The Feminist Film Theory

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. It was more related to film theory than feminist theory.

Female characters in the late 20th century were meant to be objects for display with no sense of sincere emotions (Haskell, 1974). She pointed out the misogynistic violence and distorted portrayals of women, but also the concern of women about these films. She noted that there were some actresses that played female protagonists who are independent heroines. However, her approach examines only the period where women played the characters of innocent, pure and helpless, which doesn’t cover the negative stereotypes present in other films.
Given the numerous developments that occurred in the last 30 years, Marian Meyers believes that in recent years, women appear to portray differently and torn between contradictory images: dependent and independent, passive an active, housewife and worker. She adds that representations of women are undecided between feminist views about women, and misogynistic and traditional perceptions about them.

The film also focuses on regulations that control Arab countries where women are fully covered and restrictions about psychical appearance are imposed. it describes Muslim women as creepy, submissive, often in large groups and wearing fully covering black clothes.
In recent years, the Muslim women are still portrayed as sex symbols, but now by their dominance and thirst for blood rather than their mystery.
In body of lies, the woman was interrogated about her participation in such terrible acts and she answered that her husbanded asked her to do so. The suspicions about the Muslim world after the attacks clearly influenced the roles women take in western films.
In never say never again 1983, Fatima a Muslim nuclear scientist is portrayed as a terrorist .her attempts to detonate two nuclear bombs in the west failed and she is later terminated by James bond.
In dead or alive 1987, portrays a Jamilla an Arab American who is part of a terrorist organization and is on a mission to kill millions of people with more than fifty chemical weapons. She is determined to die for her cause and launch those