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Representation of genders in media
Gender equality in the films industry
Representation of genders in media
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When women are little girls most of them wanted to be princesses, to be rescued by their handsome prince and be carried off to a land far, far away and live happily ever after; as women grow up and their idea of happy ever after changes so does their ideal heroine. Times changed with the suffrage of women and equal right movement so did everyone’s perception of the modern woman. Soon there was nothing females could not do; no dream to big, no star to high. These changes in attitude were also seen on the big screen. “Fictional characters are of great value in the ongoing process of creation and serve as building blocks for the development and expansion of our culture.” (Kurtz, 2013) Lead female roles took on a stronger action role; no longer are the princesses waiting in the tower now they are rescuing Prince Charming. Today’s female action heroine is nothing like her former incarnations. Even Rothman notes that Hollywood has gone “heroine chic” and today’s female action star is smarter and stronger than any “totalitarian regimes”. She is without fear, but is still a woman at heart who has to save humanity (2014, pg.52). She has goals and strives to reach past them; she is not willing to stand by holding the torch so the man can read the inscription. The new female leads in Hollywood are solving the mysteries, stopping the bad guy, and saving the world. Even though most of the earlier female heroines could not reach their full potential without their prince or some mystical source, today’s female heroine is more focused, more independent and even more popular than her predecessors. The first aspect of the new age of women is they are more focused, they have goals. Before women were followers, they had no... ... middle of paper ... ...(2008). Twilight United States: Summit Entertainment. Hiller, A. (Director). (1966). Penelope United States: Metro-Goldwyn-Mayer. Hogan, D. (Director). (1996). Barb Wire United States: PolyGram Video. International Communication Association. (2008). Assessing Gender-Related Portrayals in Top-Grossing G-Rated Films. California. Choueiti, M., Granados, A., Pieper, K., Smith, S.. Kurtz, L. Fictional Characters and Real People. University of Louisville Law Review, 51, 435. Liman, D. (Director). (2005). Mr. & Mrs. Smith United States: 20th Century Fox . Niccol, A. (Director). (2013). The Host United States: Universal Studios Home Entertainment. Vadim, R. (Director). (1968). Barbarella United States: Paramount Pictures. York, A. E. From Chick Flicks to Millennial Blockbusters: Spinning Female-Driven Narratives into Franchises. The Journal of Popular Culture, 43, 3-25.
It is not often that a strong and significant female character is introduced in a movie and/or book as the main character. Pan’s Labyrinth, though not the typical fairy tale, introduces the viewer to three females that prove controversial and necessary to the plot, which passes the Bechdel Test, designed to identify gender bias in the media. There is Carmen, the loving mother, Ofelia, the supposed princess/innocent girl, and then there is Mercedes, Captain Vidal’s maid and rebel spy. These three women show different portrayals, different characterizations, of how women should defy the gender bias in films.
In the current era of progressive feminism, a hotly debated topic has been what constitutes a strong woman, whether fictional or real. One side of the discussion argues that women must be shown as equal to men and therefore display manly or ‘macho’ traits. On the other hand, some women contend that, instead of filling the mold of what society deems strong (which often happen to be traditionally male traits), women should instead break that mold and redefine strength. In Elizabeth Alsop’s article, “Why TV Needs ‘Weak’ Female Characters,” she describes how female characters in some specific television shows today prove that other traits, particularly vulnerability, are just as important to display as strength. Alsop discusses how television shows
A very diverse, broad, and extensive industry is the filmmaking industry. However, the unique aspect of the industry is that it is so expansive in all of the different categories and types of movies, but yet each film is individualized. A certain characteristic of a movie may appeal to one person and not another. Such characteristics may not only appeal to an individual but to a certain group of people. Could it be that characteristics of a film appeal to either the male gender or the female gender? Is there a difference in the category of movie that a male chooses as opposed to one that a female chooses? Such questions prove to be very interesting and ponderous. Upon thinking of such questions, I decided to revolve my research paper around the two concepts of movies and gender. My hypothesis for this research paper is “In determining a movie to watch, college-age males choose action and adventure movies while females of the same age choose romance or romantic comedy movies”. I feel that this topic is very interesting because many items today are marketed towards a specific gender. This can be viewed and noticed in such items as clothing, motor vehicles, and certain hobbies. This pattern may just as well carry over into the film industry. If it does, it may be reflected by the category of movie a certain gender selects to watch. Therefore, my thesis is: By used of an observation, a survey, an interview, and a personal history, I will prove that men choose action movies and women choose romance/romantic comedy movies because each gender relates to a different characteristic found in each type of movie.
Throughout the world of writing, including short fiction, women are portrayed as good, evil, funny, dry, smart, stupid, almost any adjective you can think of. Kate Chopin, a primarily short story writer, does not fall short of this statement. Through her stories, “The Storm,” and “The Story of an Hour,” the women seem to be trapped in confining gender roles. By the conclusion of each story all the women find a way to challenge their everyday roles and overthrow them in some matter. Although these stories are dissimilar from each other, both show the struggle that women have against one or several antagonists in their lives. Chopin shows hardships through internal and external struggle within and family environment and within a personal environment. Whether the women depicted are escaping from their horrid lifestyle, or just plain escape from life, she is able to embody the hardships women face.
