Anne McClintock wrote her essay “Gonad the Barbarian and the Venus Flytrap: Portraying the female and male orgasm” to examine pornography and how it has changed throughout history and its effects on how women perform as sexual beings. McClintock focuses on the various roles of pornography such as its emphasis on voyeurism, pleasure, and the male ego. She wants her readers to know that women are still not represented in pornography to satisfy their own desires, but they are there to cater to men and their subconscious. I will analyze how McClintock argues that due to the history of sexism towards women, the roles that men and women have in pornography are inherently different because of the societal belief that women are only seen as objects of sexual desire and are solely there to satisfy the male audience.
Jennifer Lee and Chris Bucks Frozen, astutely represent the theme of gender by both reinforcing and challenging the concept through the use of aesthetic features and characters. The representations of gender and the expectations of women throughout the Jacobean era have had an influence on contemporary modern society represented through film and Tv. Being truthful, all-encompassing free is something that human beings crave but are actually extremely terrified of, think about it what is the one thing as females hold us back, the chains of social conditioning, and the unpleasant hierarchy of gender roles. This can be seen with the character of Lady Macbeth, her expectations as a wife are tested when her own values and beliefs begin to surface with her masculine principles taking over. In relation to Frozen, Elsa the older sister, can be identify in the same manner as Lady Macbeth.
For instance, the very first sentence of Hollinger’s essay starts off with this quote, “As Stephen Neale suggests, an intimate relationship seems to exist among the filmic presentation of the horror monster, the castration anxiety it evokes, and the cinematic representation of the female form.” (Hollinger pg. 243 of the Monsters book), in which she uses to intrigue the reader and to give the reader an idea about the work. Hollinger tells the reader that Neale thinks that the usual origin of a monster in a film is due to a relationship that went wrong and also claims that men are more vulnerable to certain anxieties. The placement of her reference to Neale’s essay allows the reader to conduct an idea of what the essay is going to be about and makes the reader think about what is more threatening between feminine monsters or masculine monsters. I think it was creative of her to reference a well-known philosopher and that she was able to use it to have the reader thinking about movies they’ve watched and figure out whether they’ve actually seen any movie at all with a feminine monster and if they did, then they’d compare them to the masculine monster causing the reader to think even more!
This is suggested by Helen Simpson who stated that Carter centralises ‘latent content of fairy-tale’ is that women are objects of male desire hence patriarchal discourse establishes male supremacy to which Carter does this to challenge contemporary perspectives on the place of women by revealing the oppression that society inflicted. The Marquis is an overt example of male ownership of female bodies. Similarly, where Atwood exposes the harsh realities of oppressive patriarchy through the female body, Carter utilises the construct of the Marquis in the eponymous story ‘The Bloody Chamber’ as a grotesque embodiment of patriarchal control. In her essay ‘Visual Pleasure and Narrative Cinema’ Laura Mulvey coined the feminist term ‘male gaze.’ She argues that men are the audience and women are to embody the male perspective of women as objects of satisfaction. This is particularly apt when considering Carter’s use of gustatory imagery ironically depicting the Marquis as a ‘connoisseur’ and ‘gourmand’ which adds to his sadistic lifestyle and so symbolises control through stripping her with ease like ‘stripping leaves off an artichoke’ and resembling the pornographic image of ‘Rops…Reproof of Curiosity’ sexualising the image of women.
In the movie “Fire Eyes,” Soraya Mire creates a personal connection with the audience by choosing to showcase bloody, painful responses rather than solely focusing on multiple retellings of women who experienced circumcision. The few personal stories from the women who experienced circumcision offer powerful additions to the horrifying nature of genital mutilation and how the poorly done operation forever ruins the women’s hygiene and health. The result of Soraya Mire’s choice to only showcase the graphic parts of female circumcision takes away the cultural meaning and importance of the practice. Soraya Mire’s strong opinion on female circumcision relates closely with the Western approach to viewing external cultures and disagreeing with practices that
Hester chose to isolate she and Pearl to create a wave of self-improvement. Because of Hester’s mysterious, seductive, and rebellious actions, she demonstrated the characteristics of a byronic hero. Hester Prynne was eventually able to overcome her rebellion by maturing and accepting herself for who she is as a person. After the events of being humiliated in front of the townspeople, Hester isolated herself in a small cottage in order to overcome her “monster.” The Scarlet Letter led Hester to change and become the person she was at the end of the book and, “...was her passport into regions where other women dared not tread. Shame, Despair, Solitude!
Double Indemnity’s use of both characters and sound contributes to the theme of a web of corruption spun by an evil temptress. Throughout the film, Neff narrates what is going through his mind and why he is doing the things he is. This lets the audience see the action while hearing why it
Although Stanley has been a threat to her through his suspicion and empowering masculinity over her, the last scene is where he finally takes final control over her, or symbolically where reality has a final triumph over her illusions. While catching her in the midst of her lies she reveals to Blanche that “[he’s] been on to [Blanche] from the start!” (10.225). towards the end of the play Stella, Mitch, and Stanley play a role in imposing reality into her allusions. As Stella calls for the Doctor to pick Blanche up it rips her away from her fantasies with Shep Huntleigh. When Mitch reveals to Blanche that she isn't pure enough to take home to his
Cinematic techniques of mise-en-scene, cinematography, and editing helped to exhibit this underlying meaning. The technique cinematography focuses on the male gaze by incorporating a peeping-tom impression with its camera angles, and reflecting on the way in which women treat other women as if to comment on female empowerment. While mise-en-scene helped tackle the topic of reproductive rights, and innocence through the prop of blood and costumes. Lastly, editing further examined this theme of feminism by including motion and slip-screen to show total control, and liberation.The film views feminism as becoming self-aware, and taking control of feminine power even if it means causing destruction to a system that causes
(Bronte 25). Lockwood kneads the wrist of Catherine's ghost on the shattered glass until they bleed. Heathcliff and Catherine reveal some pressing matters with letting things go. Before Catherine passes away, Heathcliff asks Catherine to torment him so that he doesn’t have to be away from her, and Catherine obliges Heathcliff’s request. Catherine and Heathcliff have always wanted to be monogamous, however, something is always preventing this.
The documentary subscribed to many different forms in presenting its information with a visual and audio spectrum. On the visual scale, it bombards the viewer with images and videos of hyper-sexualized women present in everyday type television, film, and advertising. Dramatic music to match the tone of the information being said was included. Melancholic musical accompaniment was common during parts of the film that explained the consequences of the misrepresentation of female roles on young girls. For example, when it began to give information on how poorly written women in film with unachievable bodies has a direct detrimental effect on self esteem and body image, the documentary captured the upsetting, emotional aspect of the research through background music.
Cupid flies away without saying good-bye and Psyche is left wandering in search for him. Though “She had no idea where to go; she knew only that she would never give up looking for him” (Hamilton 128). Psyche realizes her mistake of disobeying Cupid, her then wavering loyalty to him, has now become stronger than ever before and is willing to do anything to get him back. And so she becomes Venus’s (Cupid’s mother and goddess of beauty and love) servant, in hopes of finding him there. Liesel, like Psyche, also losses one of her loved ones; one of her closest friends, Max.