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The portrayal of women in the media]
Feminism theory and movies
Feminism theory and movies
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Females are often looked down on by society as males stereotypically dominate the roles of machismo and independence, leaving no space for females to demonstrate their own strength. Coraline, a children’s animation intended to be a fantasy but instead a production laced with horror elements, includes numerous female characters that embrace society’s predetermined standards. As the audience follows the journey of the protagonist Coraline, stereotypes of women being dependent and not having a voice are unrefreshingly accepted by the female characters in the film.
Coraline, the protagonist, is introduced into the film as a young, fearless girl who easily rejects the female stereotypes of society, but truthfully, it turns out she still embraces
The mothers’ voices are powerful and override their husbands’ voices throughout the entire film as they are portrayed as the “woman of the house” instead of the “man of the house” and because of that, as women, they are seen as antagonistic, evil characters. In a scene where Coraline complains about the bad dinner with her parents, Coraline is told by her mother that her dad is the one who has to do the cooking, and her other mother does the cleaning, completely enforcing female stereotypes that the cooking and cleaning are to be done by the females. Despite Coraline’s ecstatic enjoyment of the “Other” world, it is brought to the audience’s attention from that scene that Coraline seems to be the one who is trying to enforce gender stereotypes into her own life and her family because of the fact that the “Other” world has another mother who cooks delicious food and another father who is silly and humorous. As Coraline has teetering opinions on her new house and friend, a scene is shown where she is taken to the clothing store to shop for her new school uniform with none other than her mother, the gender who is known to be the most prone to shopping. The “Other Mother’s” first appears in the film stereotypically cooking in the kitchen and a majority throughout the film, she is most often seen cooking delicious food for Coraline. At one point in the film, it is revealed that she makes a brand new outfit for Coraline, accentuating the stereotype that females stay home to cook food and tend to clothes.. In another scene near the end of the movie, the true form of
Leaper, Breed, Hoffman, and Perlman (2002) reiterates Junn (1997) findings that compared to women, men are overrepresented (Leaper, Breed, Hoffman, & Perlman, 2002). Leaper et al. conducted a time-based structured observational study by evaluating a total of 12 different child target television shows. They selected 3 shows from each of the following categories: traditional adventure, nontraditional adventure, comedy, and educational/family (Leaper et al, 2002). In addition, Leaper et al examined the number of characters in each film while also looking at the amount of time each character exhibited predetermined behaviors (talking fear, negative, physical aggression, victim, romantic, directive, politeness, and support) throughout the show (Leaper et al., 2002). At the conclusion of the study, Leaper et al. reaffirmed that female characters are underrepresented. In addition, however, Leaper et al. found that one genre, traditional adventure (“emphasizing a central male hero”) was more likely to contain gender stereotypical behaviors (Leaper et al., 2002, p. 1655). Ultimately, Leaper et al.’s conclusion can suggest to children that male characters’ overrepresentation in child-targeted media is because men are at the top of the hierarchy and are more important in society than women (Leaper et al.,
A little girl sits on the floor with her gaze fixed on the television screen in front of her, watching magical images dance before her eyes and catchy songs flow through her ears. Even though she had seen it at least twenty times before, she still loved The Little Mermaid just as much as she did the first time she watched it. As she watched it, she longed to be a beautiful mermaid with a curvy body and wonderful singing voice like Ariel. She longed to be saved by the handsome Prince Eric, and fall in love and live happily ever-after like Ariel did. In today’s society, women strive to achieve equality between the sexes. Despite the tremendous steps that have been taken towards reaching gender equality, mainstream media contradicts these accomplishments with stereotypes of women present in Walt Disney movies. These unrealistic stereotypes may be detrimental to children because they grow up with a distorted view of how men and women interact. Disney animated films assign gender roles to characters, and young children should not be exposed to inequality between genders because its effect on their view of what is right and wrong in society is harmful to their future.