Williams, Linda. "Film Bodies: Genre, Gender and Excess." Braudy and Cohen (1991 / 2004): 727-41. Print.
Disney has portrayed women in movies by the use of animation characters for over a century since the 1900s. There has been a very big change since the early 1900’s to modern day in Disney’s depiction of the personalities of the women, their attitudes and ideologies towards men, and the way they are portrayed in the movies. This progression has had a distinct development, from passive damsels in distress in need of the help of men, to being superheroes. Therefore, the evolution of women in Disney movies will be analyzed through the use of university level feminist essays, as well as a research paper written about gender roles in Disney animation. The evolution will also be analyzed through examination of the clips of the movies themselves.
The representation of female characters in the work may initially come across as acting irrationally, but closer examination shows that in fact their motivations were guided by contemporary values and therefore are more reflective of more positively portrayed characters.
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).
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.
Many women characters appear in fiction who have been damaged by or disintegrate under the stresses of life. Just as in life, however, many fictional characters survive, adapt, and triumph; these characters may never be recognized within a larger world, but they are vitally important to other characters and are the objects of deep love and respect. Creating this woman in fiction can often be difficult, because the writer must present a whole character, not one trivialized by sentimentality or stereotyped by convention. Willa Cather in My Antonia and O.E. Rolvaag in Giants in the Earth have developed such characters.
‘Lad flicks’ or ‘lad movies’ is a type of film genre that emerged in the late 1990s. They are defined as a “‘hybrid of “buddy movies”, romantic comedies and “chick flicks”, which centre on the trials and tribulations of a young man as he grows up to become a ‘real man’. ‘Lad flicks’ respond in part to the much-debated ‘crisis in masculinity’” (Benjamin A. Brabon 116). This genre of film explored what it meant to be a ‘real man’ in the twentieth century and in order to do so, they would have to grow up and leave their juvenile ways behind to enter the heterosexual world. Gender relations in ‘lad flicks’ portray masculinity as a troubled, anxious cultural category hiding behind a humorous façade and also rely greatly on a knowing gaze and irony. The two ‘lad flicks’ that will be analyzed are The 40-Year-Old Virgin (Judd Apatow 2005) and Role Models (David Wain 2008).
A number of popular television shows and films filling mainstream media today have taken a spin to promote women to main character roles of power and command. The traits of these female characters, however, become illusionary as plots thicken to reveal their status to be subordinate to leading male character roles; of which are typically controlling or manipulative over gender stereotypic female traits within the script. While media is being blindly applauded for their newfound glorification of women in power, there remains an underlying message of male supremacy in more than many broadcasted portrayals. Today’s mainstream television media delivers a notion that only a man can pave way for the merit of a woman.
Gender stereotypes and biasses exist in media. In most situations, women are associated with more negative stereotypes and their portrayals can “undermine their presence by being “hyper-attractive” or “hyper-sexual” and/or passive” (Smith, 2008). In The Wolf of Wall Street women are objectified. They are treated
Over the years, Disney has presented many movies to their audience—most having a Princess as the protagonist. These movies became a babysitter for most parents in the early stages of their child’s life. Most people found these movies as relatively harmless. The obvious assumption about the Disney Princesses is that they only desire true love since almost every movie ends in romance. Parents just viewed these movies as romantic movies on a child’s level. However, these movies were not solely intended for an audience of an age that can be counted on both hands. They were intended to speak to “an intelligent and active audience” (Sumera 40). However, there are many people who disagree with the ways of the Disney Princess movies. The disagreements lie within the portrayal of women gender roles in these movies. It is argued that Disney portrays women as a being nurturing individuals without any control over their identity. The women are unable to think for themselves, because they are uneducated, and they are quick to fall in love with the first man that pays them any attention. However, this is not completely true. The people that are against the portrayal of women in the Disney movies are failing to recognize the underlying concepts in these movies. For example, Belle, in Beauty and the Beast, was well educated, Mulan went to war despite the consequences, and Merida, in Brave, stood up to her mother in refusal to marry. The Disney Princesses desired intelligence, bravery, strength, and independence—not true love’s kiss.
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. 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. This was an astonishing change for the American industry of film. Sometime later, in 1984, Linda Hamilton starred in ‘The Terminator’, a film where she was not the leading character, but a strong female character as Sarah Connor. She had a combination of masculine and feminine qualities as “an androgynous superwoman, resourceful, competent and courageous, while at the same time caring, sensitive and intuitive” (Hirschman, 1993, pg. 41-47). These changes made in action films for female’s roles stirred up a lot of excitement in the “Western society” (Starlet, 2007). The demand for strong female characters in action films grew to a new high when Angelina Jolie starred in ‘Tomb Raider’ in 2001 and then in the sequel, ‘Tomb Raider II: The Cradle of Life’ in 2003 as Lara Croft. Her strong female character was not only masculine, but was also portrayed as a sex object. Most often, strong women in these types of films tend to fight without even gaining a mark. At the end of each fight, her hair and makeup would always be perfect. The female characters in these action films, whether their role was as the lead character or a supporting character, had similar aspects. I...