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Objectification in media
Objectified in media bodies
Essays on objectification of women in movie industry
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Directed by French avant-gardist Agnés Varda, Le Bonheur (1965), translated as “Happiness”, conveys through the formal device of editing in promoting male fantasy by objectifying women’s subjectivity in a patriarchal ideology. In her stunningly provocative film, Varda’s editing positions both the female leads, Thérèse (Claire Drouot) and Émilie (Marie-France Boyer), according to the male lead Fronçois’ (Jean-Claude Drouot) attitude as being interchangeable in their domestic roles, sexual fragmented objects, and impotent. Throughout the film, both Thérèse and Émilie are perfect examples of female subjectivity in a patriarchy society as they suppress the comprehension of their own feelings and desires, and transform themselves for Fronçois, thus preventing from coming into conflict with his’ “happiness”. For his own happiness, François expects Thérèse, his wife, to approve of the affair as he is completely engulfed within his own feelings and doesn't see the effect his betrayal might have on his her. In reality, he doesn't even see it as betrayal. There is a fundamental inequality in his marriage, as François has misunderstood his own emotions and desires for the shared feelings that should be part of an ideal marriage.
In the beginning of the film, Varda distinctly displays classic domestic roles portraying Thérèse as the archetypal wife and mother, doing her part to make life easy and pleasurable for her husband and children. Through a montage editing sequence, Varda devalues and dehumanizes Thérèse as she performs her daily household routine, diminishing any emotions or sense of personality Thérèse might have or feel. Within the montage, Thérèse is fragmented as her chores are shown solely through medium close-up shots of her h...
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...al film, conveying through editing the idealistic story of a man’s fantasies of happiness objectifying the women he loves into a patriarchal society, by dehumanizing them, making them easily replaceable, and both sexual and fragmented objects. For Fronçois, both Thérèse and Émilie are superficial objects, a fact which dehumanizes them, striping them completely from their subjective identities taking their roles in his male fantasy. Despite a rather odd and disturbing ending, with one woman replacing another, as the family continues living happily as if nothing particularly important took place. The ending demonstrates patriarchy in effect, where both Thérèse and Émilie are completely defined by Fronçois, and the only method in escaping is by ending their lives, since they can’t apparently hope to be allowed to define their own life within such patriarchal society.
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.
Which is caused by the narrator having a male perspective. The narrator does not give the women and credit or redeeming qualities. All the women follow a general stereotype. If they tried to break away from the stereotype, they would me more important and influential characters. Paquette, a chambermaid in the Baron’s castle, is described as “a pretty and obedient brunette” (5). She is identified obedient not because of her job as a chambermaid, but because she is willing to exploit her soul and body to the men around the castle. In regards to the old woman, she doesn’t even have an actual name, which does not matter since is ugly and useless. The old woman has the mindset that she is; an object; a mistake; a disgrace. That her time has passed as a beautiful useful woman. All the rape and abuse has physically affected her and she is out of luck. In fact, she is lucky if men talk to her, or even look at her without
destructive, exotic and a self-determined independent who is cold hearted, immortal and less of a human. The females portrayed in the noir were primarily of two types - either projected as ethical, loyal loving woman or as ‘femme fatales’ who were duplicitous, deceptive, manipulative and desperate yet gorgeous women. In
The film presents the stereotypical behavior of gay men that is evident in our society. Many of the costumes are designed to highlight the characters and the way they live. For example, Bernadette wears long flowing clothes usually white or an off cream. ‘She’ is an older ‘women’ and dresses to look like one with flowing skirts and tops with her hair done up simply.
The central characters, setting, and tone of the story help create the central idea of the psychological and internal desires of a woman. Through the view of the central characters it is established that the lawyer’s wife wants more than her average day and is searching for more to life than the daily routine of a house wife. Jean Varin is believed to be the desire she is looking for; however, she is not fulfilled or happy with the outcome of her choices. The setting and the tone reveal the psychological need for the wife to have an adventurous, lavish, and opulent lifestyle that she feels can only be achieved in Paris.
...vie, the actresses that played them actually fit the role. Women usually do not have impacts on things, but in this novel, major things happened as a result of these women. These things include dishonest marriages, love affairs, wealth, power, and jealousy. This goes to show that women are not always the innocent ones in novels, or any other type of literature.
One of the issues that was raised is the idea of the relationship between femininty, technology and sexuality. The relationship between all of these qualities converse in one character, Maria. The real Maria has many roles thoughout the movie, including one who cares for the workers children, a preacher of peace for the workers, and one who loves Freder. The machi...
Within Tennessee Williams's story about love and abuse within marriage and challenging familial ties, there lie three very different characters that all see the world in vastly different ways. These members of a family that operate completely outside of our generation’s norms, are constantly unsure of themselves and their station within the binary not only of their familial unit, but within the gender binary that is established for them to follow. Throughout the story of the strange family, each character goes through a different arch that changes them irrevocably whether it is able to be perceived or not by those around them. The only male, Stanley is initially the macho force in the home who controls everything without question. He has no consequences for his actions against his wife and is never held accountable for treating the people around him poorly; this lasts until Blanche arrives. Blanche is an outwardly demure, but spirited young woman who after experiencing untold misfortune breaks mentally and decides to no longer care what others may think of her. She lives her life lavishly and foolishly by having dalliances with younger or richer men who shower her with gifts and attention to get sex from her all too willing form. Her effect on Stanley is one of temptation and challenge; she continually tries to convince her sister that she is too good for the man and in turn fosters a resentment for her in him. Stella acts as the antithesis of Stanley and Blanche’s extreme personalities. She is innocence and purity where they are the darkness that threatens to overtake her life. Throughout, Stella is a pawn that they both try to use against the other to no real avail as she is determined to make the best choice for herself. In th...
