In our society, individuals might insist their own point of view and refuse to consider others’ opposite ideas, however, in an existing film, revolutionary and conservative standpoints can be accepted at the same time to make the film “neutral”. Through considering the collisions of opposite standpoints which occur in the noir movie named “Double Indemnity” which directed by Billy Wilder and had earned the label of “unfilmmable” in Hollywood because of the story between Walter Neff played by Fred MacMurray and Phyllis Dietrichson played by Barbara Stanwyck in 1943(Biltereyst 148) , this essay will illuminate the characteristics of traditional female image and another kind of female role named “femme fatales” which is opposite to the traditional …show more content…
Besides this, through considering the ideology of different plots, this essay will elucidate the reason for why this movie can be supported by both of femininity and masculinity. Moreover, this essay will consider the morality and the immorality of this movie by analyzing the purpose, plots and results. Essentially, this essay aims to concretely as well as tentatively analyze and explore the implications of poststructuralist perceptions for the movie “Double Indemnity” about the relationship between male and different roles that women plays, its distinct representations, different groups of individuals’ opinions and some authors’ …show more content…
The film “Double Indemnity” shows one kind of women which is called “femme fatales” that is totally opposite to the traditional image of female. Traditional feminine characteristics are weakness, emotional expression, dependence and fragility. In fact, some individuals consider the role that women plays feudally as the one whose whole life should be sacrificed for and dependent on their husbands and children rather than living independently. The occurrence of the film named “Double Indemnity”, made the group of people who believe in their feudal thoughts dissatisfied because of the chief actress’s crime. In fact, by considering the history of America, people can understand the reason for this movie’s tragic outcome. “As World War II was coming, America became prosperous and families were reunited. Besides this, at that time, soldiers returned to their hometown, plan to marry and set up households” (Bordwell and Thompson 325). Moreover, “America was becoming traditional and conservative gradually, especially with regard to women”(JansB. Wager 73). “During the period of World War II, the percentage that female occupied for the labor force has increased by about fifty percent. Then, individuals who support patriarchal system considered women as a threat which might change the traditional lifestyle and
This essay argues that the film Bridesmaids transcends traditional representations of feminine desire that exhibits women as spectacles of erotic pleasure, through the symbolic reversal of gender identity in cinematic spaces. By discussing feminist perspectives on cinema, along with psychoanalytic theory and ideological narratives of female image, this essay will prove Bridesmaids embodies a new form of feminine desire coded in the space of the comedic film industry.
The film titled, “The Life and Times of Rosie the Riveter”, looks at the roles of women during and after World War II within the U.S. The film interviews five women who had experienced the World War II effects in the U.S, two who were Caucasian and three who were African American. These five women, who were among the millions of women recruited into skilled male-oriented jobs during World War II, shared insight into how women were treated, viewed and mainly controlled. Along with the interviews are clips from U.S. government propaganda films, news reports from the media, March of Time films, and newspaper stories, all depicting how women are to take "the men’s" places to keep up with industrial production, while reassured that their duties were fulfilling the patriotic and feminine role. After the war the government and media had changed their message as women were to resume the role of the housewife, maid and mother to stay out of the way of returning soldiers. Thus the patriotic and feminine role was nothing but a mystified tactic the government used to maintain the American economic structure during the world war period. It is the contention of this paper to explore how several groups of women were treated as mindless individuals that could be controlled and disposed of through the government arranging social institutions, media manipulation and propaganda, and assumptions behind women’s tendencies which forced “Rosie the Riveter” to become a male dominated concept.
illustrates the discrimination against women and the issues that arise from a gender double standard society.
Double Indemnity (dir. Billy Wilder 1944) is a film about an insurance sales man Walter Neff (Fred MacMurray) that falls for a highly sexual, scandalous woman, Phyllis Dietrichson (Barbara Stanwyck) who attempts to kill her husband. Even though Walter dismisses Phyllis attempt to purchase life insurance policy for her husband; he is unable to stay away from Phyllis for long. In the time they spend together, Walter and Phyllis try to hatch a fool-proof plan to get rid of her husband and get a double indemnity from the insurance company. Walter Neff boss Barton Keyes (Edward G. Robinson) is a man of skill and knowledge, and has been working in the same job for twenty-six years, and has always been able to tell who is a cheater and who is an honest man. Barton ability to tell who is being honest by consulted the ‘little man’, and does so throughout the film. Walter later finds out that Phyllis has been involved in another ‘accident’ prior to her involvement with her husband Mr. Dietrichson (Tom Powers).When both Walter and Phyllis are about to be found out by Barton, Phyllis attempts to kill Walter and escape with the cash. The scene in which both Barton and Walter are together in the office and are later in the hallway in which the male characters Walter and Barton both find themselves together on the ground highlights and suggest gender noir in the film. The film Double Indemnity uses the stylistic qualities of film noir to illustrate the homo-erotic relationship between Barton and Walter with the use of lights, shadows, and oneiric qualities which also suggest and emphasize the importance power of gender in noir.
