Analysis Of The Film ' Stepford Wives '

When one hears the terms “violence” and “horror,” one typically imagines horrible crimes and serial killers; rarely would one think of everyday suburban life. However, this is the exact landscape of violence depicted in Charles Burns’ Black Hole. In Black Hole Burns draws attention to the implicit assumptions about “normal” and “other” made in everyday life by exposing the objectification of women and through the male gaze. The male gaze is a phrase used in film and gender studies to describe the lens through which audiences view popular culture from a heterosexual male perspective. According to Laura Mulvey, the film theorist who coined the term, the male gaze is so ubiquitous that it often goes unrecognized and is considered the norm.

Alfred Hitchcock’s Rear Window, is the story of a photographer named L.B. Jeffries who is currently confined to a wheelchair because of a leg injury and therefore unable to leave his apartment. Out of boredom, he begins watching his neighbors, going as far as to name them and come up with scenarios for them. He seeming has all control and all from the comfort of his apartment. His girlfriend, Lisa, whom he deems “too perfect” and is unable to commit to her fully, is not as interesting as the lives of his neighbors; that is until she herself becomes interested in them as well. Laura Mulvey and Tania Modleski have both written about Rear Window and the way it either follows the normal gender roles or contradicts them. Despite being interested in similar subject matter, the two women have differing opinions on the approach of the film; is Lisa the passive object or the active agent? (Modleski, 723). The arguments presented by both women cause the viewer to not only see this film as a critique on movie viewing but on the male gaze and whether or not the man is truly in control of the world he sees around him.

The author, Jackie Stacey is a British feminist film historian. The main goal of her research is to understand the specific pleasure and engagements of British cinema audiences in the 1940s and 1950s. Stacey received 350 letters from women who went to the cinema 2-3 times a week during this period of wartime as cinema going was at an all-time high. Within the book, Stacey discusses Laura Mulvey’s Male Gaze and how Mulvey’s analysis of the pleasures of Hollywood cinema led her to conclude that the spectator position offered is a ‘masculine’ one. She talks about how there are 3 looks within the dominant mode of Hollywood cinema; the camera(man), the editor and the director. She emphasizes on how all of these looks work together to create the effect of seeing the female characters as objects of desire through the eyes of the male characters.

Arundel Partners wants to buy the rights to produce the sequels in advance rather than negotiating on a film-by-film basis because otherwise, the studios will have an informational advantage. Later on in the production process, studios will have a greater idea of the quality of the film, making them less likely to sell the rights to more profitable sequels. Advanced rights to the entire portfolio of films mitigates this informational asymmetry and creates an options-pricing model for Arundel. There is value in Arundel’s right to forgo production of the sequel if they discover that the original is a flop. If Arundel chooses to forgo producing a sequel, in this model they are now only taking a $2M loss. To the movie studios, Arundel’s proposal creates great value. By offering the cash for all movies in advance, Arundel is providing upfront financing to the cash-hungry studios, allowing them the resources to pursue other projects, especially big budget blockbusters that have substantial negative costs. The guaranteed profit of the sequel rights fees abolishes some risk for the studios, even though it eliminates their potential upside. By purchasing the rights to an entire portfolio of films from the studios, it also serves Arundel to diversify away the risks of individual films, much like investing in diversified funds of market indexes.

In Sturken and Cartwright’s essay Modernity: Spectatorship, Power and Knowledge they discuss the gaze and that it is to “look or stare, often with eagerness or desire”(76). Sturken and Cartwright also use Laura Mulvey’s idea of the male gaze as an example. Mulvey proposed “that the conventions of popular narrative cinema are structured by a patriarchal unconscious, positioning woman represented in films as objects as a male gaze”(76). The male gaze is closely related to the stereotype of the dumb blonde. The character of the dumb blonde is always represented as highly sexual and attractive and is, therefore, the misogynistic male viewer.

James Patterson and Gabrielle Charbonnet in their compelling novel, “Sundays at Tiffany’s” proclaims that love is an emotional struggle and that true love conquers those rough obstacles. Patterson and Charbonnet supports their assertion through their use of infatuating details describing how truly strong the main character's’ affection are towards one another,”Somehow I stumbled back to my room, where the sheets seemed to mock me.The idea that Michael would literally love and leave me had never occur to me...This time I wouldn’t forget him, because I couldn’t ever forgive him-for breaking my heart twice” The author’s purpose is to grasp the reader's attention by portraying the alluring action between the two main characters Jane and Michael.

