Karen Hollinger is a professor of English at Atlantic University, an author and is also a very strong feminist. Hollinger’s essay, “The Monster as Woman: Two Generations of Cat People,” is an essay merely expressing how most monsters in novels or films are characterized as masculine identities and that viewers forget how powerful feminine identities in novels and films can be. Hollinger’s goal in this essay is to explain that feminine monsters are just as frightening all masculine monsters. She uses many references to movies with feminine monsters and expresses how powerful they are compared to masculine monsters and also expresses that males and females have castration anxieties. I think Hollinger succeeded in a sophisticated way because she
The stages of separation began this journey. Beatrix's first step, the call to adventure, was the incident at the wedding chapel in Texas when the Deadly Viper Assassination Squad killed her whole wedding party and left her in a comatose state. When she woke up from the coma she realized her child was gone and assumed that her daughter had died. This infuriated Beatrix, and led her to start her journey to fulfill her vengeance. Beatrix was clearly motivated on revenge so there wasn’t a psychological component of the refusal of the call, but she did have a physical factor involved.
In the ethnographic documentary “Fire Eyes,” director Soraya Mire presented a biased opinion on the nature of female circumcision by emphasizing graphic content like gore and pain. While Mire’s documentary presents the terrifying nature of female circumcision, the use of graphic content and imagery successfully conveys Mire’s strong opinion opposing female circumcision. However, Mire neglects to discuss the cultural values behind the mutilation and instead prioritizes how she views the act as unethical. The importance in conveying the horrifying nature of female circumcision through graphic content evokes emotional responses in the audience and easily persuades the audience to follow the director’s own beliefs. In the movie “Fire Eyes,” Soraya Mire creates a personal connection with the audience by choosing to showcase bloody, painful responses rather than solely focusing on multiple retellings of women who experienced circumcision.
Frightening motion pictures help the audience live different lives in the comfort of their own homes. In the story, Why We Crave Horror Movies, by Stephen King, the issue involves how thriller films appeases oneself. Whereas, the article, Horror Movies Take Escapism to the Next Level Meditation to Destress Allows the Mind a Break, by Amber Appleby, relates to why humans relish suspenseful movies. Thus, both the story and the article indicate similar yet different ideas regarding how horror movies affect us.
Hanson outlines that the use of the double is a common aspect of female Gothic film. In “Horror and Fantasy Elements in Classic Films Noir,” Paul Meehan describes that “the double is a folk belief that each person has a kind of psychic twin, and that is usually a very bad thing for one to be in the same place at the same time as one’s double,” thus existing also as an element of film noir. Meehan’s definition is directly played out as Shadow of a Doubt unfolds. Upon Uncle Charlie’s arrival, Charlotte mentions that she and he are “something like twins,” directly creating their positioning as doubles. So, the shared name serves the double and serves in the film’s functioning as both film noir and female Gothic.
“As a young girl it was thrilling to see a pretty woman capable of crafting something horrfying and challenging” Mary says. Mary went into a deep depression after she was widowed at the age of 24 she struggled to support herself and her son. She wrote Frankenstein and the monster represented the suppression of women. The women in the book are represented as the treatment of women in the early 1800s which means they were treated as if they were nothing and like property. The death and suffering of the female characters portrays that in the 1800s it was acceptable because they were treated like property.
This essay will discuss the ways in which Angela Carter employs fashion as a thematic device that deconstructs rigid perceptions of gender roles in the short stories ‘The Bloody Chamber’ and ‘The Tiger’s Bride’ with regard to Entwistle’s statement. Halpin writes, “The women of The Bloody Chamber are not simple or idealized feminist restorations. Instead, each is crafted from a dark and intricate human framework (the same from which Carter creates her male characters) that allows them to transcend conventional gender roles. Across the collection, both female and male characters have been depicted as cruel or kind, passive or possessive, victimized or villainous.” (2015:1).
Documentary RATIONALE: I made this documentary to investigate how a femme fatale is characterized within classical film noir. A femme fatale is a woman who is dangerous and mysterious, thus shaping the narrative of many film noir films. I have also investigated how film noir has been an attribute in modern day films, but in a less in-your-face demeanor. VIDEO AUDIO BLACK SCREEN Music: [0:00-0:08] Symphony
Sublimity creates terror through obscurity and uncertainty of potentially, irrationally terrible situations, such as murder or rape. Terror being gendered as feminine, allows Gothic works such as the The Monk by Matthew Gregory Lewis to complicate the gender and identity of his characters with the aforementioned terror. Murder and rape in The Monk are emphasized, because they create an irrational, immobilizing sense of terror. Ann Radcliffe describes terror as the appropriate method by which sublimity is achieved. While horror is mentioned in The Monk and by Radcliffe, the Gothic
They found that often powerful women are portrayed as “bad” as opposed to powerful men roles that are viewed as more positive. Sutherland, et al warns that the presentation of powerful women in films is complex and not straightforward. They give examples of different movies that portray powerful women and offer analysis of characters that were powerful women, but viewed as evil or mean such as in, The Devil wears Prada; the main character in this film is presented as a masculine women who exploits the less powerful. This portrayal gives the impression that business women in a powerful position can be mean and it’s not a very desirable role. However, as the authors discuss, a man in a similar role would be characterized as strong and an effective leader.
At the beginning of the story there was an un ordinary mom named Starr knight, she was one to wear glossy make up and brand name clothes. Until her husband found her wearing baggy clothes and murdered in a tangle of kudzu. That 's how the beginning of the book started with mistrys. Everyone shocked with this murder was wondering how they were going to tell starr knights kinds that their mother has passed away. So when it came to the time they had to tell the kids about their mother, they decided to lie about it instead of telling them their mother was murdered.
Putnam, Amanda. “Mean Ladies: Transgendered Villains in Disney Films.” Diversity in Disney Films: Critical Essays on Race, Ethnicity, Gender, Sexuality and Disability, edited by Johnson Cheu, McFarland & Company, 2013, pp. 147-62. Mean Ladies appeals to parents through the use of logos, questioning whether Disney movies is really just harmless entertainment as it is so often thought to be.
David Nov/01/15 Frankenstein In the novel Frankenstein by Mary Shelley, women are shown as passive, disposable, and mainly serve to effect men’s lives. Female characters, such as Elizabeth, Justine and Agatha do not have their own roles, but are there to clearly represent the male characters in the novel. Female characters revolve around men and effects men from the events that they go through. Every woman character in the novel serves a specific purpose in the Frankenstein.