Keechie: Femme Formidable
INSTRUCTOR'S COMMENT: This is an extraordinarily accomplished essay: beautifully written, critically perceptive, and nicely related to the critical discourse on Altman and film noir. Saving the quotation from Anderson for the very end is a nice touch because it brings the reader back to the frame of reference: the process of adaptation. The little note about first shots of Cora in two versions of The Postman Always Rings Twice makes an extremely clear point of comparison with which to think about Altman's very different agenda. A fine, fine piece of work, of which you should be very proud.
In an article entitled "Night and Day", Robert Philip Kolker distinguishes a transformation of the gangster film from the genre's conventional film noir elements. He places Robert Altman's Thieves Like Us, an adaptation of Edward Anderson's 1937 crime novel, amongst this subgenre on account of the film's antigeneric mise-en-scene. While Altman's departure from the classic film noir form has often been analyzed by film critics, the noir heroine--who is generally central to the plot--has received little (if any) attention. Further, even though faithfulness to the original text pervades adaptation discourse as a major criterion for judging the cinematic counterpart, critics have often overlooked Altman's most noteworthy change to Anderson's grim story: Keechie survives in the end. In fact, the film tends to be compared more with Nichols Ray's preceding film version than with the novel. However, in his manipulation of film noir genre conventions, Altman not only constructs a lighter, more open world, he creates a corresponding heroine who likewise transforms the characteristics of the noir woman.[1]
Women in Film Noir, edited by E. Ann Kaplan, provides the framework from which an examination of Keechie's character can be drawn. Throughout the volume several distinctions are made between the two categories of women in film noir. While the femme fatale is characterized as a combination of sexuality and aggressiveness which inevitably makes her an obstacle to the male quest, the appropriate archetype--woman as redeemer--is depicted as a means of integration for the hero into both his environment and himself. However much control either type of woman may exhibit throughout the course of the film, by the end of it is relinquished. They are either restored to their prescribed positions in patriarchy[2] or destroyed. Keechie both manifests and opposes selective qualities attributed to the femme fatale and the "nurturing woman" (as she is referred to in the Kaplan text).
In the essay “Beautiful Friendship: Masculinity & Nationalism in Casablanca”, Peter Kunze lavishly explains the magnificence of Michael Curtiz’s 1942 film Casablanca. Kunze focuses on how the movie not only highlights an exchange of relationships, but how the film has an underlying meaning between these relationships. He also implies that there is a more complex meaning behind every character in regards to their gender, economic, and social roles. The overall thesis of his reading is “the patriarchal ideology underlying the narrative commodifies Ilsa, leading Rick to exchange her with other men in an act of friendship and solidarity as well as to dissuade any perception of queerness between the strong male friendships in the narrative” (Kunze
Published in the early 1850’s, Uncle Tom’s Cabin had a huge impact on our nation and contributed to the tension over slavery. It was written by Harriet Beecher Stowe, a woman who was involved in religious and feminist causes. Stowe’s influence on the northern states was remarkable. Her fictional novel about slave life of her current time has been thought to be one of the main things that led up to the Civil War. The purpose of writing it, as is often said, was to expose the evils of slavery to the North where many were unaware of just what went on in the rest of the country. The book was remarkably successful and sold 300,000 copies by the end of its first year. It is even rumored that upon President Lincoln’s meeting Stowe, Lincoln said, “So this is the little lady who made this big war.”
A female in film noir is typically portrayed in one of two ways; she’s either a dependable, trustworthy, devoted, and loving woman, or she’s a manipulative, predatory, double crossing, and unloving temptress. Noir labels the cold hearted and ruthless woman archetype as a Femme Fatale. A femme fatale is walking trouble, and she’s aware of it. This woman is gorgeous, refined, eloquent, and commands the attention of any room she’s in. When the femme fatale desires something, she pursues it. If there’s an obstacle in her way, she overcomes it. If she can’t handle it herself, all she needs to do it bat her eyelashes and the nearest man is all too willing to take care of it for her. In essence, the most dangerous thing about the femme fatale is her
Works Cited Cowie, Elizabeth. A. A. Representing the Woman: Cinema and Psychoanalysis. Minneapolis, MN -. University of Minnesota Press, 1997.
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.
