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Depiction of women in movies
Gender inequality in the movie industry
Gender inequality in the film industry
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Recommended: Depiction of women in movies
Evans Ohene-Djan
Prof. Johnson
ENGL 102
21 October 2015
It’s 2015 and gender inequality both in front and behind the camera still exists. A meaningful conversation with an eye towards ameliorating the problem is long overdue. Gender inequality remains a major problem in the movie industry. Women have made major impacts in the industry, yet they have not gained gender equality. Hollywood is not a stranger to the disadvantages facing women. Besides a handful of notable standouts, women are struggling when it comes female driven films receiving wide release. The dismal reality is, women still face multiple difficulties in Hollywood.
In the article “Violent Femmes”, by Stephanie Mencimer, (Mencimer) writer for the Washington Monthly, explains
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It is not surprising, that a number of female movie directors, filmmakers, characters and emerging talents are challenging this status quo. 28.8% women wore sexually revealing clothes compared to the 7.0% men. 26.2% women get partially naked compared to 9.4% male, while only 30.8% of women are offered speaking roles. The average ratio of male actor to female actress is 2.25:1, meaning the majority of men are always cast in lead roles. The last decade has seen little change in the numbers of female leading and speaking characters. Few actresses have chances for identifying goals or to be portrayed as leaders of any kind. The report also shows that the majority of movie goers are women, asserting that, though disparities exist in the industry, more women as well as men are fine with the status quo. In the history of the Academy Awards, only four female filmmakers have been nominated since 1976 to 2010 for best director out of which only Kathryn Bigelow won in 2010, becoming the first woman ever to win this …show more content…
Whiles Mencimer held out hopes that things would change in Hollywood, more recent articles and visual text makes it clear that women still have a long way to go to achieve parity with men. After Kathryn Bigelow’s directorial success, there was the optimism of opportunities for other women in the industry, but nothing changed. Hatful even painted disturbing pictures about women misrepresentation and exploitation in the industry. Thus Big-budget film financiers and producers appear to be frightened to change unless they could feel their audience’s desire is evolving. In order to rectify this situation, consumers and producers of contents must recognize the need for a leveled playing field. Women should be given the chance to bring out the talents they possess. They should also be given the same opportunities like their male
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.
Film making has gone through quite the substantial change since it’s initial coining just before the turn of the 19th century, and one would tend argue that the largest amount of this change has come quite recently or more so in the latter part of film’s history as a whole. One of the more prominent changes having taken place being the role of women in film. Once upon a time having a very set role in the industry, such as editing for example. To mention briefly the likes of Dede Allen, Verna Fields, Thelma Schoonmaker and so forth. Our female counterparts now occupy virtually every aspect of the film making industry that males do; and in many instances excel past us. Quite clearly this change has taken place behind the lens, but has it taken
Since many of the roles are given to white actresses, actresses of color are underrepresented in the industry. Only six out of the top 500 box office films feature a woman of color as their protagonist, none which are at the top 200. This only leaves it to around 1% of the protagonist to be a woman of color. As we head towards a better society, more and more examples of media that challenge these statements are being created.
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
Women in Film as Portrayed in the Movie, Double Indemnity. Introduction 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.
The Sundance Film Associations luncheon celebrating Women in Film in January of 2017 was covered by various news outlets, but with headlines that were not praising the speeches made there. Rather The Los Angeles Times characterized it as a triggered and heated debate, Mashable as uncomfortable, and Indiewire as actresses speaking over one another and thoughts going to sets of deaf ears. The main women in the debate were actresses Shirley MacLaine, Salma Hayek, and Jessica Williams, who are incredibly different from the others in many aspects, but most notably, in age, race and their stances on identity and victimhood. The debate began with how to handle maintaining and promoting a woman’s voice and identity in the face of the often sexist
Smith, Jeff, and Chloe Beighley. "Normalizing Male Dominance: Gender Representation in 2012 Films." Grand Rapids Institute for Information Democracy. N.p., 12 Feb. 2013. Web. 1 Apr. 2014.
