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Women portrayal in movies
How are women portrayed in media
Violence against women in media essay
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Twin Peaks was one of the most popular shows on television during its first season, aired in 1990. The show was based in small town America, and was easily related to by young and middle aged viewers. The series begins with the murder of an American icon, the Homecoming queen Laura Palmer. The entire series spawned from the single image of a young beautiful girl's dead body that washed up on the shore. This image led to others similar to it- the violence and contempt towards women. The women of Twin Peaks all seemed to have something in common, where they were all either murdered, portrayed as weak, deceptive, and/or abused by the male characters. The dangers that stem from showing such images on national television are that the audience, typically composed of males, would become desensitized to these images, and further, believe that the bold stance that Twin Peaks takes on femininity is true.
Twin Peaks treats domestic violence and abuse with a creepy insensitivity. The incestuous relationship between Laura and her father Leland is almost ignored- being blamed on the possessive spirit, BOB. 'After Leland's confession and suicide, Agent Cooper asks Sheriff Truman whether he would prefer to believe that BOB worked through Leland or 'that a man would rape and murder his own daughter.' At this moment Twin Peaks articulates a revision of the seduction theory. Little girls are not abused by their fathers; if they meet an unhappy end, the reason must be sought outside the family circle'; (Desmet 98). This reinforces societies urge not to directly face its problems, but rather turn away in a convenient manner. Twin Peaks expresses this urge by hiding Leland's identity as the rapist/murder so well, until it is finally showed to the audience when Leland brutally murders his niece Maddy. Could it be that the reason it is impossible to identify Leland as the killer, is because the viewer does not want to? The audience knows that Leland is capable of murder after he is seen murdering Jacques Renault, but they still do not want to believe that Leland would kill his daughter.
There are clues, however, which do point the blame towards Leland, but these are never directly mentioned or formally addressed. Laura is seen crying out for help, but is too scared to come out and say anything, even to the ones she loves. This addresses American soc...
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...almer'; (Kuzniar 122). This tells the audience that a woman is really just an incomplete man, and should be treated as that. This justifies to males the abuse of women, as they are weak and inferior due to their 'lack' of body parts.
Twin Peaks takes a bold stance on the portrayal of women in the media as well as women in society. The images and plots shown almost always portray women in a negative light. The dangers of showing these images on national television are the ideas that are imposed to the audience in real life. Twin Peaks feeds the audience ideas that women are weak, incompetent, evil, insufficient, and often objects of a male dominated society. The audience is sucked into the world of Twin Peaks and therefore will take a similar stance on what is feminine and masculine in society. David Lynch said in 1989, 'I couldn't care less about changing the conventions of mainstream television.'; Unfortunatly this is true. Lynch did not change, or want to change, the way that women are portrayed in television, and it is this kind of ignorance in our society that lets the desensitization of violence and scorn toward women continue in our mass media.
While some other shows attempt to present flawed female characters, they fail in making the viewer sympathize and understand them. Instead, the viewer sees these characters as “unlikeable” and often the women end up at the receiving end of a joke and then serve no further purpose. Alsop argues that newer television shows such as Transparent, Fleabag, and Girls have characters with multiple flaws, some that may even seem irredeemable, but the characters do not let those flaws define them. This causes the viewer to empathize with the characters on a deeper level. What the author of the article may not know is that of those three shows mentioned, the writing, directing, and producing credits go mostly, if not exclusively, to women. Perhaps this is the difference that makes these television shows stand out in today’s feminist dialogue and allows the viewer to empathize with the characters rather than judge
In American culture today, women continue the struggle of identifying what their roles in society are supposed to be. Our culture has been sending mixed messages to the modern day female, creating a sense of uneasiness to an already confusing and stressful world. Although women today are encouraged more than ever to be independent, educated, and successful, they are often times shamed for having done just that. Career driven females are frequently at risk of being labeled as bossy, unfeminine, or selfish for competing in many career paths that were once dominated by men. A popular medium in our culture such as television continues to have significant influences as to how people should aspire to live their lives. Viewers develop connections with relatable characters and to relationship dynamics displayed within their favorite shows. Fictional characters and relationships can ultimately influence a viewer’s fashion sense, social and political opinion, and attitude towards gender norms. Since the days of Bewitched and I Dream of Jeanie, where women were commonly portrayed as being the endearing mischievous housewife, television shows have evolved in order to reflect real life women who were becoming increasingly more independent, educated, and career oriented throughout the subsequent decades. New genres of television are introduced, such as the workplace comedy, where women are not only career oriented, but eventually transition into positions of power.
In what ways are women abused and discriminated against inside literature and throughout history? In many patriarchal societies, men have held authority over women solely due to gender. This power imbalance between men and women sometimes led to unjust treatment of women, and men exert their authority over multiple women in the play, The Crucible. In The Crucible¸ male characters intimidate women to achieve specific outcomes and mark their superiority.
