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Gender roles of women in literature
Modernism in theatre
Gender roles of women in literature
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Group 1 Modernism was a movement that in one way or another affected every sphere of art from such traditional spheres of art as painting that have been around for thousands of years to the newly discovered cinematography. The notion of films and filmmaking was a new concept in the beginning of twenties century; therefore, George Méliès and Wladyslaw Starewicz’s works were innovative just because they existed. Respectively, innovation, progress, new techniques, and the rejection of traditions were the essence of modernism. Undoubtedly, both directors incorporated new techniques in their films: George Méliès realistically enough portrays how moon aliens disappear after scientist attacks them and Wladyslaw Starewicz resourcefully uses dead …show more content…
George Méliès touches the scientific side of it since space was a dream of scientists of his days. He was, most likely, influenced by the scientific breakthroughs and the Industrial revolution of his times, and, in his “Trip to the Moon”, expressed the people strive to get higher in technological progress. On the other hands, although Starewicz work features cars and cameras – relatively new inventions – he emphasizes human relationships, even though he uses bugs to do so. In “The Cameraman 's Revenge”, he goes beyond of what is considered proper and traditional by showing that both of the spouses have a side affair and doing this in a comedic way. Themes like that are considered sinful by the religion; therefore, he rejects traditional customs and legacies. Thus, “A Trip to the Moon” by George Méliès and “The Cameraman 's Revenge” by Wladyslaw Starewicz are the products of …show more content…
However, even though this work was written about a hundred years ago and although Wolf said “in a century’s time very possibly they [values] will have changed completely”, some issues from “A Room of One’s Own” still resonate today (Wolf 30). Respectively, Wolf hoped that a century will be needed for women to reach the same level of recognition and the same opportunities. Nevertheless, up to this day, female writers are not always being treated seriously among public as it is believed that they only write about love and, in general, do not have the same abilities to write. Also, it applies to other spheres that are commonly gendered as male: statistically, there are much fewer women engineers than men in any country. Second, she mentions that male writers are struggling with composing when “material circumstances are against it” while saying that for a female writes the conditions are even worse since no one even believed that writing is a woman’s path. Today, even though the world is a better place for women than it was in her time, women still struggle with the same problem. She brings up the topic of girls being raised differently from boys, and it is a modern issue as well. Generally, girls are expected to be more polite, well-behaved, and calm than boys, and gradually it lead to girls being more
Literature and film have always held a strange relationship with the idea of technological progress. On one hand, with the advent of the printing press and the refinements of motion picture technology that are continuing to this day, both literature and film owe a great deal of their success to the technological advancements that bring them to widespread audiences. Yet certain films and works of literature have also never shied away from portraying the dangers that a lust for such progress can bring with it. The modern output of science-fiction novels and films found its genesis in speculative ponderings on the effect such progress could hold for the every day population, and just as often as not those speculations were damning. Mary Shelley's novel Frankenstein and Fritz Lang's silent film Metropolis are two such works that hold great importance in the overall canon of science-fiction in that they are both seen as the first of their kind. It is often said that Mary Shelley, with her authorship of Frankenstein, gave birth to the science-fiction novel, breathing it into life as Frankenstein does his monster, and Lang's Metropolis is certainly a candidate for the first genuine science-fiction film (though a case can be made for Georges Méliès' 1902 film Le Voyage Dans la Lune, his film was barely fifteen minutes long whereas Lang's film, with its near three-hour original length and its blending of both ideas and stunning visuals, is much closer to what we now consider a modern science-fiction film). Yet though both works are separated by the medium with which they're presented, not to mention a period of over two-hundred years between their respective releases, they present a shared warning about the dangers that man's need fo...
Gendered strategies, in the criticism of early fiction, made feminine fiction incapable of excellence. By using conventional heterosexual relationships in their prefaces, authors only succeed in supporting the masculine control over fiction. The appraisals women gained only reinforced their inferior status. "Criticism placed female authors in a specific and confined critical sphere, while it located male authors in an other, more respected field" (375). By aligning their works with popular male literature, women inadvertently strengthened male authority. Women were only granted recognition in terms of their limited social stature. It is these gendered values and strategies that makes the history of the novel and feminine achievement difficult to assess.
