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Feminist theory applied to movies
Essays on women in film
Critical analysis of depiction of women in films
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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...
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Maio K. (n.d.). Women in action films – extract. Retrieved from: http://www.slideshare.net/sgummer/women-in-action-films#
Mlawski S. (2008). Why strong female characters are bad for woman. Retrieved from: http://www.overthinkingit.com/2008/08/18/why-strong-female-characters-are-bad-for-women/
Morreale, J. (1998). Xena: Warrior princess as feminist camp. Journal of Popular Culture, 32(2), page 79. Retrieved from: http://web.b.ebscohost.com/ehost/detail?vid=6&sid=64cd7df8-8ea3-4d9a-ad60-1deef7e616e6%40sessionmgr114&hid=103&bdata=JnNpdGU9ZWhvc3QtbGl2ZSZzY29wZT1zaXRl#db=aph&AN=1585569
Starlet C. (2007). Women in action movie empowered role models or chicks with guns. Retrieved from: http://www.entertainmentscene360.com/index.php/women-in-action-movies-empowered-role-models-or-chicks-with-guns-2-32763/
" Hollywood producers influenced by the backlash trend in the media, created a series of movies that pitted the angry career woman against the domestic maternal "Good woman"."
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 1996, the Wachowskis wrote and directed the noir crime thriller, Bound. In this film, the directors turned some of the archetypes of film noir on its head. Most notably, the role of women in film. Film theorist, Laura Mulvey, claims that the main role of women in film is to function as a source of pleasure, to be objectified, to be passive and at the command of male fantasy. This relationship of looking and being looked at causes each gender to have a particular presence within film; the male is active and the female is passive (Mulvey, 1975). However, in Bound, the character Violet, who is obviously objectified by the gaze of the male characters, does not hold a passive role within the film itself. Violet is a force that acts upon the narrative, manipulating events and scenes to her favor, along with actively controlling male gaze and using it to her advantage. Film theorist, Tania Modleski argues that there are passive and active roles within films that have connotations with “femininity” and “masculinity”, but these roles do not have to apply to the gender or outward appearance of characters that they align with. Modleski focuses more on the actions, not the outward appearances, of the film
In the first paragraph of Laurie Penny’s essay “What to do when you’re not the hero anymore” she tells the reader how she recently went to see the new Star Wars movie. To her surprise a female character, Rey, fought off a bad guy as an equal. Hollywood has incredible power in how messages are portrayed in books, TV shows, and movies. It is no secret that media representation normalizes the reality of white male power. Penny explores how it is becoming more common to see a women lead in books, movies, and TV shows, rather than the stereotypical male.
These movies allowed female characters to embody all the contradictions that could make them a woman. They were portrayed as the “femme fatale” and also “mother,” the “seductress” and at the same time the “saint,” (Newsom, 2011). Female characters were multi-faceted during this time and had much more complexity and interesting qualities than in the movies we watch today. Today, only 16% of protagonists in movies are female, and the portrayal of these women is one of sexualization and dependence rather than complexity (Newsom, 2011).
Todd, Janet. Women and Film. Vol. 4. New York, NY: Holmes and Meier Publishers, 1988.
Some people might say that these movies provide entertainment and transport families into the lives of princes and princesses. Many critics have said that the films have amazing soundtracks and have detailed and interesting plots. Still, however entertaining the films may be, the way women are viewed and treated outweigh any enjoyment that a viewer could have. The subliminal lessons young women learn from these films have lifelong repercussions and negatively affect the female
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.
Noted in Yvonne Tasker’s Working Girls: Gender and Sexuality in Popular Cinema, Goldie Hawn says this about women's role in the film business “There are only thee ages for women in Hollywood: Babe, District Attorney and Driving Miss Daisy” (1998, p. 3). While Haw...
...escrewed: Pretty Woman's Co-opted Feminism." Journal of Popular Film and Television 195605th ser. 19.1 (1991): 1-8. EBSCO HOST. Web. 17 Feb. 2014.
Pretty Woman, 1990s Hollywood movie, embodies many new as well as old values and ideologies. I was surprised when I saw that, the old themes and sexual stereotypes are not completely abandoned, but the old portrayals of gender stereotypes are transmuted.
There are two sides to every coin. This is something to keep in mind when examining the topic of gender in sport. Specifically, I am speaking of the costs and benefits of a male or female entering a sport in which he or she is not traditionally accepted for their gender. The two sides to this concept lay not only the individual's sacrifices as the underdog, but also in the benefits the individual encounters on his or her adventure into uncharted territory. Of course, it is a struggle for the individual to become accepted by the sport world, and also the general public. It can be an uphill battle in order for him or her to even be able to participate initially. On the other hand, upon crossing the gender boundary, the individual can earn great recognition. This brings the concept to another level; there are cultural benefits that arise from an individual entering a non-traditional sport for their sex. Three movies that we viewed in the first half of this course have served to demonstrate the individual costs and benefits involved when women become involved in sports that are not traditionally accepting of the female sex. After close analysis of "Girl Fight", "Pumping Iron II", and "Personal Best", effects that these women have on the female culture as a whole, to this day, become clear.
With spin-offs from the show including books, movies, and even video games, this female warrior shows and depicts women as strong-care-free, and courageous in saving others while saving themselves too. While being totally unrestrained by any social norms at all, Xena cannot be reserved by any gendered expectations. The mythical setting of Xena makes it easier for the audience to accept Xena's strength and independence, which feminist tend to gravitate too. While watching this series, it seems believable that any young woman can be the mightiest mortal warrior on earth. Without a set of rules commanded by a specific historical period or a standard of female behavior, Xena's actions can be considered completely rational. Also, Xena not being set in a specific time period allows Xena to become a timeless character; being able to empower young girls for a lifetime to come. Xena ensures that in the real world, women can look to Xena's freedom for inspiration because her behavior often falls outside of the very real set of gender roles women are expected to abide
The Reasons Behind the Popularity of Action Films In this essay I am going to explore the conventions of action films and their popularity. People love action films, and when they go to see one there are conventions you would expect to see in the film All plots of action films are based on the same outline, Hero and villain meet, there's a disruption of order, and mission, then everything is sorted out when the villain dies and everything returns to normal. There are Stock characters that you expect to see in this genre of film, the hero, the villain and two attractive ladies. The main action is around a male hero, however, modern films have featured female heroines for example Angelina Jolie in 'Tomb Raider'. If the hero is male he is always good looking, intelligent, brave, chauvinistic, and manages to escape from life threatening situations, however the hero will always have a weakness, and if the hero is male the weakness is normally women.
Feminism is a movement that supports women equality within society. In relation to film, feminism is what pushes the equal representation of females in mainstream films. Laura Mulvey is a feminist theorist that is famous for touching on this particular issue of how men and women are represented in movies. Through her studies, she discovered that many films were portraying men and women very differently from reality. She came up with a theory that best described why there is such as huge misrepresentation of the social status quos of male and female characters. She believed that mainstream film is used to maintain the status quo and prevent the realization of gender equality. This is why films are continuously following the old tradition that males are dominant and females are submissive. This is the ideology that is always present when we watch a movie. This is evident in the films from the past but also currently. It is as if the film industry is still catering to the male viewers of each generation in the same way. Laura Mulvey points out that women are constantly being seen as sexual objects, whether it is the outfits they wear or do not wear or the way they behave, or secondary characters with no symbolic cause. She states that, “in traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote it-be-looked-at-ness.”(Mulvey pg. 715). Thus, women are nevertheless displayed as nothing more than passive objects for the viewing pleasure of the audience. Mulvey also points out through her research that in every mainstream movie, there is ...