Analysis Of Pretty Woman And The Proposal

Just as there is a male gaze, there is also a female gaze. Mulvey argues that, “... such arguments don’t consider how insistently women are presented as sexual objects” (Monash). And yet many continue to argue that genres such as romantic comedies invalidate the male gaze’s offensiveness because it sexualizes men in the same way women are. In response Mulvey points out that, “... female viewers are not invited to desire male bodies, instead, they’re positioned, to identify with a heroine that is desired by a man” (Monash). Take the widely popular Love Actually. One of the most prominent romantic comedies in the industry, it follows several storylines of characters falling in love. Though good natured in spirit, the movie’s assigned gender roles pose a problem. The relationship between the latina maid, Aurelia, who doesn’t speak English, and novelist, Jaime is purely physical. Due to the language barrier, they never have an actual conversation and in fact Jaime doesn’t even admit that he’s in love with Aurelia until she strips and jumps in the lake to retrieve his papers. After Jaime leaves, Aurelia learns English, but doesn’t pursue a better situation, instead choosing to wait for him to return. It displays the woman as dependent with a future dependent on the man. Prime Minister, David, and house staffer, Natalie’s, relationship should also be examined. The romance plays on the boss/subordinate trope. It

can't resist him as he has enough money and class to set her up for

Many romantic films do not have fairy tale stories or happy endings, although love serves as a shield against the harshness of the real world. Romantic films often elaborate the main theme of love at first sight. Romanticism refers back to the romantic characters of the Middle Ages and also modern films. Romantic love on film is a universal human experience that produces intensely powerful, strong feelings. Romantic Literature has had a strong influence on modern day films through pathos, folklore, and love.

Technically his book, The Sublime Object of Ideology, was published in 1989, so one can only wonder about whether Zizek would have included commentary on the quasi-Cinderella romantic comedy, Pretty Woman, released in the following year. It certainly warrants a more exhaustive study, but focusing briefly on a few key points in the movie – particularly in the light of theory concepts such as ideology, fetishism, and the commodity-form – should prove equally interesting. While some critics attacked the movie's fantastical plot – charming hooker/heroine Vivian Ward, played by Julia Roberts, is “picked up” and essentially “rented” by troubled corporate mogul Edward Lewis, played by Richard Gere, with the pair eventually falling in love and living “happily ever after” – it was a complete box office success. The film has brought in 178 million dollars since its release in 1990, placing it among the top 50 grossing movies of all time (Internet Movie Database Ltd.).

> Directed by Garry Marshall, Pretty Woman is a romantic comedy and a modernized Cinderella. The story involves the evolution of the relationship between the two protagonists, Vivian (Julia Roberts) and Edward Lewis (Richard Gere). In the film how a business arrangement between a business magnate and a prostitute quickly becomes a genuine loving relationship. In addition to their complex business relationship, Edward’s lawyer Phil (Jason Alexander) is one of many obstacles to the desired “fairy tale ending.” Edward and Vivian are two broken individuals. Vivian is prostitute who is dealing with the vicissitudes of life and Edward is a divorced man who recently broke up with his girlfriend. Vivian and Edward bring out the

In Hollywood film women 's roles have varied quiet considerably between genres, geographical placement, and period settings. These factors contribute to the different representations of women 's roles in the film they are present in. The roles are diverse going from the traditional maternal role to that of manipulative murderer. Women 's roles in movies can be almost equal to the male roles, and the co-stars are not given the majority of the acclaims just because they are male. Society has set certain standards that women are supposed to follow. The most common image of women is that they are very passive and try to avoid conflict in any situation. More and more in society women are breaking down the social barriers that confine them to their specific roles. The films Rear Window and Resident Evil show women in roles that are untraditional for our society. These two movies help to show how women are rebelling against social norms and that they are taking more active and aggressive roles. In film noir’s we can see women represented as the femme fatale, a woman whose mysterious and seductive charms leads men into compromising or dangerous situations. In action movies we see the heroine who is strong both physically and mentally, and has the ability to use weapons. Women seem to be more trapped than men because they are supposed to live up to society’s standards dealing with beauty and size, which are more physical characteristics. These specific guidelines have been set by

This genre is typically modern, perky and upbeat, but the common narrative in all of them is that it features a woman who is strong and she overcomes adversity to reach her goals. There is also a message of empowerment that also struggles with a romantic predicament and using comedy to poke fun at the male characters. Industries are still producing soppy romantic comedies for the female audience but the divide between the standard chick flick and romantic comedy is slowly disappearing. Similarly to the beginning of this essay it is evident that institutions are moving in the direction of women’s place in culture in relation to this film genre; women are usually shown as the super power since they are made to appeal to the female audience. However

Stephan Babich 's blog post entitled, "The Fall of the Female Protagonist in Kids Movies", and Richard Lawson and Jen Doll 's article, "The Lies Hollywood Told Us: Love and Romance Edition”, are rhetorical arguments that attempt to support a notion about an explicit aspect of motion-picture theatre. In Babich 's post, he writes about how women are hardly ever the protagonist in kid 's movies. The goal of his argument is to persuade avid animation movie watchers that future films should have a female playing the leading role. The main idea of Lawrence and Doll 's article is to convince men and women who frequently watch romance movies that they should not expect the romantic situations and endings that Hollywood

“A Modest Proposal” was written by Dr. Jonathan Swift. In this essay, Swift suggest that the poor people of Ireland should sell their children as food to the the rich men and women to help ease their economic troubles. This is not the right thing to do. To sell your own children as

sexy women are used for movies because that’s what men likes to see. A film that use women

Today’s filmmakers have three areas to focus on: the event or theme of the film, the audience who will be watching the film, and lastly, the individual characters and the roles they play and how they are portrayed and interpreted. Many of these films bottom line objectives are to focus on the “erotic needs of the male ego.” The focus on fetishistic scopophilia tend to slant the view such that we see the world as being dominated by men and that woman are

In the article, “Negotiating Courtship: Reconciling Egalitarian Ideals with Traditional Gender Norms” by Ellan Lamont she writes about women’s behaviors and accounts reinforce gender differences of inequality. Courtship conventions remain the same even though women have greater earning power through higher education. Courtship conventions such as paying for dates, determining commitment and moving onto marriage is left up to the male. Women’s economic resources contradict the persisting gender norms that shape the behaviors and attitudes during courtship.

What does the show, "The Bachelor", say about our expectations for love in our culture?

However Molly Haskell In her development of “buddy movie” the homosexual eroticism of the main male figures are able to present the story-line with no interruption. Normally the woman shown operates within two sectors, the first one is as a sexual object of the other actors and the second one is as a sexual object for the target audience.

The directors Darren Aronofsky and David Fincher key concern in Black Swan and Gone Girl are to convey how destructive, unhealthy relationships can be to women. Women have become dependent on the peoples in their lives for their sense of purpose. Both films depict women in a negative way. In fact, each film suggests that women can be adversely impacted by the relationships they have with others. In each film, the women characters are dependent on a strong character whom they rely on mentally and emotionally. Therefore, this allows the directors to expand the stereotype people have around on a mental illness. These methods are created by the use of cinematography, which communicate the dependent roles and non- diegetic music which convey