren’s voices” (Homer XII, 40). . Odysseus follows the advice Circe gave him to put beeswax in his men’s ears so they will not be entranced. Odysseus then tells his men “but she instructed me alone to hear their voices…”(XII, 160), when, truthfully, Circe states, “But if you wish to listen yourself, make them bind you hand and foot on board and place you upright by the housing of the mast, with the rope’s ends lashed to the mast itself”(XII, 49). In this way, Odysseus is being selfish only wishes to know the Siren’s sing so he will...
Slide, Anthony. The Encyclopedia of Vaudeville. Westport, CT: Greenwood, 1994. Google Books. Web. 1 May 2014.
...g of the Sirens and end up as one of the corpses in their “meadow.” The Sirens have the power to “spellbind any man alive” with their “high, thrilling songs” and preventing them from ever making it home. A man lured by the Sirens will never see his wife or “happy children” again. His story will be over, and he will be lost forever. The Greeks rely on their story and legacy to retain their identity and memory after death. The Sirens represent distractions that lure travellers from their journey and decrease or completely remove their determination to return home. When a man stays true to his purpose and avoids any Siren-like distractions, he lives and comes home to a wonderful family. When a man makes himself susceptible to any Siren’s call, be it from an actual Siren or just something tempting enough to sway him from his task, he is destined to fail and be forgotten.
Homer depicts the Sirens as intriguing and desirable because he considers Odysseus as valiant. Homer describes Odysseus’ “'heart inside [him is throbbing] to listen longer,'” suggesting the seductive power of the Sirens (20). The effect of his heart throbbing verifies that Odysseus longs to be with the Sirens, forging an image of a man struggling against his will in order to be near a beautiful temptress. This implies that the Sirens are irresistible and cunning because they are able to deceive the men into falling for them with just one song. Odysseus craves to hear the Siren’s magical song and stay alive, so he has his men physically “bind [him] faster with rope on chafing rope” (24). The immense effect that the Sirens have on him is great, and the fact that the rope is irritating his skin illustrates the effort Odysseus is making to be with the Sirens. Throughout this particular scene, Odysseus attempts to join the Sirens, without realizing the terrible consequences. The temptresses are so “ravishing” and no man can resist their beauty (19). They are so attractive that they have the ability to lure in innocent men and watch them ...
Hedwig and the Angry Inch is a rock musical centered on a confused individual named Hedwig. Her plight grows out of a botched sex change operation. She ended up with neither the working penis she had to begin with, nor the working vagina she had been attempting to gain. However, Hedwig, by nature, is neither completely male nor completely female, even when she had fully functioning male genitalia. Instead, she is something called gender fluid. John Cameron Mitchell, by writing a character that is gender fluid such as Hedwig, destroys the gender binary in order to illustrate that by avoiding polarizing concepts like male and female characters, stories can explore a more diverse range of human experiences.
The fantasy, that the Queen Mab delivery is not complete. Queen Mad is covered with “wings of grasshoppers” (1.4.60), together with her chariot’s images of “long spinners’ legs” (1.4.59), “cricket’s bone”’ (1.4.30), and “gnat” (1.4.64), replicate the broken features of dreams. Queen Mab chariot constructs with different parts from different insects illustrate that dreams are little pieces of a big picture. Mercutio uses insects like grasshopper and cricket to highlight the trickiness of dreams. They are hard to catch, they come and go visit people randomly and human have no authority of when and where to have dreams. Dreams are dynamic and fluctuating all the time, they are not connected or continue after one and other. The insects Mercutio uses have wings and hops around which enhance the shifting features of dreams.
A little girl sits on the floor with her gaze fixed on the television screen in front of her, watching magical images dance before her eyes and catchy songs flow through her ears. Even though she had seen it at least twenty times before, she still loved The Little Mermaid just as much as she did the first time she watched it. As she watched it, she longed to be a beautiful mermaid with a curvy body and wonderful singing voice like Ariel. She longed to be saved by the handsome Prince Eric, and fall in love and live happily ever-after like Ariel did. In today’s society, women strive to achieve equality between the sexes.
Although Hans Christian Andersen’s “The Little Mermaid,” published in 1837, contains many patronizing nineteenth-century attitudes towards women, a value system that at least acknowledges the legitimacy of femininity shapes the fairytale. Unfortunately, Walt Disney’s 1989 film version of “The Little Mermaid” eliminates the values that affirm femininity in the original story (Trites 145)
For example, in Act 1, Scene 1 of “Trifles”, when Mrs. Wright is being held accountable for her husband’s death and she worries over the state of her jars of jam, Mr. Hale makes the observation, “Well, women are used to worrying over trifles.” (Act 1, Scene 1). In this excerpt, we determine this play portrays women as their stereotypical stay-at-home figure whose significant worries in life are mere trifles, hence the play’s name. Moreover, in comparison to “Trifles”, the women in “M. Butterfly” are portrayed as tractable females in the eyes of a man. For example, in Act I, Scene X, Gallimard assures himself of Song’s involuntary infatuation for him by stating, “She is outwardly bold and outspoken, yet her heart is shy and afraid. It is the Oriental in her at war with her Western education.” (Act 1, Scene X). Gallimard perfectly outlines the stereotypical feminine attribute: timidness. Here, Gallimard is asserting the attributes of shyness and fear are reminiscent of Oriental’s; a cultural stereotype Gallimard believes due to the perceived submissiveness of his Oriental mistress: