Advertising, as it is known today, took its start during the beginning of the Industrial Revolution. A rapid increase in the manufacturing output enforced advertisers to find new methods of selling on such a large, previously inexistent scale, most of which are still found in today’s advertisements. At all times, the role of women in advertising has been indispensable; however, their portrayal had never been the same. Until the-near end of 20th century, it had been changing from one decade to another reflecting the current idealistic role of women in society. Then the role of women in advertising was limited to humanization.
Feminist film theory Feminist scholars point out that there is misogyny in the mainstream media that treat women as inferior and objects. They expressed that there is a need to explore representations and images of women. Feminist film theory makes gender its exploratory focus and it has emerged to find a place for women in films; they were frustrated with how feminist studies ignore critiques and works of media, particularly films. Conventionally, the representations of media are counter to the ideas of feminism. The study of women’s representation in the media is not new When feminist film theory emerged in the 1970s and early 1980s and parallels with the development of film theory.
248). Furthermore, by using the various methodologies and perspectives contained under the umbrella of feminist film theory, feminist film critics illustrate the distinct relationship between feminist film theory and criticism. As in film theory the concept of “counter cinema” (cite) was taken up by feminist film critics, however that was not their only approach. The developments in feminist film criticism, recent and not so, point to the investigation of the effects race, ethnicity, class, and sexual preference and the differences between women have on the progress of film. And it is exactly this distinct relationship between feminist film theory and criticism that creates a sense of urgency for a positive future of feminist film criticism; one that will focus, more rigorously, on exploring the global perspectives in “film and media in various locations and across class, racial, and ethnic groups throughout the world" (McHugh & Shobchak, p. ).
Before arguing on how the film takes a feminist counter cinema approach to addressing questions of female subjectivity and spectatorship in light of Gillet’s quote. I will firstly discuss the concept of feminism and female counter cinema focusing
In movies, women are almost always changing themselves to please men. Men, just as in advertising, are also much more likely to be an attorney, an executive or have a higher education than women. The representation of gender in movies shapes imaginations and stereotypes and they teach young girls and boys about the way society sees them: the ‘roles’ they should fulfill, their worth, the way they should
In this case, the female is turned into an object of vision. In Laura Mulvey’s essay about Visual Pleasure & Narrative Cinema she is she mentions that “The presence of woman is an indispensable element of spectacle in normal narrative film, yet her visual presence tends to work against the development of a story line, to freeze the flow of action in moments of erotic contemplation.” (Mulvey) This builds on the concept that Mulvey mentions, as Woman is the Image and Man is the bearer of the look. Traditionally, the woman displayed in cinema has functioned
This new role became widely appealing in the film industry and gave way to new films surrounding this mysterious figure. This may have been because these women were eroticized to a point that no one could imagine a vamp coming from one of the “correct” women of the time, or that they were so widely known that people wanted to learn more about them, in these fantastical films . These vamps were women that were normally sultry and “dark,” as in they had dark hair and eyes, and were foreign in nature. The foreignness of these women may also have contributed to their popularity in American minds because they added mystery onto the title of “vamp.” This helped the role of the femme fatale last during this time period and
These Shows, such as ‘Indian Idol’, ‘Bigg Boss’, ‘Is Jungle Se MujheBachao’, ‘Roadies’, etc., have two conflicting sides to them. On the one hand, women are emerging as citizens with a great array of talents, be it singing, dancing, or challenging themselves to face the adversities handed down by nature. They are more assertive, aggressive and competent, with all the qualities an orthodox woman couldn’t and shouldn’t dream of possessing. On the flip side, most of these shows also showcase the exposure of a women’s body just to draw the attention of a larger, more male-oriented audience. Most of these shows are also based on a voting system, where people end up supporting the boy.
Nevertheless, many of them are found to present the characters of women as the subordinate position. Moreover, researchers have some results for women in Disney films. According to Towbin, Haddock, Zimmerman, Lund, and Tanner (2003: 30), their ideas of women in Disney films are very intense: “(a) A woman’s appearance is valued more than her intellect; (b)Women are helpless and in need of protection; (c) Women are domestic and likely to marry; (d) Overweight women are ugly, unpleasant, and unmarried”. Apart from these grim results, Disney added more affronts to women by portraying women characters to yearn for and absorb in love as researchers mention that women are likely to marry. Therefore, marriage or love was considered as the common theme of Disney heroines.
(Thomas F. Cash 2011). This is no surprise, given our society’s over-emphasis on looks and the media’s message, that to be accepted you must be attractive, thin, or tall etc. It is inevitable that the media begins to shape and direct our taste. Such in the volume and repetition, that many standards automatically gets made and as a consequence, the standard that slim and fair is beautiful for example, ultimately gets taken for granted and accepted. Women, especially young women try to follow the message given by the media without considering the effects of it.