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Women in a patriarchal society
womens position in patriarchal society
gender role stereotypes in cultures
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Recommended: Women in a patriarchal society
Grossman states that the misinterpretation of women in film by men and the general public, results in continuous preservation and standardization of a stereotypical patriarchal society. It is imperative to reinterpret and analyse the implicit psychosocial portrayal of female characters in film noir.
The disregard of women’s individuality alongside males imposing their lust and anxiety on women has created the notion of the “femme fatale”. The term connotes that such women are unorthodox, through their radical desires and aspirations, has led to the emphasis of sensuality which jeopardizes traditional hierarchy. The intransigence of gender roles results in dissension of the intricacy and psychological insight in female characters, where women are restricted by the imposition of domesticating chores and reinforces a male-dominated society. A contrasting perspective would delve into the motivation behind the actions, preventing the blatant dismissal of women’s fears as an act of rebellion. It is vital to relook into the attitudes, brought forth unconsciously, when interpreting films.
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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,
This movie attempts to show this progression, and that depending on a man for the life one desires is a notion of the past. The suburban women were expected to rely solely on the man to live, without him she had minimal schooling and no way of survival in suburbia. Although this film still at times puts women into a negative light, but this was also a point of receiving a profit when the movie premiered. This movie received a good reaction from the public considering the public does not always take well to women in lead roles. Even though we live in a world that no longer projects women as accessories on a man’s arm, women still must be put into an objectifying light in order to make a profit consistently. Because the women gain a label of sexual being from the first camera angle, the man becomes “the bearer of the look of the spectator” (Mulvey). This is shown in the way that even though the women are the leads the man is still in control of the “film phantasy” (Mulvey). Films with women as the leads and in control of the films plot line rarely exceed that of the other because the spectator is so used to putting the control into the hands of a male. The dependency of women on men transcend the household it is a systemic epidemic that has been in effect since the beginning of time. Suburbia is a microcosm of the worlds inner workings. The women are forced into a role
The film “Think like a Man” directed by Tim Story, centres around four best friends whose lives are shaken up when the women they are pursuing buy the book “Act like a Lady, Think like a Man”, written by Steve Harvey, and start taking his advice to heart. When the men find out about the book, they conspire to use its information in order to turn the tables against the women (Rotten Tomatoes , 2012). While watching this film, I noticed that it continuously emphasised gender inequality, in relationships and in an economic sense, as a discourse of human nature. Throughout the film, the viewer is exposed to scenes where, for a woman, stating that you have a successful career and earn six figures is a turn off as opposed to the fact that if it were a man, it would be considered a good thing. Other scenes are of how men and women differ in how they perceive relationships to be. For example, when the main female character believes she is starting a relationship with a man, the man actually sees it as a one night stand. In this essay, it is important to understand that human nature is a set of assumptions about motives, in an emotional and mental capacity, and psychic mechanisms which are considered as universal traits and characteristics possessed by all individuals living in human societies, whether they are civilized or primitive, modern or ancient (Wrong, 1963). In other words, by human nature, I refer to traits and characteristics expressed by individuals which are purely natural to humanity in any given context (Turnbull, 1973). How this became human nature, gender inequality, can be explained through examining how gender differences and stereotyping was formed, through biological phenomenon, as well as external, cultural, factors. ...
Today’s culture sees a gap between the male and female gender. This is evident in everything from the films we watch, music we listen to, and even in our everyday lives. Historically, this issue has seen an even larger gap, and can be observed in the films that were made during that time. Vertigo and Citizen Kane both show the objectification of women by controlling them, writing them in supportive roles, and placing their value in the way that they look.
In the classical Western and Noir films, narrative is driven by the action of a male protagonist towards a clearly defined, relatable goal. Any lack of motivation or action on the part of the protagonist problematizes the classical association between masculinity and action. Due to inherent genre expectations, this crisis of action is equivalent to a crisis of masculinity. Because these genres are structured around male action, the crises of action and masculinity impose a crisis of genre. In the absence of traditional narrative elements and character tropes, these films can only identify as members of their genres through saturation with otherwise empty genre symbols. The equivalency between the crises of genre and masculinity frames this symbol saturation as a sort of compensatory masculine posturing.
Students of feminisms and masculinities can benefit from this article and general people can also enjoy reading it. I could relate this article to the concept of movies today, how we as an audience perceive it, also various aspects the actor’s role (acting), the use of sound, lighting, camera movement, all plays a major role in explaining what exactly the movie is about. And the author in his article speaks about various types of movies and the role of male heroes and the changes that occur later on. Overall the article is useful and interesting as the increasing focus is on masculinity,
American commercial cinema currently fuels many aspects of society. In the twenty-first century it has become available, active force in the perception of gender relations in the United States. In the earlier part of this century filmmakers, as well as the public, did not necessarily view the female“media image” as an infrastructure of sex inequality. Today, contemporary audiences and critics have become preoccupied with the role the cinema plays in shaping social values, institutions, and attitudes. American cinema has become narrowly focused on images of violent women, female sexuality, the portrayal of the “weaker sex” and subversively portraying women negatively in film. “Double Indemnity can be read in two ways. It is either a misogynist film about a terrifying, destroying woman, or it is a film that liberates the female character from the restrictive and oppressed melodramatic situation that render her helpless” (Kolker 124). There are arguably two extreme portrayals of the character of Phyllis Dietrichson in Double Indemnity; neither one is an accurate or fare portrayal.
A considerable number of people might think that the spider woman or a femme fatale. According to the reading, “Women in Film Noir,” written by Janey Place, the author describes the portrayal of women in film noir by saying “Visually, film noir is fluid, sensual, extraordinary expressive, making the sexually expressive woman, which is its dominant image of woman, extremely powerful.” However, Ida Lupino does not follow its presentation of powerful woman. She approaches to the opposite female archetype, a redeemed woman who is a victim of the crime and who is be psychologically and physically traumatized by
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.
Since the beginning of time, women have been seen as different from men. Their beauty and charms have been interpreted as both endearing and deadly to men. In the Bible, it was Eve’s mistake that led to humanity’s exile from the Garden of Eden. However, unlike in the Bible, in today’s world, women who drive men to ruin do not do so through simple mistakes and misunderstandings, they do so while fully aware of what effects their sexuality can cause. One thing remains constant through these portrayals of women, and that is that they are portrayed as flawed creations and therefore monstrous. It is a woman’s sex drive and sexuality that can lead to her monstrosity. The femme fatale is an enticing, exquisitely beautiful, erotic character who plays the ultimate trick of nature: she displays her beauty, captures the man and goes in for the kill. Films such as Adrian Lyne’s Fatal Attraction and stories such as Geoffrey Chaucer’s The Wife of Bath’s Tale, and Sir Gawain the Green Knight use the femme fatale as a means of making a woman into a monster; the femme fatale can never win in the battle of the sexes. But what is it that makes the femme fatale such a dangerously character for the hero as well as the readers or viewers?
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.
Also, the film revealed women empowerment and how superior they can be compared to men. While demonstrating sexual objectification, empowerment, there was also sexual exploitation of the women, shown through the film. Throughout this essay, gender based issues that were associated with the film character will be demonstrated while connecting to the real world and popular culture.
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 ...
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 ...