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Gender equality in the films industry
The history of the film industry
The history of the film industry
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Prostitution have its roots in subcontinent since a very long time. Through the portrayal and representation of prostitutes in films and literature there have been new trends. In early years of Pakistani and Indian cinema prostitution was repetitive and popular topic among filmmakers which made it possible to evolve and change overtime. However the reason for existence of prostitutes is still a question for our society. Laura Mulvey, a feminist film theorist in her article, Visual Pleasure and Narrative Cinema, writes that the women on screen are object of desire. Her overall point is that we live in a patriarchal society where women and men are subjected to certain roles. Such as women are passive while men are active participants in society and culture. She basically argues, “The magic of the Hollywood style at its best arose… from its skilled and satisfying manipulation of visual pleasure. Unchallenged, mainstream film coded the erotic into the language of the dominant patriarchal …show more content…
Waheeda Rehman, plays the role of a young prostitute Gulabo. Guru Dutt plays the role of protagonist, Vijay. The twist in plot comes when Vijay reunites her love with Meena a college girl who is married to a rich publisher while Gulabo is the street-prostitute who is in love with Vijay. “In Pyaasa (1975), Vijay is a poor struggling poet and so, marginalized by society. In the beginning of the film, he rejects a prostitute Gulab and blames the national leaders who should be relieving the society of such misery. But at the end of the film, the marginalized hero walks out of the society holding the hands of the socially marginalized prostitute. Incidentally even in this film there is a hint of Gulab’s antecedents lying in the rich former history of tawaif: she is in fact, is the only person in the narrative who appreciates poetry for itself and not for some other
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
This essay argues that the film Bridesmaids transcends traditional representations of feminine desire that exhibits women as spectacles of erotic pleasure, through the symbolic reversal of gender identity in cinematic spaces. By discussing feminist perspectives on cinema, along with psychoanalytic theory and ideological narratives of female image, this essay will prove Bridesmaids embodies a new form of feminine desire coded in the space of the comedic film industry.
In contemporary film making, “Hollywood-ization” generally refers to the re-creation of a classic work in a form more vulgar and sexually explicit than the original in an effort to boost movie attendance. After all, sex and violence sell. However, from the mid-1930’s to the 1950’s, “Hollywood-ization” referred to the opposite case where controversial books had to be purified to abide by the Production Code of 1934.[1] This occurred to many of James Cain’s novels as they moved from text to the genre of “film noir.” As has been said about Cain’s The Postman Always Rings Twice, “The property, bought several years ago, was kept in the studio’s archives until now because of [Metro-Goldwyn-Mayer’s] “inability to clean it up.””[2] The sanitation of Cain’s novels greatly took from the strong themes of female emotional and financial independence that were rarely addressed at that time as they were adapted for the screen.
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 recent times, such stereotyped categorizations of films are becoming inapplicable. ‘Blockbusters’ with celebrity-studded casts may have plots in which characters explore the depths of the human psyche, or avant-garde film techniques. Titles like ‘American Beauty’ (1999), ‘Fight Club’ (1999) and ‘Kill Bill 2’ (2004) come readily into mind. Hollywood perhaps could be gradually losing its stigma as a money-hungry machine churning out predictable, unintelligent flicks for mass consumption. While whether this image of Hollywood is justified remains open to debate, earlier films in the 60’s and 70’s like ‘Bonnie and Clyde’ (1967) and ‘Taxi Driver’ (1976) already revealed signs of depth and avant-garde film techniques. These films were successful as not only did they appeal to the mass audience, but they managed to communicate alternate messages to select groups who understood subtleties within them.
Prostitution has been as issue in many societies around the world for almost all of recorded history. There has been evidence of brothels and prostitution dating far back into human history. Many different societies have different views, ideals, and reservation about the matter. Some cultures around the world view it as a necessary evil for people who need to support themselves and their families. Others view it as morally evil and socially destructive; helping to rot our society from the inside out. Even still there are cultures who don’t view it as evil at all and even a normal part of life. A person’s view on the act is formed largely based on the culture they are living in. Even sub cultures inside of larger one can have different view on the matter, such as religious groups that denounce it, to some groups in the same culture that say it is okay. Even the gauge of how industrialized a country can determine how that culture views prostitution, with many third world countries being more lenient on the matter, and many first world countries being much more strict on the matter, such as the some of the countries in Europe and also the United States.
