Do chick flicks give woman unrealistic expectations? The solemn purpose of these movies are to sooth a woman’s soul mainly dealing with love and romance that usually target a female audience. They are typically heavy in emotion and are relationship-based; for example, A Walk to Remember. However, there’s more to it. Woman use romantic movies as a form of catharsis, to give innocent men a break from their emotional girlfriends, and to satisfy a women’s mind by giving them higher, often unrealistic expectations. Catharsis is the process of releasing, and thereby providing relief from strong or repressed emotions. All women experience this, even if they don’t want to admit it. This is just a way for women to vent out all the tension built up inside so they are not beating out anger and stress towards friends and family. What better way can a women use catharsis than to watch a chick-flick? There is no better way. Even if the women is lacking in love, friendship, and doesn’t want to be reminded she has no “prince-charming”, a chick-flick is still the best solution to release those emotions. What comes along with catharsis most importantly is, venting. Let it out ladies; do not hold that anger in to the point where it kills the heart. Go to the gym, scream in a pillow, assault a punching bag, go shoot some people in a video game, run a mile, jam out to load music, or anything that will help you release those emotions. Feel better? Venting is the best thing for not only women, but for everyone. Sigmund Freud influenced everything from politics and advertising to business and art. Freud developed the catharsis theory and psychotherapy as a part of psychology. He reasoned that mental wellness could be filtered by putting away impurities... ... middle of paper ... ...my girlfriends, we must not depend on them! Living with four brothers, take this advice. Men don’t just sit home and think about you like you’d expect them to. Sorry to burst any bubbles here but the only things they are worried about (at a young age at least) is whose coming over for the Halo party Friday night. Men are nothing like these well-painted male characters in these movies, no matter how much we want them to be. When we do find our “prince charming” we should receive the utmost respect, but not expect all these fairytale endings. If they come to us, so may it be. Women just use romantic movies as a form of catharsis, to give innocent men a break from their emotional girlfriends, and to satisfy a women’s mind by giving them higher expectations. Once he comes into your life, you will definitely have a better, more positive foundation than just chick-flicks.
movies are about men’s lives, and the few movies about women’s lives, at their core, still
Almost every movie today is about the hero getting the girl. The concept has been overused and has now become a stereotypical ending for most films. It is creating a society that thinks true love will come and sweep everyone off of their feet “just like in the movies”. Looking into the past, examples of these types of movies are still present. The movie, The Princess Bride, conforms to the concept that the villain turns into a hero, and always gets the damsel in distress. “It’s a love story, a slap-stick comedy, and even a little action.” (Mac) As You Wish: Westley and Buttercup in The Princess Bride) It illustrates a basic love story with a similar ending, making it an unoriginal film.
Within the novel, When Everything Feels Like the Movies written by Raziel Reid, there is strong graphic language and depictions of sexuality. Throughout the novel each character including Jude and Angela explores their sexuality and experience the repercussions that follow. The graphic language and depictions of sexuality help to develop the quality of the novel and the characters involved. The novel also brings awareness to bullying involving the LGBTQ community, which is a major social issue. "Adolescent Sexuality and the Media: A Review of Current Knowledge and Implications," written by Gruber, Enid, and Joel Grube states that “there is growing concern about young people 's
The Representation of Women in Some Like It Hot and Alien 3 This essay will be about how women are and have been represented in films in the past and how they are represented nowadays. I will be looking at the roles and representations of women in 'Some Like It Hot and Alien 3. Some Like It Hot was made in 1958. Marilyn Monroe starts in the comedy as Sugar Cane, a very feminine musician.
Although the nursing profession has emerged tremendously since the 19th centuries and many great accomplishments and changes has taken placed over the years, however there were presented issues from the film “Sentimental Women Need Not Apply” that were striking to me as they are still very relevant in both the nursing field and in our society.
Film scholar and gender theorist Linda Williams begins her article “Film Bodies: Genre, Gender and Excess,” with an anecdote about a dispute between herself and her son, regarding what is considered “gross,” (727) in films. It is this anecdote that invites her readers to understand the motivations and implications of films that fall under the category of “body” genre, namely, horror films, melodramas, (henceforth referred to as “weepies”) and pornography. Williams explains that, in regards to excess, the constant attempts at “determining where to draw the line,” (727) has inspired her and other theorists alike to question the inspirations, motivations, and implications of these “body genre” films. After her own research and consideration, Williams explains that she believes there is “value in thinking about the form, function, and system of seemingly gratuitous excesses in these three genres,” (728) and she will attempt to prove that these films are excessive on purpose, in order to inspire a collective physical effect on the audience that cannot be experienced when watching other genres.
