Essay about Feminist Ideas the Screwball Comedy Film Genre

During, the 1960s and 70s American Feminist Movement, women had begun to protest for the same human rights as men. The main areas of protest in The United States of America were Boston, Los Angeles, and New York City. There were many ways to protest, including writing, art, and organizations. There were many writers who wrote about feminism during this time, some include Betty Friedan, Robin Morgan, and Kate Millett. Art also encouraged feminism, specifically the paintings by Judy Chicago and Miriam Schapiro. There were many feminist groups that protested for equal rights, some of which were The National Black Feminist Organization, The National Organization For Women, Bread and Roses, and The Chicago Women's Liberation Union. In the 1960s and 70s,

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.

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

In the recent history, feminism and pop culture have become more closely entwined than ever before. This can be partially because of the growing interest in culture studies as an academic discipline, but it can also be explained by the fact that, there’s a whole lot more popular culture to watch. Pop culture has become our common language, a universal way of uniting the world. Pop culture is also a key route to making the concept of feminism both resonant and relatable. In this paper, I am interested in the relationship and connections between pop culture’s representations of women and girls and the depiction of feminism through the lens of pop culture. There’s a

The 2001 comedy film Legally Blonde tells the story of Elle Woods, an upbeat and optimistic sorority girl who, over the course of the movie, transitions from a simple college student with few professional aspirations into a successful law student. Elle initially presents herself as a stereotypical sorority girl: vain, superficial, and self-obsessed. As such, she consistently faces discrimination from her friends, family, and colleagues alike. The film wants the audience to view Elle as a woman who rises up above the stereotype through hard work and intelligence, and who proves herself as a capable individual in a discriminatory society. Because of this, some view Elle as a feminist icon, a person who empowers women to achieve equality to

In contemporary film women's roles in films have varied quiet considerably between genres, geographical placement, and between

In the 2005 film The Wedding Crashers directed David Dobkin show many normal gender stereotypes and gender inequalities that are still present in today’s society. The film mainly focuses on two divorce mediators Jeremy and John who enjoy sneaking into wedding parties in order to get drunk off free booze and seduce bridesmaids. Certainly, the film exposes the bromance relationship that Jeremy and John have, which opposes the hegemonic masculinity that society renders on. Their attendance to Secretary Williams’s party exhibits the patriarchy of a white, rich, and powerful man. And lastly the way the guys view women as part of objectification and women displaying sexual agency towards these two gentlemen has been able to change overtime in society where both concepts have become a norm.

The Hollywood movie Pretty Woman (1990) is about a prostitute in Hollywood, marrying an extremely rich businessman, in spite of her mutual distrust and prejudice. The movie contains the basic narrative of the Cinderella tale: through the love and help of a man of a higher social position, a girl of a lower social status moves up to join the man at his level.

In the contemporary context, when one tries to analyze the idea about women from previous decades being an audience and not the crew of a film industry, one wants to question and ask: why were women only an audience or, actors? Maybe there were some culturally held values and beliefs with respect to their contexts? However, with the passage of time, cultural and professional values improved. Technology began to improve and so did the mind-set of professional groups along with the audiences. Film industry has had an impression of providing first entertainment and, second education. Hence those working for the films might have had hurdles in choosing working for films as their career or vocation. At different times in the history, women in different cultural contexts have worked for certain film industries. I want to explore the idea about women and their talent in the film industry. Since I am primarily a viewer of the Bollywood industry and an occasional viewer of the Hollywood cinema, I want to compare the cultural and professional values of those who work for films in different settings. Since the course readings provided information with respect to certain cinema contexts, I wanted to add some ideas providing a comparative analysis of the women talent in diverse film settings.

