The roles for both male and female characters are always similar, the men are gang members and the woman are just submissive to the men. Although both roles that man and woman are supposed to play, the woman is specific have a challenging task. In the hood, women are seen as sexual objects that can be discarded at any time, and the movie Straight out of Compton really exemplifies these views. Throughout the film, women are called hoes, and bitches, these women are treated poorly, get cheated on, and have no opinion of their own. Luckily there are a few films that show a different side of the hood, films like Set it off show how women in the hood can be strong individuals, who can also do the roles that primarily take.
Gender roles in movies and its influence on society during 1950s America The actresses and actors on the screen had a vast influence on the people watching ,resulting into the society mimicking the characters that movie making presented to the audience and through this applying the american dream to the society. The women on the big screen was to appeal to the male audience and influence the females watching to want to portray them enforcing conservative and biblical values to result in a nuclear family. The majority of family lives were similar to the ones in the movies but the question is to what extent was the audience watching these tv shows influenced by the values and ideologies presented in tv shows and movies?. The main ideologies which took over the society in the 1950s America was a result of many different factors adding up to form a certain atmosphere. The factors being the aftermath of WWII where
For centuries women have been fighting an ongoing battle for their equal rights, in film it is we can see how strong actress have broken through barriers and dominated the films we watch, Like helena bonham carter, angelina jolie. Now, i didn't want to talk about female involvement in film , because that is topic that answers itself: I want to take the approach of the representation of the female gender in the films we watch. These Women stated above would not have been where they are if it wasn't for the early female actresses like Bette Davis ‘What Ever Happened to Baby Jane?’, Dorothy Mcguire ‘A Tree Grows In Brooklyn’. Actresses that paved the way and put their marked on the film industry have allowed fresh talent to now take hold of roles that represent issues that are concurrent in society. The theory gender in today's world is still almost a grey area, its almost split between what we think should be shown to our children and youth but also split in to habits that are limiting and still questionable.
Both the film noir and the female Gothic film cycles address the changing tides of the woman throughout the 1940s. As the social implications of wartime America emerged in cinema, exploration of the female’s role outside of the home and as a part of a moving and shaking society became key. Women began to emerge as highly competent and counter to their previous role as the subservient doe of a housewife. Females rose to status in their new role as the “working-woman,” embracing previously male-occupied jobs whilst bounding into the world of education (Helen Hanson, At the Margins of Film Noir: Genre, Range and Female Representation). This historical contextualization is utilized and portrayed in the film noir genre as well as the female Gothic
In fact it may be useless to even question if these films are feminist or not. In Possession Anna’s repressed sexuality take on the form of a monster because monsters are often used in film to represent something that is indefinable, that doesn’t exist in a communicable form in our current system of representation (MacCormack). The monster is neither good nor evil but it exists as an intangible and uncontrollable force that can be more easily felt than described. Likewise the Maries are not explicitly good nor evil, it is up to the audience to implement their
In both of these films consist of the battle of the sexes between being friends of a male and female or a marriage that consist of two married lawyers. Yet, in this history of genre, the films were made to find a “means’ to how it produces meaning” (Gant, 32). It also stated that, “deconstruct the mythic codes of cultural text” (Grant, 32). Which the statement means that the ‘mythic codes’ of how the genre in the movies show codes of sex in the film but it lets the audience look for the codes within the films. There is also the idea of representation in both of these films of masculinity, feminist, and the identity of women.
They wanted to be represented and considered as equals to men. Their fight for liberation gave birth to feminist film theories about the representation of female sexuality in the field of art, literature and media. Feminists found the sexism in cinema to be a cultural practice that represented myths about women and femininity, as well as about men and masculinity. With issues of representation in Hollywood cinema, feminist critics objected to the stereotypes of women, which claimed have a negative impact on the female
The media has long been recognized as important source of gender related information, television and cinema specifically influences its audience in a considerable way. (Denmark and Paludi 2008). With regards to the concept of gender cinema can offer a space where ambiguities of identities are played out; understanding the play of the categories of femininity and masculinity is very important in evaluating our own understandings of gender and how we react to different representations of it (Tasker 2002).If a film can show different individuals and we can recognize how social forces shape and constrain the individual according to classifications of gender it narrates an experience where we experience the film as gendered viewers. Film reflects and generates out own experience of gender over and above out own recognition and observation of it. (Pomerance 2001).
“Contributors explore issues of femininity as well as masculinity, reflecting on the interface of popular cinema with gendered realities and feminist ideas. Topics include the gendered political economy of cinema, the female director as auteur, postfeminist fatherhood, consumer culture, depictions of professional women, transgender, sexuality, gendered violence, and the intersections of gender, race, and ethnic identities.” We will use this book to draw certain categories of textual and performance analysis to then, see the impact on romantic relationships. One of the unique aspect of this volume is the analysis of the perversion of feminism in Hollywood movies: violence, misogyny, homosexual characters: is Hollywood embracing feminism or is it creating a machos equivalent of
Representation: Minorities or marginalised sections of society have been known to be misrepresented in the media. If we take the issue of gender equality under the heading of representation in media culture, we can see that there are several similarities with those issues outlined when discussing the production of media. This issue can be explored further and more in depth when discussing how these marginalised areas of society are portrayed on film. Raising the argument of accurate representation particularly of females in mainstream media, focusing on film and television representations, it must be discussed on several grounds. The reading that best supports this view is the Laura Mulvey reading “visual pleasure and narrative cinema” (Mulvey 1975).