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portrayal of women in movies
portrayal of women in movies
portrayal of women in movies
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Women in Movies
Since the 1940’s, movies have predominately portrayed women as sex symbols. Beginning in the 1940’s and continuing though the 1980’s, women did not have major roles in movies. When they did have a leading role the women was either pretreated as unintelligent and beautiful, or as conniving and beautiful: But she was always beautiful. Before the 1990’s, men alone, wrote and directed all the movies, and the movies were written for men. In comparison, movies of the 90’s are not only written and directed by women, but leading roles are also held by older and unattractive women. In this paper I will show the variations and growth of women’s roles in movies from the 1940’s though the 1990’s.
In the 1940’s women did not have predominate roles in movies. In the few movies that were based around women, the woman’s character was written by a man, and the woman was portrayed as a sex symbol. In the movie Double Indemnity, a woman named Phillis is plotting to have her husband killed because she wants to collect his life insurance and be freed from an unhappy marriage. She uses her sexuality and good looks to convince Walter Neff to help her in her scheme. In this movie, Phillis is a beautiful, sexy, conniving killer.In the end, however, because she does not have the heart to kill her husband, the audience is supposed to redeem her conniving image.
In the 1940’s movie Gilda, the women has two different stereotypes. The first stereotype is a beautiful sex goddess. She is so beautiful that any man would love to be with her. The second stereotype parterres her as a scorned women. After a past relationship with a man named Johnny has left her angry, she reacts by trying to make him jealous by having affairs with other men. Through out the movie Gilda marries Johnny ‘s boss and then cheats on him a few times. Even though Gilda does all of this by the end of the movie Johnny forgives her and once again turns the women’s life into something meaningful. These two movies party two women who act very much alike. They both use their sexuality to get men to give them what they want.
In the 1950’s women are either sex goddess or homemakers, but they are both looking for husbands. In the movie Gentlemen Prefer Blondes, the women are blonde, beautiful, and voluptuous. They are so beautiful that when they walk into a room the men dr...
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...end of the movie the fall in love. This movie portrays a woman having a horrible life until a man comes along and gives it meaning.
The latter 1990’s have brought many wonderful movies to theaters worldwide. More movies now are about women and their lives. The movie G.I. Jane is about a women who goes through navy seals training. She is picked out of many women to go through this training. She is chosen because she is pretty and feminine. She proves herself by successfully completing her training and becoming a navy seal. Although she is a strong woman and she is not supposed to be a sex symbol, she is still shown throughout the movie with little clothing. The movies are different from movies in the 1940’s because women are taking different roles than that of the homemaker or the slut. Now men find women who are strong physically and mentally.
Women’s roles in movies have changed dramatically throughout the years. In the 1940’s women’s characters were stereotyped as sex objects. In the 1990’s women’s characters are stereotyped to be strong individuals. I am glad that women’s characters are now portrayed as they truly are, and not how men think they should be.
Has there ever been a time in your life where the challenges you were facing seemed too impossible to conquer? Many have felt that way, but have pushed through and overcame. In the book, A Tree Grows in Brooklyn, a little girl named Francie grows up during a difficult time in New York. The young girl lives in a poor neighborhood with her family. She learns that anything can happen if you put your mind to it. The author, Betty Smith, taught her readers to push through any obstacle in life, through the books conflicts, setting and research.
I imagine that there are hundreds of shows that present crime, and more specific, urban crime. Two examples are Law and Order, which takes place in New York, and The Wire, which takes place in Baltimore. Though the two shows illustrate crime happening in an urban area, both are incorporating court scenes and music; they do so to make two different points: for the audience to figure out a single crime and the other to show the life of Baltimore. Each show accomplished this with a similar purpose, and style. They both have a different take on the definitive purpose of each individual show.
In the fictional novel, A Tree Grows in Brooklyn, Betty Smith tells the life experiences of one girl growing up in Brooklyn, New York. The main character of the book, Francie, fulfills the pattern of a questing hero. Smith leads the reader through the high points of Francie's life as well as the low. One learns of all the obstacles Francie accomplished and while reading, begins to love and appreciate the girl.
movies are about men’s lives, and the few movies about women’s lives, at their core, still
The main character in A Tree Grows in Brooklyn by Betty Smith, is certainly the brilliant and resourceful Francie Nolan, however, three other characters in the novel deserve credit for guiding Francie through her troublesome childhood. Francie Nolan grows up in the slums of Williamsburg, Brooklyn in the early 1900s. Despite Francie’s lifestyle of poverty and distress, she manages to work several respectable jobs, attend college and, fall in love. Although Francie works hard, she would not have been able to survive without the encouragement and support of Johnny Nolan, Sissy Rommely and Katie Nolan.
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.
