Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Change of roles of women
How has the traditional role of a woman changed
Changes in women's roles
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Change of roles of women
Feminism In The Crime Film Genre
Throughout motion picture history, women have experienced more transition in their roles, as a result of changing societal norms, than any other class. At first, both society and the movie industry preached that women should be dependent on men and remain in the home, in order to guarantee stability in the community and the family. As time passed and attitudes changed, women were beginning to be depicted as strong willed, independent minded characters, who were eager to break away from convention. The genre of the crime film represents such a change in the roles handed to women. Two films that can be contrasted, in order to support this view, are: The Public Enemy by William Wellman (1931) and Bonnie &Clyde by Arthur Penn (1967).In The Public Enemy, women are portrayed as naive and/or objects of carnal pleasure by men. In this period, women were often categorized as mothers, mistresses, sisters, or ladies.
Ma Powers (played by Beryl Mercer), the lead character Tom Powers’(played by James Cagney) mother, is easily fooled by Tom’s fake stories about where he get his money and doesn’t believe that her "baby boy" could be a vile gangster. At one point during prohibition, when Tom brings home a barrel of beer, she doesn’t even question where he obtained it, but rather takes a drink for herself. Ma Powers is the prototypical mother of the 1930’s. She is blind to the ways of the world and doesn’t see the danger of things, even in regard to her own children. She is a widow who does not work, but is supported by her sons. She is even blind to the fact that her sons hate one another.
Even though, her Tom was sadistic killer and gangster, she always welcomes him back lovingly with open arms. At the end of the movie, she gets a phone call saying that Tom will be coming home from the hospital, where he had been treated for a gunshot. She rushes upstairs to make his bed and get his room ready, when the doorbell rings and the rival gang drops of Tom’s gun riddled body. The other women who appear in the movie are portrayed as fast women who are sexual object to be enjoyed by Tom, until he gets tired of them and then throws them away. In one famous movie seen, Tom doesn’t appreciate what his mistress moll Kitty (played by Mae Clarke) said to him, so he wickedly squeezes half of a grapefruit into her face. She is left there belit...
... middle of paper ...
...onnie & Clyde first premiered on the big screen.
The female roles in The Public Enemy were stereotypical of the roles handed to women in the 1930’s and also conveyed the zeitgeist of society. During the 1960’s, as indicated by Bonnie & Clyde, there was the emergence of the women’s role as a central character of the plot, one who was just as capable and omnipotent as the male lead character. She was a character that would not be controlled by society’s norms or be held captive to male authority. It is safe to say that Bonnie & Clyde, helped redefined the role for women in crime and action films. Many recent films, such as Basic Instinct (Paul Verhoeven 1992), Natural Born Killers (Oliver Stone 1993), and The Long Kiss Goodnight (Renny Harlin 1996), have emulated the strong, seductive leading role that Bonnie & Clyde helped define. It also helped further that idea that women can hold their own in the crime film genre, both in the box office and by public opinion, and through its innovation may have supported the production of such preceding all-women crime films such as Thelma & Louise (Ridley Scott 1991), Set It Off (F. Gary Gray 1996) and Bound (The Wachowski Brothers 1996).
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.
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).
American commercial cinema currently fuels many aspects of society. In the twenty-first century it has become available, active force in the perception of gender relations in the United States. In the earlier part of this century filmmakers, as well as the public, did not necessarily view the female“media image” as an infrastructure of sex inequality. Today, contemporary audiences and critics have become preoccupied with the role the cinema plays in shaping social values, institutions, and attitudes. American cinema has become narrowly focused on images of violent women, female sexuality, the portrayal of the “weaker sex” and subversively portraying women negatively in film. “Double Indemnity can be read in two ways. It is either a misogynist film about a terrifying, destroying woman, or it is a film that liberates the female character from the restrictive and oppressed melodramatic situation that render her helpless” (Kolker 124). There are arguably two extreme portrayals of the character of Phyllis Dietrichson in Double Indemnity; neither one is an accurate or fare portrayal.