Feminism in today’s society holds true that women are strong individuals who are capable of achieving their dreams. A significant problem with the Disney Princesses is that even surrounded by the notion that females have the same inherent dignity as men, they continue to be portrayed as passive women with limited aspirations. For example, in Snow White, the character of Snow White is glorified by her ability to sing beautifully and cook for the seven dwarves (Hynes). In Beauty and the Beast, Belle is ignored when she tries to make conversation about a book she is reading, which suggests that a well-read woman is not worthy of attention (Hynes). And, in The Little Mermaid, Ariel sings about all of the wonderful treasures that she possesses, which encourages the valuing of material goods (Hynes). These films give rise to the belief that a woman’s worth is dependent on her ability to maintain a household,...
Although Hans Christian Andersen’s “The Little Mermaid,” published in 1837, contains many patronizing nineteenth-century attitudes towards women, a value system that at least acknowledges the legitimacy of femininity shapes the fairytale. Unfortunately, Walt Disney’s 1989 film version of “The Little Mermaid” eliminates the values that affirm femininity in the original story (Trites 145)
We can see that throughout the making of Disney movies the gender images have not evolved to match the changes in our society now, they have stayed stereotypical and similar to when Disney movies were first made in 1937 (Towbin et al 2003). In studies of 16 different Disney movies Mia Towbin (2003) and others
One of the main ideas acknowledged in this cartoon is that a woman’s job is cooking, cleaning, taking care of her husband and kids. It reveals Western gender ideologies at that period and demonstrates how society idealized gender roles. Feminist critiques by Gifford-Gonzales, explain that the perspective on women and men in the society and how women’s place is at home is cumulative. In other words, she demonstrated how women’s stereotypical image concerning their role in societies is spreading even in cartoons. Moreover, the cartoons represent two different ages so we have a combination of the past and the present. For example, people did not exist at the time of dinosaurs and telephones weren’t created until the nineteenth century. In addition, some fictional elements are added such as the elephant vacuum cleaner. Therefore, confusion between eras but also between fiction and reality is created. That affects how children apprehend issues represented in this cartoon. Growing up watching this animated series, youngsters develop the idea of gender stereotypes until the belief of women as background objects. Especially that these simple characters, with whom children identify, have a great impact on them and make it easier to convey a certain message
In the article Construction of the Female Self: Feminist Readings Of the Disney Heroine, Jill Birmie Henke, Diane Zimmerman Umble, and Nancy J. Smith are looking at the female self and how it was developed based on two theories: Standpoint by Parker Follet and the psychological development of girls by Gilligam. That by examines gender identity especially girls and how media exposure affects them through analyzing five of Disney movies: Cinderella, Sleeping Beauty, The little Mermaid, Beauty and the Beast, and Pocahontas. They segmented the article into three titles: The Oxymoron of Power and the Perfect Girl where they introduced the two theories in which they built their critic on, Construction of the Female Self where they talk about the evolution in the female character from Cinderella to Pocahontas, and Construction of Self in Relation to Others where they talk about the evolution of the self in relation to others from power-over to power-with until power-to. Finally they concluded that even if the female character in Disney’s movies was changing to become more
Disney movies have a very narrow view of what women should be like. Since the arrival of the first Disney movie, Snow White and the Seven Dwarfs in 1937, the idea of it has expanded, but rather marginally. There is a clear distinction of what a young women should be and what she shouldn’t be. Those who do not fit the mold of Disney’s expectations are cast aside to become villains, but those who do, end up becoming the damsel in distress. Ultimately, these stereotypes are what influences young girls who watch these films, and can have devastating effects on their self worth and change their idea of what it means to be a women. Films like Sleeping Beauty, The Little Mermaid, Cinderella, and Snow White and the Seven Dwarfs,
