The woman 's body is constantly judged, scrutinized, and examined as an object or a piece of meat. The specific issues of sexualization and objectification are part of a fairly recent debate, but has the representation of the female body on the big screen changed since the golden age of cinema? We often hear about "sex symbolism" when we describe women like Jean Harlow, Marilyn Monroe or, to take more contemporary examples, Cameron Diaz, Kate Upton, or Megan Fox. What do they have in common, other than the fact that their bodies have been at the center of their careers? New feminist movements are challenging the objectification of women’s bodies in the traditional Hollywood filmmaking.
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
Gangster movies have been successful for many years, these movies depict the real-life experiences of gang members. Furthermore, these movies also portray the views that the gang members have for females. Gwendolyn D. Pough, the author of What It Do, Shorty, stated perfectly the minimal number of roles available for them in hood related movies. Ms. Pough wrote, “However, what does come across clearly as one reads the Steffans’s memoir and Bryan’s tell-all are the ways in which some women have chosen to buy into the sexism and misogyny that limits the roles that women can play in hip-hop culture” (Pough. pg.
Inn different scenes in the movie, we see the women conforming to be unassertive and acquiescent; although having the ascendancy to turn the tables on men as and when they need to. Hitchcock exemplifies the fact of “femme-fatal” ensuing the compromising and dangerous situations,
The poem can be considered a blazon traditional sonnet although it presents the tradition in an unconventional way. The typical way a blazon sonnet presents itself is through the broken-down description of a woman’s qualities. Women are usually highly praised and they are made to appear so out of reach; they become unobtainable even by the poet themselves. Women are portrayed as a collection of objects rather than human which accentuates the idea that they are so unattainable because no woman like them actually exist. The idea that beauty is what defines, and what controls a man’s love for a woman, is not depicted in Shakespeare’s sonnet, My Mistress’ Eyes.
Nowadays, movies portray stories in which either a male or a female character can assume the leading role. Unfortunately, this was not the case on the year 1975 as most movies and TV shows targeted a masculine audience. The Bollywood film, Jai Santoshi Maa, might be considered as an early representation, in media, of feminism. There are many factors that might influence one’s decision in categorizing this film as feminist. Some of the elements present in the movie, which confirm the previous claim, are: relatable characters, the establishment of a role model for women to see as their guide and symbol of Female empowerment.
Laura Kinsale in The Androgynous Reader reiterates that no viewer/reader wants to be the heroine in the romantic comedy, but wants to be in her place, along with the hero. ‘The reader is seldom the heroine in the sense meant by the term reader identification. There is always a sense of analytical distance’ (Kinsale, Dangerous Men and Adventurous Women: Romance Writers on the Appeal of the Romance, 31). ‘People are looking at me’ says Vivian, whom Edward corrects, ‘They’re not looking at you. They’re looking at me.’ Similarly at Rodeo Drive the salesman was greatly interested in Edward than Vivian because he is the holder of the plastic money, but Vivian can be replaced by any other woman enjoying his
But the pioneers of the industry were actually foreigners. In 1896, the Lumiere brothers demonstrated the art of cinema when they screened Cinematography consisting of six short films to an enthusiastic audience in Bombay. The success of these films led to the screening of films by James B. Stewart and Ted Hughes. In 1897, Save Dada made two short films, but the fathers of Indian cinema were Dada Saheb Phalke who in 1913 made the first feature length silent film and Ardeshir Irani who in 1931 made India's first talking film. With the demise of the silent era and the advent of the talkies, the main source for inspiration for films came from mythological texts.
In most societies, men were seen as breadwinners while role of women was restricted to being a good homemaker and a good mother. Media played an important role in the modernization of societies and greatly affected the image of women in today’s modern world. Over past decades, Indian cinema has witnessed a significant transformation in the way women are portrayed through Bollywood Hindi movies. Contemporary Bollywood Hindi movies portray women as more independent, confident, and career oriented. So I want to focus on the fast changing role of women which is portrayed in Indian Bollywood films and its influence on the patriarchal Indian society with a focus and with some examples of some representative Bollywood Hindi movies.
These stereotypes are still present in the film, but they are portrayed differently in a way that they are not looked down upon. Furthermore, the women in the film show how they triumph and overcome their roles by not limiting themselves to how they are usually played. At the end of her article, she also included how several films also highlight the importance of women in films, showing their image “as revolutionary in the role of social catalyst” (Santos 234). This role is the most important one in the film, portrayed by the main protagonist,