In probably using only one camera for his film, Melies had to basically film in a theater style setting. Almost every shot of the film is a long shot which is taken from the audiences’ point-of-view angle. There were no close-ups in “Trip To The Moon” no dolly shots, or handheld shots..etc. Throughout the film the same angle and longshot is used, however that does not take away from the film, knowing that he could only utilize this shot, Melies went on to first: Decorate his set like no one had ever seen. For instance in the beginning of the film we can see what looks like an abundance of individuals who seemed to be gathered in what resembles a castle of some sort. This is where the so-called “wizards” have gathered and have figured out to take their trip to the moon. The following scene shows us a large cannon type figure, an extremely large cannon to be exact, very abnormal looking. The concept of space travel at this time was unheard of and this being a silent film, allows us to realize that just by looking at this contraption that this is how they are going to get to the moon. It is by these elements that Melies utilizes mise-en-scen, and in other cases such as the rocky hills of the moon, the bullet shaped space-ship that encapsulates the wizards and sends them on their trip.
The Bolshevik Revolution was a defining turning point in Russian history. This overall revolution consisted of two individual revolutions in 1917 which resulted in the overthrow of the Tsarist government and the formation of a socialist society led by Vladimir Lenin’s radical Bolsheviks. For a moment with such enormous weight like the Bolshevik Revolution, there will be various interpretations on the true results of that moment and the meaning and value of these results. The film Man with a Movie Camera deals with the results of the Bolshevik Revolution and the early Soviet Society it birthed as it utilizes footage of one day in this early Soviet Union, thus making it worthy of examination. In the film Man With a Movie Camera, Vertov impressively
In the predominantly male worlds of Virginia Woolf’s A Room of One’s Own and Elizabeth Barrett Browning’s “Aurora Leigh (Book I)”, the women’s voices are muted. Female characters are confined to the domestic spheres of their homes, and they are excluded from the elite literary world. They are expected to function as foils to the male figures in their lives. These women are “trained” to remain silent and passive not only by the males around them, but also by their parents, their relatives, and their peers. Willingly or grudgingly, the women in Woolf and Browning’s works are regulated to the domestic circle, discouraged from the literary world, and are expected to act as foils to their male counterparts.
Science fiction writing began in the early 1800’s as a reaction to the growth of science and technology. The genre is characterized by its intellectual excitement, high adventure, and its making of the fantastic possible. Due to the nature of science fiction, film has become an essential part of its popularity. Science fiction films have been popular since the earliest silent clips because of the outlandish visuals and creative fictional story lines that capture an audience’s attention. Under the guise of this popular platform, writers relay political, social and philosophical messages to their audience.
There is no doubt that the literary written by men and women is different. One source of difference is the sex. A woman is born a woman in the same sense as a man is born a man. Certainly one source of difference is biological, by virtue of which we are male and female. “A woman´s writing is always femenine” says Virginia Woolf
Filmmaker and theorist, Lev Kuleshov, is known today as the grandfather of Soviet Montage theory. His works include The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924), Death Ray (1925), The Great Consoler (1933) and We from the Urals (1943). Kuleshov’s life work has had a profound influence on the filmmakers around him and filmmakers today. One of his greatest triumphs was cofounding the Moskow Film School, the world’s first film school. In a time when filmmaking was still in its infancy, Kuleshov was perhaps the first to theorize about the power of this new story telling medium. These theories and experiments would pave the way for future Russian film giants like Pudovkin and Eisenstein (who briefly studied under him).
In the presented essay I will compare the style of work of selected artists in the montage of the film. I will try to point out some general regularities and features of Soviet cinema. At the same time I will try to capture especially what is common in their systems and similar or conversely what differ. For my analysis, I will draw on the feature films of the Soviet avantgarde, namely these are the movies - The Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929).
