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Representation of gays/lesbians in cinema
Representation of gays/lesbians in cinema
Gender inequality in movies
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Megan is the stereotypical high school cheerleader girl. Her boyfriend is the football team’s captain. Every girl in school envies her for having the perfect life, the perfect boyfriend. Except she is not who people think. In reality, she hates kissing her boyfriend because she is only attracted to girls. Her parents eventually realize to their dismay that their daughter might be lesbian. They decide to send Megan to a rehabilitation camp that converts its patients “back to heterosexuality.” Megan, thinking her parents are right, accepts to go. Ultimately, she realizes that she is simply attracted to women and there is no summer camp that would change that. The previous story was a film released in 1999 called “But I’m a Cheerleader.” This movie served as a critique not only about the perception of sexuality in society, but also about gender roles. Unfortunately, the film did not reach a wide audience because the Motion Picture Association of America (MPAA) initially gave it an NC-17 rating (No Children under 17 Allowed). This was a surprising decision since the movie had no violence, nudity or sexual content. In order to get an R rating, the director revealed that the MPAA asked her to cut down a scene in which two girls talk about giving oral sex to each other, thus proving that the homosexual content of the movie was the reason why it was given an NC-17 rating. Since the creation of the current film ratings, many controversies have emerged from the unfair treatment the MPAA has given to many films and their content. Simultaneously, they have been discriminating certain groups and endorsing wrong ideas to millions of moviegoers in America. The MPAA rating system must be eliminated because it delivers a faulty message to the Amer...
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...e type of content. But the Motion Picture Association of America is not being fair with its rating system, disfavoring the image of the film industry. While discriminating certain groups, like women and gays, the MPAA rating system is proving to be a severely inappropriate structure to be put responsible for the fate of movies in America. Its original mission to serve parents and children seems to have lost its purpose as it is doing the opposite of what it declares to do, sending different kinds of wrong messages to its targeted audience. Parents should have the right to decide what kind of film is right for their children without the bias ratings of this organization because at the end, parents have their own opinion on what their kids can and cannot watch. The MPAA rating system is spreading faulty messages to Americans, which is why it must be eliminated.
In addition, she contradicts her own stance on the position when she mentions that previous literature containing sexually explicit content should not be censored (Brownmiller 59). Brownmiller paints a very strong, emotional, and offensive picture when she claims that women are, “being stripped, bound, raped, tortured, mutilated, and murdered in the name of commercial entertainment” (59). However, this statement is fallacious and does not provide any factual evidence. Furthermore, she makes the hasty generalization that pornography can make people think that certain things, such as rape, are acceptable (Brownmiller 59). Once again, her claim lacks support and relies solely on a faulty pathos appeal.
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.
‘Lad flicks’ or ‘lad movies’ is a type of film genre that emerged in the late 1990s. They are defined as a “‘hybrid of “buddy movies”, romantic comedies and “chick flicks”, which centre on the trials and tribulations of a young man as he grows up to become a ‘real man’. ‘Lad flicks’ respond in part to the much-debated ‘crisis in masculinity’” (Benjamin A. Brabon 116). This genre of film explored what it meant to be a ‘real man’ in the twentieth century and in order to do so, they would have to grow up and leave their juvenile ways behind to enter the heterosexual world. Gender relations in ‘lad flicks’ portray masculinity as a troubled, anxious cultural category hiding behind a humorous façade and also rely greatly on a knowing gaze and irony. The two ‘lad flicks’ that will be analyzed are The 40-Year-Old Virgin (Judd Apatow 2005) and Role Models (David Wain 2008).
A large portion of contemporary film and theatre has been lacking in substance. More often than not, we are presented with a “been there, seen that” scenario. One such exception to this rule is Hedwig and the Angry Inch, a film by John Cameron Mitchell that was released in 2001. Set primarily in post-Cold War America, Hedwig is a film that characteristically breaks convention. Our story follows Hedwig, a forgotten and confused homo…trans…well, human being. Growing up in East Berlin during the Cold War, Hansel Schmidt (John Cameron Mitchell) lives what I would call a horrible childhood in the bleak landscape of communist occupied Germany. He falls in love with an American soldier, and undergoes a sex change in order to marry him and leave East Berlin. The operation is botched, leaving him/her as a physical contradiction. Not quite a man, but not yet a woman, Hansel (now Hedwig) has what she describes as an “angry inch.” When describing it in lighter terms, she calls it a “Barbie doll crotch.” Upon arriving in America, the soldier leaves her the same day the Berlin wall comes down. Destroyed, Hedwig spends some time discovering her new self and eventually finds a soul mate in a young boy named Tommy Speck (Michael Pitt). They collaborate musically and romantically, but upon discovering Hedwig’s secret he leaves with all of their music. He becomes a huge rock star, living Hedwig’s dream while simultaneously leaving her in the dust. From then on, Hedwig and her band “The Angry Inch” follow Tommy as he tours the nation while Hedwig tries desperately to gain the notoriety she deserves for her music. Viewing this film through the lens of a feminist gender perspective, I find that Hedwig is a pioneer on the forefront of changing the gende...
