From the 20th to the 21st century, film is a realm of fusion between reality and imaginary spaces. The subtle suggestion of politics, social, and psychological issues; within in the narrative and the cinematic effects. American Beauty (1999) and Who's Afraid of Virginia Woolf? (1966) are films that explore the problems caused by males losing their identity in the modern world of the west. Concepts such as masculinity and patriarchy that built male identity are being undermined by society's views on what a man is supposed to be; aesthetically, physically and emotionally. Colour and atmosphere in these films illustrate the problems in a visual sense to engage the audience and present the outcome. The male leads in both films have similar personal behaviours and in a sense, lost their masculinity because of their situations. How does it affect the roles of men as fathers and husbands? The purpose of this essay is to examine the interrelation of both film through the crisis of masculinity and patriarchy in American families; as well as colours and atmospheres role in the interpretation of the issues. Holly wood has been known for its unique ability to influence and reflect social and political norms. During the 60's the emphasis on family and family structure as a symbol of social status and an achievement. Patriarchies were dominantly enforced and fathers were responsible for the development and safe being of his family; it is his purpose as a man. However, in recent years the structure of western families has changed significantly from patriarchies to broken families because the concept of fatherhood have been discredited as oppressive or unequal. Films and modern media entertainment such as sitcoms have portrayed fathers and men... ... middle of paper ... ...mera angles and titillating music. Similarly, when George and Martha start arguing or when Nick and Martha are dancing, the camera focuses on the actors rather than everything around them. This creation of augmented space made the mundane and minor details a part of the narrative while forcing the audience to emotionally and subliminally feel the antes of the characters. Revealing the changes from 1966 to 1999, both films interrelate and define ideas of family and patriarchies. The American definition being altered by famous figures of high social standing who decided that having a family was an achievement and meant that that parent were successful. After all, family success is overall success defined as: having a car, a pet, children, a house, and a white picket fence. However, not everyone can achieve this standard as suggested by Who's Afraid of Virginia Woolf?
May begins by exploring the origins of this "domestic containment" in the 30's and 40's. During the Depression, she argues, two different views of the family competed -- one with two breadwinners who shared tasks and the other with spouses whose roles were sharply differentiated. Yet, despite the many single women glamorized in popular culture of the 1930's, families ultimately came to choose the latter option. Why? For one, according to May, for all its affirmation of the emancipation of women, Hollywood fell short of pointing the way toward a restructured family that would incorporate independent women. (May p.42) Rosalind Russell in His Girl Friday and Scarlett O'Hara in Gone with the Wind, for example, are both forced to choose between independence and a happy domestic life - the two cannot be squared. For another, New Deal programs aimed to raise the male employment level, which often meant doing nothing for female employment. And, finally, as historian Ruth Milkman has also noted, the g...
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.
Smith, Jeff, and Chloe Beighley. "Normalizing Male Dominance: Gender Representation in 2012 Films." Grand Rapids Institute for Information Democracy. N.p., 12 Feb. 2013. Web. 1 Apr. 2014.
While the film focuses mainly on the theme of media responsibility and covers US’s politics in the early 1950s, it also encircles around other crucial themes such as sexism. This essay discusses about how this film is used as a tool for objectivity, agenda setting, stereotyping within gender, and how these has impacted the characters in the movie and viewers.
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.
Over decades, television shows have reflected the social changes of the family structure. Starting with the 1960’s, a family commonly consisted of parents and their children. Nuclear families, with parents and children, embodied shows like Leave it to Beaver and The Adventures of Ozzie and Harriett. Family was everything to people back in the day. People lived to create and spend time with their family. Television shows were emerging steadily and became popular. Also, television was a main source for families to bond over, and it influenced the behavior of family members. Leave it to Beaver and Adventures of Ozzie and Harriet played a major role in shaping the family structures. During the 1960’s, middle-class white families dominated television shows. Situation and family drama’s mainly influenced the traditional family structure (Television and Family 1). In Leave it to Beaver, the focus was on the ideal suburban family in the fifties through the sixties. The show was mild and the spotlight was more on the children in the family compared to the adults. The theme presented was a happy and loving family (Cox 1). The Adventures of Ozzie and Harriet was an enduring family-based comedy on television. For decades, the Nelson family symbolized a wholesome and normal family. Their main focus was to epitomize a happy, upright family life (Wesblat 1)....
