Mia is clearly an alluring figure physically and emotionally. The first time she is introduced, she is heard not seen. She uses her voice as her introduction. This directly relates back to the sirens that bring destruction to the men in Homer’s classic Odyssey. Hanson and O’Rawe touch on the sirens in their essay, Femme Fatale: Images, Histories, Contexts, The: Images, Histories, Contexts, noting that the sirens initially utilized their voice, not appearance to lure men into their termination (Hansons and O’Rawe 11). Mia lures Vincent into the intercom with her sultry voice. He wonders around the apartment curious by his surroundings while following each suggestion she makes. Vincent has been very clearly affected by Mia from the start. Vincent …show more content…
Femme fatale women are desirable because they are forbidden. Mia is the wife of Vincent’s boss, and having any relationships with her would lead to Vincent ultimate destruction, and ironically it does. Femme fatale characters have a specific power over men, and usually they allure through a mix of seduction, attraction, and independence. Independence from men is a characteristic that allows femme fatales to be the most destructive towards men. The victims of a femme fatale end up needing and caring for these women, when these women don’t want or need them. This is proven in The Golden Watch segment. After the boxing match. Butch’s opponent is lying dead on the table and Mia is standing by the door. Vincent walks in then immediately asks Mia how she is, implying he was worried about her after her near death experience. This shows great weakness in Vincent, and Mia responds that she is fine acting like the two of them never even met each other. The distance grew stronger, and before that Mia tricks Vincent into his death, like any other good femme fatale. At first we learn a man was thrown out a window due to rubbing Mia’s feet, but later at Vincent and Mia’s dinner she reveals that the only thing she ever did with Antoine Roccamora was shake his
Judged by modern Western standards, the treatment of women by men in Homer's Odyssey can be characterized as sexist. Women in Homer's Odyssey are judged mainly by their looks. If important men and gods consider a woman beautiful, or if her son or husband is a hero or has an important position such as king, the woman is successful. The way women in The Odyssey are treated is based on appearance, the things men want from them, and whether the woman has any power over men. During Odysseus' journey to the underworld he sees many different types of women. We hear about their beauty, their important sons, or their affairs with gods. We hear nothing about these women's accomplishments in their lifetime. Odysseus tells how Antiope could "boast a god for a lover,"(193) as could Tyro and many other women. Epikaste was called "that prize"(195) her own son unwittingly married.
Greeks had a misogynistic society, however women still had important roles in the Odyssey. Mortal women's most esteemed roles were either wife or mother. All the mortal female characters in the Odyssey existed to interact with a male, due to their beauty or sex appeal. But, the most powerful female characters in the Odyssey have other qualities such as cleverness which still play a role. Beauty is still one of the most important thing to Homer. For instance he starts a war using Helen of Troys beauty, and makes the two of the biggest obstacles Odysseus has to deal with love interests, Circe and Calypso. If you’ll remember he stayed on Circe's island an extra year longer of his own free will. However, Circe and Calypso are not mortal, so they already have the advantage. Homers non mortal women all have other qualities to them that allow them to help the plot along. Namely, Penelope, Queen of Ithaca and Odysseus bride.
The phrase ‘femme fatale’ originated during early twentieth-century in the English language but existed as an image during the nineteenth-century in French literature, it implied that women consciously seduced and ruined men by using their potent sexual charms for evil. The ‘femme’ was given more distinct qualities by Virginia M. Allen in her book The Femme Fatale. The ‘femme’ is described as a beautiful, erotic, seductive, destructive, exotic and a self-determined independent who is cold hearted, immortal and less of a human. The females portrayed in the noir were primarily of two types - either projected as ethical, loyal loving woman or as ‘femme fatales’ who were duplicitous, deceptive, manipulative and desperate yet gorgeous women. In Her motivation to hire Marlowe was only because she felt that he could help find Roger.
In Homer's Odyssey, the Sirens are mythical creatures whose enchanting voices lure sailors to their deaths. These women have fascinated people ever since Homer sung the lines of his epic, inspiring artists of many genres from oil paintings to films. In her poem "Siren Song," Margaret Atwood re-envisions the Sirens to draw a comparison between the myths and modern life. Atwood portrays men as victims of "Sirens" (women) by making her readers the victims.
