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Portrayal of women in movies
Feminism in the movies industry
Feminism in the movies industry
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Sara Krull
Pat and Mike
12 February 2014
Journal Question - N
Pat and Mike is a romantic comedy directed by George Cukor that makes a statement on feminism in the context of competitive sports. The film features Katharine Hepburn as Pat, a female athlete who excels in a variety of sports. Her character, for the most part, defies traditional gender roles - she is self-assertive and tough. However, her strong character is profoundly altered whenever she is around her fiance, Collier West. She becomes weak and ineffectual in his presence, which affects her athletic performance significantly several times throughout the film. Pat’s character and the effect of her fiance’s presence on her behavior can be considered a feminist commentary. In today’s society, a female character who is portrayed as being a competent and capable individual is not exactly groundbreaking. However, at the time of the film’s release, audiences probably experienced Pat and Mike differently than present-day viewers of the film.
Pat Pemberton is a phys-ed instructor with exceptional athletic prowess - except ...
Schemas, the mental structures that we use to organize information around us, were predominate in the movie (Aronson, Wilson & Akert, 2013). The schema of what a professional baseball payer looked like was not what was around to play. All the men were off fighting the war so when the women started playing they did not fit the schema of what most people saw as a baseball player (Marshall, 1992).
The film “A League of Their Own,” depicts a fictionalized tale of the All American Girls Professional Baseball League. This league was started during World War II when many of the Major Leagues Biggest stars were drafted to the war. MLB owners decided to start this league with hopes of making money while the men were overseas fighting. Traditional stereotypes of women in sports were already in force before the league even begins. One of the scouts letts Dottie, one of the films main characters she is the perfect combination of looks as well as talent. The scout even rejects one potential player because she is not as pretty as the league is looking for even though she is a great baseball player. The player, Marla’s father said if she was a boy she would be playing for the Yankee’s. Eventually Mara’s father is able to convince the scout to take Marla to try outs because he raised her on his own after her mother died. Her father says it is his fault his daughter is a tomboy. In this case the film reinforces the traditional stereotype that mothers are in charge of raising their daughters and teaching them to be a lady, where fathers are incapable of raising girls to be anything other than a tomboy. The focus on beauty also reinforces the traditional stereotype that men will only be interested in women’s sports when the females participating in
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
Hairspray, a John Waters’ musical, demonstrates progressive messages about the expansion of race-based civil rights in the 1960s . Although this is typically the lens through which Hairspray is viewed, this is not the only significant societal shift portrayed in the film. The stories of Edna Turnblad and Velma Von Tussle illustrate the progressive shift of women from “old” gender roles such as being excluded from the workplace to “new” gender roles where women begin taking managerial positions.
In the article, “I won, I’m Sorry”, Mariah Burton Nelson uses an anecdote in order to begin her article. Sylvia Plath’s attitude is one that is concentrated on conforming to men in order to make them feel comfortable and as the stronger sex. Burton Nelson then shifts to talk about women in sports and how these female athletes behave in order to fit into the gender roles people have become accustomed to. The anecdote is used in order to describe the way women will underscore themselves in order to fit into society’s definition of how a woman should behave.In order to frame her article, Mariah Burton Nelson uses the anecdote about the poet, Sylvia Plath, in order to demonstrate how women conform as a means to fit into gender expectations. This
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.
As women's studies programs have proliferated throughout American universities, feminist "re-readings" of certain classic authors have provided us with the most nonsensical interpretations of these authors' texts. A case in point is that of Kathleen Margaret Lant's interpretation of Tennessee Williams' A Streetcar Named Desire in her essay entitled "A Streetcar Named Misogyny." Throughout the essay, she continually misreads Williams' intention, which of course causes her to misunderstand the play itself. Claiming that the play "has proved vexing to audiences, directors, actors, readers, and critics" (Lant 227), she fails to see that it is she herself who finds the play vexing, because it does not fit nicely into the warped feminist structure she would try to impose upon it.
In the 19th Century, women had different roles and treated differently compared to today’s women in American society. In the past, men expected women to carry out the duties of a homemaker, which consisted of cleaning and cooking. In earlier years, men did not allow women to have opinions or carry on a job outside of the household. As today’s societies, women leave the house to carry on jobs that allow them to speak their minds and carry on roles that men carried out in earlier years. In the 19th Century, men stereotyped women to be insignificant, not think with their minds about issues outside of the kitchen or home. In the play Trifles, written by Susan Glaspell, the writer portrays how women in earlier years have no rights and men treat women like dirt. Trifles is based on real life events of a murder that Susan Glaspell covered during her work as a newspaper reporter in Des Moines and the play is based off of Susan Glaspell’s earlier writing, “A Jury of Her Peers”. The play is about a wife of a farmer that appears to be cold and filled with silence. After many years of the husband treating the wife terrible, the farmer’s wife snaps and murders her husband. In addition, the play portrays how men and women may stick together in same sex roles in certain situations. The men in the play are busy looking for evidence of proof to show Mrs. Wright murdered her husband. As for the women in the play, they stick together by hiding evidence to prove Mrs. Wright murdered her husband. Although men felt they were smarter than women in the earlier days, the play describes how women are expected of too much in their roles, which could cause a woman to emotionally snap, but leads to women banding together to prove that women can be...
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).
Diana is an excellent illustration of the many struggles of women to find a place for themselves in sports. On an individual level, defying societal stereotypes is extremely difficult. The buriers that the first person must overcome are often extreme. However once the first person breaks down those buriers, it becomes increasingly easier for others to follow in their footsteps. Diana's struggle demonstrates both how far women have come and how far women still have to go.
Female educators in the early 1900’s strived to control the participation of women in sport, establishing certain constraints in order to maintain a male-dominated sports sphere. Athletic activity was healthy; yet too much athletic activity was rigorous and harmful to the female body. At the same time, though, these educators made a point to stress the presence of femininity in sport—which directly contributed to the introduction of sexuality into sport. If the educators of the early 1900’s did not have such an overbearing presence in female sport, maybe there would be no discussion about the swimming suit modeling of Amanda Beard, or the sexy, controversial, eccentric outfits Serena Williams shows off while playing at Wimbledon.
By dissecting the film, the director, Jennie Livingston's methodology and the audience's perceived response I believe we can easily ignore a different and more positive way of understanding the film despite the many flaws easy for feminist minds to criticize. This is in no way saying that these critiques are not valid, or that it is not beneficial to look at works of any form through the many and various feminist lenses.
Feminist Theory is an aspect of considering feminism as having been based on socio-phenomenon issues rather than biological or scientific. It appreciates gender inequality, analyzes the societal roles played by feminists in a bid to promote the interests, issues and rights of women in the society. It is also based on the assumption that women play subsidiary roles in the society. The whole idea of feminism has however experienced hurdles in the form of stereotyping by the wider society. This paper tries to examine some of the effects of stereotypes that feminism goes through, what other philosophers say and the way forward towards ending stereotyping.
middle of paper ... ... Greenberg, H. R. & Greenberg, H. R. "Rescrewed: Pretty Woman's Co-opted Feminism. " Journal of Popular Film and Television 195605th ser. 19.1 (1991): 1-8.
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 ...