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Gender in the Media
Portrayal of gender roles in the media argument
Portrayal of gender roles in the media argument
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boggling, are now much more tame than her acts of power in Sleeping Beauty, which revolve around death and destruction. In Maleficent, her acts of power seem to revolve around protection rather than on offensive attacks. This portrayal of a more protective nature seems to be indicative of the kind of switch that people are looking for. The change from overpowered evil mastermind to relatable misunderstood person is something that seems to be permeating the media. This ability to relate to Maleficent is achieved through the personal relationship that the young Maleficent and the young king Stefan create. Stefan wanders into the Moors, Maleficent’s realm, searching for a jewel to steal. Even at the beginning of the movie, we can tell that Stefan is up to no good, and we can guess that he probably will not be doing anything good for the remainder of the film. Through several meet ups and hang outs, Maleficent and Stefan forge a friendship that seem …show more content…
The separation between the beasts and the humans was fairly blatant throughout the movie, and not in the traditional fashion. Instead of portraying the monsters as, well, monsters, they were much more fairytale like. When compared to the humans, it seemed as though the monsters were actually much happier in their lives under the watchful eye of Maleficent than the humans were under the reign of either of the kings in the story. According to Jordan Shapiro, a Depth Psychologist who teaches at Temple University’s Intellectual Heritage Department, the realm where Maleficent resides, called the Moors, is a “magical land where all beings are happy, empowered, and seen for their individual strengths” (Shapiro). In the beginning, when the separation between the realms is still apparent and sturdy, the Moors and its inhabitants are happy. When Stefan finally shows up, his presence throws everything out of whack, pointing to the chaos and disorder
In society, there have always been different roles in defining the boundaries between right and wrong; Monsters take a big part of that role. In Jeffrey Cohen’s “Monster Culture,” Cohen explains seven theses which provide a clearer explanation of how monsters take a part in establishing these boundaries. The oldest Anglo-Saxon story written- “Beowulf”- provides three different monsters which all connect to Cohen’s seven theses. In the older version, however, the monsters do not relate to humans in any way, except that they are enemies. The modern version of Beowulf portrays Grendel’s mother to still be evil but also have relations with the humans in the story.
The last representation of the beast is, the savage nature of humans. The chant the boys repeat in document F,” Kill the beast! Cut his throat! Spill his blood!” Shows a savagery the boys possess without the guidance of their parents, this also shows that without said guidance they become beasts themselves. Also from document F, “Only the beast lay still, a few yards from the sea. Even in the rain they could see how small the beast was; and already it’s blood staining the sand.” To clarify, this quote lets the reader view the outcome of the savage nature the boys possessed.
For ages, humanity has always told stories of the classic struggle between man and monster. The battle between Beowulf and Grendel is a prime example of this archetype, but is Grendel only purely a monster? In his article “Gardner’s Grendel and Beowulf: Humanizing the Monster”, Jay Ruud makes a point that Grendel is a hybridization of both monster and man, particularly in John Gardner’s novel Grendel. In the poem Beowulf, Grendel is depicted as a purely evil monster who terrorizes Hrothgar and his people, but the novel provides a more humanistic backstory to the fiend. Throughout the novel, Grendel tells of his internal struggle between his thoughts of filling the role of the monster versus attempting to make amends with the humans. This conflict
Princess Mononoke is the tale of a young prince, Ashitaka, who battles a demon bore, only to become possessed with its evil spirit. Ashitaka then travels to Irontown, seeking to find the reason for the bore’s anger and thus, a cure for himself. When he arrives, he finds that the citizens of the town, under the rule of Lady Eboshi, have been mining iron from nearby mountains and, in turn, disturbing the animal Gods of the forest. The animals and the humans have been in a constant battle over who has the right to the land and both have been lead to believe that the other species is purely evil. Ashitaka believes that the humans and the animals can get along peacefully through compromise and finds himself in the middle of their conflict. From each side’s perspective, the other seems inherently evil, but from Ashitaka’s perspective, and the perspective of the audience, neither side is truly corrupt and they are both just feeding off of each other’s anger. Although the animals seem evil and barbaric to the humans, they are just being protective over their land and are acting off of their fear of the humans. On the other hand, the humans are seen as evil by the animals because of their selfish use of resources, but they are just trying to financially support their community. For example, Lady Eboshi, the leader of Irontown, is seen as evil for orchestrating this exploitation of resources from the animals, but the humans see her as a compassionate, God-like figure. She does many positive and kind things for the human community, such as taking in women from the streets and brothels and giving them a place to live and work. Even though she is, in essence, destroying the animal’s habitats, she is saving the lives of many humans while doing it. The animal characters are also portrayed as compassionate in many respects. For example, when the leader of the wolves finds an abandoned baby, she takes her in and raises her as if she were her own daughter.