Art has been always seen as a form to express self emotions and ideas; an artist creates an idea and shapes it by culturally known objects and forms to send encrypted message. Through the times both, ideas and materials used, separates art in to different periods and movements. In late 40’s and late 50’s two art and culture movements emerged, one from another. The first one, Lettrism, was under the aspiration to rewrite all human knowledge. From it another movement, Situationism, appeared. It was an anti-art movement which sought for Cultural Revolution. Both of these movements belong to wide and difficulty defined movement of experiment, a movement whose field is endless. Many different people create experimental films because of the variety of reasons. Some wishes to express their viewpoints which are unconventional. But most of them have an enthusiasm for medium itself. They yearn to explore what prospects the medium has and wishes to open new opportunities to create and to explore, as well as to educate. Experimental filmmaker, differently from mainstream filmmakers, wishes to step out from the orthodox notions. The overall appreciation is not the aim that the experimental filmmakers would seek for. Experimenters usually work on the film alone or with a small group, without the big budget. They intend to challenge the traditional ideas. And with intention to do so Lettrism tries to narrow the distance between the poetry and people’s lives, while Situationism tries to transform world into one that would exist in constant state of newness. Both of these avant-garde movements root from similar sources and have similar foundations. Nonetheless, they have different intentions for the art and culture world and these movements...
“Girls wear jeans and cut their hair short and wear shirts and boots because it is okay to be a boy; for a girl it is like promotion. But for a boy to look like a girl is degrading, according to you, because secretly you believe that being a girl is degrading” (McEwan 55-56). Throughout the history of literature women have been viewed as inferior to men, but as time has progressed the idealistic views of how women perceive themselves has changed. In earlier literature women took the role of being the “housewife” or the household caretaker for the family while the men provided for the family. Women were hardly mentioned in the workforce and always held a spot under their husband’s wing. Women were viewed as a calm and caring character in many stories, poems, and novels in the early time period of literature. During the early time period of literature, women who opposed the common role were often times put to shame or viewed as rebels. As literature progresses through the decades and centuries, very little, but noticeable change begins to appear in perspective to the common role of women. Women were more often seen as a main character in a story setting as the literary period advanced. Around the nineteenth century women were beginning to break away from the social norms of society. Society had created a subservient role for women, which did not allow women to stand up for what they believe in. As the role of women in literature evolves, so does their views on the workforce environment and their own independence. Throughout the history of the world, British, and American literature, women have evolved to become more independent, self-reliant, and have learned to emphasize their self-worth.
‘Then came the films’; writes the German cultural theorist Walter Benjamin, evoking the arrival of a powerful new art form at the end of 19th century. By this statement, he tried to explain that films were not just another visual medium, but it has a clear differentiation from all previous mediums of visual culture.
Virginia Woolf was born January 25, 1882 to an English household in London. Her father was Sir Leslie Steven, a historian and author who was a major figure during the golden age of mountaineering; her mother Julia Prinsep Steven, an India native, nurse and also an author of the profession. With two substantial successors as her parents, Woolf was one of seven siblings granted with majestic opportunities. These opportunities included being educated by her parents. During this time girls were not allowed to go to school and many did not have the privilege of parents whom were able to instil education. Knowing this, Virginia was bound to excel in life. In fact, Woolf utilized her privileged life to her potential. She spent time in numerous locations which she eventually incorporated into a lot of her work and modernist novels such as, Profession for Women. In the essay, Profession for Women Woolf discusses, “the Victorian phantom known as the Angel in the House that selfless, sacrificial woman in the nineteenth century whose sole purpose in life was to soothe, to flatter, and to comfort the male half of the world’s population.” The essay shows how women struggled daily with the views Victorian society placed upon them. The ways of the Victorian era transcended over into the modernist times because some women were too afraid to explore their true selves. However, Virginia did not accept these ways because she knew as a woman she could not be complete if she lived up to the Victorian standards. Woolf determined that unless one has explored and experimented the new things attainable from the world then they also cannot be complete. In this essay, I will be responding to Virginia Woolf’s essay Professions of Women and the struggle of ...
Women’s writing, particularly in The Golden Notebook is about the fact that women are assessed from a completely different point of v...
Many female writers see themselves as advocates for other creative females to help find their voice as a woman. Although this may be true, writer Virginia Woolf made her life mission to help women find their voice as a writer, with no gender attached. She believed women had the creativity and power to write, not better than men, but as equals. Yet throughout history, women have been neglected in a sense, and Woolf attempted to find them. In her essay, A Room of One’s Own, she focuses on what is meant by connecting the terms, women, and fiction.