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Gender stereotypes in Thelma and Louise film
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Like many stories in Hollywood, Thelma and Louise follow the stages of the Hero's Journey. The stages of the monomyth aren't shown in the exact predictable pattern as Star Wars, but the majority of stages are explored in the script. The meeting the mentor stage gets a bit murky. Thelma's mentor is Louise while, Louise's mentor could be viewed as reality. The final stages of the Hero's journey seem to be thrown out the window, however, Return with the Elixir could represent the audience itself and view of how unfairly women are treated within society. The scripts feminine focus affects the classic storytelling structure, due to honest treatment and reality of the situations Thelma and Louise face throughout the story. A more classic storyteller
Laura Mulvey claims that the camera is almost always masculine and that all women in these films are objectified and punished if they don’t please the male characters by obeying gender roles. Carol Clover, however, believes that there is more to Mulvey’s claim. Clover argues that the boys of the film also die, insinuating that punishment does not just fall on the women. She also argues that the camerawork and the film itself are about gender fluidity; both boys and girls can identify with any character of the film, be it the killer, a boy, or the final girl. Sexual ambiguity, especially in regards to the first-person camera work, are the focus of the films. To some extent, I believe both women’s claims. However, I believe there is more truth in Clover’s argument due to the fact that retributions are inflicted upon all characters regardless of gender. Yet, it does seem that women in horror films have a special place in terms of their sexuality and roles for the film. The women have ambiguous gender rules as evident by the final girl. Her act of fighting is considered a masculine activity. These masculine activities performed by females seem to be more acceptable in these films than if a male was actively portraying something feminine, such as cowering in fear. This gives validity to the argument that being masculine or
Thelma and Louise escaped for a weekend getaway. These were two women that wanted to get away from their day to day lives and live a little. Louise had her own place, car and a job at the diner. Thelma was longing and regretful of her early marriage to her husband, Darrell. Since the young age of 16, she has been with the same man. Thelma had accepted her life and the way she was treated. Louise didn’t think highly of Darrell and thought Thelma could do much better. As they were on their way, Thelma admitted to only leaving Darrell a note. Louise is the leader of the two women and wants Thelma to have her fun. Harlan is a local guy that hangs around and notices Thelma. He begins to give her attention, which she doesn’t get from Darrell.
...ed to violence at many steps on their journey. Yet, the violence was a symbol of rebellion and was a conscious effort by the two to gain authority over their lives. It was a way to gain attention from men, who resulted to violence instinctually. Thelma and Louise do not grow to be mad or insane; they grow to be strong, independent, vibrant, confident women. I am convinced by their actions, words and behaviors as they transform from little girls into women. The two drove off that cliff in the best shape of their lives. While the ending may be tragic, Thelma and Louise’s impact will be everlasting, felt and be a symbol for oppressed women all over the world.
Thelma and Louise are firmly aware and assured of their final way to freedom. They knew that things did not have to be the way they always have been, therefore, the submissive housewife Thelma and hardworking confident and independent Louise, changed by their circumstances to find their way to freedom on their own terms. The story dramatic content provides the audience with highs and lows emotions and anticipation of how to escape from their troubles. The escape scene in act one was real, because they are running away from killing a man. Seeking freedom by going to Mexico became a fantasy. They plan to escape from the authority, and from the men throughout their lives becomes reality. Thelma and Louise, in common agreement decides that the point of no return to end their ordinary lives was to die free from their reality.
The most important events of this film all revolve around the female characters. While there are some male charac...
“The journey of the hero is about the courage to seek the depths; the image of creative rebirth; the eternal cycle of change within us; the uncanny discovery that the seeker is the mystery which the seeker seeks to know. The hero journey is a symbol that binds, in the original sense of the word, two distant ideas, and the spiritual quest of the ancients with the modern search for identity always the one, shape-shifting yet marvelously constant story that we find.” (Phil Cousineau) The Hero's Journey has been engaged in stories for an immemorial amount of time. These stories target typical connections that help us relate to ourselves as well as the “real world”.
Louisa May Alcott’s powerfully written story Little Women has been famous for generations. Alcott wrote was about four young women in the March family who struggled against societal norms during the time of the Civil War. Multiple film adaptations have attempted to retain the emotional impact of her material while retelling her story on the big screen. The most recent adaptation, directed by Gillian Armstrong in 1994, was able to capture many hearts with its feminist twist on the classic novel. Armstrong’s film brings the family’s story to life by successfully displaying the personalities in the March family and by portraying the life styles during the time period accurately. However, specific reactions and descriptions had to be expressed in different ways considering the literary devices used by Alcott which could not be shown through elements of film without alteration.
The male and female characters have different social positions, but they each have an element of control. While the male gender is in position of power in terms of making money for their families, the females are in sort of control of the men's emotions and dictate what the men crave. The women in this film who do work are working in supporting roles, such as servers, secretaries, nurses or models. While the popularity of certain female stars offered them legendary status, the kinds of roles they were asked to play often reinforced traditional gender
Due to traditional stereotypes of women, literature around the world is heavily male-dominant, with few female characters outside of cliché tropes. Whenever a female character is introduced, however, the assumption is that she will be a strong lead that challenges the patriarchal values. The authors of The Thousand and One Nights and Medea use their female centered stories to prove their contrasting beliefs on the role of women not only in literature, but also in society. A story with a female main character can be seen as empowering, but this is not always the case, as seen when comparing and contrasting Medea and The Thousand and One Nights.
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.
The film, "Thelma and Louise," challenged gender stereotyping by not portraying Thelma or Louise to be weak. In the film, Thelma and Louise committed a murder by shooting a man and leaving him dead in the parking of a night club. At first, Thelma and Louise were pretty devastated that they had committed a murder. After a few days of rest, and thinking, Thelma and Louise were able to pull themselves back together. Thelma and Louise were strong enough to come up with a plan to move to Mexico, change their name, and start a new life. Thelma and Louise were so strong that they both were able to keep their composure around new individuals that they
The film portrays the life of two young best friends who set off on a
When authors or writers rewrite classic texts, they are able to reveal important lessons to readers or make the underlying message from an original text more obvious to readers. Rewriting classic texts can also allow the writer make an original text more moderate, by doing so it makes the text more relatable to the readers and help them understand the story more clearly. This is exactly what Angela Carter did in her text, “The Company of Wolves,” Carter creates and reveals to readers a feminist point in her rewrite. Carter is criticizing the original text of Jacob and Wilhelm Grimm’s story, “Little Red Cap.” Carter develops a female protagonist who is independent and also explores her sexuality, unlike the Grimm Brothers who creates a poorly developed damsel in distress. Carter, also does not include a typical fairytale story ending, unlike the Grimm brothers and most fairy tales which end on a happy note. By creating these kind of character developments and disregarding a typical “happily ever after” ending, Carter expresses feminist ideals and rids the stereotypical attributes a female character is usually given in fairytales. Carter is trying to show readers the importance of developing the female characters, unlike the Grimm Brothers who have much more developed male characters than female characters.
'My Fair Lady' (1964) and 'Pretty Woman' (1990), both based on the 1938 film adaptation of the original 1913 stage play Pygmalion by George Bernard Shaw, are both widely immensed blockbuster movies who have made it to the 'classics' list of movies that never get old, gaining infinite fame and success. The female audience swoon over the movies, wishing for a Prince Charming, a Henry Higgins, or a Edward Lewis to magically appear before them, for who wouldn't want to live the life of a woman who goes from rags to riches in a few days and falls madly in love with her savior? What woman wouldn't want to be swept away, rescued, and redeemed into heterosexual heaven? To be completely transformed into societies perfect image of what a woman