Film scholar and gender theorist Linda Williams begins her article “Film Bodies: Genre, Gender and Excess,” with an anecdote about a dispute between herself and her son, regarding what is considered “gross,” (727) in films. It is this anecdote that invites her readers to understand the motivations and implications of films that fall under the category of “body” genre, namely, horror films, melodramas, (henceforth referred to as “weepies”) and pornography. Williams explains that, in regards to excess, the constant attempts at “determining where to draw the line,” (727) has inspired her and other theorists alike to question the inspirations, motivations, and implications of these “body genre” films. After her own research and consideration, Williams explains that she believes there is “value in thinking about the form, function, and system of seemingly gratuitous excesses in these three genres,” (728) and she will attempt to prove that these films are excessive on purpose, in order to inspire a collective physical effect on the audience that cannot be experienced when watching other genres.
For the purpose of this study, I will critically examine the representation of homosexuality in Hollywood cinema. I will specifically analyse films from the early 90’s to mid 2000’s from ‘Philadelphia’ to ‘Brokeback Mountain’. This dissertation will argue that over the space of 12 years homosexuality has become an acceptable part of cinema. I will look at early Hollywood’s representation of homosexuality depicting how aesthetically so much has changed. The current paper will predominantly focus on the two films ‘Philadelphia’ and ‘Brokeback Mountain’, by critically analysing the aesthetic differences between each film as well as their overall importance to gay culture.
The patriarchal cinematic ideology detailed by Laura Mulvey in “Visual Pleasure and Narrative Cinema” is pervasive in Stanley Kubrick’s film Eyes Wide Shut. The women in the film all eventually become the passive sexual objects that Mulvey has described in her paper. There are times in the film that women attempt to defy these strongly enforced gender roles, but they are always punished and returned to their positions as objects of the male
In conclusion, prostitution is said to be the world’s oldest profession. Prostitution has evolved throughout the years and it has caused much controversy cross-culturally and historically and which has many individuals reexamining the logistics of it. It has affected our society in many ways, for it could be looked at as a harmful threat just as a way to get by and pay the bills.
Feminism fundamentally is a critical approach towards gender bias and social campaign for equal rights of all, irrespective of their gender. Feminist point of view in films came into existence due the inadequate and incorrect representation of women. (Shodhganga inflibnet) The concepts like femininity and masculinity are often misrepresented in films. (Smelik, 1999)
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 ...
Feminist theory was derived from the social movement of feminism where political women fight for the right of females in general and argue in depth about the unequality we face today. In the aspect of cinema, feminists notice the fictitious representations of females and also, machismo. In 1974, a book written by Molly Haskell "From Reverence to Rape: The treatment of Women in Movies" argues about how women almost always play only passive roles while men are always awarded with active, heroic roles. Moreover, how women are portrayed in movies are very important as it plays a big role to the audience on how to look at a woman and how to treat her in real life due to the illusionism that cinema offers. These images of women created in the cinema shapes what an ideal woman is. This can be further explained through an article 'Visual Pleasure and Narrative Cinema' written by a feminist named Laura Mulvey in 1975. She uses psychoanalysis theories by Sigmund Freud to analyze 'Scopophilia' which is the desire to see. This explains how the audience is hooked to the screen when a sexy woman is present. In a bigger picture, where Scopophilia derives from, 'Voyeurism' is also known as feeling visual pleasure when looking at another. Narcissism on the other hand means identifying one's self with the role played. It is not hard to notice that in classical cinema, men often play the active role while the women are always the object of desire for the male leads, displayed as a sexual object and frequently the damsels in distress. Therefore, the obvious imbalance of power in classical cinema shows how men are accountable to moving the narratives along. Subconsciously, narcissism occurs in the audience as they ...
Union of India “a class of women is trapped as victims of circumstances, unfounded social sanctions, handicaps and coercive forms in the flesh trade, optimized as prostitute”. There are approximately 15 million prostitutes in India . Prostitution also leads to umpteen health problems for the prostitutes like cervical cancer, traumatic brain injury, HIV, STDs, psychological disorders etc. Prostitution also gives rise to problems like human trafficking and child prostitution. But still prostitution is considered as a necessary evil in the society.