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Gender roles in film
Gender roles in film
Examples of gender roles in movies
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I viewed Easy Rider, a film by Dennis Hopper, and Total Recall, a film by Paul Verhoeven- and noticed that although both films appear quite different in topic, they share the same common themes of gaining freedom and being a hero, by rejecting the status quo and the general wider society as is the case in the films. I agree with Bassnet (cited in Marinetti, 2013 p.315) that by acknowledging the force of performance and engaging with notions of performativity in particular, can open new spaces for developing and to be more aware of the issues of both power and identity within film and how society receives films and is able to change by accepting cultural norms presented in films. The essence of the films. In Easy Rider the protagonists are their own heroes, who are a group of motorcycle riders who appear to be free-loving, peaceful and do not want trouble, however due to the way they dress, they are seen as stereotypical bikies and are deemed outsiders. In Total Recall the lead actor Arnold Schwarzenegger (Douglas Quaid), is accepted in his general community until he unwittingly disturbs the status quo, by going to Rekall, a company that implants memories in their clients’ heads. In comparing the …show more content…
two films of Easy Rider and Total Recall, costume is a major feature and is used vigorously to implant visual symbolism, which then accentuates the differences between the Protagonists and Antagonists. In Easy Rider and Total Recall both lead characters clothing style does not change throughout the film. An example of this in Easy Rider is at the beginning of the movie, the lead character (Captain America played by Peter Fonda) combines motorbike leathers with an American flag motif printed on the back of his jacket and decaled on his helmet alongwith with his motorbike petrol tank painted red, white and blue. Billy, (the second lead character in Easy Rider) is an example of American symbolism portrayed by wearing Native American traditional dress. This mix of leathers with patriotic symbols such as the American flag, Native American Indian traditional dress, and matched with an unkempt look and long hair tell the audience that these easy riders are non-conforming but unassertive men of peace adrift in a society they find conformist. (Champlain 25) The reason why audiences gravitated to the film Easy Rider and why it is important for the older generation in Hollywood to at least acknowledge this film is, “It…illuminates his conviction that in order to foster empathy in others, the artist, like the responsible person in society in general, must cultivate the capacity for empathy in himself” Zeami (cited in Matthews, 2013 p. 46) In Total Recall the character Douglas Quaid, (played by lead actor Arnold Schwarzenegger), is differentiated from the real villain of Total Recall (Vilos Cohaagen) by dressing in simple work clothing to represent a construction worker.
In a scene during Total Recall Douglas Quaid escapes multiple times and wraps a wet towel around his head to disguise the location of the tracking bug in his skull until he has a chance to remove it, this is reminiscent of conspiracy theorists and their tinfoil hats (Kelley, M, Business Insider, 2013) In comparing another scene in Easy Rider and Total Recall both lead characters are conversing on conspiracy theories, in Easy Rider the theme is UFO's and in Total Recall it is that his entire life was a lie and it has something to do with
Mars. I think that the performance of Jack Nicholson in Easy Rider, even though a minor role, was a much stronger performance than Arnold Schwarzenegger in Total Recall, however there is a great difference in styles and is different in each film. The definition of performance emerges around the ideas of the performance whether it is in reality, whether in front of a camera, or on a stage is an action done for someone if even the person is the performer him- or herself (p.129-30) Jack Nicholson’s performance although smaller as a role than Arnold Schwarzenegger’s was ‘namely, fostering empathy through the process of emotional identification occurring between actor and audience in the performance experience and what continued to guide his sense of…purpose to the end.’ Kannami (cited in Matthews, 2013 p. 32) As Jack Nicholson’s character George Hanson was supposed to represent “Old George” or the “good old American boy” he was used to bridge the gap between old Hollywood and new Hollywood by showing the audience that even if you were like old George you could get in trouble just as much as the bikies. Arnold Schwarzenegger’s performance in Total Recall is realistically able to be described by ‘… the “vessel” is to serve the audience...is the intent that pervades the performer’s power to excite…to creates the seeds and flowers of every attraction in performance” Hare cited in (Matthews, 2013 p. 43), as he is more commonly known as an action hero, as the Terminator in the Terminator Franchise among others, and for comedy, such as Kindergarten Cop, Twins, and Junior among others, than he is for his serious roles.
