The early feminist film theorists categorized race and gender as separate systems of oppression, and by doing so they universalized the white woman’s experience as representing the oppression experienced by all women. The problem with universalizing the white women 's oppression in media lies in its exclusion of non-white narratives and representations. The rise in feminist social movements in the mid-20th century led to feminist film theories, but early feminist film theories lacked an intersectional approach and, therefore, excluded the already marginalized group of non-white women. The resurrection of feminist movements in the mid-20th century inspired feminists to carry their criticism outside the political sphere. In her book Issues in Feminist Film Criticism, Patricia Erens, a professor of film studies at the University of Hong Kong, wrote that “the rise of
This lay claim to the film’s success for being more than a film but a pinnacle for which emerging 21st century feminists could feel free to accept they imperfections to become perfect specimens of the 21st century. This was a necessary perspective shift at the time to allow Jane Campion to follow a road of success, in which she not only identified and the question of women subjectivity and spectatorship; but introduced a new niche of cinematic appreciation for years to come. This has seen further films excluding An Angel at My Table to question the gender inequality and objectification of the female spectator during an era of liberation and freedom with which American Hollywood-ism promoted due to collapse of the cold
Such an act would go against God himself, and so the linking of evil spirits present her to be unwomanly and almost witch-like. Gender roles were set during Shakespeare 's time. Women were considered emotional, nurturing, and fragile where men were considered stoic, strong, and masculine. Lady Macbeth laments her gender while she hatches her plan to kill King Duncan: "Come to my woman 's breasts, And take my milk for gall…" The language suggests that her womanhood, represented by “breasts” and “milk”, usually symbols of nurture, impedes her from performing acts of violence and cruelty, which she associates with manliness. Ironically Macbeth, on the other hand, is sensitive towards the king as Lady Macbeth expresses her concern: “Yet do I fear thy nature” saying
Lady Macbeth, a greedy, vindictive woman, is set to raise her status in the Scottish nobility. Believing her husband is “too full o’th’milk of human kindness,” she decides to inflict emotional pain on Macbeth to lessen his reserve (1.5.15). She says to Macbeth that, “to alter favour ever is to fear,” mocking his mercurial behaviour as a sign of “fear” (1.6.70). Lady Macbeth continues to coerce her husband to kill Duncan by mocking his undecided nature by calling him “drunk” and commenting on his “green and pale” appearance as a sign of illness (1.7.35-37). Continuing with the insults she claims that, “when [he] durst do it, then [he] were a man,” which considering the times, femininity was considered a weakness (1.7.49).
The representation of female and inter-female relationships; be it intentionally or unintentionally, often act as the utmost importance for the plot of a film. According to Belcher (2011: 62), ‘these familiar archetypes and motifs reveal important ingrained and conditioned ideologies about women as well as primitive the upwelling of fears and desires from the subconscious’. In fact, it is rather famous that the dichotomy of the representation of the “Wicked Stepmother” in contrast with her young “enslaved” maiden or stepdaughter has become an expected staple of the genre. Not to mention, it would almost inconceivably be “Snow White” without the evilness of the stepmother as the plot of the Snow White’s stories are mainly induced by the wicked, vain and jealousy of the queen who is the stepmother of Snow White. As a result, this dissertation will be done with a presentation on an analysis that aims to find out the negative representation of stepmother.
Therefore, filmmakers had to make changes in order to create a narrative cinema. As Thompson discusses “the classical cinema resulted from a major shift in assumptions about the relation of the spectator to film and the relation of a film’s form to its style” (158). This started the change of film from “primitive” cinema to “classical cinema” (157)(162). Films began to use these techniques in order to make “a unified narrative” and allow for the development of “verisimilitude” (158) (163). Their theories will be applied to three of Griffith’s films, The Lonedale Operator (1911), The New York Hat (1912) and A Mothering Heart (1913).
(Macbeth 1.7.54-59) The above mentioned statement is good enough for the readers or viewers of the play to label Lady Macbeth as an evil woman who will murder anyone, even her own child, to get ahead. This perversion of one of the most sacred acts of motherhood enhances the horror of the length she would cross to achieve her goal. However, it also implies that considering Lady Macbeth as merely a brutal, malicious woman
Thus, according to Michael，the gender perpectives and favouritism can influence particular film’s image and the way to emphasize the impact of each gender of characters in movies. People would like to think the roles of princess should be weak and waiting for rescued from men. Feminism According to the previous films, Disney princesses have changed from lack independence to be braver. Hence,
1. Introduction In the following essay I will investigate the significance of Alfred Hitchcock’s figuration of ‘the blonde’ and ask what the construction of Hitchcock’s blonde heroines reveals about gender dynamics in post-war cinema. To this end, I will undertake a close analysis of the blonde protagonists Lisa Carol Fremont and Madeleine Elster in Hitchcock’s post-war films Rear Window (1954) and Vertigo (1958) . To address this issue, first I will introduce the archetype of the Hitchcock blonde in general and its feminist critique by Mulvey (2000) and Modleski (2005) more specifically. Second, I investigate the cinematic techniques Alfred Hitchcock utilised in order to create the seeming superficiality of his blonde protagonists.
He uses the Bacchae, Dionysus, and Pentheus as examples of the danger in accessing one’s own femininity. The Bacchae’s own control of their sexuality, as Pentheus describes “They creep off one by one to lonely spots to have sex with men”, and their feminine features, as their breasts swell and their hair cascades, creates an example of women gone wild with power over themselves