Women in Movies
Since the 1940’s, movies have predominately portrayed women as sex symbols. Beginning in the 1940’s and continuing though the 1980’s, women did not have major roles in movies. When they did have a leading role the women was either pretreated as unintelligent and beautiful, or as conniving and beautiful: But she was always beautiful. Before the 1990’s, men alone, wrote and directed all the movies, and the movies were written for men. In comparison, movies of the 90’s are not only written and directed by women, but leading roles are also held by older and unattractive women. In this paper I will show the variations and growth of women’s roles in movies from the 1940’s though the 1990’s.
In the 1940’s women did not have predominate roles in movies. In the few movies that were based around women, the woman’s character was written by a man, and the woman was portrayed as a sex symbol. In the movie Double Indemnity, a woman named Phillis is plotting to have her husband killed because she wants to collect his life insurance and be freed from an unhappy marriage. She uses her sexuality and good looks to convince Walter Neff to help her in her scheme. In this movie, Phillis is a beautiful, sexy, conniving killer.In the end, however, because she does not have the heart to kill her husband, the audience is supposed to redeem her conniving image.
In the 1940’s movie Gilda, the women has two different stereotypes. The first stereotype is a beautiful sex goddess. She is so beautiful that any man would love to be with her. The second stereotype parterres her as a scorned women. After a past relationship with a man named Johnny has left her angry, she reacts by trying to make him jealous by having affairs with other men. Through out the movie Gilda marries Johnny ‘s boss and then cheats on him a few times. Even though Gilda does all of this by the end of the movie Johnny forgives her and once again turns the women’s life into something meaningful. These two movies party two women who act very much alike. They both use their sexuality to get men to give them what they want.
In the 1950’s women are either sex goddess or homemakers, but they are both looking for husbands. In the movie Gentlemen Prefer Blondes, the women are blonde, beautiful, and voluptuous. They are so beautiful that when they walk into a room the men dr...
... middle of paper ...
...end of the movie the fall in love. This movie portrays a woman having a horrible life until a man comes along and gives it meaning.
The latter 1990’s have brought many wonderful movies to theaters worldwide. More movies now are about women and their lives. The movie G.I. Jane is about a women who goes through navy seals training. She is picked out of many women to go through this training. She is chosen because she is pretty and feminine. She proves herself by successfully completing her training and becoming a navy seal. Although she is a strong woman and she is not supposed to be a sex symbol, she is still shown throughout the movie with little clothing. The movies are different from movies in the 1940’s because women are taking different roles than that of the homemaker or the slut. Now men find women who are strong physically and mentally.
Women’s roles in movies have changed dramatically throughout the years. In the 1940’s women’s characters were stereotyped as sex objects. In the 1990’s women’s characters are stereotyped to be strong individuals. I am glad that women’s characters are now portrayed as they truly are, and not how men think they should be.
Has there ever been a time in your life where the challenges you were facing seemed too impossible to conquer? Many have felt that way, but have pushed through and overcame. In the book, A Tree Grows in Brooklyn, a little girl named Francie grows up during a difficult time in New York. The young girl lives in a poor neighborhood with her family. She learns that anything can happen if you put your mind to it. The author, Betty Smith, taught her readers to push through any obstacle in life, through the books conflicts, setting and research.
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 a time where horses slowly disappeared from streets, being replaced by automobiles, and on the impoverished Brooklyn tenement buildings, there resides the Nolan family. Surviving by just a few dollars a week, Katie Rommely Nolan, with an alcoholic husband, struggles to provide for her family. In A Tree Grows in Brooklyn by Betty Smith, Katie’s beautiful hands are damaged by the products she uses to clean building, for just some cents a day. Katie’s life purpose is to obtain land and provide a successful life for her children, Francie and Neeley Nolan. In A Tree Grows in Brooklyn, Katie Nolan struggles to achieve her American Dream of providing her children with a fulfilling and successful life, that is superior to hers, through the means of education.