Christopher McCandless and Adam Shepard both did some similar targets in their lives, at the end it lead them to unexpected situations. Christopher McCandless was a young man who didn't believe in society and he chose to get away from that and left everything he had, including his family. He developed important relationships with key people that helped him on his journey into the wild. Similarly Adam Shepard was a young man who left with only $25 and a sleeping bag to go prove his point that the american dream does exist and to see if he can achieve it in a couple of months. Overall comparing McCandless and Shepard, Christopher McCandless had a greater impact in people, motivated many, and was selfish in plenty of good ways.
In “The Thematic Paradigm,” University of Florida professor of film studies, Robert Ray, defines two types of heroes pervading American films, the outlaw hero and the official hero. Often the two types are merged in a reconciliatory pattern, he argues. In fact, this
In the article “The Thematic Paradigm” exerted from his book, A Certain Tendency of the Hollywood Cinema, Robert Ray provides a description of the two types of heroes depicted in American film: the outlaw hero and the official hero. Although the outlaw hero is more risky and lonely, he cherishes liberty and sovereignty. The official hero on the other hand, generally poses the role of an average ordinary person, claiming an image of a “civilized person.” While the outlaw hero creates an image of a rough-cut person likely to commit a crime, the official hero has a legend perception. In this essay, I will reflect on Ray’s work, along with demonstrating where I observe ideologies and themes.
In “The Thematic Paradigm,” Robert Ray explains how there are two vastly different heroes: the outlaw hero and the official hero. The official hero has common values and traditional beliefs. The outlaw hero has a clear view of right and wrong but unlike the official hero, works above the law. Ray explains how the role of an outlaw hero has many traits. The morals of these heroes can be compared clearly. Films that contain official heroes and outlaw heroes are effective because they promise viewer’s strength, power, intelligence, and authority whether you are above the law or below it.
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
By adapting the standard Hollywood ‘road’ movie narrative (east to west), incorporating modern music as non-diegetic sound and utilizing shocking scenes – both socially and in terms of ignoring every written and unwritten filming law - Dennis Hopper’s Easy Rider stands as a testament to the changes going on in the US during the late 1960s and creates a certain distance to the previous way of seeing America.
Have you ever had one of those days that were so bad that you desperately needed a night at the ice cream or candy store? The 1970’s was that really bad day, while the night of self- indulgence was the 1980’s. Americans love to escape from our daily stress, and of all the products that allow us to do so, none is more popular than the movies. Movies are key cultural artifacts that offer a view of American culture and social history. They not only offer a snapshot of hair styles and fashions of the times but they also provide a host of insights into Americans’ ever-changing ideals. Like any cultural artifact, the movies can be approached in a number of ways. Cultural historians have treated movies as a document that records the look and mood of the time that promotes a particular political or moral value or highlights individual or social anxieties and tensions. These cultural documents present a particular image of gender, ethnicity, romance, and violence. Out of the political and economic unrest of the 1970’s that saw the mood and esteem of the country, as reflected in the artistry and messages in the movies, sink to a new low, came a new sense of pride in who we are, not seen since the post-World War II economic boom of the 1950’s. Of this need to change, Oscar Award winner Paul Newman stated,
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
Some people think that if they could only change one aspect of their lives, it would be perfect. They do not realize that anything that is changed could come with unintended consequences. “The Monkey’s Paw” by W.W. Jacobs and “The Third Wish” by Joan Aiken both illustrate this theme. They demonstrate this by granting the main character three wishes, but with each wish that is granted, brings undesirable consequences. The main idea of this essay is to compare and contrast “The Monkey’s Paw” and “The Third Wish.” Although the “The Monkey’s Paw” and “The Third Wish” are both fantasies and have similar themes, they have different main characters, wishes, and resolutions.