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
Modern America, in accordance to course materials and personal experiences, overtly sexualizes people, specifically among the youth, engendering new versions of gender expectations, roles, relationships, and how society views people based on appearance, sexual promiscuity or supposed promiscuity, and so on. Easy A (2011) represents an example clarifying how gender socialization impacts today’s youth via several concepts such as slut shaming, slut glorification, challenging masculinity, dating/hooking up, gender expectations and social acceptance. This film primarily focuses on a female’s promiscuity. Olive, the main character, is automatically labeled slut, after a rumor she unintentionally sparked by a bathroom conversation. Soon, the rumor spread and Olive became “school slut” in minutes.
Many Americans love films, the meanings behind those films and the impact some films have on people’s lives. Ever since films were created there have been people and organizations that have tried to censor and block what the public can and cannot see. Even to this day there are certain things that if put on film because of censorship, would never make it to the public. This is very sad. Film is one of this country’s great expressive outlets. Many filmmakers and the people who enjoy what these filmmakers put out are effected by the horrible concept of censorship. When a film is put out to the public it is first reviewed by a movie rating board who then assigns the film a rating to tell people what age groups the film is suitable for and what the film contains. Movie selection for minors should solely be the responsibility of that child’s parent, not some critic that watches films and then makes decisions for other people about who can watch it and who can’t. People just need to start to understand the real meaning of free speech and expression in this country. Too many people are taking it for granted. People who are for the censorship of films may argue that it’s for the good of our children, shielding them from violence and sex, and not exposing them to something that they claim may be mentally harm...
The Ugly Truth, a film which was released in 2009, displays many particular stereotypes and gender issues which we find within American society. Gender is made up of socially constructed ideas which are reinforced by society in regards to what it means to be masculine or feminine. We first learn gender from our parents; however they too had to first learn it from their families and society. Within the American society, the media takes on a large role in creating gender norms. The media is made up of films, magazines, television programs, and news papers. The Ugly Truth, although a funny film, perpetuates these stereotypes and ideas of gender provided by our society.
Lars von Trier’s Nymphomaniac (2013) sparked controversy even before its stateside release during a matinee screening of Disney’s Frozen (Buck/Lee, 2013) in Tampa, Florida. The usual routine began as the projectionist prepared to screen the film: the lights of the cinema began to dim, the projection screen turned black, and the usual filler of cartoons and trailers started rolling. And then something unusual happened. According to one unsuspecting grandmother, “They put in the filler, it looked like Steamboat Willie, the old Mickey Mouse cartoon, and then all of a sudden it goes into this other scene” (Guardian, “Nymphomaniac Trailer”). This “other scene” was the red-band teaser for Nymphomaniac, described by Julie Miller of Vanity Fair as “the most graphic movie preview of all time—thanks in part to visuals of former child star Shia LaBeouf nude and engaged in multiple sexual activities” (Vanity Fair, “Explicit Sex Film”). Miller’s description of the trailer, however, is mostly incorrect. Very little do we see of LaBeouf’s character in the red-band trailer, neither “nude” nor engaged in the act of sex. Instead we catch various clips of Young Joe, performed by Stacy Martin, who is at one point seen fully nude and whose vagina is superimposed against the film’s title (stylized as NYMPH()MANIAC) at the start of the teaser. Despite his intentions in line with the Puzzy Power movement, von Trier’s male gaze complicates his presentation of female sexuality in Nymphomaniac. The logic behind the metanarrative of the film suggests that Joe’s (Charlotte Gainsbourg) salvation is ultimately afforded by male characters, most explicitly through Seligman (Stellan Skarsgård), Jerôme (Shia LaBeouf), and “K” (Jamie Bell). Although Nymphomaniac ask...
Understanding sex and sexuality in the South is beyond a challenge. Those wanting to explore these concepts are met with rigid, religious traditions and ignorant, bigots who perpetuate the ideals of the stubborn South. This is especially difficult for the youth of the South who are still trying to find themselves and navigate the trials and tribulations of life.The protagonists of both Jesmyn Ward’s Salvage the Bones and Jim Grimsley’s Dream Boy come from two contrasting backgrounds yet, both share the same struggles of understanding themselves and their sexuality and coming to terms with their sexuality.
While Hollywood pumps fictional stories such as the first televised lesbian kiss on Ellen, the real world is turning. While th...
Sexual stereotypes are recurrent in Mean Girls whether it is the perception of sex or the presence of homosexuals (Cones, 2012). “If you are gonna have sex, you’re gonna get pregnant and die.”, this line sums up the sex-education students receive. Nevertheless, this doesn’t seem to affect their
Going to the movies is a favorite past-time event of American lives. A long time ago, however, there wasn’t any rating system. Making one seemed like a good idea at the time. Today, the system is still the same way and doesn’t fit today’s changed time. Therefore, the movie rating system should be revised because the current rating system is outdated.
The 1990s saw surge of gay characters in both television and movies. From Ellen Degeneres and her character Ellen Morgan coming out under much scrutiny on the TV show ‘Ellen,’ to Julia Roberts and Rupert Everett comedically playing off each other in the motion picture ‘My Best Friend’s Wedding.’ Sure, gays and lesbians have been around forever, especially in Hollywood. But never has there been a time to be more out. With the popularity of shows like Will and Grace, which feature leading gay characters, as well as Dawson’s Creek and it’s supporting character of teenager Jack McPhee, we are slowly seeing gay and lesbian characters creeping into the mainstream media.
Adam Sharpiro, Megan Schultz, Christina Roush, Cassandra Schofar, Emily Shilling, Tawnia Simpson, Natalie Sampiller. Portrayal of Homosexuality in Media. 26 March 2014 .