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Gender based on violence essay 80 words
Essay on violence in movies
Representations of sexuality in films
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Recommended: Gender based on violence essay 80 words
When it comes to the films that we have seen in period of the 60s and 70s, one message becomes clear that there has a been an increase in violence represented in these movies. In our very first movie, A Bout de Souffle, is a great base to start off our understanding of violence and it portrait in European cinema. It this degree, a female character has the sensation of being literally breathless when it comes to her relationship with the lead male character. The article also points out the idea of the male observing the females as an object and this is certainly true in this movie, Breathless. In several clips of the movie the pure relationship between the two lead characters show a sense of violence which is not physical, but highly psychological. …show more content…
In this case the main character channels their sense of violence through the camera and through his photography. If we were to fast forward to one of the more recent movies that we have observed, like ll Portiere di Notte, we would observe a level of violence that of another world. In much of the article, it talks about how woman stand in patriarchal culture which is true with the treatment of woman. While this is a reoccurring theme that woman are subjected to the male figure, and this touches on the idea that violence can be argues to be a male issue. However, in relation to The Night Porter, the dynamics appear to change as woman are represented to being more compliant to these actions against them. This could be interpreted as violence being a normal thing in cinema and further desensitizing viewers to the very nature of violence. When we look at the development of this feature, the increase in the sexualization of the female body becoming more and more aggressive and
2. According to Sobchack, contemporary screen violence greatly differs than portrayals of violence in years past. Today, violent scenes are careless and lack significance because we as audiences have become calloused and desensitized to any acts of violence. She states that there is “no grace or benediction attached to violence. Indeed, its very intensity seems diminished” (Sobchack 432). Senseless violence, gruesome acts, and profound amounts of gore are prevalent in movies today, and because even this is not enough, it must be accompanied by loud blasts and noise, constantly moving scenes to keep audiences stimulated and large quantities of violence for viewers to enjoy what they are watching. Decades ago, it was the story that was engaging to audiences and filmmaking was an art.
Film Noir, as Paul Schrader integrates in his essay ‘Notes on Film Noir,’ reflects a marked phase in the history of films denoting a peculiar style observed during that period. More specifically, Film Noir is defined by intricate qualities like tone and mood, rather than generic compositions, settings and presentation. Just as ‘genre’ categorizes films on the basis of common occurrences of iconographic elements in a certain way, ‘style’ acts as the paradox that exemplifies the generality and singularity at the same time, in Film Noir, through the notion of morality. In other words, Film Noir is a genre that exquisitely entwines theme and style, and henceforth sheds light on individual difference in perception of a common phenomenon. Pertaining
One can gather that socialism was on the rise and supported by many of the working class. From the co-op in The Crime of Monsieur Lange to the Communist party’s support of Madame Nozière, public opinion was shifting away from supporting a patriarchal society. What was once taboo became more popular topics of discussion, such as the pornography in Baptiste’s possession, Estelle’s miscarriage of Batala’s child, fathers taking their daughters’ innocence, and ousting men of unnecessary power. A film, while not necessarily factual, focuses on culture and values. Cinema is an art form that reflects what the directors and actors, and by extension, the general public, believe.
One could easily dismiss movies as superficial, unnecessarily violent spectacles, although such a viewpoint is distressingly pessimistic and myopic. In a given year, several films are released which have long-lasting effects on large numbers of individuals. These pictures speak
The peeling away of the honey-glazed aesthetic of Sirkian Melodrama to thoroughly examine the true core beneath is the task. Douglas Sirk’s films are expressive and suggestive in their examination of female sexual and emotional relationships. It must be considered what exactly a melodrama is and what type of audience the genre demands. Known worldwide to be part of a female cultural domain, the genre deals with the woman’s film from the early 30’s right up until the Sirkian territory of the 1950’s and 60’s. A central theme found in the genre is the symbolic place of a ‘woman’ and the maternal in melodrama in relation to the changing position of women in society. The term melodrama originates from the early 19th-century French word melodrama. The word is derived from Greek 'melos', referring to music, and French 'drame', referring to drama. Melodrama generally refers to a dramatic work that exaggerates plot and characters in an attempt to appeal to the emotions of its audience, it is for this reason that Douglas Sirk’s films are of vital importance. Constructed as a Brechtian director...
An example of the media degrading and objectifying women is Laura Mulvey’s ‘Male Gaze’ theory. In Laura Mulvey’s essay ‘visual pleasure and narrative cinema’; she discusses the term ‘Male gaze’. In film, the male gaze occurs when the audience is put into the perspective of a heterosexual man, for example, a scene may focus with specific conventions such as slow motion or deliberate camera movements on a sexual aspect of a woman’s body, forcibly putting you as the viewer in the eyes of a male. This theory suggests that the male gaze denies women human identity, manipulating them to the standard of manifest objects to be appreciated solely for their physical appearance. The theory implies women can more often than not only watch a film from
The amount of violence prevalent in the suburbs of Paris is never glossed over in “La Haine” and Tea in the Harem. In Tea in the Harem, one of the first images presented to the reader is of the older residents of the neighborhood buying dogs and training them to sic any intimidating figures, including youths. “La Haine” ends and begins with a gunshot. The occupants of t...
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
Although it may at first seem that the violence in these films is directed overwhelmingly against women, a closer look reveals a curious fact…. There seems to be a pronounced tendency across these films to be evenhanded. In Halloween, for example, the majority of victims are female. But in Friday the 13th and Graduation Day the victims are as often male as female; in Happy Birthday to Me all but one of the killer’s victims are male. (90)
A dynamic interplay of art and life can be evinced in the relationship between films and society. Films provide escape from daily life, opportunity to solve mysteries, chances to identify with powerful competent heroes and discussions of morality that are comfortingly unambiguous. By opening a window on exotica, films enable us to become voyeurs, secret observers of the personal and even intimate lives of characters even when we know that the stories are largely fantasies. The present thesis proposes to focus its attention on film studies, subsumed within Cultural Studies to examine Alfred Hitchcock’s oeuvre. Cultural Studies evident in the study of cultural artifacts (films, music, novels) and examination of practices (sports, national events) is
Studies have been conducted to find if violent movies influence a person’s judgement and violent behavior. Psychologists have said that brutal imagery in films, games, and other media sow aggression in society by rendering viewers insensitive to acts of these type. The long term effects of exposure to these movies depicting murder, rape, robberies, and so on is pernicious. Another study concluded that the crime rate would actually decrease during the showings of these movies because for 2 hours during the movie any violence prone persons that wished to see the movie would be in the theater which meant they wouldn’t be on the streets committing crime. Dr. Michael Rich of Children's Hospital of Boston testified that the correlation between violent media and aggressive behavior is stronger than that of calcium intake and bone mass, lead ingestion and lower IQ, condom non-use and sexually acquired HIV, and environmental tobacco smoke and lung cancer, all associations that clinicians accept as fact, and on which pr...
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.
The depictions of women in films have changed in time with society to ensure the films popularity.
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 ...