Noted in Yvonne Tasker’s Working Girls: Gender and Sexuality in Popular Cinema, Goldie Hawn says this about women's role in the film business “There are only thee ages for women in Hollywood: Babe, District Attorney and Driving Miss Daisy” (1998, p. 3). While Haw...
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.
THOSE OF US WHO grew up in the 1950s got an image of the American family that was not, shall we say, accurate. We were told, Father Knows Best, Leave It to Beaver, and Ozzie and Harriet were not just the way things were supposed to be—but the way things were
Mainstream movies are about men’s lives, and the few movies about women’s lives, at their core, still also revolve around men (Newsom, 2011). These female leads often have male love interests, looking to get married or get pregnant. Strong independent female leads are still exist for the male view, as they are hypersexualized, or the “fighting fuck toy,” (Newsom, 2011). This depiction has created a culture where women are insecure and waiting for a knight on a horse to come rescue and provide for her as well as the acceptance of women
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.
Have you ever had one of those days that were so bad that you desperately needed a night at the ice cream or candy store? The 1970’s was that really bad day, while the night of self- indulgence was the 1980’s. Americans love to escape from our daily stress, and of all the products that allow us to do so, none is more popular than the movies. Movies are key cultural artifacts that offer a view of American culture and social history. They not only offer a snapshot of hair styles and fashions of the times but they also provide a host of insights into Americans’ ever-changing ideals. Like any cultural artifact, the movies can be approached in a number of ways. Cultural historians have treated movies as a document that records the look and mood of the time that promotes a particular political or moral value or highlights individual or social anxieties and tensions. These cultural documents present a particular image of gender, ethnicity, romance, and violence. Out of the political and economic unrest of the 1970’s that saw the mood and esteem of the country, as reflected in the artistry and messages in the movies, sink to a new low, came a new sense of pride in who we are, not seen since the post-World War II economic boom of the 1950’s. Of this need to change, Oscar Award winner Paul Newman stated,
The Trouble with Men: Masculinities in European and Hollywood Cinema - Phil Powrie, Ann Davies and Bruce Babington.
In Brenda Cooper’s article “Chick Flicks,” she argues, the film, Thelma and Louise employs mockery as a narrative tool, and functions to produce a defiant narrative which fiercely confronts and denounces patriarchy. Societal norms are able to create a kind unconscious compliance, resulting in self-imposed coercion and oppression. A film like Thelma and Louise brings consciousness to women’s own complicity in social norms like patriarchy, so they can no longer blindly follow these norms. This leaves women in either a state of denial and resistance or a state of evolution and change. Through mockery this film sheds light on accepted norms, and in some, causes a defensive response, as it
Society has changed a lot in the last couple of decades, though, at the time set in the play Who’s Afraid of Virginia Woolf?, the stereotype was very much alive. Even today echoes of this archaic family model still exist. Being normal, and adapting to society, can often lead a person to feel a sense of belonging in the short term. However, the penalty for conforming is that the individual can be lost. Giving up your personal goals, in the pursuit of those passed down from your family can lead to a lifetime of regrets. Basing decisions on societal norms can also have devastating consequences, leading the individual to become lost in a mundane life that is not of their choosing. Martha and George created a fictional son for their private needs to take away from the failure they felt as married individuals by not being able to conceive a child. Nick and Honey started their marriage to fill their roles as future parents in the expected family dynamic. Confronting each couple is a personal failure resulting in an unrealized future. Neither couple has a desire to admit their shortcomings for fear of judgment from the other couple. The play, Who’s Afraid of Virginia Woolf? displays how the desire to be normal and successful, in the eyes of our peers, impacts our life