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Depiction of women in movies
Marilyn monroe social impact the world
Influence of Media on Society
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Recommended: Depiction of women in movies
Hollywood is a very powerful modern day institution, where a star's image can characterize, shape and circulate societal myths and ideologies. The construction of a star's image as a commodity of their societal myths and ideologies has the extraordinary power to exert messages so that even the smallest details become significant yet not overtly obvious. How a star's image is produced and then consumed can justify a society's relationship with that image and therefore aid in explaining the social construction of what society deems as their 'reality'. A star's image is created through a range of representations churned out by Hollywood. Capitalism from the commercialization of these images has made Hollywood the dominant force it is today.
A re-emerging image in Hollywood is that of the sex symbol, represented by Marilyn Monroe in the 1950's. Monroe is Hollywood's classic sex symbol, where the cultural phenomena she creates, instigates her immortal and legendary status. The first ever issue of Playboy magazine features Marilyn Monroe as the “cover girl”. By decoding meaning from this magazine cover, the visual and written text becomes a communicator for both obvious and subtle meaning conveyed through her image.
The slogan 'Entertainment for Men' is a signifier for the down classing of females as nothing more then sexual objects in our society. As a sign, the written text can be categorized as an icon as it directly connotes Marilyn Monroe as being 'Entertainment for Men', a playmate valued only for her body. This sign heavily draws on the inferior position that women held in the 1950's. The slogan only reinforces the 1950's discourse of a male dominated world where women were considered the 'lesser' sex. This cult...
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... of the social construction in society. Marilyn Monroe as the prototypal sex symbol of the 1950s does illustrate social construction and ideologies upheld in that period. Society was encouraged by Hollywood as an institution to approve of and accept values associated with the Marilyn Monroe persona. Monroe's image naturalizes the dominating discourse in the 1950's of females as sex objects where for a woman to be successful she had to be beautiful.
The myth that utilitarianism and Hollywood equates to success and happiness can be rejected by deconstructing Marilyn Monroe's image to justify that a star is merely a commercial package. As more people challenged ideologies and rejected a dominant discourse of females as sexual objects, an image has emerged which portrays women as more powerful and independent, thus reflecting the changing role of women in society.
A new edition to the course lineup, this week's film classic, Sunset Boulevard. This film will focus on the culture and environment of the Hollywood studio system that produces the kind of motion pictures that the whole world recognizes as "Hollywood movies." There have been many movies from the silent era to the present that either glamorize or vilify the culture of Hollywood, typically focusing on the celebrities (both in front of and behind the camera) who populate the "dream factories" of Hollywood. But we cannot completely understand the culture of Hollywood unless we recognize that motion pictures are big business as well as entertainment, and that Hollywood necessarily includes both creative and commercial
They did not challenge gender norms or ideals. Nor did they aim to usurp the position of the man. Rather, they supported the overarching mentality that women were to be submissive, strive to fulfill the needs and wants of men, and aim to please their male counterparts. (Kallen) Importantly, none of these women or representations of women exhibited any physical attributes that the dominant culture would view as masculine. Instead, they all displayed quintessential feminine characteristics and traits. Moreover, they were not valued for their brains or accomplishments; they were judged solely based on the degree to which they conformed to the male-dictated status quo. Marilyn Monroe and other sex icons of the 1950s were portrayed as dim-witted, naïve, childlike, and vulnerable, which was the polar opposite of society’s picture of the strong, smart, witty, and brave male. There was nothing about these women that challenged male superiority or threatened the overarching worldview that it was a ‘man’s world’ and women’s purpose was to make this world more enjoyable for the men who ruled it. (Meyerowitz
In the past few years, advertisement has changed significantly, and with it bringing many changes to our current society. Susan Bordo, a modern feminist philosopher, discussed in her article “Beauty (Re)discovers the Male Body” how current society has changed starting with Calvin Klein’s advertising campaign that showed men wearing nothing but underwear. Bordo argues how men are becoming the subject of the gaze, just as women were for centuries. This argument of the gaze is especially pronounced in John McTiernan’s film The Thomas Crown Affair, which focuses on two main characters, a man named Thomas Crown, who is a billionaire Manhattan financier, and a woman named Catherine Banning, and insurance investigator who is investigating Crown’s robbery of the 100-million-dollar painting, the “San Giorgio Maggiore Soleil Couchant”. The film addresses Bordo’s modern feminine and masculine gaze to target a wide range of adult audience.
Gilman, Charlotte Perkins. "The Yellow Wallpaper." Images of Woman in American Popular Culture. Ed. Angela G. Dorenkamp, et al. Port Worth: Harcourt Brace, 1995. 78-89.
Marilyn Monroe was liked by many, society liked her for the sheer fact that she never portrayed herself as famous, but as a human. She was the epiphany of Hollywoods misguided. She created this noble character that people admired, they also admired her f...
Countering the Culture of Sex is an article by Ellen Goodman dealing with the entertainment industry’s plague upon society. With sex rooted deep in children’s minds it creates this idea of what life revolves around. Digging deeper, Goodman brings up the point of why one never sees the consequences of sex. If the media were to show the consequences of people’s actions, the industry could create a sense of fear into the public.