In Laura Mulvey’s “Visual Pleasure and Narrative Cinema”, she presents a number of very interesting facts regarding the ways that the sexual imagery of men and women respectively are used in the world of film. One such fact is that of the man as the looker and the female as the looked upon, she argues that the woman is always the object of reifying gaze, not the bearer if it. And “[t]he determining male gaze projects its fantasy onto the female figure, which is styled accordingly. In their 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 be connote to-be-looked-at-ness” (487). Mulvey makes the claim that women are presented and primped into this role of “to-be-looked-at-ness”. They are put into films for this purpose and for very little other purposes. However, this argument cannot be incorporated with The Treasure of the Sierra Madre; the existence of women in the film is extremely insignificant to an extent that could be considered absent. “In a world ordered by sexual imbalance,” male serves as the dominant figures with which the viewer can identify, women only appear in the film for a very short moment of time. For instance, the appearance of women is only shown when Howard rescues the ill child in the village and his return to the village for hospitality reception...
The relationship between male and females within literary works can be expressed in a variety of different ways. Often times, gender roles are solidified to present the man as a dominant and overpowering figure, where the woman is seen as nurturing and are many times objectified due to this nature. In “Poof”, the reader is presented with an example of a woman who is ‘too accepting’ and ‘too giving’ to her male spouse, where as in “Good and Gone”, a male protagonist shatters the dominating nature of the standardized gender roles by loving a woman based off of common interest, not based off of submissive nature. Comparing these two protagonists of both plays, the writers, EP3C and Lynn Nottage, present a duality of dramatic effects by either
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.
his Essay will analyse, introduce, and discuss the terms Hegemonic Masculinity and Emphasized femininity, if it still applies in modern times and the use of these concepts to comprehend the role of the man and female in Eastern Asia, in relation to post-war Japan. In order to present a clear and linear argument I will divide this essay into three parts: In the first part I will define the term hegemonic masculinity, the common traits and the influence that it has in society; the essay will continue then in explaining and outlining the term emphasized femininity. The second part will analyse the impact of the notions of hegemonic masculinity and emphasized femininity in relation to post war Japan has. The last part will briefly identify some
It can be said that Hitchcock had in some regard, the upmost contempt and disregard for the female character and its expression throughout the majority of his films, showing both a lack of “incontrovertible evidence” (101) and a lack of restrainment in his depiction of a highly problematic and violent incident, the rape and the “attempted” (almost subsequent) murder of a woman. Regardless of how violently depicted the aforementioned incident was, it is the female’s inevitable exclusion through sound and language that leads to her inevitable downfall, displaying both films’ attempts “to appropriate femininity and to destroy it”, alluding to Modelski’s curious comparison of “sympathy and misogyny” (110).
Gender and the portrayal of gender roles in a film is an intriguing topic. It is interesting to uncover the way women have been idealized in our films, which mirrors the sentiments of the society of that period in time. Consequently, the thesis of this essay is a feminist approach that seeks to compare and contrast the gender roles of two films. The selected films are A few Good Men and Some Like it Hot.
The films message to viewers about gender and power is that women are meant to take care of the home and play the supportive role, while men go out to their jobs and provide. Men are strong and burly and women are naïve and domesticated. Women need men and men always come to the rescue to save women and give them a happy ending. Power is portrayed in the film both visually and through the film’s script and dialogue. The common idea that women are inferior to men is placed subtly in this movie throughout the plot and how these charac...
...ue in modern society, if mothers rely too much on day-cares and do not spend enough time with their children then the relationship among the family will not be as strong. The traditional view of sex roles differ from the the modern and more liberal view of sex roles. The modern view does not differ because of the greater involvement of the father in the family or among the genders, but the perspective of the individuals in society. It is known that both genders can contribute to each other’s works, regardless of what sex they fall under. The society, religious institute, and media play a greater role in shaping these sex roles. The gradual changes are closely related to the media because people tend to play out in their lives what they see on the television. I hope it is now clear that the views on gender roles and stereotypes have changed substantially with time.
Ingmar Bergman’s Wild Strawberries, while released in 1957, embodies a refreshingly progressive perspective in its portrayal of women. Undoubtedly, Wild Strawberries is Isak Borg’s journey, both literal and spiritual, of realization, recollection, and redemption. However, its female characters, namely Marianne and the Sarahs of both generations, play an integral part in Isak’s transformation. Other movies we viewed from this era, specifically Au Hasard Balthazar and La Strada, tended towards victimization of female characters, from sexual assault to unhealthy dependencies. However, Wild Strawberries shies away simultaneously from those trope and the feminist stereotype of bra-burning, man-hating liberationism. Marianne, in particular, functions
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.