“A woman cannot be herself in the society of the present day, which is an exclusively masculine society, with laws framed by men and with a judicial system that judges feminine conduct from a masculine point of view” (Ibsen). This saying also applied to the times of the Odyssey, an epic constructed by the blind, eight century B.C.E. poet, Homer. As one of the few representatives of ancient Greek social order, the blind, Homer witnessed women as substandard to men, regardless of their actions; many of them existed as seductresses, prostitutes, or slaves. He engraved into his poem women’s roles; the roles of women, as mothers, wives, seductresses, and goddesses are exemplified in this epic, when shown in comparison to the men of that era.
In Homer’s Iliad, predominant feminine presence inspires the events of the poem and the destinies of the men involved. This feminine presence is not a product of the actions and decisions of the women in the poem, but rather a conceptual, creative feminine force without which the poem and even human life would not exist. Homer personifies this presence in nature and maintains it through the voice of the Muse, his inspiration. There is a deeper essence of a feminine presence in the poem, however, which lies in the characteristics of life itself. It is the woman who gives birth to the heroes and therefore she is the first to bring her child to life and to put him on the road to death. This biological phenomenon might seem superficially irrelevant to the fears and concerns of the masculine heroes who are most concerned with death, destiny and honor, the principle themes of the Iliad. These are of great importance to these heroes because these aspects of life will determine whether or not the world will remember them. Furthermore, as fame is their only path to immortality, the desire for fame after death motivates them to live honorably. It is the feminine role in nature that introduces the men to the life of the hero which instills this longing to be remembered after death, and it is, therefore, the feminine role in nature that gives purpose to human life. Homer acknowledges this effect and uses poetic devices to maintain a powerful presence of femininity throughout the poem.
In the era of Homer, women played a very specific role in society, and even in literature. Women of this time were basically put in a box, and expected to never step out of line. If they did go against the arbitration of men, then they were faced with serious consequences. However, female characters play a huge role in both aiding, and delaying Odysseus’s journey home. I will proceed to analyze, and interpret the actions and intentions of every major female character in The Odyssey.
In Homer's Odyssey and Margaret Atwood's Siren Song, Sirens are portrayed as creatures that trick men. Homer and Atwood use imagery, point of view, and diction to convey the image of the deceitful Sirens.
The Odyssey: Portrayal of Women How does Homer portray women in the epic, The Odyssey? In order to answer this question you must look at woman and goddesses as two separate groups of people who are "people". This is because they are portrayed in two separate ways. You see, a regular woman like Penelope is looked at as beautiful but has.
The women in The Odyssey are a fair representation of women in ancient Greek culture. In his work, Homer brings forth women of different prestige. First there are the goddesses, then Penelope, and lastly the servant girls. Each of the three factions forms an important part of The Odyssey and helps us look into what women were like in ancient Greece.
portrayed as the “femme fatale” and also “mother,” the “seductress” and at the same time
"So please go home and tend to your own tasks, / the distaff and the loom, and keep the women / working hard as well" (6.585-587). From this we see Hector's view of women, which is a theme that is echoed throughout the rest of the Iliad. Women are mentioned relatively few times in the Iliad in comparison with the books devoted solely to the men. Nevertheless, there is clear evidence that the role of women in this society was that of a servile follower.
The poem “Iliad,” by Homer, is known for its violence between men during a war, but under that violence, is the different type of women who play a significant role in the poem (Homer 189). This poem’s narrative seems to show a male dominated world between the Greek commanders. This male dominated world cannot happen on its own, thus the different background roles of women are needed in order to make sense of all this rage. As the University of Michigan article How Do Women Make Their Way Into This Cycle states, “They are seen as the objects of both lust and domesticity, yet they are also used to excuse war, cause conflict, and display the power of men” (www.umich.edu). The focus in this poem steers towards the rage between the men, but this rage most of the time is inspired and initiated by a woman. The women of Iliad play a significant role in the poem such as war prizes, male hero partners, and women gods.
Women are designated scapegoats of societies throughout history. Women are blamed for using seduction to trick men or are used as prizes for men to fight over; consequently, this allows men to begin wars or arguments over a single woman. In the case of the Trojan War, as depicted through Homer’s Iliad, women are the outright reason for encouraging and causing the greatest heroes to fight for nothing. The Trojan War begins with the abduction of Helen (McAllister 8), which is described through previous mythology where Aphrodite awards her to Paris for judging that Aphrodite is the most beautiful goddess, thus beginning the cycle that women are made prizes. Even in other cultures the idea that women cause conflict is a prominent aspect of beginning wars such as in King Arthur when Uther
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 ...