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Thelma & Louise feminism
Thelma & Louise feminism
Thelma & Louise feminism
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What could be a better summer box office hit than a film about women hitting the road, rebelling against society and undergoing a complete metamorphosis in the process? On the surface, Thelma and Louise comes across as a typical chick flick; yet, its a movie that takes on many lifeforms and interpretations. The most fascinating criticism of the movie is whether or not Thelma and Louise go insane. Thelma and Louise's actions govern the central ideas of the movie: Freedom, women vs men, and an internal metamorphosis precipitated by the open road. These overarching themes offer justification for the women's behavior, thoughts and beliefs and answers the three main questions that offer insight into whether the women go mad: Are the two violent …show more content…
You can understand why Louise she behaves as she does and gives into Thelma. Thelma shows us a young, innocent, beautiful, vulnerable woman looking for a bit of excitement from life, who initially expected the best rather than worst from people she meets. Just as she is about to leave, Jimmy offers to marry her. This is where Louise’s' last transformation into a younger lady and when Thelma becomes a women. When J.D takes off with their “hope money,” Louise cries and is child-like as Thelma grows to take over the situation. Thelma says “everything is okay”and becomes the the driving male …show more content…
Thelma is excited after leaving the convenience store ;she jumps into the car screaming for Louise to drive away. She turns to Louise and shouts, “It was like I was born to do this.” Louise smiles and says with, “Think you found your calling?” Thelma continues to smile as they travel about an hour down the road, “I just think I have a knack for this kind of shit.” Thelma finds herself and expresses both her feelings and voice when she tells Louise, “Something has crossed over in me. I just can’t go back. I feel awake, wide awake. I never felt this before, like I got something to look forward to.” This is the freedom from male oppression. This is the beginning of Thelma as a free, independent woman and not a little girl. Has Thelma gone insane? I am convinced Thelma is completely sane and competent throughout the film. She robs the store for practical reasons. It served two purposes. She felt guilty about being the reason Louie's savings were stolen. She had to make it up to Louise. Not only do her feelings of guilt show she is human; it shows she is normal and is mentally stable. She wants to make up for her wrongdoing. Individuals who are insane, have no idea what they have done, will never admit they were wrong, and continue on with their
First off, in Carol Clover’s novel “Men Women and Chainsaws” the narrative is focusing on how women overcome their challenges throughout varies films. Clover focuses
The film Klute, directed by Alan J. Pakula attempts to subvert this theory, but ultimately proves Mulvey correct in the system of the active male and passive female, that the male controls the film and drives the story forward. Jane Fonda’s character, Bree Daniels, sees herself at the
woman she once knew. Both women only see the figure they imagine to be as the setting shows us this, in the end making them believe there is freedom through perseverance but ends in only despair.
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.
The documentary, The Interrupters, is a film that tells the ongoing journey of three ‘violence interrupters’ who’s goals are to stop and prevent violence from their South Side Chicago, Illinois neighborhoods, which they once took part of. An interesting aspect of this film is that Ameena Matthews, Cobe Williams and Eddie Bocanegra, the three ‘violence interrupters’, reflect on their experiences with violence in the streets of Chicago in order to better help these young men and women avoid the community violence. These three ‘violence interrupters’ work intensely with a number of people (mostly young adults) who are prone to acting out and violent behavior.
The female characters in Young Frankenstein and One Flew over the Cuckoo’s Nest are, stereotypically, satiric and parodic renditions of oppressed or emotionally unstable feminine personalities. The theme of the treatment of women is not only played out in the external relationships the women interact within but also in the basic mentality and roles they embody within their personality. The women of Young Frankenstein add a comical element to the film which a direct contrast to the insignificance of the female in Mary Shelley’s novel. The women of One Flew over the Cuckoo’s Nest are either almost terrifying when thinking of the potential evil lurking just beneath the surface or effectual props in the healing of those who need it.
... the liberation of women everywhere. One can easily recognize, however, that times were not always so generous as now, and different women found their own ways of dealing with their individual situations. Charlotte Perkins Gilman’s character created a twisted image of the world in her mind, and eventually became mentally insane. While most cases were not so extreme, this character was imperative in creating a realization of such a serious situation.
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).
A female in film noir is typically portrayed in one of two ways; she’s either a dependable, trustworthy, devoted, and loving woman, or she’s a manipulative, predatory, double crossing, and unloving temptress. Noir labels the cold hearted and ruthless woman archetype as a Femme Fatale. A femme fatale is walking trouble, and she’s aware of it. This woman is gorgeous, refined, eloquent, and commands the attention of any room she’s in. When the femme fatale desires something, she pursues it. If there’s an obstacle in her way, she overcomes it. If she can’t handle it herself, all she needs to do it bat her eyelashes and the nearest man is all too willing to take care of it for her. In essence, the most dangerous thing about the femme fatale is her
Marla Maybrey, first introduced as a small-town, devotedly religious beauty queen on the rise to achieve stardom, is a girl who’s strict, unwavering standards contradicts those of the laissez-faire society of Hollywood in the 1960’s. The opportunity to enter a world with different rules of engagement then what she previously knows, exposes her to the prospect of questioning the ideals she once held as absolutes, presenting the idea that morality is relative and shaped by
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.
In the novel Watchmen by Alan Moore and Dave Gibbons, interprets the achievement of order and law through the use of power and violence by superheroes. This novel consists a total of seven different characters to demonstrate how superheroes obtain peace in society through the use of violence. The writer portrays the plot in different characters’ perspectives by guiding readers in their point of view. This motivation also assists readers to examine the loneliness and the feeling of isolation during Dr. Jonathan Osterman, Walter Joseph Kovacs and Laurie Juspeczky’s life experiences.
When the news reports a shooting, I start to panic and worry for the victims involved. I don’t typically start to wonder about how long the shooter was active and for how many minutes, so when reading the FBI Active Shooter report I was shocked to have found out most shooting happen within minutes. The report states “In 64 incidents where the duration of the incidents could be ascertained, 44 (69.0%) of 64 incidents ended in 5 minutes or less, with 23 ending in 2 minutes or less.” Leaving many civilians in dangerous situations because by the time a law enforcement officers arrives the shooting will stereotypically be over. I find this fact very unsettling because civilians rely on law enforcement officers to keep them safe, but not even law
...she is happy. In general, all the actors in the movie make the audience feel what they are feeling and this is essential for the movie as the plot is deeply emotionally charged.
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.