The concept of the beast creates fear amongst the children. With their imagination children fear that the beast is out to get them, when in reality the beast is non-existent. This fear of the unknown
The monster was not always evil. He was innocent in the beginning. He was kind and sensitive to other people’s feelings. “The gentle manners and beauty of the cottagers greatly endeared them to me; when they were unhappy, I felt depressed; when they rejoiced, I sympathized in their joys” (Shelley 131). People did not understand that the monster possibly could have been the gentlest soul that they would have ever met, but they did not give him the chance. They relied too much on his external appearance to assume that he was wicked. Grendel and the monster wanted to experience having someone to talk to, but since they did not receive this friendship, they became the actual monsters people thought they were in the first place.
...dants of Cain. Therefore, what they represent is the amalgamation of monster and human, reflecting the monstrous characteristics within society. It is Grendel who is provoked, it is his mother who is wronged, and yet Beowulf is the one who sees it as his right to defend against the ‘swamp hag’ and her son. The poet is most subtly teasing out the flaws of this society, commenting on the social structure and gender confinements that are upheld. In fighting the monsters, Beowulf displays the immoral elements of his world and of humanity. The role of the creatures within the text is to show how the fighters of monsters themselves can become monsters in their own right. The poet is ultimately demonstrating that humans and heroes are not free from flaws just because they are not monsters. Indeed, this presumptive manner often brings out the monstrous method of our heroes.
The monsters are specifically identified as something “other” outside of humanity. “The creature does not choose to be alienated. Rather it is, in fact, others who isolate it, because of its hideous appearance.” (Brannstrom 10-11) In spite of the obvious bias of this quotation, it draws towards an overarching idea. How the monsters are the dark side of man. That’s their narrative intent. Even in the creature’s case where he seems to be a Tabula Rasa onto which man creates violence; he is partly intended to show, “...alienation and how innocent victims are affected by it” (Brannstromm 3) Grendel is certainly meant to represent the darker thoughts of man, with Gardner insinuating that excessive, “nihilistic or existential thoughts caused the violence of Grendel.” (Merril 166) and his physical form is monstrous even more so than the creature’s. The reader is left in a situation where the acts of man on the two monsters aren’t unjustified, and the acts of the monsters as retribution aren’t unjustified. When man first met Grendel, they assumed he was dangerous and hurt him. When Frankenstein first saw his creation, he fled in
...aves Princess Jasmine multiple times and falling in love at first sight. They also live happily ever-after together, just as every other Disney prince and princess in every other Disney movie. Parents should be aware of the subliminal messages that their children view in the Disney movies they are watching, and grow up to believe that is how life goes. The children that are growing up watching Disney movies with such strong gender stereotypes are learning things they may factor into their own futures, and think that acting the way of the Disney roles is the only way for them to live their life in a happy manner. The way Disney animated films assign gender roles to their characters effect young children’s views of right and wrong in society. It is wrong, and they should not be exposed to such material growing up because it is harmful to their future expectations.
