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Depiction of women in movies
Portrayal of women in movies
Critical analysis of depiction of women in films
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Have you ever loved somebody so much that you would give anything to be with them even if they didn’t even realize your existence? What lengths would you go to in order to keep them in your life? In the movie The Bitter Tears of Petra von Kant directed by famous German film director Rainer Werner Fassbinder, we explore the manipulation inherent in every relationship and the lengths to which people will go to stay with the ones they love.
The Bitter Tears of Petra von Kant is based on events in Fassbinder’s own love life. Fassbinder became infatuated actor Gunther Kaufmann who, according to film analyst Ryan Gilbey, “soon realized that the attentions of an increasingly wealthy young film-maker could, with the minimum of reciprocation, prove profitable for him.” Fassbinder showered Kaufmann with gifts, including four brand new Lamborghinis. However, Kaufmann did not return Fassbinder’s affection, which then inspired Fassbinder to create the autobiographical film The Bitter Tears of Petra von Kant. The film focuses on the love life of the successful fashion designer Petra von Kant. Petra is in the latter stages of mourning over the failure of her marriage to her husband. She lives alone with her live-in assistant Marlene, whom she treats terribly. Petra is more often than not seen barking orders at Marlene or taking out her frustrations on Marlene, while the latter takes everything in muted silence. As unstable as this dominion-based relationship seems, it seems to work for the both of them. The relationship between Petra and Marlene is a strange, albeit resolute, relationship. Petra is the dominant female, and Marlene is the devoted yet subservient assistant. Throughout the entire film, Marlene does not utter a single word. It...
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...| UK and Worldwide News | Newspaper. 11 Apr. 2003. Web. 11 May 2011. .
Ruffell, Joe. "Rainer Werner Fassbinder." Senses of Cinema. 21 May 2002. Web. 11 May 2011. .
Sayre, Nora. "Movie Review - The Bitter Tears of Petra Von Kant - Screen: Women in Love:The Cast - NYTimes.com." Movie Reviews, Showtimes and Trailers - Movies - New York Times - The New York Times. 13 Oct. 1973. Web. 11 May 2011. .
Smith, Derek. "The Bitter Tears of Petra Von Kant (Fassbinder, 1972)." Cinematic Reflections. 10 Sept. 2003. Web. 11 May 2011. .
Sharon, through her telling of Nelly’s story, gets to understand the mistress’ perspective. By trying to see how a mistress might
Benjamin, Walter. The Origin of German Tragic Drama. Trans. John Osborne. London: n.p., 1998. Print. fourth
It is my intention to compare the book, Dangerous Liaisons by Choderlos de Laclos, to its modern movie version, Cruel Intentions starring Sarah Michelle Gellar. I intend to examine how the original French text was modified in reference to plot, character, morals/values, and themes. I also plan to discuss how these transformations change the meaning of the story and reflect different cultural/historical contexts. There are some major differences between these two works, if only because of when they were written.
Perhaps an even stronger testament to the deepness of cinema is Darren Aronofsky’s stark, somber Requiem for a Dream. Centering on the drug-induced debasement of four individuals searching for the abstract concept known as happiness, Requiem for a Dream brims with verisimilitude and intensity. The picture’s harrowing depiction of the characters’ precipitous fall into the abyss has, in turn, fascinated and appalled, yet its frank, uncompromising approach leaves an indelible imprint in the minds of young and old alike.
The play is about a young woman, Catherine who had been taking care of her father during his last years of life. Anne Heche plays Catherine. Prior to this play, I have never seen Anne Heche in any acting performance. I have to say she did an outstanding job in her portrayal of Catherine. She did a fantastic job of immediately drawing you into Catherine’s world. She aptly portrays the characteristics of a girl who never got a chance to grow up and the slight madness of the genius she inherited from her father. One can easily feel sad for her because after all she gave up all her dreams to take care of her ailing father. Anne Heche plays Catherine so well that it easy for you to fall in love with Catherine and desire only good things for her.
Finally, even though, for a long time, the roles of woman in a relationship have been established to be what I already explained, we see that these two protagonists broke that conception and established new ways of behaving in them. One did it by having an affair with another man and expressing freely her sexuality and the other by breaking free from the prison her marriage represented and discovering her true self. The idea that unites the both is that, in their own way, they defied many beliefs and started a new way of thinking and a new perception of life, love and relationships.
Newland and Countess Olenska's love is in strong contrast with the emotional vacuity of their peers, and it is this very contrast upon which the pathos of their story hinges. The lovers relish the moments they manage to steal with one another, absconding to a remote log cabin or savoring a clandestine carriage ride. The film is permeated by this sort of foreplay, teasing the viewer from beginning to end with auspicious meetings between the two lovers. Each time, however, the promising moments are snuffed by the pressures of New York high-society. Conjugal constraints force Newland and Countess Olenska to repress their longings, and in the drudgery of everyday ...