She soon stopped hanging out with her friends and changed her entire personality, losing her voice, in order for Eric to fall in love with her. A thorough research has been carried out by linguists Carmen Fought and Karen Eisenhauer in which they researched how often each gender role spoke in each film. Their objective for doing this was to shine light on the way in which male roles used to dominate speech time, in comparison to recent Disney films that show women giving more vocal characters to play. Snow White (1937), Cinderella (1950) and Sleepy Beauty (1959) all show that women characters get over 50% of dialogue, whereas all of the Disney princess films released in the late 80s and 90s show that females only had around 20% of the overall dialogue time. Considering these films all have a female lead, these statistics show that male characters withhold supremacy even when they aren’t the main character, overpowering the female lead in her own film.Throughout the majority of Disney’s films, there’s an underlying statement that normalises male dominance and in which holds a negative impact over the youth of today, if children’s films continue to portray this outdated message over and over again, then children will grow up with a huge misconception of how they should be, which leaves a worryingly foundation set for the upcoming generation of this time. Many children idolise the characters in Disney films that’s why it’s very important to analyse the representations these characters are portraying for the children of our society to see. When a child has been engraved with these stereotypes since they can remember, it will be difficult for a child to separate these
Once upon a time, there was a 16 year old mermaid princess named Ariel who gave up her voice, an important part of her identity, in order to be with a man who she became infatuated with at just one glance. Ariel has a very traditional gender-stereotypical role in the film, as the helpless, clueless, naive, physically weak, submissive, and attractive female protagonist that Disney films, especially the classics, portray so often (England). There is a lot of controversy surrounding this film in regards to its patriarchal ideals. The Little Mermaid, like most media, is build for the ‘male gaze’, a term coined by Laura Mulvey that suggests that visual entertainment, such as movies, are structured to be viewed by a masculine consumer. I will argue that the male gaze perpetuates harmful gender-stereotypes in The Little Mermaid.
...s often the stubborn majority, as it is difficult to simply change a characteristic so widely embedded in the framework of cinema. Therefore, it is not my objective to say that all movies must pass the radical Bechdel test or include the presence of a strong, independent female character; rather, we as a society must recognize that we are inherently biased in the topic of gender and must make an effort to exhibit a more conscientious and sympathetic portrayal of women in cinematic media. The simplest resolution can begin with clothing, where an audience’s viewing is not diverted by the lack of clothing from either male or female characters. The task of reinventing cinema is to reinvent a century of subconscious thinking, and only by taking one step at a time can both men and women watch a movie where all characters, both male and female, can be represented equally.
Disney promotes sexisim by forcing young girls to live in a patriarchal world. Cinderella, Sleeping Beauty, The little mermaid, Aladdin, and Snow White are all examples of popular Disney movies that encourage young viewers that they need a man to save the day. Yes, it’s true that there are recent movies such as Moana and Frozen that prove otherwise, but how long will it take to completely get over the fact that women are mainly viewed as secondary citizens compared to the men? There are countless examples of how Disney movies influence this theme, and how much the female characters’ actions, ideas and thoughts are not included in a Disney movie.
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.
...n by naming the title of the movie after the main female protagonists. Just look at the Little Mermaid, Snow White, Sleeping Beauty and even Beauty and the Beast. All are movies about the females being damsels in distress and having a male come to their rescue. Charles Perrault’s original version portrays the perfect version that children all around the world should be watching. Children are already very impressionable and what they watch when they are younger is how they eventually will act. How they grow up rests on the children movies and books of that generation. Those movies and books are what form the future leaders of our countries and for one very impressionable company, such as Disney, to be favoring one gender more than the other can result in chaos. Overall, Charles Perrault’s feminist lens in his story can lead girls to an empowering high self-esteem.
In an old house on a hill somewhere in Oregon, there is a little door in the wall. During the day and to the casual observer, this door leads to nowhere. But at night, if the right person opens it, the door leads to another world. A world where everything appears perfect. A world where mothers make dinner every night, where fathers create spectacular gardens and spend time with their daughters, where there are gravy trains and talking toys, and where jumping mice perform tricks and stunts for children. A world with button eyes. This is the world created in 2009 by director Henry Selick in the 3-D, clay animation film Coraline. Based off the children’s novel written by Neil Gaiman, this intricately created