Although this distinction in skin color may build on to Ursula’s villainous and dehumanizing appearance, it also explains the inspiration many Drag Queens draw from villains’ deviant spectacle, as they are famously glammed up dramatically with heavy eyeshadow, contour, glitter, and blush among other coats of makeup. “Drag Queens” are men who perform highly theatrical forms of femininity for the purpose of entertainment. Further evidence that villains inspire the queer community includes Todrick Hall, a well known Drag Queen and YouTube sensation who reimagines and pays tribute to Disney villains through his YouTube videos complete with flair and flamboyant arrangements. As Todrick Hall notes about his rendition of the “Spell Block Tango”, “I have always had a strange fascination with the Disney villains’ side of the classic fairy tales and now through the music of Chicago you’ll get to hear their stories.” No doubt, the diva and unapologetic attitudes of Disney cinema villains is a source of empowerment for queer femmes who are oftentimes ridiculed and ostracized for their flamboyant expression.
“The very thing that was meant to protect natural beauty has turned and threatened our very definition of beauty. A beautiful woman should strike you as different; as unique; as an individual. Her body can be attractive based on a number of things, but shouldn’t one of those criteria be that she is real?” (Curly) Martin’s play Beauty helps bring forth two different women living two different ways, one receiving all the attention of men and the other wanting to be receiving that attention.
The horror film’s central focus is primarily the family. The family is one of the most understood aspects in the world because it is the connection that everyone is grown up with throughout their life. The way to connect with a person is by dealing with family. The dynamics of family become part of the normality of each culture in the world. In Night of the Living Dead the cannibalistic nature of the androgynous monster becomes part of the world which threatens the social constructs of normality, and stretches family dynamics.
Mise-en-scéne is crucial to classical Hollywood as it defined an era ‘that in its primary sense and effect, shows us something; it is a means of display. ' (Martin 2014, p.XV). Billy Wilder 's Sunset Boulevard (Wilder 1950) will be analysed and explored with its techniques and styles of mise-en-scéne and how this aspect of filmmaking establishes together as a cohesive whole with the narrative themes as classical Hollywood storytelling. Features of the film 's sense of space and time, setting, motifs, characters, and character goals will be explored and how they affect the characterisation, structure, and three-act organisation.
“People are always ready to see the lesbian as wearing a felt hat, her hair short, and a necktie; her mannishness is seen as an abnormality indicating a hormonal imbalance” (De Beauvoir, 479). With this quote French feminist writer, Simone the Beauvoir, starts her chapter on “The Lesbian” in her book The Second Sex (1949). It is peculiar that the stereotype of the masculine lesbian can still be found in contemporary popular culture and literature, yet slightly altered to a more contemporary version. This chapter will explain what lesbian literature is, give some historical background on how lesbian literature developed from 600BC to present day, and show various lesbian identities and stereotypes that recur in lesbian fiction. As stated in
These media images, like media messages from other sources, reinforce the gender binary of heteronormativity in young children (Palczewski & DeFrancisco, 2014). Heteronormativity is how social institutions, such as Disney, “reinforce the presumption that people are heterosexual and that gender and sex are natural binaries” (Palczewski & DeFrancisco, 2014, p. 16). Thus, the formulaic plot line that Disney Princess films follows communicates to children that the normal and only sexual orientation is heterosexual and more specifically, to young girls, that marrying a man is the only way in which her life can be
The film one has chosen to review and analyse is George Clooney's “Goodnight and Good Luck”. It is set in America in the 1950's, a full decade after World War II ended, a period of economic growth and recovery after the Great Depression. It was a time of revolution in terms of social, economic and cultural advancement. Having said that, it was also a period of political turmoil, paranoia and intimidation under Senator Joseph McCarthy. This movie explores the way journalist Edward Murrow used his position to expose McCarthy and his abuse of power. In simplistic terms this film depicts the war between the media and a politician seeking to destroy the rights and values of the American people by masking it as patriotism. One will analyse the various themes, major scenes, techniques and the impact
Good Night and Good Luck’ is a historical film based on the work of Edward Murrow and the television crew of ‘See It Now’, a programme broadcasted by CBS in the 1950s. Murrow and the crew are determined to confront the anti-communist command of the Republican Senator Joseph McCarthy. Throughout the film, the CBS team work in an effort to dismantle the views of McCarthy and prevent the spread of McCarthyism in the U.S.
The very act of cross-dressing itself was subversive, especially in Spain where costume was hugely important, not just on stage but in real life. Literary critic William Egginton notes in An Epistemology of the Stage, that when it came to costume the "Spanish public was extremely sensitive to such signifiers of class and could not, for example, tolerate or comprehend a scene in which the signs of social status presented by costume and speech would conflict". (402) With the audience so sensitive to costume details, what must they have thought about Rosaura 's male attire? Women dressing as men was a common device used by playwrights in the Golden Age (mujer vestida de hombre ) and one wonders was it merely because it was practical?
Many people forget about the movie Friday Night Lights because of the new series that was on television. Billy Bob Thornton plays an incredible part as coach Gary Gaines. The movie takes place in a small town in Texas. This town is racially divided and economically going down hill. The only thing that brings everyone together is friday night football. The Permian Panthers were custom to winning, but this starts to disappear when their lead tailback suffers from a life changing injury. Everyone lost hope in the team, but Coach Gaines believed that he can uplift the teens and bring them to victory. The coach has a way with the football players during the half time. In a way that he might not realize, but he does use logos, pathos, and ethos. In this essay I will go into further detail into how he did so.
In the movie Nightjohn directed by Charles Burnett their were many differences than the book Nightjohn by Gary Paulsen. The differences are minimal and sometimes would not even be noticed. Most movies would be very boring if they would be the same as the book. In the book all the characters are different than they are in the movie. One character is Mrs.Waller the wife of Clel Waller.
Consequently, as illustrated in chapter one, Butler proposes in “Imitation and Gender Insubordination” (1998), that “gender is a kind of imitation for which there is no original” (722). Therefore, Elaine demonstrates how playing with girls was not a natural for her instead it is something she had to learn to do. Elaine states that: “Playing with girls is different and at first I feel strange as I do it, self-conscious, as if I’m doing an imitation of a girl. But soon I get more used to it.” (CE 57).
Laura Mulvey’s article Visual Pleasure and Narrative Cinema was published in 1975, has set out the concept of visual pleasure and explains it under a system looks in cinema. Her theory points out that men looked at women, men are the subjects of women, and to look at the object position; (women) accept their role of being looked at and creating visual pleasures for men as well as in the social reality. Her approaching is to use the same “political weapon” (“psychoanalytic theory”) that “the unconscious of patriarchal society has structured film form” (the way men used to oppress women) (Mulvey 483), with the hope to leave “the past behind without rejecting it” (Mulvey 485). To analyze that the main bias of cinema lies in the obsessive psychological
Namastey London (bollywood movie): Study of cultural differences between Indian and European cultures. ABSTRACT The study aims at analyzing the cultural differences between European culture and Indian culture, comparing different dimension of cultures. How cultural differences can be managed.