The Lais of Marie de France is a compilation of short stories that delineate situations where love is just. Love is presented as a complex emotion and is portrayed as positive, while at other times, it is portrayed as negative. The author varies on whether or not love is favorable as is expressed by the outcomes of the characters in the story, such as lovers dying or being banished from the city. To demonstrate, the author weaves stories that exhibit binaries of love. Two distinct types of love are described: selfish and selfless. Love is selfish when a person leaves their current partner for another due to covetous reasons. Contrarily, selfless love occurs when a lover leaves to be in a superior relationship. The stark contrast between the types of love can be analyzed to derive a universal truth about love.
Anyone who reads The Sorrows of Young Werther by Johann Wolfgang von Goethe instantly feels the emotional intensity portrayed by Werther, the protagonist. His speculations about life are indeed unique, especially in modern times when life often goes by quickly without notice. Perhaps that is one of the reasons why his immense emotion strikes a chord with readers as coming from someone crazy or dangerous. Werther’s mental state seems incredibly alive at some times while seemingly lifeless at others. This lifeless state of mind is similar to another sorrowful character in Kurt Vonnegut’s Slaughterhouse Five. In his story of Billy Pilgrim, a similar wonder engulfs the reader, causing us to question the cause of both his mindset and of our own. These books bring a couple of interesting questions to mind… How much emotion is too much? How little is too little? These characters struggle with powerful emotion in many ways, and are therefore judged as mad. The two protagonists engage in totally different journeys, but each of them leads the reader to discover the limits of human emotion. These limits are reached by Werther and Billy, therefore leading to both characters’ demise.
Eventually, David and Carolyn are able to relinquish the triadic relationship with their daughter, Claudia. This restructuring in the family essentially alleviates many of the problems that were the cause for the family to seek therapy in the first place. Claudia is able to break free from the well worn routines of arguing with her mother and her unwanted behaviors diminish. After removing the pressure placed on Claudia to be their source of intense emotion, David and Carolyn are left to face the daunting task of exploring and eventually reorganizing their relationship with one
Goethe, Johnann Wolfgang von. The Sorrows of Young Werther. Trans. Elizabeth Meyer and Louise Bogan. Forward by W.H. Auden. New York: Vintage, 1990.
“The story employs a dramatic point of view that emphasizes the fragility of human relationships. It shows understanding and agreemen...
The Transcendental Deductions of the pure concept of the understanding in Immanuel Kant’s Critique of Pure Reason, in its most general sense, explains how concepts relate a priori to objects in virtue of the fact that the power of knowing an object through representations is known as understanding. According to Kant, the foundation of all knowledge is the self, our own consciousness because without the self, experience is not possible. The purpose of this essay is to lay out Kant’s deduction of the pure concept of understanding and show how our concepts are not just empirical, but concepts a priori. We will walk through Kant’s argument and reasoning as he uncovers each layer of understanding, eventually leading up to the conclusion mentioned above.
For example, Griet and Catharina share an intriguing relationship. As the novel progresses, Catharina reveals that she desires power and takes pride in controlling the other members of the household. Often times, she was scolded for trying to be more authoritative over Vermeer and Maria Thins, the mother of Catharina, who have a higher social status than she does. She made it a prominent point that Griet had a lower social status than her. Catharina became enraged towards Griet when she discovered that Griet was working in Vermeer’s studio, the one place she is not allowed. She felt that Griet was becoming more prestigious than her and from that moment on, Catharina was determined to make Griet miserable. For instance, Griet states, “She had often spoken sharply and loudly. The quiet control of her tone this time was much more frightening.” Griet had to be careful around Catharina to avoid making her upset. Another interesting relationship in the story is between Pieter and Griet. Even though Griet had feelings toward her master, Pieter was willing to stand by her side and married her in order to help her family out of their financial issues. Lastly, an interesting relationship in the novel is between Vermeer and Catharina. The two did love each other, however, they did not show
All and all, any relationship you get into can greatly affect your life. No matter if it is with a person or an activity. Lucrezia is a very caring wife, who sometimes gets frustrated by her husband’s mental illness. Septimus is a veteran who is facing many of his problems. He is very dependent on Lucrezia and the reader can understand how he dominates her. On the other hand, Clarissa is seen as a hard worker to many of her friends and family, which is very accurate. However, Clarissa is dominated by her husband, because she us unsure if she made the right choice, and by her party planning ability. These dominations focus on how these can affect your everyday life. Love and activities take part in a person’s everyday life. Lucrezia and Clarissa both care about what they do everyday, and that is know because they put up with the men and drama in their life.