Throughout the years femininity in Hollywood cinema has changed quite drastically. The industry has gone through several phases that changed how femininity was viewed. This paper will address the postfeminist phase in Hollywood, while focusing on the film Bridget Jones’ Diary (2001). It will show how postfeminism is viewed in cinema as well as the characteristics that make a film considered to be postfeminist. Bridget Jones’ Diary (2001) showcases all the characteristics needed in a postfeminist film which makes the film a great representative of postfeminist attitudes in media. In order to discuss why Bridget Jones’ Diary (2001) is a postfeminist film, it is first important to understand exactly what postfeminism is. Postfeminism came …show more content…
One characteristic is the freedom of sexuality. Since this movement is suppose to be beyond feminism, women in postfeminist movies are not shamed for being sexual. Whether this means that the women want to have sex or they have sex with multiple men, there is no judgement for the women. Postfeminism is usually referring to young women. Since it is seen as young women having more freedom and choice in their lives thanks to traditional feminism (McRobbie 255). In most feminist movies the protagonist is always a young women, usually between the ages of 25 and 35. This is an important age range because it shows that the protagonist is able to live on her own and support herself but she still has enough time to settle down and have a family. Even though expressing sexuality is an important part of postfeminism, in the end, the main goal is to eventually settle down with a good man and have a family. Since postfeminism goes back on many aspects of feminism, the same happens in post feminists film where in the end the heroine either ends up with a man or finds happiness with a man. This is indeed the ending for the film that is going to be examined in this paper. The reasoning why this is the ending in so many postfeminism films is because it is the first time since feminism that it is okay to end up with a man. Most feminist rhetoric was, and is, about how women do not need men to survive. While that was showcased in the beginning of the film from Bridget’s character and lifestyle, it later shifts to where she wants to find the right man. This is a change in Hollywood that came about with postfeminism, where it was once again okay if a woman wanted to end up with a man. There is one characteristic of postfeminism that did not appear in Bridget Jones’ Diary (2001), and that is that Bridget did not have a feminine profession. In most postfeminism films, the leading lady always has a
Click here to unlock this and over one million essaysShow More
Similarly, she discusses how many female directors were afraid to even attempt to direct a Wonder Woman film (149). Altogether, Howell argues many valid points along with examples of the gender bias in popular culture. With her focus on DC Comics and their failed attempts to market and produce a film for a character, such as Wonder Woman, was a solid representation of the gender bias that has and continues to exist in popular culture. Charlotte E. Howell argued many great points in her article, “Tricky” Connotations: Wonder Woman as DC’s Brand Disruptor.” Just as DC Comics had
Implications/Conclusions This rhetorical criticism was not to bash the movie How to Be Single, as I personally love this film as well as its comedic and cinematographic aspects it brings. It was to discuss the underlying rhetorical message in context of the film in hopes of bringing awareness to movie producers, people in the media, consumers, and to society in general about the way females are being portrayed. In order to bring awareness of the modernist ideals within the plotline of How to Be Single, the Bechdel Test, Courtney and Lockertz stereotypes of the ideal women, and scenes from the movie were used to convey my message. This essay was not to alter the way individuals thought about the film on an evaluative scale from good to bad,
In contrast to the twentieth century we still see some of this in our current day and ages. Contrasting portrayals of men and women in films leave us with the fact that we haven’t changed. Men and women are sought to have different gender roles within
In this genre, the femme fatale is the villain, the cause of injustice and death which very much did happen. She is dominant, don’t trust her, she is dangerous as she is a threat to male masculinity as possessing the same traits that men believed were superior. All of these are exposed through characterisation, taking the typical male villain role. Thus these women were placed as evils, reflecting on the values of men who had all the say in that era, classifying submissive women as superior, as shown in "You're an angel," "a nice rattle-brained angel. "
Being a big Marvel Comics fan, one of the first superhero films that came to mind was Iron Man. Let’s take a look at the character Pepper Potts played by (Gwyneth Paltrow) in succession throughout the series. We can see how the writers are trying to redefine the maiden archetype. By restructuring the “damsel in distress” to meet a better view in society of the female role. Pepper Potts is not exactly a maiden/virgin archetype she is a redefinition of the characteristic.