The image has a huge effect in society. A celebrity’s image can characterize, shape and circulate societal myths in Hollywood. Marilyn Monroe was an American actress, singer, and model. People think her figure and beauty make her become a popular icon and sex symbol in the 1950s. When people talk about the name of Marilyn Monroe, a blonde beautiful sexy female's image will appear in people's minds. What has the beauty standard shown us through Marilyn Monroe in the mid-20th century? Besides the beauty what other things did she need in order for her to be famous at that time? Marilyn Monroe's status as a sex symbol has influenced many artists since her time, even though the beauty standard has been different since then. If we look at the celebrities today, we can find many imitators of Marilyn Monroe: Madonna, Britney Spears, Lindsay Lohan, and even Lady Gaga. They do this not only because of marketing and media needs, but also because people today still “worship” the image Monroe created. A half-century has passed since Marilyn Monroe's death, so why is she still relevant today? As time has passed, Marilyn Monroe's image is becoming even more meaningful and valuable. Think about the image she has created, the main point I want to study is: how does a woman who passed away at thirty-six years old, after starring in only a handful of movies, has such on the impact on women, especially young women, in the 21st century? To find the answer of how she has an impact on young women today will also show how some of the young celebrities today became successful.
Leibovitz photographs women of remarkable accomplishment: senators, supreme court justices, astronauts, athletes, opera singers, firefighters, a philanthropist maid, basketball stars, movie stars, elementary school teachers, weightlifters, and performance artists, as well as those who happen to fall in the viewfinder, sitting in the back of a pickup truck playing with Barbie dolls, or seeking shelter from domestic abuse at the local YMCA. Viewing this seemingly objective portrayal of women, we must consider the statements being made. Carol Duncan, in her essay “The MoMA’s Hot Mamas,” describes the modern art museum and a vast array of modern art in general as “a ritual of male transcendence, if we see it as organized around male fears, fantasies, and desires (118).” One might assume that Leibovitz, a respected and established photographer, might take ...
The influence of the media on women is not unknown, but it was especially prevalent in the 1960s. According to David Croteau and William Hoynes, both professors of sociology, “Media images of women and men reflect and reproduce a whole set of stereotypical but changing gender roles” (quoted in Mahrdt 1) and, as society changes and opinions are altered, television shows adapt. However, the television show Mad Men is unique because it does not show life today, but the life of the 1960s. It shows what life was like for the women who lived during a time when the “feminine mystique” controlled society.
In his article Stars as a Cinematic Phenomenon, he used the ‘photo effect’ conception of Roland Barthes to examine the present/ absent paradox of stars. He proposed influential qualitative distinctions in between stardom in films and television. He argued that ‘Stars are incomplete images outside the cinema: the performance of the film is the moment of completion of images in subsidiary circulation, in newspapers, fanzines, etc. Further, a paradox is present in these subsidiary forms. The star is at once ordinary and extraordinary, available for desire and unattainable. This paradox is repeated and intensified in cinema by the regime of presence-yet-absence that is the filmic image’(1992). Therefore, the impractical mode of ‘this is was’ on nature of stardom ‘awakens a series of psychic mechanisms which involve various impossible images’, such as ‘the narcissistic experience of the mirror phase’(1992). Ellis then continued to indicate televisual stardom, which is more current or ‘immediate’ than cinematic fame. He argued that ‘What television does present is the “personality”. The personality is someone who is famous for being famous and is famous only in so far as he or she makes frequent television appearances… In some ways, they are the opposite of stars, agreeable voids rather than sites of conflicting meanings’. Ellis’ thesis definitely points out the differences between cinema and television fame, due to the multimedia and transmedia of current era implies a much more diverse and unpredictable relationship in between stars’ images in any kind of
Gender stereotypes and biasses exist in media. In most situations, women are associated with more negative stereotypes and their portrayals can “undermine their presence by being “hyper-attractive” or “hyper-sexual” and/or passive” (Smith, 2008). In The Wolf of Wall Street women are objectified. They are treated
It is shocking to see the digression in humanity’s morals and values over the past decade. As cliché as it sounds, the media is the center of it all. The way women are being represented, from our television sets, the radio, pornography and even art has pushed beauty to the top of the list of controversial and widely debated topics around the globe. “Whenever we walk down the street, watch TV, open a magazine or enter an art gallery, we are faced with images of femininity,” (Watson and Martin).
Popular culture is often dismissed as frivolous, unimportant or simply mindless entertainment, both by media critics and by academics. However, it is important to examine and think critically about popular culture and what it can tell us about the society that we live in. In the specific case of the relationship between gender and popular culture, popular culture is informed by the way gender is structured and the structure of gender is, in part, reinforced by popular culture.
Movie stars. They are celebrated. They are perfect. They are larger than life. The ideas that we have formed in our minds centered on the stars that we idolize make these people seem inhuman. We know everything about them and we know nothing about them; it is this conflicting concept that leaves audiences thirsty for a drink of insight into the lifestyles of the icons that dominate movie theater screens across the nation. This fascination and desire for connection with celebrities whom we have never met stems from a concept elaborated on by Richard Dyer. He speculates about stardom in terms of appearances; those that are representations of reality, and those that are manufactured constructs. Stardom is a result of these appearances—we actually know nothing about them beyond what we see and hear from the information presented to us. The media’s construction of stars encourages us to question these appearances in terms of “really”—what is that actor really like (Dyer, 2)? This enduring query is what keeps audiences coming back for more, in an attempt to decipher which construction of a star is “real”. Is it the character he played in his most recent film? Is it the version of him that graced the latest tabloid cover? Is it a hidden self that we do not know about? Each of these varied and fluctuating presentations of stars that we are forced to analyze create different meanings and effects that frame audience’s opinions about a star and ignite cultural conversations.
Sex has always been a controversial matter in American society. Before the 1980’s, those that openly articulated their views about sex were thought of as promiscuous and perverse, unless they were male. Perhaps, that is why the aura of Madonna stirred raving controversy across America. Fiske notes that her image was not a “model meaning for young girls in patriarchy, but a site of semiotic struggle between the forces of patriarchal control and feminine resistance, of capitalism and the subordinate, of the adult and the young (Fiske 282).” Never before had a woman presented herself so provocatively yet so comfortably.