The excerpt of “Types of Women in Romantic Comedies Who Are Not Real” is a chapter from a book written by Mindy Kaling in 2011. As implied in the title, the text describes seven different specimens of women found in romantic comedies that do not exist in real life. Kailing uses the rhetorical element logos (appeals to arguments that rely on emotions) to guarantee the grin from females who can easily identify themselves with some of the specimens. The first type is entitled The Klutz and represents that lovely and attractive, yet clumsy women that is perfect in every way. The second type is The Ethereal Weirdo that represents that crazy and teary girl. Next, the Woman Who is Obsessed with Her Career and is No Fun at All represents that workaholic
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.
‘Lad flicks’ or ‘lad movies’ is a type of film genre that emerged in the late 1990s. They are defined as a “‘hybrid of “buddy movies”, romantic comedies and “chick flicks”, which centre on the trials and tribulations of a young man as he grows up to become a ‘real man’. ‘Lad flicks’ respond in part to the much-debated ‘crisis in masculinity’” (Benjamin A. Brabon 116). This genre of film explored what it meant to be a ‘real man’ in the twentieth century and in order to do so, they would have to grow up and leave their juvenile ways behind to enter the heterosexual world. Gender relations in ‘lad flicks’ portray masculinity as a troubled, anxious cultural category hiding behind a humorous façade and also rely greatly on a knowing gaze and irony. The two ‘lad flicks’ that will be analyzed are The 40-Year-Old Virgin (Judd Apatow 2005) and Role Models (David Wain 2008).
Women have made progress in the film industry in terms of the type of role they play in action films, although they are still portrayed as sex objects. The beginning of “a new type of female character” (Hirschman, 1993, pg. 41-47) in the world of action films began in 1976 with Sigourney Weaver, who played the leading role in the blockbuster film ‘Aliens’ as Lt. Ellen Ripley. She was the captain of her own spaceship, plus she was the one who gave out all the orders. Until then, men had always been the ones giving the orders; to see a woman in that type of role was outlandish. This was an astonishing change for the American industry of film. Sometime later, in 1984, Linda Hamilton starred in ‘The Terminator’, a film where she was not the leading character, but a strong female character as Sarah Connor. She had a combination of masculine and feminine qualities as “an androgynous superwoman, resourceful, competent and courageous, while at the same time caring, sensitive and intuitive” (Hirschman, 1993, pg. 41-47). These changes made in action films for female’s roles stirred up a lot of excitement in the “Western society” (Starlet, 2007). The demand for strong female characters in action films grew to a new high when Angelina Jolie starred in ‘Tomb Raider’ in 2001 and then in the sequel, ‘Tomb Raider II: The Cradle of Life’ in 2003 as Lara Croft. Her strong female character was not only masculine, but was also portrayed as a sex object. Most often, strong women in these types of films tend to fight without even gaining a mark. At the end of each fight, her hair and makeup would always be perfect. The female characters in these action films, whether their role was as the lead character or a supporting character, had similar aspects. I...
Society has set certain standards that women are supposed to follow. The most common image of women is that they are very passive and try to avoid conflict in any situation. More and more in society women are breaking down the social barriers that confine them to their specific roles. The movies The Graduate and The Last Picture Show reveal to viewers a side to females that is very nontraditional. These two movies help to show how women are rebelling against sexual social norms, and they are taking a more active and aggressive role when dealing with heterosexual relationships.
and many more. These films have shaped the behaviors and characters of both the feminine and masculine species in the society.
The American black comedy The Wolf of Wall Street directed by Martin Scorsese was released December 25, 2013 and stars the likes of Leonardo DiCaprio, Jonah Hill and Margot Robbie. While on face value The Wolf of Wall Street looks like a film about excessive cocaine binges, long evenings filled with men with cigarettes, large portions of alcoholic consumption, having many sexual escapades with various women and even dwarf tossing from time to time, the film is deeply rooted in perception gender within the genre of The Wolf of Wall Street. The word ‘genre’ is rooted into a similar category as
...on how they have overcome this demeaning concept, it is still present in many of the films created today. Laura Mulvey, a feminist of the Second Wave, observed the evolution of female representations in films. She concludes that films still display dominant ideologies that prevent social equality between men and women. Mulvey came up with three common themes that mainstream films continuously promote within their films. These three common themes reinforce that women are always going to be seen as nothing more but objects. They do not serve any symbolic purposes except to help advance the story by motivating the objectives of the male characters. As evident, Happy Endings is one particular film that embodies all of these traits and as a result, the female characters are perceived as sexual objects in both the perspectives of the male character(s) and the spectators.
To begin with, romantic movies mold expectations of what love is really like. They portray that love is the only thing that matters. In the past, love was secondary. Relationships were arranged by parents because they wanted their children to join lands or kingdoms, and whether or not the couple actually loved each other was irrelevant. Today, parents have almost no say in who their children fall in love with. Romance movies over-emphasize love when it comes to “falling in love at first sight” and the idea that “true love conquers all”. I’m sure that almost everyone knows that real-life love doesn’t work like this, but that doesn’t mean that those illustrations of love that movies characterize doesn’t affect viewers’ hope for romance and true love in their own life. For example, after watching The Notebook, viewers might portray Noah’s l...