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Depiction of women in movies
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FILM Film with its basic meaning a motion picture or a movie. Film is an important medium through which the cultural and social norms of our society are communicated and confirmed. As with any cultural product that is projected via the mass media (broadcast, electronic, print), films cannot be produced without some intersection between artistic and economic interests. Women in Film The emergence and growth of the women's movement in the last decade have aroused considerable interest from film critics and film historians in past and contemporary images of women in cinema. Molly Haskell's From Reverence to Rape; The Treatment of Women in the Movies and Popcorn Venus; Women, Movies and the American Dream by Marjorie Rosen document, decade …show more content…
Laura Mulvey, in her seminal work about film critique, cites that in an effort to protect the male viewer from these complexes and prolong his pleasure, the woman is either turned into a fetish or restored to her “due place in the patriarchal order by the end of the film by punishing her or by reintegrating her into a romantic relationship” There are common scenes in the modern romantic films that portrays the inability of women to focus and improve their life without the help of a man, he may portray the role of a boyfriend, husband or prince charming. Feminist theory suggests that patriarchal ideology is embedded in unequal power structures and represented in romantic, drama and romantic comedy films as efforts to sustain gender inequities and sexual subordination. …show more content…
This feminist theory was first introduced in the essay “Visual Pleasure and Narrative Cinema” by film theorist Laura Mulvey in 1975. Male gaze is described as “the concept of the gaze as a symptom of power asymmetry”. A defining characteristic of male gaze was how the heterosexual male lets the camera “linger on the curves of the female body”. The male gaze “denies women agency, relegating them to the status of objects.” When applied to comic books, what we see presented is through the gaze of the male. It also influence the reader’s standpoint especially the younger generation who read comics daily that women in comics should be the same to women in the real
This essay argues that the film Bridesmaids transcends traditional representations of feminine desire that exhibits women as spectacles of erotic pleasure, through the symbolic reversal of gender identity in cinematic spaces. By discussing feminist perspectives on cinema, along with psychoanalytic theory and ideological narratives of female image, this essay will prove Bridesmaids embodies a new form of feminine desire coded in the space of the comedic film industry.
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.
Modern day superheroes still reflect the misogynistic and chauvinist society in which they were first created and this will be argued with reference to two of the films studied.
Mainstream movies are about men’s lives, and the few movies about women’s lives, at their core, still also revolve around men (Newsom, 2011). These female leads often have male love interests, looking to get married or get pregnant. Strong independent female leads are still exist for the male view, as they are hypersexualized, or the “fighting fuck toy,” (Newsom, 2011). This depiction has created a culture where women are insecure and waiting for a knight on a horse to come rescue and provide for her as well as the acceptance of women
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.
Students of feminisms and masculinities can benefit from this article and general people can also enjoy reading it. I could relate this article to the concept of movies today, how we as an audience perceive it, also various aspects the actor’s role (acting), the use of sound, lighting, camera movement, all plays a major role in explaining what exactly the movie is about. And the author in his article speaks about various types of movies and the role of male heroes and the changes that occur later on. Overall the article is useful and interesting as the increasing focus is on masculinity,
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.
Throughout time, women in movies and other similar texts are shown to be generally focused on men. This might make sense if every movie ever made was set in a time where women had absolutely no rights but of course, that is not the case. Older and more modern depictions of women in media, both show women whose lives revolve around men. Even movies that market their female characters as strong and powerful are still shown to be dependent on the male leads and puts them first. Also, since women in movies have more of a focus on men, female to female relationships suffer in the same films. There are very few exceptions to this unfortunate truth.
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.
Disney has portrayed women in movies by the use of animation characters for over a century since the 1900s. There has been a very big change since the early 1900’s to modern day in Disney’s depiction of the personalities of the women, their attitudes and ideologies towards men, and the way they are portrayed in the movies. This progression has had a distinct development, from passive damsels in distress in need of the help of men, to being superheroes. Therefore, the evolution of women in Disney movies will be analyzed through the use of university level feminist essays, as well as a research paper written about gender roles in Disney animation. The evolution will also be analyzed through examination of the clips of the movies themselves.
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
The depictions of women in films have changed in time with society to ensure the films popularity.
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 ...
Throughout time, women in movies and other similar texts are shown to be generally focused on men. This might make sense if every movie ever made was set in a time where women had absolutely no rights, but of course, this is not the case. Older and more modern depictions of women in the media, both show women whose lives revolve around men. Even movies that market their female characters as strong and powerful are still shown to be dependent on the male leads. Also, since women in movies have more of a focus on men, female platonic relationships suffer in the same films.