The When the creature was brought to life, it was like an infant: it only had basic sensations, it remarked, “I felt light, hunger, and thirst, and darkness” (74). The creature was not “born” evil. It was called a monster simply because it had an awful appearance. Although the creature is a monster outside, it has a benevolent heart inside. As Yuval Livnat explains in the article “On The Nature of Benevolence”, “A benevolent person certainly does not turn a blind eye to misfortunes of others and to the possibility of helping them” (304). The creature collects wood for the cottagers to reduce their hardship secretly (79). It is willing to help the cottagers since it knows they are having a hard life. Therefore, the creature actually has humanity at the beginning. Also, the creature comments, “I admired virtue and good feelings and loved the gentle manners and amiable quantities of my cottagers” (84). It is obvious that the books, and kind cottagers shaped the creature into a civilized and humanized being. As another example, the act of saving a girl from a precipitous river indicates that the creature is actually a good being. Unfortunately, however, people never try to look beyond its ugly appearance. The man who was playing with the drowning girl shot the creature when it approached them even though it saved the girl. Furthermore,
While the classic battle between good and evil forces is a major theme of the medieval epic Beowulf, one may question whether these good and evil forces are as black and white as they appear. Scholars such as Herbert G. Wright claim that “the dragon, like the giant Grendel, is an enemy of mankind, and the audience of Beowulf can have entertained no sympathy for either the one or the other” (Wright, 4). However, other scholars such as Andy Orchard disagree with this claim, and believe that there is “something deeply human about the ‘monsters’” (Orchard, 29). While Grendel, Grendel’s mother, and the dragon are indeed portrayed as evil and violent foes, there are parts within Beowulf that can also lead a reader to believe that the “monsters” may not be so monstrous after all. In fact, the author of Beowulf represents the “monsters” within the poem with a degree of moral ambivalence. This ambivalence ultimately evokes traces of sympathy in the reader for the plight of these “monster” figures, and blurs the fine line between good and evil within the poem.
The first beast the hero faces is the wicked Grendel. At first he appears to be a demon, a “hellish enemy”. However, it is soon revealed that he is human, the “kin of Cain”. This is a crucial detail involving the lesson Beowulf will learn from this battle. The man-beast always strikes at night while his prey is fast asleep. He has no respect for the fight, preferring to attack the unwary and defenseless. On the night Grendel attacks Heorot with Beowulf lying in wait, Grendel’s most horrid of traits is learned: “He suddenly seized a sleeping man, tore at him ravenously, bit into his bone-locks, drank the blood from his veins, swallowed huge morsels; quickly had he eaten all of the lifeless one, feet and hands” (36). This utter disrespect that the supposed ‘man’ shows for human life is a testament to his complete lack of humanity. Any such qualities have rotted inside of him, replaced by hatred. He delights in slaughter, killing not out of necessity or for God or country: “His heart laughed: dreadful monster, he though that before the day came he would divide the life from the ...
The Monster’s confusion about the world and his inability to understand why he cannot simply be accepted in society drives his actions. Dutoit elaborates on the not so apparent truth that The Monster goes to great lengths to assimilate by acquiring language, understanding mannerisms and participating in customs. The Monster grows fond of a family, at first he watches them carefully, paying close attention to the details of their life and even steals food, unaware of their poverty. Supporting evidence which allows for the conclusion that he is innately good and simply longing for domesticity is shown by The Monsters willingness to help the family with chores, in secret of course. Nevertheless, he is universally shunned by everyone he encounters, except for the old blind man who was willing to have a social connection with him, until his family returned home and in fear rebelled against The Monster. This constant exile only leads to a greater alienation from the social world he deeply longs to be a part of. Unfortunately, due to his outward appearance, his good intentions are ill received by the people he
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.
Disney and old fairytales threaten gender politics and ideal women roles by giving certain stereotypes for domestic and personality traits. Fairytales that have turned into Disney productions have sculpted domestic roles for women that consist of cooking, cleaning and caring for the children. Disney has also created these princesses with personalities that are shy, passive, and vulnerable. The cause of these stereotypes are making individuals obliterate their own identities and becoming clones from the mold that was prepared for