A strange, a wonderfully twisted film, the 1986 feature Blue Velvet, can be seen as one of David Lynch’s more grounded film’s in regards to it’s narrative focus and general veering away from his usual surrealist style features; such as his previous efforts given his breakout film Eraser Head (1977), and his many experimental short’s that laid way to that. His presentation of charters in all of his features ranges from gravely monstrous distortions of individuals. Citing, for example, that of the Hallway Phantom in Inland Empire (2006). To that of the extremely humanist and touching, citing that of Alvin in the heartwarming biopic The Straight Story (1999). This being said, the representation of women in Blue Velvet, between that of characters …show more content…
Rather, it reveals the problem of cultural definitions of masculinity— the maiming of a father and husband (Don Vallens) by a shadow father figure (Frank Booth) who is too wilfully divorced from, not too much possessed by, subconscious feminine forces.’ (Nochimson, 2012) And to finish on this point, it to me can be looked upon into two ways. Although Dorothy is being used for sexual means it can hardly be applied here by Mulvey, that the film in it’s entirety sexually objectifies women. When nearly all other female characters, throughout the film, lack almost any sexuality whatsoever. Some even to the point of almost being considered, purely on a visual basis, as sexually inept. Even how the characters are dressed, framed and lit within scene contrasts starkly, between Dorothy and, as already mentioned, Sandy Williams. “—the singer Dorothy Vallens is, in both her colouring and her sexuality, a classic “dark lady;” and she is counterbalanced by the blond and seemingly virginal Sandy.” (Raymond, …show more content…
And as such, there is a feeling of almost untouchable purity when she is on screen; an unspoilt innocence. Mulvey’s statement, by in large falls flat here, however, it is alluded to that she is desired by that of Jeffrey. And he, either through involving her in his affairs or confiding in her the events that unfold, is trying to become more involved with her in a sense. Either romantically or purely as a friend is a matter which can be speculated on. Whether this yearning for Sandy to be as Dorothy is, as in a purely sexualised being towards the point of objectification or dehumanisation, can be seen to be somewhat on Jeffrey’s agenda if one’s digs enough into the subtext of the story, may in fact be true. Although whether this desire permeates through to the viewer, as something they would also like to see is questionable. But nevertheless, at face valve Sandy is the opposing facet of Dorothy and an individual who has, more less, complete control of her own life and how she is viewed within the confines of the
How does the film support or negate tgis point? 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 draws attention away from the narrative.
The noir style is showcased in Sunset Boulevard with its use of visually dark and uncomfortable settings and camera work, as well as its use of the traditional film noir characters. In addition, the overall tone and themes expressed in it tightly correspond to what many film noirs addressed. What made this film unique was its harsh criticism of the film industry itself, which some of Wilder’s peers saw as biting the hand that fed him. There is frequent commentary on the superficial state of Hollywood and its indifference to suffering, which is still a topic avoided by many in the film business today. However, Sunset Blvd. set a precedent for future film noirs, and is an inspiration for those who do not quite believe what they are being shown by Hollywood.
Like a contemporary Dorothy, Romancing the Stone's Joan Wilder must travel to Columbia and survive incredible adventures to learn that she had always been a capable and valuable person. Romancing the Stone (Robert Zemeckis, 1984) is part of a series of 1980s action comedies that disrupted previous expectations for female heroines. These female protagonists manage to subvert the standard action narrative and filmic gaze, learning to rescue themselves and to resist others' limited vision of them. Not only did these action comedies present strong female characters, they also offered a new filmic experience for female audiences. The commercial success of comic action heroines paved the way for women to appear in serious action roles--without the personal sacrifices required of Sigourney Weaver’s Ripley. Figures like Joan Wilder serve as an important link between previous strong yet feminine screen personas and current female stars.
