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Women portrayal in movies
Marilyn monroe influence on america
Critical analysis of depiction of women in films
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A blonde beautiful sexy girl whose white dress was flying is one of the most famous images that the American actress, singer, and model Marilyn Monroe made in the 20th century. As a popular icon and sex symbol in the 1950s, Monroe has influenced many artists since then. Her imitators include Madonna, Britney Spears, Lindsay Lohan, and even Lady Gaga. This can be a way to explain how the marketing of media works. Marilyn Monroe’s image uses her sexy appeal to show a powerful and independent woman in the 21st century. I will find the answer of how she has an impact on young women today to explore how some of the young celebrities today became successful. Despite the sex symbol Monroe has created for herself, she has many feminist characteristics, and perhaps she was not even aware of it. I am arguing that Monroe is a feminist because she is an independent, professional woman, she is courageous to express herself, and she is self-actualized. Banner, Lois. “Marilyn: The Passion and Paradox.” New York: Bloomsbury, 2013. Print. This book discusses Marilyn Monroe's extreme visibility and currency in terms of the domestic ideology of the 1950s. Lois Banner claims that Marilyn Monroe was ahead of her time and was also a victim of misogyny. To ground her argument, Banner talks about Marilyn Monroe’s work with Playboy magazine and her work with film directors. Monroe was not intended to take the picture which was the cover photo for the first issue of Playboy. Banner analyzes Monroe’s appearance in How to Marry a Millionaire, linking the organization of photographic space to domestic spatial ideology. This film was the first film to be shot in the new technology CinemaScope wide-screen which shown that Monroe was really famous at that time... ... middle of paper ... ...the Hollywood “post –feminist” movie is a kind like fake perfect lives for women which does not talk about the pressure from work and family. As Thompson said by the end of the article that people need to focus on the films that not made by Hollywood, the ones which deal with the real faces and daily life of people. I will compare this idea with another secondary source that the author Lois Banner’s analyzes of the movie How to Marry a Millionaire to show the progress of the feminist movement. I am arguing that most of Monroe’s roles in the movies are the girl who is brave to fight for true love to show that she is a feminist in the 1950s. If using Thompson’s standard of the feminist movies, Monroe’s type of movies will just be the typical classical Hollywood movies. That’s will help me support my subclaim that Monroe’s image has be redefined in the new century.
May begins by exploring the origins of this "domestic containment" in the 30's and 40's. During the Depression, she argues, two different views of the family competed -- one with two breadwinners who shared tasks and the other with spouses whose roles were sharply differentiated. Yet, despite the many single women glamorized in popular culture of the 1930's, families ultimately came to choose the latter option. Why? For one, according to May, for all its affirmation of the emancipation of women, Hollywood fell short of pointing the way toward a restructured family that would incorporate independent women. (May p.42) Rosalind Russell in His Girl Friday and Scarlett O'Hara in Gone with the Wind, for example, are both forced to choose between independence and a happy domestic life - the two cannot be squared. For another, New Deal programs aimed to raise the male employment level, which often meant doing nothing for female employment. And, finally, as historian Ruth Milkman has also noted, the g...
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
Imagine it – all the rules you were raised to follow, all the beliefs and norms, everything conventional, shattered. Now imagine It – Clara Bow, the It Girl. The epitome of the avant-garde woman, the archetype of the flapper, was America’s new, young movie actress of the 1920’s. Modern women of the day took heed to Bow’s fresh style and, in turn, yielded danger to the conventional America. Yet Bow’s contagious and popular attitude came with its weaknesses - dealing with fame and the motion picture industry in the 1920’s. Despite this ultimate downfall, Clara’s flair reformed the youth and motion pictures of her time.