Sad-frown. Use corresponding face with corresponding emotion (French Kiss, 1995) 5 Princess Anne 5 Kate 6 Joe Bradley 7 Luc Tessier 7 Side characters: 8 Gender studies 8 Conclusion 9 Abstract This article presents the roles of a man and a woman in two different eras through two movies: Roman Holiday (1953) and French Kiss (1995). The focus is on the analysis of the characters, their differences and similarities and messages directors wanted to send considering gender roles in society during the 1950s and 1990s. The method is to make the structure of the essay similar to the structure of filmmaking and pay attention to many elements and symbols that influenced the viewers, consciously or unconsciously.
Ridley Scott’s ‘female buddy movie’ Thelma and Louise centres around issues of male dominance and the freedom of release from society. Thelma (Geena Davis) and Louise (Susan Sarandon) are women suppressed by the men in their lives. They take a vacation to escape for a few days and after an attempted rape and murder they end up fugitives on the run for their lives. This unintended event ends up being for them the best adventure of their lives, as they are able to divest from the rules of society and become the independent women they are. By subverting the traditional role of gender in the genre, the film shows how feminism impacted the film industry by challenging Hollywood and the gendered myths and social patriarchy, providing women with a voice, and changing how spectators view how women are looked at through women’s eyes and their experiences.
They use their sexuality to control and manipulate the man into doing her bidding, often these tasks are immoral acts that will benefit her, however, it would bring eventual destruction for the man. The femme fatales is often brought to justice and punished by the protagonist, ultimately she gets destroyed. Beckman adds that “the dangerous woman is almost always punished for her threat to masculinity and male power. The strong, independent, and sexually provocative femme fatale is typically subdued toward the end of the film noir, through her death, her abandonment, or her "rescue" from moral decline by a man. If it is correct that a certain Hollywood realism tends to confirm a patriarchal status quo through coordinating the gradual unmasking of the sexual power of the woman with the "epistemological drive of the narrative," then this tradition of narrative continuity itself must be of interest” (p 26-27).
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.
This essay compares and contrasts two films, “Dial M for Murder” and its remake “A Perfect Murder” in order to analyse how these films depict the main female characters Margo and Emily. The paper especially focuses on the remake’s intention to present a modern version of women or wives, by looking at the changes in characters, settings and the use of phone as a medium. Firstly, “A Perfect Murder” makes several changes to the original characters in an attempt to revise the traditional gender roles. Although Margo from “Dial M for Murder” and Emily from “A Perfect Murder” are apparently similar in that they are both beautiful and wealthy blondes, Emily is portrayed as with more of a brain in the beginning of the film.
It can be contended that varying contemporary texts which have been created for both children and young adults endorse post-feministic values and the importance of adhering to a consumer culture. The text Pink by Lili Wilkinson (2009) can be viewed as promoting post-feminist ideals through the inferences of dialog between characters; specifically, through the protagonist Ava. Additionally, the film Mean Girls (2004) mirrors similar ideologies as Pink which portrays a post-feminist society, revealing issues which individuals face once gender equality has largely been achieved. Both of these texts have been created for a young audience and utilise various narrative strategies to convey their ideological position. Accordingly, this essay will
Throughout history the portrayal of gender roles have been maintained by a specific standard, specifically where the man is the main figure, and the woman is the submissive figure that is being acted upon. However, lately, specifically the last ten or so years, many movies have shifted this ideology. These movies in modern times show increasingly more women in positions of power, as well as in marriages where there is an equal amount of power between both the husband and wife. There are also more movies showcasing non-traditional relationships, such as, domestic partnerships and LGBTQ+ relationships. One movie in particular that showcases a shift in the status quo, in terms of the masculinity and femininity expected from individuals especially that of a relationships, is Tyler Perry’s
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).
These films attempt to reflect both change in society and differences between cultures, despite Spirited Away clearly being more successful in this aspect. This difference in subversion also reveals what is necessary to create a truly feminist work that can effectively influence the minds of people and cause effective change to society. With this insight, it can now be more easily discernible what constitutes a feminist film and how it can positively affect