As a society we value and admire heroes who represent the idealized version of ourselves whom we stride every day to become. This is why they are sometimes scrutinized, unless they are an anti-hero, of course. The anti-hero is also admired by some even if he utilizes unlawful methods to achieve his goal, because he represents the good in a corrupt world. But this is not always the case as it is seen in some Noir stories. In Noir stories, the anti-hero is supposed to be a modern knight. Transgressing society's corrupt rules in order to reaffirm for its male audience the need to act justly do rightly; however, the anti-hero through this false nobility and sexism reinforces the social problems that plague contemporary society.
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.
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 Brenda Cooper’s article “Chick Flicks,” she argues, the film, Thelma and Louise employs mockery as a narrative tool, and functions to produce a defiant narrative which fiercely confronts and denounces patriarchy. Societal norms are able to create a kind unconscious compliance, resulting in self-imposed coercion and oppression. A film like Thelma and Louise brings consciousness to women’s own complicity in social norms like patriarchy, so they can no longer blindly follow these norms. This leaves women in either a state of denial and resistance or a state of evolution and change. Through mockery this film sheds light on accepted norms, and in some, causes a defensive response, as it
The oppression and discrimination the women felt in this era launched the women into create the women’s right movement. The economic growth in the market economy women opportunity to work was very low Lucy Stone explained that the same society that pushes men forward keeps woman at home (Doc. H). Only low paying jobs were available such as factories, seamstress, or a teacher and in most states women had no control over their wages. Charlotte Woodward explained how she would sew gloves for a terrible wage but it was under rebellion she wished to choose her own job and the pay (Doc.E). The chart on Doc F explained how women between 1837-1844 dominated men as teachers in the Massachusetts Public School. The idea of the “cult of true womanhood” was that most respectable middle class women should stay at home and take care of the family and be the moral of the home. The advancement in the market economy gave women a chance to make their own money to be able to support themselves and work outside of the home. The nineteenth century was a ferment of reform such as the Second...
The Women’s rights movement changed so many things for women. This movement had great leaders who were willing to deal with the ridicule and the disrespect that came along with being a woman at that time and fighting for what they held to be true. Some of the great women who were willing to deal with those things were Elizabeth Cady Stanton, Lucretia Mott, Jane Hunt, Mary McClintock, and Martha C. Wright. These women organized the first ever woman’s right convention.
Women's activism has brought and is continuously causing changes in the country that are more liberating and emancipating of the women's rights and place in the society. With the help of brave, bold, and principled women, the status and roles of women in the nation have become more meaningful. Indeed, the 20th century was a turning point in the lives of many women. This was the time when women battled against the oppressions brought by patriarchy through crusading for the promotion of their civil rights, sexual freedom, and pursuing careers which were once forbidden to them.
...r equality of women whose only representation at the time was through husbands. The brave few who courageously fought in the movement reformed our country and society today. Women such as Alice Paul and Susan B Anthony not only brought on equality for women today these women also brought on a new way women thought towards themselves. Today women think of themselves as independent smart citizens who can be whoever they want to be, politicians, doctors, scientists, etc. In addition women today can wear what they choose. Along with the right of equality and the ability for women to vote there is a responsibility, women should be informed of the political candidates before they vote. All of the freedom we have is a privilege we often take for granted as we don’t think about those women who suffered, abused, and ridiculed for these rights that we have today.
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
Even after the “first wave of feminism” movement in the early twentieth century, women demanded a change in their roles in American society. Suffragists fought for the passage of The 19th Amendment, which gave women the right to vote in 1920, but later generations still sought for more. These women, who were the decedents of the original suffragists, would go on to create the “second wave of feminism” throughout the 1960’s and 70’s. This wave would go on to not only gain more equality for women, but shifted gender roles dramatically, in areas including the government, the workforce, and popular culture.
Throughout most of history women generally have had fewer legal rights and career opportunities than men. Wifehood and motherhood were regarded as women's most significant professions. In the 20th century, however, women won the right to vote and increased their educational and job opportunities. Perhaps most important, they fought for and to a large degree accomplished a reevaluation of traditional views of their role in society.
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. 1). 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.