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Portrayal of gender in media and entertainment essay
Portrayal of gender in media and entertainment essay
Narrative cinema and visual pleasure essay by laura mulvey
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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
Paul Celis Dharan Jaisankar CHI 010 A01 Enrique’s Journey Paper Rough Draft Sonia Nazario’s groundbreaking nonfiction book Enrique’s Journey brings to the forefront the reality of undocumented immigration, giving the reader insight into the true stories behind immigration through the story of Enrique, a sixteen-year-old Honduran boy who sets off on a perilous journey to reunite with his estranged mother, Lourdes, who left him eleven years earlier seeking work and a better future for her and her family in the United States.
This was an instance in which the distinction between the “male idea” and the introduction of
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.
Each of these concepts are utilized at the advantage of men, and the disadvantage of women, and has shown to provide detrimental consequences and results for women in society. However, in this film, and other films by Tyler Perry, appear to take the added step to combat these aspects that are present in the media’s portrayal of women. While these are present in the movie, he often makes a point to combat it with an inverse portrayal of each
The 1996 film Fargo by the Joel and Ethan Coen captivates the rare heroics of a pregnant female officer from Brainerd, Minnesota. The film’s depiction of female heroics is a proponent for empowering women in the film industry. We are always accustomed to seeing men as the primary focus and center of a film and women as the impotent secondary character. Films today should start portraying women as the strong primary character and, a character that’s inspires women to make difference like Marge Gunderson (Frances McDormand) did. Film is a societal changing platform and The Coen brothers use that to bring some parity in our male dominant society.
In Laura Mulvey’s article, “Visual Pleasure and Narrative Cinema,” she writes about the relationship between voyeurism, cinema, and gender. She begins by describing the concept of scopophilia, which means to gain pleasure from looking. She writes that scopophilia is inherently active/masculine, and that pleasure is derived from looking at other people as mere objects. On the other hand, the passive/feminine is derived from the experience of being looked at (pg.188). Mulvey sees this binary relationship between viewer and object being viewed as a part of our culture, and the greatest example of this is found in cinema.
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.
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.
(Bodenner, 2016). Many theories have surfaced since women have started their fight for empowerment and equality, and one of the most famous theory is “the Male Gaze” theory, founded by Laura Mulvey in her essay, “Visual Pleasure and Narrative Cinema.” This essay will look into the sources of opposition the theory of “male gaze” faces, and how the theory is disrupted by other possible theories or pieces of media. As mentioned before, the Male Gaze theory was introduced in the essay Mulvey wrote in 1975.
The construction of a self-conscious female gaze is the prime objective of feminist theatres everywhere. British feminist theatre practice as elsewhere is an attempt made by women to claim their rightful space in the creative realm of theatre that was deliberately denied to them by patriarchy. The public gaze on women was always the male gaze, one that always wished to see women as objects. It was an ideological position that patriarchy sanctioned as the normal way of looking at women. Women were always the secondary sexual objects for the gratification of male sexual fantasies.
From magazines to advertisements, women are constantly being exposed to beauty ideals - many of which are unattainable. This results in women falling victim to the manipulations and lures of the marketing industry. Since its establishment in 1886, Cosmopolitan has been a popular source for women to turn to for advice on relationships, sexual activity and popular culture. During its inception, the magazine was published as a women's fashion magazine initially depicting articles on families, home decorating, and the progress of science and technology. However, while Cosmopolitan is still viewed as a magazine targeted towards women, the methods in which the magazine attracts women have dramatically evolved.
In his article about how political films have the power to change minds about the government, John Guida discusses Dr. Pautz’s idea that “movies can be a great mechanism for conversation and reflection.” Whereas we as a society might find it hard to confront issues, movies such as Get Out allow for a broader conversation about racism, Moonlight masculinity, Wonder Woman female empowerment, and so forth. But without showing grounding themselves in reality, these movies would not have the effect they did. For example, in Wonder Woman, Diana questions the frailty of women, wondering how they are supposed to fight in constricting dresses. By showing current, or at least World War II current, views of women, the film is able to explore the ways in which women do not need to behave the way they have always been taught to.
Abstract: In most parts of the world, females have always been the victim of oppressive patriarchy and male chauvinism since ages. This problem has been represented by many people through various forms of creations be it art, literature or films. Films are the most popular visual mediums of entertainment through which a large segment of people can be approached. Like literature, a film is also a work of art which mirrors the society, it also depicts the reality of the society though it has some fictionality in it.
M.H. Abrams’s The Mirror and the Lamp: romantic theories and the critical traditions is one of the most influential books in the field of western criticism. It was published in the year of 1953. The title of the book refers to the two contradictory metaphors used to portray the artist – one comparing the artist to a mirror which reflects nature as it is or perfected whereas the other compares the artist to a lamp that illuminates the object under consideration. Professor Abrams in his book illustrates the transition of the perspective of the theorists on the artist from one to the other and the ramifications of the latter in aesthetics, poetics and practical criticism. The essay “Orientation of critical theories” is the first chapter of this book.
