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Femininity vs masculinity
Masculinity and femininity
Masculinity and femininity
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An innumerable amount of movies involves forcing the audience to participate in the male gaze upon a feminine body. In Robert Altman’s The Player (1992), the audience experiences the hard realities that are associated with the Hollywood/film industry. However, during this story of betrayal and murder, the audience becomes exposed to the male gaze, an act that men perpetrated against women. Early on in the movie, the protagonist, Griffin Mill (Tim Robbins), has a friendly conversation with June Gudmundsdottir (Greta Scacchi) while watching her from outside of her house. Examining the staging, sound, and acting displayed in this sequence contributes to the understanding how The Player normalizes the male gaze and reinforces the power imbalance between men and women. …show more content…
Throughout the entire scene, Griffin stands outside, watching June as she moves around inside of her house. This placement grants Griffin with an unfair advantage over June because he possesses the ability to look at her without her knowledge or consent. With this advantage, he says, “You’re a painter,” a statement that’s only possible due to Griffin’s position in this scene. As a result, this aspect reinforces the power imbalance that men hold over women. Several scenes in this movie convey this imbalance, especially at the end when Larry Levy (Peter Gallagher) fires Bonnie Sherow (Cynthia Stevenson) for not agreeing with those in the room. Overall, the staging works as the set up to the normalization of the male gaze, it provides a location for Griffin and the audience that allows them to look at
In Visual Pleasure and Narrative Cinema, Mulvey states that, “Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story, and as erotic object for the spectator within the auditorium, with a shifting tension between the looks on either side of the screen.” (Mulvey 40). A woman’s role in the narrative is bound to her sexuality or the way she
In the movie Fruitvale Station the main character is Oscar Grant. Oscar Grant, played by Michael B. jordan is male protagonist of the story. Jordan portrays the role as masculine through various acting skills. The first way that one can establish masculinity is through the dress of the character. Grant is dressed in a dark long sleeve shirt and sagging jeans. This style of dress is seen as masculine. The way that he speaks can also be seen as masculine. Grant uses the word “Bruh” often. It can be compared to the softer tone that the mother uses. The mother talks with a soft, nurtured tone. This can be seen in the jail visit scene. Grant got upset at the fact that his mother said that she wouldn’t visit him anymore. Grant becomes visibly upset and starts to yell and scream at his mother. He also begins to use profanity towards her. All the while, the mother continues to talk in her
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.
In American society, gender stereotypes are highly discussed amongst individuals and stereotypes as a whole remain a central focus of art. Creatively, Rob Reiner addresses stereotypes in Reiner’s film Stand by Me by shedding light on multiple stereotypes. In a scene from Stand by Me entitled “Milk Money,” Chris, one of the main characters from the film, cries to Gordon because the school Chris attends holds the misconception about Chris stealing the milk money. Near the end of this scene, Chris says, “I guess I’m just a pussy, huh?” (find time). Chris’ inquiry raises questions about the use of the word “pussy” and its negative connotation. Throughout the film, Gordon, Chris, Vern, and Teddy, the main characters in the movie, frequently use terms to describe each other, which characterize the stereotypes in American culture. In Reiner’s movie, Reiner utilizes these four young boys to adeptly illustrate the manner in which boys and men should act. Additionally, Reiner employs the main characters in the film to display various stereotypes that society holds for both men and women. Reiner’s film shows that men have a preconceived and detrimental belief that showing emotion is a sign of femininity and therefore weakness because society sets unrealistic standards for men.
However, in Modleski’s analysis of the film, Rear Window, it is apparent that it is the actions of the characters that evaluates and defines their masculinity or femininity. The heroines, Violet and Corky are opposites when it comes to appearance. As it was established, Violet is feminine and Corky is masculine. However, in the film it only initially seems like Violet plays the more passive role and Corky plays the more active role. At the escalation of the film, Violet demonstrates her masculinity and actively uses the male gaze in her
Butler, Judith. Ed. Case, Sue-Ellen. "Performative Acts and Gender Constitution." Performing Feminisms: Feminist Critical Theory and Theatre. Baltimore: The Johns Hopkins University Press, 1990.