Women have made progress in the film industry in terms of the type of role they play in action films, although they are still portrayed as sex objects. The beginning of “a new type of female character” (Hirschman, 1993, pg. 41-47) in the world of action films began in 1976 with Sigourney Weaver, who played the leading role in the blockbuster film ‘Aliens’ as Lt. Ellen Ripley. She was the captain of her own spaceship, plus she was the one who gave out all the orders. Until then, men had always been the ones giving the orders; to see a woman in that type of role was outlandish. This was an astonishing change for the American industry of film. Sometime later, in 1984, Linda Hamilton starred in ‘The Terminator’, a film where she was not the leading character, but a strong female character as Sarah Connor. She had a combination of masculine and feminine qualities as “an androgynous superwoman, resourceful, competent and courageous, while at the same time caring, sensitive and intuitive” (Hirschman, 1993, pg. 41-47). These changes made in action films for female’s roles stirred up a lot of excitement in the “Western society” (Starlet, 2007). The demand for strong female characters in action films grew to a new high when Angelina Jolie starred in ‘Tomb Raider’ in 2001 and then in the sequel, ‘Tomb Raider II: The Cradle of Life’ in 2003 as Lara Croft. Her strong female character was not only masculine, but was also portrayed as a sex object. Most often, strong women in these types of films tend to fight without even gaining a mark. At the end of each fight, her hair and makeup would always be perfect. The female characters in these action films, whether their role was as the lead character or a supporting character, had similar aspects. I...
...characters are not depicted as strong as the male leads. Hermione Granger becomes emotional during high stress battle scenes. Elizabeth Swann shifts to mainly a love interest for the male lead. Queen Amidala becomes emotional and a love interest for Anakin Skywalker. To some, the illusion of strong women signals how far we have come as a society in the last half-century. In reality, however, the film industry has only progressed enough to be able to give off an illusion of strong women. The lack of female directors in Hollywood gives way to a male-centric ideology that eroticizes and demeans women in films – often just subconsciously because the director is male. It is time to welcome more Kathryn Bigelows. More Julie Taymors. More Sofia Coppolas. Only when a balance among film directors is reached can many films finally break out of traditional gender stereotypes.
Although the author, Betty Smith, denied ever writing a novel with socially political motives, A Tree Grows in Brooklyn abounds with references to class issues. Nearly every scene, every character illustrates or deals with the problem of poverty in early twentieth-century America. For the Nolan’s, being poor means they must always think about being poor – how they will buy the next load of coal, where their food will come from, their insurance, rent, medicine, all the necessities of raising a family. The novel also shows that poverty is not just the absence of food or comfort, it is the direct cause for Uncle Flittman to leave, Johnny’s utter nothingness and Francie’s inability to go to a high school. Every action in the novel is based around a limited amount of resources, as not only the Nolan’s but also the entire community suffers. Exploitation abounds, whether in the overpriced sale of candy, child labour in metal collection, dishonest grocers and butchers and employers with impunity to set their own rules. Katie does her best with the household money, and we find that for the poor sometimes a luxury isn’t in getting something, but in being able to waste it.
Women’s roles in movies have changed dramatically throughout the years. As a result of the changing societal norms, women have experienced more transition in their roles than any other class. During the period of classical Hollywood cinema, both society and the film industry preached that women should be dependent on men and remain in home in order to guarantee stability in the community and the family. Women did not have predominated roles in movies such as being the heroin. The 1940’s film Gilda wasn’t an exception. In Gilda, the female character mainly had two different stereotypes. The female character was first stereotyped as a sex object and the second stereotyped as a scorned woman who has to be punished.
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...
The Uniform Crime Reporting Program formulated the National Incident-Based Reporting System (NIBRS). NIBRS presents comprehensive, detailed information about crime incidents to law enforcement, researchers, governmental planners, students of crime, and the general public. The South Carolina Law Enforcement Division conducted the pilot demonstration of this program in 1987. Since then, implementation of NIBRS has been commensurate with the resources, abilities, and limitations of the contributing law enforcement agencies. Although participation grows steadily, data is still not pervasive enough to make broad generalizations about crime in the United States.
Television has seen plenty of producers, writers and viewers attracted to crime and deviance. The crime drama series is not an unchanging structure but develops in an intricate relationship with audiences, media institutions, social contexts and other genres. Crime drama series’ structure often begins with some strains to the social order by criminal forces. Historically police officers or “cops” are good and the criminals are bad. However today we can notice “bent” cops and sometimes sympathetic villains.
Pretty Woman, 1990s Hollywood movie, embodies many new as well as old values and ideologies. I was surprised when I saw that, the old themes and sexual stereotypes are not completely abandoned, but the old portrayals of gender stereotypes are transmuted.
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. She came up with a theory that best described why there is such as huge misrepresentation of the social status quos of male and female characters. She believed that mainstream film is used to maintain the status quo and prevent the realization of gender equality. This is why films are continuously following the old tradition that males are dominant and females are submissive. This is the ideology that is always present when we watch a movie. This is evident in the films from the past but also currently. It is as if the film industry is still catering to the male viewers of each generation in the same way. Laura Mulvey points out that women are constantly being seen as sexual objects, whether it is the outfits they wear or do not wear or the way they behave, or secondary characters with no symbolic cause. She states that, “in traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote it-be-looked-at-ness.”(Mulvey pg. 715). Thus, women are nevertheless displayed as nothing more than passive objects for the viewing pleasure of the audience. Mulvey also points out through her research that in every mainstream movie, there is ...