Decades ago Katha Pollitt realized there were not enough women is the television industry and preschool aged children were the ones being effected the most. From Pollitt’s article the Smurfette principle was developed and spread worldwide. This principle has helped lead the way for women in the media, but has it been enough? In her dissertation about how female characters are represented in Hollywood, Reema Dutt (2013) points out that “Animated children’s films tend to focus on male characters, with females as ancillary accessories...” Young girls are the most impressionable at the preschool age, yet Hollywood allowed men to dominate the big screen for so many years. Dutt (2013) goes on to explain “This is particularly disappointing given the fact that these films target impressionable children, who are being fed normative and antiquated portrayals of women at a young age.” Pollitt’s outlook was not erroneous, however the differences in television between 1991 and 2016 are astounding. There are twenty three years between Pollitt’s article and Dutt’s dissertation and many aspects still hold true. Over those years there has been much headway made for women in television. According to a study in HuffPost Women Nina Bahadur (2012) reported that “…44.3 percent of females were gainfully employed — compared with 54.5 percent of
...ue to the fact that she is so concerned with the gender aspect that she overlooks the reasons for keeping the categories separate. By having separate categories a male and female staring in the same film are both eligible to win an award, something that would be impossible if the categories were merged. She also disregards the fact that merging the two categories would lead to fewer nominees, which would force both male and female actors to be left out of the nominations. Her background in Women’s studies further impacts the overall effectiveness of this argument. Many readers may disregard the entire article because they feel that she is just using it as a means to promote Women’s rights. On the other hand, people who firmly believe in gender equality may be more inclined to accept her argument, even if they could care less about having separate categories.
Diversity has always been one of Hollywood’s greatest weaknesses. For the most part, the industry absolutely strives with its rich narratives, beautiful cinematography, and moving performances but it fails when it comes to diversity. The representation of both women and people of colour have been lacklustre, often with poor characterisations and distasteful stereotypes and character tropes.
Like actresses, female film executives are also paid less than their male colleagues, although they are doing the same job. Female film executives work behind the scenes on a movie and television set. An example of how female film executive are paid less is when “The studio[Colombia Pictures] paid Michael De Luca $2.4 million a year but only paid Hannah Minghella $1.5 million a year — or 37 percent less than De Luca” (Khon). This show how not only actresses, but how women in Hollywood are undervalued compared to their male colleagues. Instead of setting an example for the gender pay gap Hollywood should have to set an example for other job occupations. If women in Hollywood, a billion dollar industry, can not get equal pay than female teachers and female engineers do not have a chance to fight for equal
Noted in Yvonne Tasker’s Working Girls: Gender and Sexuality in Popular Cinema, Goldie Hawn says this about women's role in the film business “There are only thee ages for women in Hollywood: Babe, District Attorney and Driving Miss Daisy” (1998, p. 3). While Haw...
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 ...
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. 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. This was an astonishing change for the American industry of film. Sometime later, in 1984, Linda Hamilton starred in ‘The Terminator’, a film where she was not the leading character, but a strong female character as Sarah Connor. She had a combination of masculine and feminine qualities as “an androgynous superwoman, resourceful, competent and courageous, while at the same time caring, sensitive and intuitive” (Hirschman, 1993, pg. 41-47). These changes made in action films for female’s roles stirred up a lot of excitement in the “Western society” (Starlet, 2007). The demand for strong female characters in action films grew to a new high when Angelina Jolie starred in ‘Tomb Raider’ in 2001 and then in the sequel, ‘Tomb Raider II: The Cradle of Life’ in 2003 as Lara Croft. Her strong female character was not only masculine, but was also portrayed as a sex object. Most often, strong women in these types of films tend to fight without even gaining a mark. At the end of each fight, her hair and makeup would always be perfect. The female characters in these action films, whether their role was as the lead character or a supporting character, had similar aspects. I...