Theatre is an art form that has been shared across cultures for hundreds of years. This art form is extremely versatile in the types of plays, such as comedic, tragedy, and many other genres. Although theatre is thought of a form of entertainment, playwrights have seized the opportunity to inject political opinions into the play to inform the audience about present issues in their lives. Issues that playwrights have incorporated into plays have included stories that people may not be ready to hear but it encourages the audience to look inside themselves and assess their moral standing on certain issues. One subject that has been incorporated into many plays throughout the last century is women’s issues. These plays have challenged the way women
The objectification of women has been a long standing debate since the first leading role in a large cinema screen write. In Laura Mulvey’s essay on “Cinema and Visual Pleasure,” the reader is introduced to various topics within media, but moreso Mulvey’s argument on objectifying women; the idea that hollywood cinema is watched from a male’s perspective, or more formally known as the “male gaze.” While these different theories have come about in several different genres of film, it is much apparent in the classic era of hollywood film and, Alfred Hitchcock's 1958, Vertigo.
Women’s roles in movies have changed dramatically throughout the years. As a result of the changing societal norms, women have experienced more transition in their roles than any other class. During the period of classical Hollywood cinema, both society and the film industry preached that women should be dependent on men and remain in home in order to guarantee stability in the community and the family. Women did not have predominated roles in movies such as being the heroin. The 1940’s film Gilda wasn’t an exception. In Gilda, the female character mainly had two different stereotypes. The female character was first stereotyped as a sex object and the second stereotyped as a scorned woman who has to be punished.
“It’s a whole different sex!” Jerry (Jack Lemmon) exclaims in ‘Some Like It Hot’ (1959), while admiring Sugar’s (Marilyn Monroe) body. It is with statements like this that Billy Wilder’s movie challenges traditional views of binary genders. While probably unintentional, this movie uses cross-dressing , among other things, to parody the performativity of gender. This method of subversion was not conceptualized until the 90’s by Judith Butler in her books ‘Gender Trouble’ and ‘Bodies that Matter’ (171-189; 223-242), showing how ahead of its time the film was. ‘Some Like It Hot’ subverts heteronormativity by deconstructing binary genders, separating gender from sexuality and satirizing heterosexuality.
Williams, Linda. "Film Bodies: Genre, Gender and Excess." Braudy and Cohen (1991 / 2004): 727-41. Print.
The male gaze is a concept that refers to how visual culture is designed to please a male viewer by sexually objectifying women. It was first coined by Laura Mulvey, a British feminist film critic, in her essay “Visual Pleasure and Narrative Cinema” (1975). She argues that Hollywood films use women as “erotic objects” [1] in order to provide pleasurable experience for heterosexual male audiences.
This book researches how feminism explores sexuality and the portrayal of women in films, and how that is used in psychoanalysis, which is the study of the unconscious mind. Doane discusses how Sigmund Freud has contributed to the use of females within film and contains information on the ‘female spectator’, and how film use feminism to capture female spectators and engage with them. Doane uses sources from various pieces of media test. For example, her analysis of Gilda (1946) gives insight to the sexualisation of woman, particularly through stereotypes on women, based on their appearance.
Looking at classic Hollywood films, Laura Mulvey has deduced in her work in 1975, “Visual Pleasure and Narrative Cinema” that the industry’s films are made for the male gaze. She emphasises that these movies are dominated by the heterosexual male’s pleasure in looking at the female. Later in another one of her works in 1981, “Afterthoughts on ‘Visual Pleasure and Narrative Cinema’”, she goes on to say that no matter what the gender of the audience is, when it comes to them watching what is on a screen as a spectacle, the spectator will always have a male gaze. When looking at the male gaze (from Mulvey’s point of view) as the projection of one’s fantasies onto the female body while watching it on the screen, regardless of one’s gender, one
In Annie Baker’s The Flick, now on at the National Theatre, we watch people watching movies. The play begins in darkness, a point of light radiating out over the audience, the whirring of a projector the only sound. When it stops, and the lights are raised, we see rows of empty cinema seats staring blankly back at us.