In today’s world, men and women are perceived equally by the society. In the past, authority and control define men while women are given the characteristic of helplessness. Men are able to get hold of high positions while women usually are subservient to them. In movies, we would usually see women portray roles that are degrading due to the stereotypical notions they associate with this gender group. Moulin Rouge, a movie set during the 1900s narrates the story of a courtesan woman, Satine, as she undergoes hardships to earn money, experiences love but unfortunately, due to her irrational choices, faces tragic consequences at the end. Satine is a symbol of how women are being treated by the society during the era before post-feminism,

Yes, I believe that Judd Apatow is a feminist. My reasoning behind this claim lies behind the way he directs his movies. Throughout each of his movies he portrays each of the male characters as shallow or kiddish. Also, he doesn't seem to take either side, but yet honestlys sways in a way that percieves women as the more emotional smarter charcters while the men are complete opposite. I do not believe it is coincendental that he does so, but yet does it on purpose. Also, Judd Apatow acts as an innovator towards actors such as Lena Dunham and Amy Schumer. The biggist hit beyond why Judd Apatow is a feminist lies behind my most recently watched movie, Knocked Up. It comes off as very sexiest, appearing women to have great authority and knowledge

Scrolling through Netflix trying to pick a movie, viewers can generally get the idea of the movie based on the title shown. The first thought that popped into my head after reading the title ‘Fargo’, was how far would an individual strive to achieve and/or accomplish a goal or mission and how far would that individual run if caught in a unforeseen circumstance. The 1996 film ‘Fargo’ by the Coen Brothers, explores a handful of themes such as, life, death and evil. The idea of the movie is that the main character Jerry Lundegaard is a car sales man and is not very good at his job. He is shown no respect from his wife and child and his boss, which is also his father-in-law. The film takes place in a small town in Minnesota. This essay will explore the Feminist and Marxist theory, seen through this film ‘Fargo’ and its characters. The Feminist theory and Marxist theory are mainly seen through the characters Marge, the police officer and Jerry the main character, which the entire movie revolves around.

“ You cannot talk about genre without talking about gender.” Initially, this would appear to be a simplistic statement. On closer analysis, however, one fact becomes evident. It is the representation of gender which informs the genre of the text. Ismay Barwell , in her essay ‘ Feminist perspectives and narrative points of view’ states that “ Every text is gendered since every act of narration…..involves a process of selection….and the nature of that selection implies certain values” ( p.99). She makes the point that “ The desires, attitudes and interests which guide any choices made must be either male or female”( p.98 ). It is within this frame of reference, that the two texts will be analysed.

Stanley Kubrick’s great breadth of work spans over forty-eight years, and due to both his longevity and skill, he has influenced filmmakers from several generations. Kubrick has been named as a creative influence for a myriad of filmmakers, including Steven Spielberg, Woody Allen, Terry Gilliam, the Coen Brothers and Christopher Nolan [2,3]. Kubrick presents sensitive events in an unbiased manner, withholding an opinion on the topic. By not offering a resolution or a stance, he forces viewers to see the evils of man objectively. There is usually no punishment for the morally corrupt acts, because that offers a more accurate portrayal of reality. Characters often do not fully develop in Kubrick films, again as if to replicate reality. These unsettling techniques have left a clear impression on the filmmaker David Lynch. His films often share a sense of amorality that goes unpunished or unaddressed. Their respective world views are equally cynical, criticizing traditionalism in society.

Mrs. Morris functions in “Big Boy” as a tool for Hake when his masculinity is threatened by Lawyer Hedgepath and also as a contrast character to make Hake realize the extent of his mistake of sending Big Boy away. In the beginning, Hake falsely believes that he and Hedgepath are both on the same level of power and masculinity, but as he realizes the truth, Hake attempts to level the field by using Mrs. Morris for his own agenda. Also, Mrs. Morris’ physical characteristics, personality, and behavior resemble those that are heavily expected of a man which makes him look feminine in comparison. The decline in Hake’s patriarchal role results in a loss of power and identity since the “patriarchal ideology has a pervasive, deeply rooted influence on the way [people] think, speak, see [them]selves, and view the world in which [they] live” ("feminist criticism"). This leads to Hake finally feeling the emotional impact of losing his last child.