Feminism has been a huge challenger towards the film industry over the years. Feminism is a movement that supports women equality within society. In relation to film, feminism is what pushes the equal representation of females in mainstream films. Laura Mulvey is a feminist theorist that is famous for touching on this particular issue of how men and women are represented in movies. Through her studies, she discovered that many films were portraying men and women very differently from reality.
People obsessed with Scopophillia can easily subject others into control and curious gaze. The relationship between Scopophillia and stereotyping is analyzed further by Mulvey, who quoting Freud’s Instincts and their Vicissitudes, argues that the desire and pleasures to look are transferred to others through analogies. In their extreme form, analogies are stereotypes or obsessions of the female as an object or any expressions that arouses the male ego. In conclusion, the film industry has been core to the continued stereotyping of women. This has arisen from the focus of the industry on women bodies as the expressions of femininity, whereas disregarding other aspects where women have been able to match and exceed men’s capabilities.
These are often done to increase the attractiveness of the female character, and creates a sign for the audience to accept and decode. The effect of the female character is limited to her physical traits and the impact that her presence has on the male protagonist, typically to send him off on an Oedipal journey. Molly Haskell's From Reverence to Rape:The Treatment of Women in the Movies was a landmark in establishing reflection theory. In it, she assumes that the way that women are represented on screen is reflective of the way that society treats women. She also asserts that these representations are distortions of the reality of what women 'really are' and what they 'truly want'.
This is obvious through watching the film and looking at the main characters, both male and female. In Hitchcock's Vertigo, the struggle for socially recognized gender roles is acted out, mostly through a battle for sexual domination between Scottie and Madeline/Judy. The film also supports the idea of the submissive domestic female, through the character of Midge. This film is definitely a marker of its time. The loss of male identity and sexu... ... middle of paper ... ...wer struggle for sexual domination through the characters of Scottie and Madeline, and also with the use of certain colors.
Also, the film revealed women empowerment and how superior they can be compared to men. While demonstrating sexual objectification, empowerment, there was also sexual exploitation of the women, shown through the film. Throughout this essay, gender based issues that were associated with the film character will be demonstrated while connecting to the real world and popular culture. A common trend in the entertainment industry today is the objectification of women in society. Sexualizing women are seen in media such as; movies, advertisement, television show and music video, where their main focus is providing the audience with an image of women as sexual objects rather than a human.
With the help of the feminist movement in the 1970’s, this paper will reflect on women expressing their views about photography, cinema and the arts all pertaining to the male gaze and will include artists such as Cindy Sherman and Artemisia Gentileschi. Along with feminists, Laura Mulvey and feminist scholar Mary D. Garrard. Each of these women has an important argument along the lines of the male gaze. The male gaze in photography, cinema, and the arts, objectify women in their femininity, sexual identity, and in society. A woman’s femininity can be compromised in the male dominant society in photography, cinema, and the arts.
In today’s world, men and women are perceived equally by the society. In the past, authority and control define men while women are given the characteristic of helplessness. Men are able to get hold of high positions while women usually are subservient to them. In movies, we would usually see women portray roles that are degrading due to the stereotypical notions they associate with this gender group. Moulin Rouge, a movie set during the 1900s narrates the story of a courtesan woman, Satine, as she undergoes hardships to earn money, experiences love but unfortunately, due to her irrational choices, faces tragic consequences at the end.
The directors at the time depicted the life and culture that was indicative of their time period. The women in both films were objectified by constantly being controlled, locked in a passive role, and being valued for their beauty alone. Though these themes are typically associated with the past, they are still felt in today’s society. Films still continue to objectify women, though to a lesser degree after feminist film theorists have brought the issue into the public spotlight. As history moves on and culture evolves, perhaps these issues will be a thing of the past, with men and women standing on equal grounds.
Women embodied many contradictions and could be both the mother and the seductress. As time has pasted and we enter present day where women’s roles in media lack depth. In almost every film we watch we see the same character over and over again. The female is in need, she is young and beautiful (highly sexualized), and in order to retain and keep power she must turn to her male counterpart.Basically every female character we see in modern media is objectified and put on the screen for male viewers. Films are a reflection of our society and the time period they were created, making it seem as though female characters are even more confined to playing a one-dimensional character than many years ago.
This attraction can be described through the concept of Scopophilia, The Desire to see, which according to Freud, is a fundamental drive. Classical cinema motivates the desire to look by incorporating structures of voyeurism and narcissism into the story. Voyeuristic visual pleasure; looking at another as our object, Narcissistic visual pleasure; self-identification with the image Mulvey explains narcissistic visual pleasure with the help of Lacan's concepts of ego formation and the mirror stage. Both, Ego formation and cinema is formed by imaginary functions. She added that cinematic identifications are built around the sexual difference by presenting the male hero as the more perfect, more complete, more powerful ideal ego' and female character as the passive and powerless, making the spectator is actively identify with the male rather than with the female character in