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gender representation in cinema
gender representation in cinema
gender representation in cinema
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Men and Women have played gender specific roles, from the earliest sign of civilization till now. In the cult classic “The Night of The Living Dead”, the portrayal of stereotypical gender roles were on display. George A. Romero’s film hinted at subtle references to the roles of Men and Women and depicted the stereotypes America held during the 1960s. Men played the role of protectors and enforcers, while the women played the passive role of homemakers and caretakers. Romero’s film portrays the sexes, women and men, in their stereotypical behaviors. Barbra’s character shrieks the stereotype of a ‘horror chick”, a helpless, naïve blonde woman. She is weak and reliant on the others, incompetent and oblivious to the concerns at hand. Her lack of prowess when the ghouls infiltrated the farmhouse consequently lead to her death. While, others were pitching in to devise a plan to combat the slew of ghouls drawing near the farmhouse, Barbra was in a state of bewilderment due to Johnny’s death and was unmindful of the plan to defeat the ghouls, therefore she became a hindrance to the others. Robert Hass film criticism of Carol J. Clover’s work on “Men, Women, and Chain Saws: Gender in the Modern Horror Film”, declares, “Women are usually helpless victims in the horror genre” (Haas 67). This quote given by Hass, essentially summarized the Barbra’s character in such a manner that the viewer would infer that Barbra enacts the stereotypical role of a “horror chick”.
Comparatively, Ben is introduced to the audience. He differs in nature and demeanor to Barbra. He
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Romero’s cult classic work “The Night of the Living Dead” displayed characters enacting their stereotypes. Themes of stereotypes are hinted within the movie, hidden underneath the idea of carnal, flesh eating ghouls. The characters Barbra, Ben, Harry and Helen portrays the stereotypes America held during the 1960s. Romero’s film portrays men and women in their stereotypical sexist
Victor Harplin’s black and white film, White Zombie, and W.B Seabrook’s short story, “Dead Men Working in the Cane Fields”, both were produced in the early twentieth century and were among the first works to capture the nature of the zombie. The zombie being a unique monster, it originated in the folkloric and ritual practices of the New World, specifically in the Republic of Haiti (The Sub-Subaltern Monster). They both centralize around Zombies, however they do differ in the way that they are portrayed. Both were set in Haiti where the zombie originated. Also around this time the U.S. occupied Haiti and American businesses were moving to the island. America was going through serious social change in this time as well. Both women and African Americans were trying to get more rights. Women were also acting more provocative and doing things that would have been seen as inappropriate at the time. The social mold was being shattered. America was in a boom period with big business and new technological innovations. Also both the story and the film relate closely to Cohen’s first thesis. These two literary works have similarities and differences to them, however both tend to play on social and political differences of the 1920’s and 1930’s.
On October 14th, 2016 in class we watched “Two Spirits” by Lydia Nibley. Basically the film explored the cultural context behind a tragic and senseless murder of the main character. Fred was part of an honored “Navajo” youth who was killed at the age of sixteen by a man who bragged to his friends that he was nothing but a “fag”. While walking home from a carnival he was chased by one of his friends. Once his friend caught up to Fred, he pulled him down from a mountain and smashed his head with a heavy rock. Fred laid there for five days straight where two young boys found his body lying there. He was labeled as a “two-spirit” who was possessed of balancing masculine and feminine traits. In the film, there are two parts that are put together effortlessly like the people it discusses. Most of the documentary focuses on Fred’s murder, but the real issues in the film were those of the lesbian, gay, and transgender community and how its members were viewed in a
Clover, Carol J. Men, Women, and Chainsaws: Gender in the Modern Horror Film. Princeton: Princeton Publishing, 1992.
Throughout the century gender roles have changed dramatically. During the 60s roles were given to certain genders. Stereotyping them to play the action of what their gender was expected to do. One may believe that a man or women should have a specific role, but as the years came, certain genders stuck up for themselves, making a statement that they are just as capable to do anything anyone else does. The 1968 drama film Night of the Living Dead directed by George Romero is full of gender discrimination. This movie shows the typical actions of how women and males were supposed to act during the 60s; however, the roles played in this film have changed majorly over the years. Women and males have every right to play any role they want in today’s world. Romero may leave the audience angry with how he judges gender roles in
Even under completely new circumstances, in a world reshaped by a zombie apocalypse, sexism and gender roles prevail. In the novel, World War Z, by Max Brooks, specifically the chapter “Parnell Air National Guard Base, Tennessee” highlights the main character, Christina Eliopolis, as a strong, admirable survivor of the tragic zombie apocalypse, but during her interview she is depicted as weak and discreditable due to her gender. Society’s conventional ideas of gender roles install hyper-masculine expectations towards men and in turn permits men to treat women as inferior, ultimately pitting women against each other and insecure about their gender.