Upon further reading, however, one begins to observe a complete loss of rationality in the women characters. It looks as if, when a significant male character abandons the female in death or desertion, the woman loses all sense of responsibility and reason and shuts herself off into seclusion. This incident is seen happening, in one form or another, to Rebeca, Amaranta, Fernanda, Meme, and Ursula, to a certain extent, bringing up the possibility that the men may, in actuality, be h...
Betty Friedan’s book, The Feminine Mystique, explains the mind set of society in the 1960s. She writes that the women of the ‘60s were identified only as creatures looking for “sex, babies, and home” (Friedan 36). She goes on to say “The only passion, the only pursuit, the only goal a woman [was] permitted [was] the pursuit of a man” (Friedan 36). This mind set, this “feminine mystique,” is clearly shown throughout the show Mad Men. The side effect of the feminine mystique hurt all the women of this time. Matthew Weiner shows how this conception of the “ideal woman” hurt all of his lead women. The consequences are shown in the two women who bought into the idea, Betty and Joan, and the one who re...
Le féminisme est clairement un thème important dans "Les Belles Images". Laurence, le protagoniste féminin subit une crise d'identité, comme elle commence à devenir de plus en plus consciente de sa position dans le monde et dans sa famille comme une femme. "Les Belles Images" dépeint l'éveil de Laurence comme elle est apparemment arrachés de sa complaisance et devient conscience très vive de l'état stagnant de sa famille et de sa vie. Bien que depuis l'extérieur, Laurence semble être l'épitomé de l'idéal féministe de la femme nouvelle, avec sa carrière prospère, son amant et son mode de vie bourgeois, à l'intérieur, tout est train de s'effondrer. C'est la fille de Laurence Catherine qui agit comme un déclencheur pour cet éveil C'est la fille de Laurence Catherine qui agit comme un déclencheur pour ce réveil quand elle pose la question «pourquoi est-ce qu'on existe ?» (23). La question de Catherine Laurence fait examiner à elle-même et sa vie. Cette examen de conscience résultats dans Laurence devenir désabusés par les hommes de sa vie; son mari, son amant et son père. Dans son livre "Beauvoir et ses soeurs: La politique de l'corps des femmes en France", Sandra Reineke affirme que cette désillusion avec les hommes de sa vie, représente le rejet féministe de changement et de continuité dans la France moderne (27). Le père de Laurence symbolise l'ancien mode de vie de la bourgeoisie et Jean-Claude symbolise le nouveau mode de vie techno-bourgeoisie, qui ne sont dans l'intérêt de la femme. À la fin du roman, Laurence a résignée au fait qu'il ne soit trop tard pour elle de changer sa vie, mais elle est prête à prendre en charge la vie de ses filles et de les protéger de l'oppression des hommes:
It pinpoints out how women were taken as during the 1900’s. The story also highlights the extremes of repression and sexism by viewing the woman as mad by a rest cure. In the view of the Narrators role as a woman, lack of intellectual stimulation in her thought and unjust environment usually led her insane. This points out failure in the society in which sexism and oppression was carried out towards women. An aspect of feminism portrayed by the Narrator in the story is how she tries to dismiss John’s opinions. She repeatedly requests him to relocate her to another room downstairs. This is an aspect of feminism which should be encouraged among women to demand for their freedom. The Narrator takes part in not conquering with John. But as time goes she is less able to feel the usual relief. John rejects the request and replies to her that she must spend in the nursery room which is barred and rings similar to those of dungeon on the walls. She is denied the right to choose what pleases her. Later she comes to like the nursery room where other times she locks herself up to avoid husband’s disturbance upon the story. Also the act of Narrator’s wallpaper routine is a sense of imprisonment. She recognizes that the pattern is so ugly like a cage imprisoning women who are desperately trying to escape. The Narrator figuratively tears the bars and the wallpaper of the cage to clear her way to escape.
A Patriarchal society is the social construction of male authority over women in an attempt direct their behaviour. In Tess of the d’Urbervilles, Thomas Hardy presents a story of suffering and pain caused primarily by the men in the novel. Hardy’s bitter critique, mocks the Christian ideals of Victorian thinking (1) which brings about Tess’ demise, a once “innocent country girl”. Similarly, in Perfume: The Story of a Murderer, Patrick Süskind portrays Grenouille, a child of the gutter who is brought up and dies in hate through social condemnation.
The Woman in Love, a section taken from Simone de Beauvoir’s The Second Sex, describes her theories on men and women in love and the vast differences and purposes they think love is for. This book was published in 1949, and with this in mind we can understand the way she describes women as the weaker sex and how dependent women are on men. In the beginning of the text she states that “The word ‘love’ has not all the same meaning for both sexes, and this is a source of the grave misunderstandings that separate them...love is merely an occupation in the life of the man, while it is life itself for the woman(683).” This first quote from this chapter is important because it really outlines what she is about to get at throughout the entire...
Also, the film revealed women empowerment and how superior they can be compared to men. While demonstrating sexual objectification, empowerment, there was also sexual exploitation of the women, shown through the film. Throughout this essay, gender based issues that were associated with the film character will be demonstrated while connecting to the real world and popular culture.