Femme fatales are usually destroyed in the end, either by being killed or being domesticated, as though they are being punished thinking they can compete with men. Male dominance is always restored by the end of the film. In established film noir, the new economic, social, and sexual freedom that women experienced during the war years as they joined the workplace was quite unsettling to many American men. This fear of strong, independent women and the need to show the danger of this independence was shown, whether consciously or not, in most film noir. The Maltese Falcon, like many films of its era, joins in the distrust of all things foreign.
Writing about the struggles of women, the novels follow the life of Lily who experiences resentment from her husband and sexism at work. Although she gets her much deserved token, it is watered down by the fact that she gets it much as a token rather than as a reward for her ambition, abilities, and drive. The lead character is assaulted because they desire and enjoy adulterous se and are ready to leave abusive relationships. Through Lily, the vulnerability of women is put into focus as she becomes more vulnerable to abuse once she decides to leave her husband. She only does find redemption by getting into a relationship with another man, taking up her role as a protective mother, foregoing her ambitions, and being proactive in seeking justice for herself, and her daughter.
The Victorian Era is known for a pious, sexless society where women were considered inferior. While strides have been taken, there is still an inherent bias against sexually liberated women. This shame is still relevant to society today because of its abuse by those in power. Day by day, political scandals involving sexual assault and rape are being revealed on the news. This is only indicative of the willingness of the elite to abuse those working under them- especially young naive women.
Sklar shows this by looking at the film “Male and Female” by Cecil DeMille. This film was very controversial for the time it was released. Sklar quotes Adolph Zukor’s comments on the film’s morality; “‘the noble lady falling in love with the butler—would probably not have been acceptable to prewar audiences.’” (1933). DeMille’s post war films urged moviegoers for social change.
Lesley Crewe effectively argues that love comes with regrets that must be overcome. Her argument is well established through her use of idiosyncratic characters, the relationship between them and the indigenous dialogue. Nonetheless, her usage of the plot makes the argument ineffective because it stretches authenticity frequently and is a basic harlequin romance. For example, having a Hollywood star come to Cape Breton and have a background of getting sexually assaulted is quite ridiculous including the impractical conclusion which unsuccessfully displays her universal message.
The emasculation of great men led to their downfall; the perpetrators were the women in their lives. As such, Cleopatra and Lady Macbeth are to blame for Antony and Macbeth’s ruin, respectively. Such is the argument of many critics whose basis of accusation is far from grounded. Both women are powerful Shakespearean characters marked with a stain, not of guilt or crime in its entirety, but rather one of womanhood. Through the creation of double standards with their male counterparts, both female characters are subject to sexism and objectification.
Furthermore, Feminist Criticism provides a better view of literature because it shows that women can be powerful. When Emilia finds out that her husband has been plotting an evil plan she says,” Tis proper I obey him, but not now”(Othello V.2.195). Emilia refuses to help her husband after she finds the cruel intentions he has despite the expectation of women always being submissive to their husbands. Women also have a voice and feelings, they are capable of defying their husbands commands when they know what he expects is simply wrong. In a literary article,The Role of Women in Othello: A Feminist Reading states that,” Society weighs heavily on the shoulders of women; they feel that they must support the men and defer to them, even if the actions of the men are questionable” (Literary Articles).
Early on in the play Lady Macbeth was characterized as a ruthless person, but later on in the play the audience softens up on her because she reveals her weak side. Lady Macbeth was a ruthless person, and no one expected it because even today in society women are not associated with evil characteristics, she demonstrates this when she continuously insults her husband. For example, when Macbeth changes his mind about killing Duncan, Lady Macbeth scolds him, and insults his masculinity and persuades him by saying that he owes it to her to kill Duncan. She uses this tactic of persuasion, by targeting Macbeths insecurities; this is very ruthless because Lady Macbeth shows becoming royalty over her husband’s dignity. With this in mind, usually relationships
Some of these methods include destroying identity through classification, objectification, and indoctrination. Most women of Gilead are sufficiently repressed that they seem to accept their assigned roles, at least outwardly resigned to their fate. Atwood uses gender roles in The Handmaid’s Tale to show the lengths to which misogynistic totalitarian governments will go, to protect their dictatorships. The Republic of Gilead is a hierarchical society which requires complete submission of women to men. By taking away women’s paid jobs, confiscating their property, draining their bank accounts, and giving them no recourse, the male leadership leaves women in a fully dependent and subservient position.
Sutherland, et al also highlights the conflicting views on women in power such as in the film Fatal Attraction, in which a deranged (Alex) woman aggressively seduces another woman’s husband (Dan) and the loyal wife uses her power to kill Alex. Both of these roles portrayed powerful women, but one was evil whose power needed to be controlled and the other was a protector of her her family. Also, Sutherland provides the views of prominent feminists (A. Dworkin & c. MacKinnon) who have grounded their analysis of inequality in the notion that masculinity means domination and femininity means subjection. The domination view holds that “what it means to be a woman
Clover begins by portraying the fact about how slasher films remain ignored by the reprovers. She uses the example of the Texas Chainsaw Massacre (Page 67) quoting reprovers who accolade the narrative swears Massacre to be imbecilic and a “vile little piece of sick crap". Although, today slasher films continue to be popular and are not ignored by the viewers especially the teenagers. The reason abaft this is that slasher films are direct in whatever ideology they are presenting, unlike the other genres where they may obnubilate their ideology in tropes.
As a feminist growing up in a increasingly feminist society, The Wife of Marin Guerre struck a note for me more so than the movie. Love is beautiful, however, when someone gets a love they don’t deserve from someone they don’t deserve, that lacks justice, and justice occurs naturally around us through the principle of karma. Bertrande is a strong and empowered woman. This wasn’t an ordinary personality trait for women in the 1500’s. In fact, in countless towns, it was frowned upon.
Depiction of Women in Psycho In the article, “A Wolf in Sheep’s Clothing: The Depiction of Women in Alfred Hitchcock’s Psycho” by Sunny Bavaro, it talks about how women in the movie are partaking in different roles and how the female characters that step out of women gender roles perish in the movie. Some of these roles are perceived more masculine than feminine which made these female characters unique. Bavaro specifically stated that Marion is “lawbreaking-sexual/sensual gender role defying woman,” Lila is a “frigid yet socially acceptable woman,” and Mother is a castrating murderous woman.” In the beginning of Psycho, Marion played an active role in the relationship with her lover Sam.
Michel is exemplary of a character that is misogynistic, ignorant and insecure. This is illustrated through the film’s opening sequence. For instance, after hotwiring the engine of the car, we see Michel refusing to ride along with his female accomplice, he then comments on two women hitchhikers as “being ugly,” and finally he refers to a female driver as “cowardice”, while simultaneously proclaiming women as being incompetent at driving. All of these instances exemplify Michel’s anxiousness in the rise of women’s independence in society. This is illustrated through the characterization of Michael.