I chose to analyze the sitcom That 70’s Show, a show that follows the lives of a group of teenage friends: Jackie, Donna, Hyde, Kelso, Eric, and Fez. The show addresses several social issues of the 1970s, including: sexism, sexual attitudes, drug use, politics, and the recession. I selected certain episodes from Season One based on their titles and descriptions; ones I thought may deal with sexism more in-depth than other episodes.
The 1970s was an era of great innovation in the television industry in regards to broadcasting politically and socially relevant fictional programs; however, despite its progress in representing social and political movements and more complex minority characters, television’s representation of women remained stagnant, if not regressive. In an era of highly visible second wave feminism, how can that be? One possible reason is evident in the case of The Mod Squad, in which the emerging contemporary crime drama genre renegotiates women’s role in television programs masking their immobility and rendering its regressive feminine politics of inferiority and adherence to traditional gender norms more overt through narrative and plot adjacency, thus
Violence against women is not a new social issue and Pamela Copper-Whites’ book The Cry of Tamar does well in bringing this to light not only as a social issue but as a religious issues as well. Tamar’s story sheds light on the violence and degradation of women in the biblical times.
Ahmed’s mother is the first to fall into playing her stereotypical social construct after her husband; Hajji Ahmed beats her for not supplying him with an heir, a son. “One day he struck he struck her, because she had had refused to subject herself to a last, desperate ordeal…” This act shows Ahmed’s mothers weakness, a gender normative of women, compared to her husband. However instead of lashing back she accepts the fate she has put herself into. She punishes herself similar to the acts her husband acts onto her. “She, too, began to lose interest in her daughters…and struck her belly to punish herself.” At this point in the novel, it is evident that Ahmed’s mother is adjusting her own belief to match that of Hajji. His reoccurring distaste for his seven daughters has rubbed onto his wife. This compliance to accept her husband’s belief fits into that mold that says that women are not assertive and follow with what their husbands want. The next section femininity is seen in it’s natural essence is seen at the end of chapter three when Ahmed has been attacked and his father confronts him about his girlish ways.
In America women have gone through so many social norms that has affected them throughout a lifetime. Since then with the changes, mass media got involved in this type of movement. American culture shifted where women where becoming professionals in the work force, more independent and less likely to marry. As a result, television networks created a series of shows to expose and associate the female audience to the TV shows. From Charlies Angels to Sex in the City and for our present time Nashville show, incorporate feminism to be shown in the small screen, in every decade shows exhibited the 3 feminist movement waves. For instance, during the 90s the 3rd wave of feminism was represented through Television by revealing female sexuality
During the 1950‘s suburbs such as Levitown were springing up all across the country, and the so-called American dream was easier to achieve for everyday Americans than ever before. They had just come out of two decades dominated by The Great Depression and World War Two, and finally prosperity was in sight. The need for women to work out of the home that was present during the war was no more, and women were overwhelmingly relegated to female-dominated professions like nursing, secretaries, and teachers, if they worked at all. Televisions became very popular, and quickly became part of the American cultural canon of entertainment. Leave It To Beaver is a classic American television show, encompassing values such as respect, responsibility and learning from your mistakes. But, at least in the episode used for this essay, it is also shockingly sexist to a modern viewer. This begs the question, what does the episode The Blind Date Committee1 say about the gender expectations of the 1950’s?
The classic network era is one of the most easily recognizable and distinct eras in television history. Both Bewitched and I Love Lucy were huge sitcoms that took up issues of gender representation and patriarchy in their programs through the representations of the main male and female characters of their respective series. While both of these series pushed boundaries when it came to the representation of women, in the end, the costuming of these men and women, how the main characters are introduced, and the domestic environment that the atmosphere takes place in, all serve to reinforce traditional gender norms and reveals that patriarchy is dependent on maintaining dominant ideas about masculinity and femininity.
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.
The dynamic of gender roles within 1960s society is the most prominent issue within Mad Men. The show does not shy away from the conformity of the time. Behind the pristine hair and perfectly stylised clothes - the men are in control and the women are ultimately suppressed of any power.
My presentation is about the snowy owl the biome it lives in and the plant I chose to present.
A number of popular television shows and films filling mainstream media today have taken a spin to promote women to main character roles of power and command. The traits of these female characters, however, become illusionary as plots thicken to reveal their status to be subordinate to leading male character roles; of which are typically controlling or manipulative over gender stereotypic female traits within the script. While media is being blindly applauded for their newfound glorification of women in power, there remains an underlying message of male supremacy in more than many broadcasted portrayals. Today’s mainstream television media delivers a notion that only a man can pave way for the merit of a woman.
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).