Betty Smith’s A Tree Grows in Brooklyn presents the problems of a young girl coming of age, a time when she is faced with new challenges and must overcome obstacles. Throughout the book the protagonist, Francie Nolan discovers herself maturing as she struggles with loneliness, the loss of innocence and a life of poverty in a Brooklyn slum. This theme is evident in (1.) her love for books which she uses as companionship, (2.) her outlook on the world as she matures and finally, (3.) her realization that in order to succeed in life she must obtain an education and work hard to do it.
portrayed as the “femme fatale” and also “mother,” the “seductress” and at the same time
Although the author, Betty Smith, denied ever writing a novel with socially political motives, A Tree Grows in Brooklyn abounds with references to class issues. Nearly every scene, every character illustrates or deals with the problem of poverty in early twentieth-century America. For the Nolan’s, being poor means they must always think about being poor – how they will buy the next load of coal, where their food will come from, their insurance, rent, medicine, all the necessities of raising a family. The novel also shows that poverty is not just the absence of food or comfort, it is the direct cause for Uncle Flittman to leave, Johnny’s utter nothingness and Francie’s inability to go to a high school. Every action in the novel is based around a limited amount of resources, as not only the Nolan’s but also the entire community suffers. Exploitation abounds, whether in the overpriced sale of candy, child labour in metal collection, dishonest grocers and butchers and employers with impunity to set their own rules. Katie does her best with the household money, and we find that for the poor sometimes a luxury isn’t in getting something, but in being able to waste it.
Throughout time, women in movies and other similar texts are shown to be generally focused on men. This might make sense if every movie ever made was set in a time where women had absolutely no rights but of course, that is not the case. Older and more modern depictions of women in media, both show women whose lives revolve around men. Even movies that market their female characters as strong and powerful are still shown to be dependent on the male leads and puts them first. Also, since women in movies have more of a focus on men, female to female relationships suffer in the same films. There are very few exceptions to this unfortunate truth.
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...
The media today is overflowing with idealistic representations of modern life; society’s hunger for excellence is reproduced in every detail of the media we consume. Reality, in contrast, is a poor substitute for the fairytale world of film, where good beats evil and stories end with a happily ever after. Arguably, women are often the “victims” of motion picture’s perfect perceptions, and feminism’s persistent test is to challenge these impractical representations. The female princess characters show an example of inaccurate feminine fulfillment.
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.
Obesity is on the rise, and it is becoming more and more of a national health concern. It effects more than 1/3 of the population, and an additional 1/3 is overweight. With obesity becoming more and more of a problem each year, the American population is going to suffer from a catastrophic health emergency.
...characters are not depicted as strong as the male leads. Hermione Granger becomes emotional during high stress battle scenes. Elizabeth Swann shifts to mainly a love interest for the male lead. Queen Amidala becomes emotional and a love interest for Anakin Skywalker. To some, the illusion of strong women signals how far we have come as a society in the last half-century. In reality, however, the film industry has only progressed enough to be able to give off an illusion of strong women. The lack of female directors in Hollywood gives way to a male-centric ideology that eroticizes and demeans women in films – often just subconsciously because the director is male. It is time to welcome more Kathryn Bigelows. More Julie Taymors. More Sofia Coppolas. Only when a balance among film directors is reached can many films finally break out of traditional gender stereotypes.
The Uniform Crime Reporting Program formulated the National Incident-Based Reporting System (NIBRS). NIBRS presents comprehensive, detailed information about crime incidents to law enforcement, researchers, governmental planners, students of crime, and the general public. The South Carolina Law Enforcement Division conducted the pilot demonstration of this program in 1987. Since then, implementation of NIBRS has been commensurate with the resources, abilities, and limitations of the contributing law enforcement agencies. Although participation grows steadily, data is still not pervasive enough to make broad generalizations about crime in the United States.
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. 1). 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.