Analysis Of ' The Lies Hollywood Told Us : Love And Romance Edition

In the article, “Types of Women in Romantic Comedies Who Are Not Real”, actor and writer, Mindy Kaling, classifies the women’s roles from classic romantic comedies, while a critical analysis piece over the genre as well. Starting the article, She discusses her inspiration for the piece itself, furthermore expressing her love for romance, as well. Throughout the article, she separates the different types of women in these roles, whether it’s the obnoxious glamour girl, or the girl with an amazing personality, in latent terms, the difference between “The Klutz” and “The Ethereal Weirdo.” By the end of each example, she differentiates how cliche the storyline of the female character

“The Fall of the Female Protagonist in Kids’ movies” by Stefan Babich explains the role of

In their essay, Gillam and Wooden express their revelation that Disney/Pixar is trying to teach their young viewers a new perspective regarding the characteristics of a male. The authors focus on denoting certain points in Pixar movie plots when the male protagonists underwent character growth and hence became the “ideal” character the audience learned to love. Gillam

The essay by Gillam and Wooden attempt to prove that in many Pixar/Disney films, the often male protagonist goes through a change where they are “stripped of their identity” and made into a new more female like character (470). The two authors assert that Pixar has been making movies that create a new model of masculinity – one that does not follow the ideals of the “ubermacho Gaston” but rather a gentler and more understanding man (471). Gillam and Wooden assert this to appeal to the reader who has seen all or some of the movies they are refrencing not only to prove a point but to make the reader aware of what has occurred in the movies.

Women are deemed as a “minority” yet make up 51% of the world population and in 2014 made up only 12% of protagonists in films. And that is just on-screen, the percentage decreases as you go farther and farther into behind-the-scenes positions such as directors, cinematographers, and writers. Add race and ethnicity and those characters' percentages decline even more (Lauzen, 2015.) Women in film and television are often portrayed with emphasis based on their body type and in advertisement are largely objectified. The large objectification and misrepresentation of women in the media has led to an offset psychological view of women from growing up to adulthood.

In response to lack of strong female representation in Hollywood films, Jemina Lewis wrote a persuasive article on women being overlooked in Hollywood and how it is impacting kids-particularly young girls. Appearing in the Age on July the 4th, 2015, Lewis argues in a critical and sarcastic manner that Hollywood should dismissing the wants – even needs – of half its audience, and create more powerful female role models – particularly superheros. Adopting a challenging and scornful tone Lewis positions parents and superhero fans alike to accept her case against the Hollywood industry.

¨How Movies Teach Manhood¨ ,by Colin Stokes, Filmed on November 2012. The Topic of his speech is that movies do not send positive messages to boys, but do to girls. Stokes aims his speech towards parents and towards people who enjoy films. He is addressing these adults because he wants to show when a man defeats a villain, it should be the same as someone defending a women. He is arguing that many of the top movies we have today do not show women being as capable of doing things that men do.. Stokes uses ethos and some pathos in his speech. He uses a lot of these appeals because it helps show that the movie industry is using mainly men and by targeting people’s emotions and using credibility.

The authors stressed the consideration of the gendered characteristics analyzed within the larger scripts of the films to better understand some of the messages viewed by children. For example, domestic work was key theme to be scrutinized in Disney Princess movies. The first three princesses were shown doing domestic work on many occasions. The men in the movies never did domestic work because women were the ones who cooked and cleaned. Over the years, it is argued that this genre of film has widened the gender roles and exposes children to more balanced gender role portrayals.

In order to undergo this study, both primary and secondary research will be conducted in order to obtain information for the foundation of my personal interest project. Through the use of questionnaires and secondary data I will be able to establish the general stereotypes and prejudices within the Disney princess movies and the feminists views upon the films. Secondary data will allow me to closely analyze all of the Disney princess films and will allow me to outline the changing aspect of gender roles in regards to recent Disney films.

I will investigate the question, ‘How has the representation of women has changed in children’s Disney’. Where i will compare and analyse the films Snow White and the Seven Dwarfs (1937), and Princess and the frog (2009). I will include the language between women, and between men, and in particular, both gender conversations and behaviour, and analyse the stereotypes, and how sexism has become less acceptable throughout time, and include the theories of men being more dominant, which is still true and reflects in modern film. With much research and analysis, I expect to the conclusion that women's roles and representations have changed in children’s films, as female characters have earned more power in modern film work, as times change

Throughout the history of Disney’s animated films, various tropes have been identified by scholars that tie each movie to each other and to American society in a way that gives Disney films a unique flair. The Disney princess has been widely examined by scholars and has also been heavily criticized from both popular and scholarly points of view. However, other signature characters have received less attention. While the typical Disney protagonist is widely acknowledged, the antagonists of classic Disney movies are less likely to be examined, even though they are just as important in shaping the story as the protagonists. The protagonists of these movies are famously formed to be hyper-heterosexual, and following of traditional gender roles,

Film critics have long criticized gender stereotypes created by the media on the concept of beauty. According to several studies based on content and discourse analysis, the construction of fairy tale texts is affected by their social context. In The Pervasiveness and Persistence of the Feminine Beauty Ideal in Children's Fairy Tales Baker-Sperry and Grauerholz have explored the theme of beauty in various reproductions of fairy tales from the original Grimm tales by analyzing the content. Their study illustrates that the pervasive theme of beauty is represented by virtue and youth in these reproductions, while the emphasis on beauty has noticeably increased at the end of the twentieth century. They found out that the tales were “powerfully

North American media is known in many forms to include a romantic subplot between the main protagonist and a major side character, underneath the main morals and plot the story conveys. These romances in media, particularly films and novels, are uncreative and dissatisfying. They distract from major events within the narrative and divert the reader’s attention away from the author’s message and morals they are trying to impart. Also, the undermining of female characters is a major issue faced in the writing of these romances into stories. Many narratives, though, may originally have good intentions with the insertion of a relationship, but society’s glamorisation of romantic love holds them on a pedestal until they’ve turned stale, so in turn

In conclusion, we discussed the variations and growth of women's roles in movies from the early 1900’s until the present including the under represented, sexualized roles women played, how the gender gap has been shrunk, and the successes of many talented female actresses.when it comes to the portrayal of female characters in movies. We have made significant progress in the equal and fair representation of the sexes, but also still have a lot to change. It’s very simple and easy. Women need to be portrayed as who they are, the real, hard-working independent woman. We need to allow women to be women, not fake characters used to create sexist

Filmmakers use traditional gender stereotypes to produce characters audiences can easily identify with by portraying conventional images of a person with identifiable characteristics. In previous years, the dominant representation of a women in film has been the passive, subjugated protagonist. However, through the development of female empowerment and added feminist representations of film, the female heroine transformed to become strong and independent women in her own right, as an individual character.