Feminism And Mad Max : Fury Road

More often than not, analyses of John Rollin Ridge’s Joaquín Murieta interpret the novel as a demonstration of male bravery, and regard the female characters as counterparts that exist to remind the violent men of their humanity. However, an analysis that only considers women for their roles as sentimental beings is one that fails to detect their true significance in the work. Instead, it is essential to recognize that the female characters of the novel diverge from traditional, confining expectations of womanhood, and embody traits of masculinity as a response to their social situations.

Mad Max Fury Road depicts a post-apocalyptic environment in which the basis of survival depends solely on the citizens following a social contract in which survival is achieved at the cost of any sort of freedom. Not only is this evident in the totalitarian style society, but also in regards to the environment which makes survival impossible without resources and more specifically, a war machine. The director attempts to exploit the idea of environmentalism within the sub texts of the movie by placing the setting in a dystopian environment in which a battle of man vs nature becomes the main obstacle of the main characters rather than the more obvious theme of man vs man. Specifically, the scene of the movie in which the war machines head straight

The issue at the heart of the David Fincher film, Fight Club, is not that of man’s rebellion against a society of “men raised by women”. This is a film that outwardly exhibits itself as promoting the resurrection of the ‘ultra-male’, surreptitiously holding women accountable for the decay of manhood. However, the underlying truth of the film is not of resisting the force of destruction that is ‘woman’, or of resisting the corruption of manhood at her hand, but of penetrating the apathy needed to survive in an environment ruled by commercial desire, not need. In reality, Fight Club is a careful examination, through parody, of what it means to be a man; carefully examining the role of women in a society busy rushing towards sexual

Within the action and suspense of Rear Window, directed by Alfred Hitchcock, the theme of feminism is uncovered. Throughout Rear Window, Lisa Fremont, the female protagonist, is a symbol of feminism due to her character transformation.

David Fincher’s Fight Club, 1999, contains strong themes of masculinity and enforced gender roles. It is subjective, however, whether or not the gender narrative within the film complies with modern feminist values, or serves as nothing more than masculine empowerment. The two critical texts I have chosen to study are Masculinity in Crisis and Private Satisfactions and Public Disorders: Fight Club, Patriarchy, and the Politics of Masculine Violence, both of which analyse Fight Club through a feminist lens. My first critical text views the film as a feminist statement on the toxicity of masculine violence, while my second text finds more faults with the gender roles in the film.

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

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

Women’s bodies are seen as objects by men and are not seen as anything else through the male gaze. Mad Max is a great example of how women are objectified in media. The whole movie is pretty much

Ridley Scott conforms two main female characters to two basic stereotypes: Thelma, a juvenile housewife that has to ask her husband for permission before she can do something and Louise, a lower-middle class working woman

This theory is used to critically analyze relationship between language, ideologies, and society to reveal the portrayal of women in the film.

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).

If Thelma and Louise was released today, would it be controversial? Would it be seen as a “neo-feminist”, man-hating film, like it was in 1991? Would it even be popular? All these questions boil down to a singular argument; how much has society changed in 26 years?

According to Marx, all of human history has been the history of class struggle. In capitalist societies, antagonism unfolds between the owners of the means of production and the workers. Symptomatic of the worker’s struggle is the effects of exploitation which cause all parts of human life, including one’s life as whole, to become mere commodities to be bought and sold. It is a Marxist belief that the oppression and dissatisfaction of the working class will inevitably lead to a revolt in which the goal is to regain equality. Project Mayhem in David Fincher’s Fight Club can be viewed as a failed Marxist working-class revolt due to the fact that in attempting to reinforce equality for all, it ends up objectifying its members.

The film Zootopia, written and directed by Byron Howard and Rich Moore, follows the life of a small, yet spirited rabbit as she endures the trials angst of pursuing a profession as a big- city police officer. The city of Zootopia is a lively, thriving metropolis where Judy Hopps, the story’s protagonist, bravely embarks on her dream of pursuing a career in law enforcement. The writers employ a buoyant, kid-friendly storyline to comment on a myriad of social injustices and inequalities abounding in modern-day society. Feminist literary criticism utilizes feminist ethic and ideology to analyze the way in which male supremacy permeates the language and themes ingrained within literature. It allows readers to observe literature from a renewed, unorthodox perspective, and therefore extends the spectrum of accepted ideas and convictions. Zootopia is wrought with commentary on the pervasive presence of female oppression in the workforce. Oft beleaguered Judy Hopps combats disrespect and prejudice from her colleagues, condescension from her family and community, and gender bigotry that requires her to continuously prove herself as both a legitimate and qualified officer.