Like the Good Other Woman, the Evil Other Woman often spends much of her life hidden away in the castle, secret room, or whatever, a fact suggesting that even a virtuous woman’s lot is the same she would have merited had she been the worst of criminals. The heroine’s discovery of such Other Women is in the one case an encounter with women’s oppression-their confinement as wives, mothers, and daughters-and in the other with a related repression: the confinement of a Hidden Woman inside those genteel writers and readers who, in the idealization of the heroine’s virtues, displace their own rebellious
portrayed as the “femme fatale” and also “mother,” the “seductress” and at the same time
This paper has attempted to investigate the ways in which Alfred Hitchcock blended conventions of film noir with those of a small town domestic comedy. It first looked at the opening scenes of the film in which the two conventions were introdruced. It then went on to analyse the film with the aid of Robin Wood's article Ideology, Genre, Auteur. From these two forms we can see that film noir and small town comedy were used as a means of commenting on the contradictions in American values.
Since the beginning of time, women have been seen as different from men. Their beauty and charms have been interpreted as both endearing and deadly to men. In the Bible, it was Eve’s mistake that led to humanity’s exile from the Garden of Eden. However, unlike in the Bible, in today’s world, women who drive men to ruin do not do so through simple mistakes and misunderstandings, they do so while fully aware of what effects their sexuality can cause. One thing remains constant through these portrayals of women, and that is that they are portrayed as flawed creations and therefore monstrous. It is a woman’s sex drive and sexuality that can lead to her monstrosity. The femme fatale is an enticing, exquisitely beautiful, erotic character who plays the ultimate trick of nature: she displays her beauty, captures the man and goes in for the kill. Films such as Adrian Lyne’s Fatal Attraction and stories such as Geoffrey Chaucer’s The Wife of Bath’s Tale, and Sir Gawain the Green Knight use the femme fatale as a means of making a woman into a monster; the femme fatale can never win in the battle of the sexes. But what is it that makes the femme fatale such a dangerously character for the hero as well as the readers or viewers?
...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.
The reading by Barbara Creed titled “Horror and the Monstrous-Feminine: An Imaginary Abjection”, is an in-depth examination on the role of women in horror films. Creed challenges the commanding patriarchal view, which frequently puts the woman in the position of the helpless victim. She argues that when the feminine is constructed as monstrous, it is frequently done in conjunction with its mothering role and function. Creed’s main thesis supports that the prototype of all cinematic definitions of monstrosity related to the feminine is linked to the woman’s reproductive body. Creed elects to use the term “monstrous feminine” instead of female monster, because for Creed it is the “femininity itself that is monstrous” (41). It has been unfairly
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...
What if there was a way to consume and use everyday products while knowing the people who put the hard work into growing and harvesting them are being treated as fairly as possible? Fortunately, there is a way for the consumer to have full confidence in this while purchasing their products. What the buyer should look out for is if the product is marked “Fair Trade” or not. Fair Trade is a type of business in which it is established that the producer is paid a fair price for the goods they provide. Whereas some producers get ripped off and paid only a small portion of what they should be, Fair Trade ensures that this does not happen and gives the producers the full benefit of their work. Some may ask, “is it really worth it to invest in something that will only put a label on a product?” The answer is yes. In this day and age, every humane person should have the decency to pay a little bit extra to warrant the fair treatment of the producers. Fair Trade is quite a simple social movement to operate with rules that can be easily enforced and the range of products is large yielding it to have its strengths and weaknesses, as does every operation of this scale.
Harriet Beecher Stowe’s book Uncle Tom’s Cabin is a well-known anti-slavery novel written in 1852. The story shows readers the reality of slavery while also asserting the theme that Christian love can overcome something as destructive as slavery. The main point of this book, along with exposing the true evil behind slavery, was to also spark an anti-slavery movement, for Stowe herself was an abolitionist. She wanted to reveal, mainly to the northerners, the ghastly points of slavery, including the whippings, beatings, and forced sexual encounters brought upon slaves by their masters. Through the events and actions that happened with the characters in Stowe’s novel, she hoped to enlighten the public and eventually sway people against slavery.
The representation of violence exacted upon women in cinema is inextricable from being projected upon all women. To provide a scene that objectifies the female is to reduce the feminine form to its non-dual state, e.g., a sexual object providing a vessel for male gratification (hubris and sexual) rather then being defined by its duality of sentient and physical forms. Those who construct scenes of violence against women are bound to a moral responsibility to subjectify the woman’s perspective, thus reestablishing the female as a victim rather then an object and rendering the act of violence intelligible (deplorable, open to interpretation).