Religion is one point McDowell brings forth in her essay, during the Jazz era she stated that singers such as Bessie Smith, Gertrude Rainey, and Victoria Spivey sung about sexual feelings in their songs. Women during this Jazz era were freer about their sexuality, but due to this freeness, an article called “Negro Womanhood’s Greatest Need” criticized the sexuality of Black women. In this article, the writers criticized Black women of the Jazz era; one part stated “…“speed and disgust” of the Jazz Age which created women “less discreet and less cautious than their sisters in the years gone by”. These “new” women, she continued, rebelling against the laws of God and man” (p.368). Women showing expressing their sexuality is not only an act against God, but also against men.
Many different depictions of gender roles exist in all times throughout the history of American culture and society. Some are well received and some are not. When pitted against each other for all intents and purposes of opposition, the portrayal of the aspects and common traits of masculinity and femininity are separated in a normal manner. However, when one gender expects the other to do its part and they are not satisfied with the results and demand more, things can shift from normal to extreme fairly quickly. This demand is more commonly attributed by the men within literary works. Examples of this can be seen in Tennessee Williams' “A Streetcar Named Desire”, where Stella is constantly being pushed around and being abused by her drunken husband Stanley, and also in Charlotte Perkins Gilman's “The Yellow Wallpaper”, where the female narrator is claimed unfit by her husband as she suffers from a sort of depression, and is generally looked down on for other reasons.
Women were represented in different ways throughout the movie Metropolis, but the underlying theme was women were seen as purely sexual. Maria was seen as the nurturer in the film, but also as a sexual object. She was the one who preached for peace and harmony down in the catacombs to the workers. Maria was also the nurturing maternal figure that was seen walking into the garden with all of the poor children. The vamp, on the other hand, was portrayed blatantly as a sexual object. This whole movie was seen through the eyes of the male perspective, which usually portrays women as sexual objects, and robs them of any identity. Lang shows Frederson as having fear of femininity which involves women's emotion and nurturing.
Like the darkness that quickly consumes, the imprisoning loneliness of oppression swallows its victim down into the abyss of insanity. & nbsp;
The Representation of Women in Some Like It Hot and Alien 3 This essay will be about how women are and have been represented in films in the past and how they are represented nowadays. I will be looking at the roles and representations of women in 'Some Like It Hot and Alien 3. Some Like It Hot was made in 1958. Marilyn Monroe starts in the comedy as Sugar Cane, a very feminine musician.
Joseph Conrad’s “Heart of Darkness” is the author’s most celebrated work. The book conveys the story of Marlow, who is a sailor on the ship. Marlow narrates the story describing particularly what he came across during his journey and experienced. When we look at the events that take place in the book, it is unquestionable that Women do not occupy a significant portion of the story; the story is predominately male dominated. However, does women’s lack of appearance make them minor characters? Or do women have a minor effect in the story? Having analyzed the book under the scope of “Feminist View”, we can answer these questions and say that women play considerable roles even though they occupy a small portion in the story. In my essay I will
My Mise-en-scene analysis is on American Beauty on page 217: number 1(The dinner scene). The frame itself is a very closed, tight shot; there is no way for the characters to escape and they're left with only confronting each other in this very little space. The shot of the camera isn't necessarily far away or close either. It's neutral, and we can see the full action of the family's dinner conversation happening right in front of us. My eyes were immediately attracted to the bright, white table and then my eyes focused on the faces of the family. The scene's texture is slightly fuzzy, and is not very detailed. But the character's faces are still recognizable. The foreground of this scene is the table with the man and woman sitting at each end; the middle is the girl-who is
The American black comedy The Wolf of Wall Street directed by Martin Scorsese was released December 25, 2013 and stars the likes of Leonardo DiCaprio, Jonah Hill and Margot Robbie. While on face value The Wolf of Wall Street looks like a film about excessive cocaine binges, long evenings filled with men with cigarettes, large portions of alcoholic consumption, having many sexual escapades with various women and even dwarf tossing from time to time, the film is deeply rooted in perception gender within the genre of The Wolf of Wall Street. The word ‘genre’ is rooted into a similar category as
The biological differences that set apart the male and female gender throughout any culture remain eminent. Men are perceived as the stronger and dominant gender; women play the role of the weaker. In each culture the expectation of the manner in which men and women behave are influenced by the ideals and customs of that culture. In most predominant cultures, the man undertakes the role as a leader, and the woman devotes her life to the husband. Throughout history, traditions and literature provide a template to the identities of various cultures. Sleeping Beauty’s classic tale of a beautiful princess takes a central precept that previous patriarchal archetypes dominated during the 17th Century. The archetypal perceptions of women resulted from conscious and unconscious literature influenced by male-dominated perspectives and social standards.
