Differences Between Pre Code And Pre-Code Movies

2. Jump Cut - A Review Of Contemporary Media, Sexual innocence & film: a look at scholarship on virginity, by Susan Ericsson – Internet http://www.ejumpcut.org/trialsite/EricssonTeen/index.html

Women’s roles in movies have changed dramatically throughout the years. As a result of the changing societal norms, women have experienced more transition in their roles than any other class. During the period of classical Hollywood cinema, both society and the film industry preached that women should be dependent on men and remain in home in order to guarantee stability in the community and the family. Women did not have predominated roles in movies such as being the heroin. The 1940’s film Gilda wasn’t an exception. In Gilda, the female character mainly had two different stereotypes. The female character was first stereotyped as a sex object and the second stereotyped as a scorned woman who has to be punished.

In their journal article of “Hetero-Romantic Love and Heterosexiness in Children's G-Rated Films,” Karin Martin and Emily Kazyak discussed how the animated Disney films as well as G-rated movies construct heterosexuality to young viewers – children, as they should not contain any of heterosexual scenes. According to the authors, young children are seemingly involved deeply in media world as it is a fruitful chapter of their sexual socialization; animated Disney films or other G-rated movies are what they are oftentimes engaged and attracted. It is always plotted as a stunning, beautiful lady waits for a brave, handsome guy to come to her life, then they would live happily ever after since the movies mark relationships between opposite sex repeatedly,

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

Anne McClintock’s “Gonad the Barbarian and the Venus Flytrap”, focuses a lot of attention on how from the beginning of history, women have been denied some of the basic rights and freedoms that have been essential to the way that men live. Starting back from the times where they couldn’t vote and when women were basically seen as property when wedded. Women today and even in the earlier days could not express their sexuality and could not show that they were sexual beings. Anne McClintock gives the idea that women should be able to have the things that men have and they should be able to express it in the same way as men. In this essay, I will analyze how Anne McClintock views pornography as a form of pleasure that is mostly consumed by men and how women are incorporated into the employment of the industry and even in the home setting.

In the early fifties, lesbians were also being attacked by the film industry, portraying them as bulldykes and troublesome neurotics.

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

Leff and Simmons’ book explores the history of film censorship, from the 1920’s Motion Picture Producers and Distributors Association (MPPDA), to the Hays Code, to the current MPAA rating system. The first half of the book gives a thorough background on the people who spearheaded the efforts to enact censorship in Hollywood, especially focusing on MPPDA President William Hays and Joseph Breen. Leff and Simmons detail the pre-code vulgarity and blatant sexuality in films and then recount the multitude of reactions of various stakeholders, including responses from the Catholic church, newspaper mogul Randolph Hearst, the Women’s Christian Temperance Union (WCTU) and concerned public officials among many others. Ultimately, the book describes how Hays is able to ward off federal intervention and Breen is able to enforce censorship of the Hays Production Code in the film industry.

With reference to relevant cultural theories analyse the representation of sexuality in a film/television text of your choice.

Since the 1940’s, movies have predominately portrayed women as sex symbols. Beginning in the 1940’s and continuing though the 1980’s, women did not have major roles in movies. When they did have a leading role the women was either pretreated as unintelligent and beautiful, or as conniving and beautiful: But she was always beautiful. Before the 1990’s, men alone, wrote and directed all the movies, and the movies were written for men. In comparison, movies of the 90’s are not only written and directed by women, but leading roles are also held by older and unattractive women. In this paper I will show the variations and growth of women’s roles in movies from the 1940’s though the 1990’s.

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.

Like most popular gender-bending films, Some Like It Hot calls us to critique constructions of sexuality and gender both within the context of historicized moment of the films production and from the perspective of later

The search term, “Literary exploration of lesbian desire” yields three pages of results for pornography, erotica, and sexually explicit pictures. This perception of lesbianism as erotic extends throughout mainstream society, with images of lesbianism targeted to heterosexual men in advertising, film, and pornography. Lesbianism in literature has long served either as the pornographic subject of male voyeurism or subjects to be condemned by heterosexual authors—and in many cases, both. The genre lesbian realism is one that arises out of the revolutions of the 1960s in an attempt to combat pulp fiction narratives. Fundamentally, these works must take on a perverse meaning; their foundation in traditional literature style, even simply being a

Since its humble beginnings in the later years of the nineteenth century, film has undergone many changes. One thing that has never changed is the filmmaker’s interest in representing society in the present day. For better or worse, film has a habit of showing the world just what it values the most. In recent years, scholars have begun to pay attention to what kinds of ideas films are portraying (Stern, Steven E. and Handel, 284). Alarmingly, viewers, especially young women, are increasingly influenced by the lifestyle choices and attitudes that they learn from watching these films (Steele, 331). An example of this can be seen in a popular trope of the “romantic comedy” genre in this day and age: the powerful man doing something to help, or “save” the less powerful woman, representing a troubling “sexual double standard” (Smith, Stacy L, Pieper, Granados, Choueiti, 783).

In society, women are often perceived as the weaker sex, both physically and mentally. In modern times women have leveled the playing field between men and women, and feminism is a highly discussed topic, but for years, women faced discrimination and prejudice both in life and in the workplace, due to their sex. This way of thinking flooded into the world of film. In their works, the authors of each of the various sources address the limitations and liberations of women both on and off the screen in nineteenth century Film and Cinema. Not every source is completely filled with information related to the research topic, but they do cover and analyze many of the same points from different perspectives. Prominent points addressed in each