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Classical hollywood cinemarepresentation of women
Classical hollywood cinemarepresentation of women
Film and gender roles
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The peeling away of the honey-glazed aesthetic of Sirkian Melodrama to thoroughly examine the true core beneath is the task. Douglas Sirk’s films are expressive and suggestive in their examination of female sexual and emotional relationships. It must be considered what exactly a melodrama is and what type of audience the genre demands. Known worldwide to be part of a female cultural domain, the genre deals with the woman’s film from the early 30’s right up until the Sirkian territory of the 1950’s and 60’s. A central theme found in the genre is the symbolic place of a ‘woman’ and the maternal in melodrama in relation to the changing position of women in society. The term melodrama originates from the early 19th-century French word melodrama. The word is derived from Greek 'melos', referring to music, and French 'drame', referring to drama. Melodrama generally refers to a dramatic work that exaggerates plot and characters in an attempt to appeal to the emotions of its audience, it is for this reason that Douglas Sirk’s films are of vital importance. Constructed as a Brechtian director...
Film Noir, as Paul Schrader integrates in his essay ‘Notes on Film Noir,’ reflects a marked phase in the history of films denoting a peculiar style observed during that period. More specifically, Film Noir is defined by intricate qualities like tone and mood, rather than generic compositions, settings and presentation. Just as ‘genre’ categorizes films on the basis of common occurrences of iconographic elements in a certain way, ‘style’ acts as the paradox that exemplifies the generality and singularity at the same time, in Film Noir, through the notion of morality. In other words, Film Noir is a genre that exquisitely entwines theme and style, and henceforth sheds light on individual difference in perception of a common phenomenon. Pertaining
Alfred Kinsey remains the most renowned scientists in the field of sexology. His studies yield important information that helped shape the idea of sex and continues to educate all in the most private aspect of our lives. The Kinsey film is a great depiction of his life, research, and impact on the perspectives of sex as we know it.
In the classical Western and Noir films, narrative is driven by the action of a male protagonist towards a clearly defined, relatable goal. Any lack of motivation or action on the part of the protagonist problematizes the classical association between masculinity and action. Due to inherent genre expectations, this crisis of action is equivalent to a crisis of masculinity. Because these genres are structured around male action, the crises of action and masculinity impose a crisis of genre. In the absence of traditional narrative elements and character tropes, these films can only identify as members of their genres through saturation with otherwise empty genre symbols. The equivalency between the crises of genre and masculinity frames this symbol saturation as a sort of compensatory masculine posturing.
Run Lola Run, is a German film about a twenty-something woman (Lola) who has 20 minutes to find $100,000 or her love (Manni) will be killed. The search for the money is played through once with a fatal ending and one would think the movie was over but then it is shown again as if it had happened ten seconds later and changed everything. It is then played out one last time. After the first and second sequence, there is a red hued, narrative bridge. There are several purposes of those bridges that affect the movie as a whole. The film Run Lola Run can be analyzed by using the four elements of mise-en scene. Mise-en-scene refers to the aspects of film that overlap with the art of the theater. Mise-en-scene pertains to setting, lighting, costume, and acting style. For the purpose of this paper, I plan on comparing the setting, costume, lighting, and acting style in the first red hued, bridge to that of the robbery scene. Through this analysis, I plan to prove that the purpose of the narrative bridge in the film was not only to provide a segue from the first sequence to the second, but also to show a different side of personality within the main characters.
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).
Stanley Kubick's Spartacus In the 1960 film Spartacus, directed by Stanley Kubrick, the character called Spartacus is depicted as a revolutionary who leads an army of slaves against the oppressive forces of Rome during the first century B.C. Though the overall story is true, and most of the main characters are real, the presentation of their character is entirely fictional. Spartacus and the other characters have been split into groups epitomizing good and evil, and the story itself has been vastly romanticized. This essay will address the ways in which the story deviates from reality and finally will show how Kubrick and those before him have used such interpretations as a valuable tool for social change.
Gender and the portrayal of gender roles in a film is an intriguing topic. It is interesting to uncover the way women have been idealized in our films, which mirrors the sentiments of the society of that period in time. Consequently, the thesis of this essay is a feminist approach that seeks to compare and contrast the gender roles of two films. The selected films are A few Good Men and Some Like it Hot.
Requiem for a Dream is a movie that was directed by Darren Aronofsky. It's a story about the decent in to the hell and torment of drug addiction; however, Aronofsky sets out to demonstrate both the seductive ecstasy of a high and the shattering anguish of addiction. Character development is the main focus of Requiem, which is shown through creative camera angles, precise editing, and brilliant acting.
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.
Amreeka is an independent film written and directed by Cherien Dabis. The film documents the lives of a Palestinian American family living in post 9/11 suburban Chicago. The film portrays the life of Muna Farah (Nisreen Faour), a divorced Palestinian Christian mother, raising her teenage son. She works within the West Bank as an accountant. Her life in the West Bank is filled with turmoil. Farah is caught in the middle of sectarian battle in that region until one day, her luck changes once she is awarded an American green card through the lottery. At first, she is hesitant to take the offer, but she reconsiders after discovering her son was harassed by Israeli soldiers. The director’s objective was to show the audience the struggle of migrating
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 patriarchal cinematic ideology detailed by Laura Mulvey in “Visual Pleasure and Narrative Cinema” is pervasive in Stanley Kubrick’s film Eyes Wide Shut. The women in the film all eventually become the passive sexual objects that Mulvey has described in her paper. There are times in the film that women attempt to defy these strongly enforced gender roles, but they are always punished and returned to their positions as objects of the male gaze.
The film that I watched was Michael Collins, Directed by Neil Jordan, I found this film to be a very interesting film regarding Irish history. I was interested in the movie from beginning to end. The actors and actresses in the movie did an outstanding job representing the roles that they were playing. Liam Neeson was an excellent Michael Collins and even bared quite a resemblance. Aiden Quinn played the role of Harry Boland and Julia Roberts played the role of Kitty Kierman. An important stand out role of Eamon de Valera was played by Alan Rickman. This film portrays Michael Collins as an Irish Patriot fighting to gain independence from the British Empire. The film breaks down the different significant events that took place between the Easter Uprising and the time of Michael Collins death.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
Lars von Trier is undoubtedly a polarizing filmmaker. His repertoire invokes a range of emotions from earnest avoidance to curious infatuation. He’s been pointed out as a purveyor of misogyny as he famously and deliberately places many of his females in rather unkind situations to say the least (i.e. the brain-searing climax in Antichrist). And his penchant to depict the uncomfortable and sometimes unfathomable has been interpreted as obscene and sensationalist for its own sake. And yet his work continues to prevail, standing on its own, whole and unapologetic.