...ereotypes and patriarchal norms (Annie baking, Helen being a rich step-mom, the wedding itself), it also undermines patriarchy at the same time. At one point or another throughout the film all of the female characters go against the common conception and portrayal of women being proper and passive. They can be raunchy, drink, use vulgar language, and show they aren’t that different from men.
In the past two centuries, western mainstream cultures have subscribed to the belief that crying is commonly associated with femininity, regardless of one’s gender (Warhol 182). A considerable amount of literature, including Alice Walker’s The Color Purple, has been considered by critics as effectively using “narrative techniques” to make readers cry (Warhol 183). Emphasizing on these matters, Robyn R. Warhol, the author of “Narration Produces Gender: Femininity as Affect and Effect in Alice Walker’s The Color Purple”, analyzes the usefulness of the novel’s narration approaches, focusing on the meaning of Nettie’s letters to Celie and especially the fairy-tale unity in Celie’s last letter. Using The Color Purple as illustrated example, refusing to consider the accounts of gender and sexuality, the author suggests that the applications of culture’s “feminine mythologies” in the novel give readers chances to experience the physical (openly weeping) and emotional (identify self with the character) effects of femininity (Warhol 186). Although Warhol’s interpretations have successfully carried out the novel’s sentimentality within the context of culture and other novels, there is still a general lack of comprehensive examples that illustrated after each of her arguments. In order to corroborate and extend on Warhol’s central argument, the surprising factors of the novel’s ending combines with the elements of foreshadowing in Celie’s first confrontation with Albert about Nettie’s letters, Celie’s relationship with Shug, and the ugly truths about racism and sexism showing through Nettie’s and Celie’s letters should be considered as significant in creating the novel’s sentimentality.
Women have made progress in the film industry in terms of the type of role they play in action films, although they are still portrayed as sex objects. The beginning of “a new type of female character” (Hirschman, 1993, pg. 41-47) in the world of action films began in 1976 with Sigourney Weaver, who played the leading role in the blockbuster film ‘Aliens’ as Lt. Ellen Ripley. She was the captain of her own spaceship, plus she was the one who gave out all the orders. Until then, men had always been the ones giving the orders; to see a woman in that type of role was outlandish. This was an astonishing change for the American industry of film. Sometime later, in 1984, Linda Hamilton starred in ‘The Terminator’, a film where she was not the leading character, but a strong female character as Sarah Connor. She had a combination of masculine and feminine qualities as “an androgynous superwoman, resourceful, competent and courageous, while at the same time caring, sensitive and intuitive” (Hirschman, 1993, pg. 41-47). These changes made in action films for female’s roles stirred up a lot of excitement in the “Western society” (Starlet, 2007). The demand for strong female characters in action films grew to a new high when Angelina Jolie starred in ‘Tomb Raider’ in 2001 and then in the sequel, ‘Tomb Raider II: The Cradle of Life’ in 2003 as Lara Croft. Her strong female character was not only masculine, but was also portrayed as a sex object. Most often, strong women in these types of films tend to fight without even gaining a mark. At the end of each fight, her hair and makeup would always be perfect. The female characters in these action films, whether their role was as the lead character or a supporting character, had similar aspects. I...