Gina Marchetti, in her essay "Action-Adventure as Ideology," argues that action- adventure films implicitly convey complex cultural messages regarding American values and the "white American status quo." She continues to say that all action-adventure movies have the same basic structure, including plot, theme, characterization, and iconography. As ideology, this film genre tacitly expresses social norms, values, and morals of its time. Marchetti's essay, written in 1989, applies to films such as Raiders of the Lost Ark and Rambo: First Blood II. However, action-adventure films today seem to be straying farther away from her generalizations about structure, reflecting new and different cultural norms in America. This changing ideology is depicted best in Oliver Stone's Natural Born Killers (1994), which defies nearly every concept Marchetti proposes about action-adventure films; and it sets the stage for a whole new viewpoint of action in the '90's.
In recent times, such stereotyped categorizations of films are becoming inapplicable. ‘Blockbusters’ with celebrity-studded casts may have plots in which characters explore the depths of the human psyche, or avant-garde film techniques. Titles like ‘American Beauty’ (1999), ‘Fight Club’ (1999) and ‘Kill Bill 2’ (2004) come readily into mind. Hollywood perhaps could be gradually losing its stigma as a money-hungry machine churning out predictable, unintelligent flicks for mass consumption. While whether this image of Hollywood is justified remains open to debate, earlier films in the 60’s and 70’s like ‘Bonnie and Clyde’ (1967) and ‘Taxi Driver’ (1976) already revealed signs of depth and avant-garde film techniques. These films were successful as not only did they appeal to the mass audience, but they managed to communicate alternate messages to select groups who understood subtleties within them.
Not all films which adhere to the classical Hollywood paradigm eschew issues. The film Singin’ in the Rain follows Don Lockwood, a popular silent film actor, as he attempts to maintain his star status during the advent of “talkies”. Lockwood’s journey manifests fame’s capricious temperament, the studio’s commercial interest, and the influence of outside variables on a film. Singin’ in the Rain uses Lockwood’s struggle with celebrity to expose the importance of public image and self esteem.
The theme of power being abused is carried out in both I Only Came to Use the Phone and Lord of the Flies. The reasoning as to why we would see this theme as the base for both stories is because it is such a common theme; it is known that everyone craves power because of the self-satisfaction they gain from it. The authors of these stories realizing that, used the theme of abuse of power to create chaos within the story and create interest, and they did this by having their characters go after something that makes themselves feel powerful. In Lord of the Flies it was the powerful feeling of hunting for the boys, and in I Only Came to Use the Phone it was the power that the Matron had over Maria by sexually harassing her. Although those two examples seem as though it is people who abuse power it goes beyond that; as if the evil within everyone is awaken by power and that evil is what succumbs them to abuse the power.
Over the course of approximately one-hundred years there has been a discernible metamorphosis within the realm of African-American cinema. African-Americans have overcome the heavy weight of oppression in forms such as of politics, citizenship and most importantly equal human rights. One of the most evident forms that were withheld from African-Americans came in the structure of the performing arts; specifically film. The common population did not allow blacks to drink from the same water fountain let alone share the same television waves or stage. But over time the strength of the expectant black actors and actresses overwhelmed the majority force to stop blacks from appearing on film. For the longest time the performing arts were the only way for African-Americans to express the deep pain that the white population placed in front of them. Singing, dancing and acting took many African-Americans to a place that no oppressor could reach; considering the exploitation of their character during the 1930's-1960's acting' was an essential technique to African American survival.
Any generic film hero is a model of their community and culture. They help to clearly define and outline the community’s values and cultural conflicts by embodying prime characteristics in their persona. The western hero, like Ethan in The Searchers, is always a figure for civilization amongst the savagery of the wild west. By portraying the roles of a civilization, the hero ...