Humanity has been allured by extraordinary beauty for centuries. Aphrodite, the Greek goddess of love and beauty, is a perfect example. This enchanting mythical figure wore a girdle with magical powers: forcing anyone to be in her presence to immediately fall in love with her. Though married to the blacksmith god Hephaestus, Aphrodite was known to have many affairs with both other gods and humans. Like Aphrodite, Marilyn Monroe seemed to enchant people wherever she went. The stunning blonde never settled down, and had affairs with multiple men. Sam Shaw, iconic Hollywood photographer, described her as, “’...always joyful, witty, fun loving and serious about acting—with a terrific desire to learn, to know about the arts, the theater, her craft, to read good books, to read poetry and to try to reach the ecstasy of poetic thoughts’” (French). Amazingly, both Aphrodite and Marilyn Monroe are major sex symbols, were quite unsure of their biological fathers, and had love relations with a pair of brothers.
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.
The death of Marilyn Monroe is one of the most famous, unsolved murders of all time. Her death certificate claims that on the night of August 4th, 1962 Marilyn Monroe killed herself from a drug overdose in her home in Los Angeles, California. Although some might say that the drug overdose is the only possible reason of her passing, other might say that theories such as the CIA killed Marilyn Monroe makes more sense. For example, Marilyn Monroe was allegedly having an affair with both John F. Kennedy and Attorney General Robert Kennedy. The most common theory supports the idea that “the Kennedys killed her (or had her killed) because they feared she would make public their love affairs and other government secrets she was gathering” (History.com
With his hips swiveling and legs swinging, Elvis Presley’s risque performances made teenage girls swoon as their parents would rage over the atrocity of his dancing back in the mid-50s. Today, however, he is regarded as one of the most important musicians/performers of all time. Commonly known as “The King of Rock and Roll,” Elvis Presley has tremendously influenced society as well as the music industry in both the past and present.
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...
...es, in the eyes of the modern moviegoers, this position is no longer reasonable due to the strides already made by women in quest for equality. It is a reflection of how the past American society treated its women and draws to the traditional inclination of the Americans to achieve financial independence as seen in this post war film.
Think about the obstacles of a woman to become successful in the 1950s. I want to find an answer whether it was the media, which created Monroe’s sexy image or Monroe, whom herself used her sexy image to become famous. I am going to study the background of the time period, and learn if the current events such as the Civil Rights Movement and the Cold War, had any impact on Monroe's life, or whether Monroe herself had any influences politics in mid-20th century. I will also explore on how Monroe’s image influenced and redefined the feminism in the 21st century. I believe Marilyn Monroe was a clever, confident, and independent woman who was very brave and smart. Her spirit is what the girls in the new century needed. I also would like to study why Marilyn Monroe is still relevant and even famous in the 21st century to show the power of female charisma.
Madonna is a controversial legend whose attitudes and opinions on sexuality have forced the public to take notice and change the image of females in society. Madonna believed women’s sexuality was a natural aspect of life; therefore, she dared to challenge the rules and definitions of femininity and sought to expand the meaning of it. In a male dominated world, she wanted to focus on the importance of women and let them have a voice of their own. Madonna shattered all the myths on traditional beauty standards and made her statement on sexuality and feminism, which changed how society viewed the standards of beauty. She impacted female power by encouraging sex- positivity into her music and her style. It is mainly because of Madonna that ordinary women, and women in modern entertainment have more choices and freedom which continues to influence further generations.
Specific Stages of Erik Erickson’s Stage Theory greatly exemplify the deeply confused individual of Marilyn Monroe. The most predominant features of Marilyn Monroe’s personality can be explained by Erikson’s psychosocial stages of “Identity versus Role Confusion”, “Intimacy versus Isolation”, and “Generativity versus Stagnation” (Howard & Shustack, 2009, p. 134-139). During Marilyn Monroe’s most critical period of her life, childhood, she was neither exposed to a stable mother and father figure, nor a balanced environment. Those who did love her did not remain for long enough periods to have a substantial effect on Marilyn’s life. The closest mother-type present in her life, Grace McKee, did not possess the resources needed to raise a child and thus had to withdraw as permanent stature in Marilyn’s life (Learning, 1998, p. 64-76). Aside from Grace, Marilyn also never experienced the protection and love of a father figure, or arbitrary male in her life.
middle of paper ... ... Greenberg, H. R. & Greenberg, H. R. "Rescrewed: Pretty Woman's Co-opted Feminism. " Journal of Popular Film and Television 195605th ser. 19.1 (1991): 1-8.
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.