Kids in elementary school are often given assignments of self-exploration and discovery. For example, teachers give students questionnaires at the beginning of the school year asking for their favorite color, book, song, movie, television show, etc. I find these questionnaires difficult, as my favorite book or song is consistently changing; however, one category remains the same. My favorite television show, since first watching in 2001, is The Golden Girls. It may seem unexpected that a six year old finds a show about four older women living in Miami, Florida during the mid-1980s interesting, but I did.

As Laura Mulvey states in her article "Visual Pleasure and the Narrative Cinema", the cinema operates as an "advanced representation system" that offers pleasure in the act of looking, what she classifies as scopophilia or voyeurism (Mulvey 484). Through the cinematic experience, one may sit in a dark theatre and derive pleasure from looking without being seen. As E. Ann Kaplan describes in the introduction to her book Women and Film, within this act of gazing there are three looks: "(i) within the film text itself, men gaze at women, who become objects of the gaze; (ii) the spectator, in turn is made to identify with this male gaze, and to objectify the women on screen; and (iii) the camera's original 'gaze' comes into play in the very

Although, Heathers (1988), falls under the category of the classic “teen movie”, its story suggests that it is much more than a teenage film. This film includes a little bit of all teen genres, subsequently creating the “non-classic” teen movie. The classic teenage film, typically deals with one of two subjects: the coming of age story, where the protagonists reaches a certain level of maturity by the conclusion, and the slasher, which typically involves a psychopathic killer and no one but the protagonist surviving. Although it involves the “psychopathic” killer and the protagonist does make it all the way to the ending credits alive and mature, unlike her antagonists, Heathers, by contrast also parodies the pursuit of popularity while taking

Do you sometimes wish you could just escape your mundane existence? A good book has the ability to transport you into another world, a world where you can let your imaginations and creativity run wild. This magical feeling you experience is the result of vivid descriptions and passion created by the author, which makes reading a book so special. So, if reading is so exciting, why do you think so many book adaptations are made into movies? Why do college students after reading the book would want to watch the movie? The main reason why college students would want to watch the film version of the books Harold and Maude and World War Z to not only compare their imagination of the book to the movie but also use the

Theorist, E. Ann Kaplan in her work, “Is the Gaze Male?”, analyses the portrayal of women in film using Laura Mulvey’s “Gaze’ theory and psychoanalysis. In addition, Kaplan states that historically, females have been the central focus on only the melodrama genre, and while melodrama exposes the constraints and limitations that the family places on women, at the same time, gets women to accept those constraints as inevitable and normal. Kaplan argues that our culture is deeply rooted in “masculine” and “feminine, and dominance-submission patterns. In the end, she concludes that the exclusion from male culture provides an avenue to affect change in film and society. I partially agree with Kaplan that some women take pleasure from being the object of the male gaze as I think that is not entirely true, and specifically, this generalization does not apply to lesbians.

The male gaze puts his fantasy onto the female figure, which is styled, in a unique sort of way. In this traditional exhibitionist, role women are continuously being looked at and their appearance is delivered to the male gaze in such a way as a strong visual and erotic impact and provides male desire. The presence of a woman in a normal narrative film is the key of the movie. However, the key of the narrative film works against the development of the story-line and stops the action due to the erotic gaze. Butt Boetticher said: “What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance”.

As nurses, we are taught to have a holistic approach to the care we provide to our patients. Treating the mind, body, and soul as a whole, focuses on unity and all the factors that pertain to a patient and their health. The purpose of this paper is to review my reaction and feelings after viewing a movie on Youtube called “Tuesdays With Morrie.” This paper will discuss my feelings about possible touch deprivation toward the older generation and several ways our society has influenced, both negatively and positively, our emotions on this subject. This paper will give an insight on how nurses might have a positive impact on touching to enhance the health of our patients. Also, this paper will talk about aging and the spiritual journey and how

film through the eyes of a heterosexual male. This means that females are shown in such a

Raitt in conjunction with Aragay’s and Gemrna’s claim agrees that adjustments, improvements, and changes from the source material to the adaptation must be mandatory in comparison to when the timeline the adaptation is set as well as its publication date to remain refreshing and contemporary in its material. Once again Raitt makes a use of the film Bridget Jones Diary by focusing on its transition from Regency era context to a more relatable twentieth- century cultural context as well as relying assertions from Aragay and Germna to support his claims. Raitt acknowlges that,