At first glance, "The Legend of Sleepy Hollow" by Washington Irving seems to be an innocent tale about a superstitious New England town threatened by a strange new comer, Icabod Crane. However, this descriptive narrative is more than just a simple tale because it addresses several gender issues that deserve attention. The pervasiveness of female influence in Sleepy Hollow and the conflict between male and female storytelling in this Dutch community are two pertinent gender issues that complicate Irving's work and ultimately enable the women of Sleepy Hollow to control the men and maintain order.
1980. Warner Bros. Directed by Stanley Kubrick. Music by Wendy Carlos and Rcachel Elkind. Cinematography by John Alcott. Editing by Ray Lovejoy. With Jack Nicholson, Shelley Duvall, Danny Lloyd.
make us see exactly what he wants us to and this film is a very good
George Romero's reinvention of the zombie in night of the Living Dead (1968) is clearly a critique of elements of the American society, and the film as a whole is easily twisted into a warped view on the 'American Dream'. Themes throughout Romero’s film, dealing with controversial topics during the time that the film was made, are still, to this day debated by critics and film historians. Themes of racism and war are defined within the movie, hidden underneath the idea of carnal, cannibalistic zombies and over the top heroes who, eventually, succumb to the reanimated; despite their every effort. These themes are colored over and painted to hide beneath subtle references to the typical American Dream during this time, and Romero does quite the good job at it too. This dream, whilst continuously changing in the everyday lives of modern Americans, can be loosely defined as a national ethos of the United States, or a set of ideals dealing with freedom and the opportunity for success - an upward social status that can be achieved through hard work and effort.
Although many scenes in Zombieland show women as being inferior and dependent on men, I feel as though women are also portrayed as being just as strong as men and often are seen transcending above the stereotype put on them. This was evident in many situations when two of the female main characters, Wichita and Little Rock, would often outsmart the two male main characters, Tallahassee and Columbus. Little Rock and Wichita would often act as though they were in need of Tallahassee and Columbus’s ...
Horror movies have been part of mainstream cinema since the early 1930s when films such as Dracula and Frankenstein were created. As the horror genre evolved, so did the stories in the films. Friday the 13th (Marcus Nipsel, 2009) is a very good example of this evolution. Even though it is a remake, Friday the 13th changed the way horror movies were seen by the audience. The ideas and theory behind this slasher sub-genre of horror films can be summed up in a book. Carol Clover, an American professor of film studies, wrote a book in 1992 entitled Men, Women, and Chainsaws: Gender in the Modern Horror Film in which she described the horror film genre. In a chapter entitled “Her Body, Himself”, Clover describes how weapons play a very important role in horror movies as well as explaining her Final Girl theory. Her book’s ideas changed not only academic notions but also popular beliefs on horror films. The 2009 remake of Friday the 13th implies that Carol Clover’s ideas about 80s slasher films, including male tormentors, the importance of weapons, and the Final Girl, have stayed the same through the years.
Laura Mulvey claims that the camera is almost always masculine and that all women in these films are objectified and punished if they don’t please the male characters by obeying gender roles. Carol Clover, however, believes that there is more to Mulvey’s claim. Clover argues that the boys of the film also die, insinuating that punishment does not just fall on the women. She also argues that the camerawork and the film itself are about gender fluidity; both boys and girls can identify with any character of the film, be it the killer, a boy, or the final girl. Sexual ambiguity, especially in regards to the first-person camera work, are the focus of the films. To some extent, I believe both women’s claims. However, I believe there is more truth in Clover’s argument due to the fact that retributions are inflicted upon all characters regardless of gender. Yet, it does seem that women in horror films have a special place in terms of their sexuality and roles for the film. The women have ambiguous gender rules as evident by the final girl. Her act of fighting is considered a masculine activity. These masculine activities performed by females seem to be more acceptable in these films than if a male was actively portraying something feminine, such as cowering in fear. This gives validity to the argument that being masculine or
From the beginning of time in history, women have always been portrayed as and seen as the submissive sex. Women especially during the time period of the 1800s were characterized as passive, disposable, and serving an utilitarian function. Mary Shelley’s Frankenstein is a prime example displaying the depiction of women. The women in Frankenstein represent the treatment of women in the early 1800’s. Shelley’s incorporation of suffering and death of her female characters portrays that in the 1800’s it was acceptable. The women in the novel are treated as property and have minimal rights in comparison to the male characters. The feminist critic would find that in Frankenstein the women characters are treated like second class citizens. The three brutal murders of the innocent women are gothic elements which illustrates that women are inferior in the novel. Mary Shelley, through her novel Frankenstein, was able to give the reader a good sense of women’s role as the submissive sex, through the characters experiences of horrific events including but not limited to brutal murder and degradation, which is illuminated by her personal life experiences and time period of romanticism.
Almost everyone has a favorite genre of film, but how everyone defines their favorite genre can differ greatly. Horror is one of the genres where its definition can be perceived differently by many people. Like all other genres, horror does have rules and traditions that must be included in order for a film to be considered a horror film. These rules and traditions include a protagonist, an antagonist, an escape or escape attempt of some sort, and very influential audio and visual effects.
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).