Film Illusions: Mignon Dupree

In this article, East Carolina University English professor Dr. Margaret Bauer makes the claim that one cannot solely rely on the reputation on the writer in order to fully comprehend the meaning of a certain text. This is the precisely the case with Ernest Hemingway as he was well-known to scholars to have his short stories filled with male-chauvinist characters either abusing or disregarding weak and helpless women. However, Bauer, a professor of English and women’s studies, believes that the characterization of Hemingway as an abuser and having a blatant disregard of women is almost entirely created by the scholars and readers of his stories. With an analysis of Hemingway’s “Indian Camp” and “Hills Like White Elephants”, Bauer attempts to bring her own feminist perspective to Hemingway’s notoriously misogynistic texts to prove that there are more to his female characters than there is on the surface and to possibly emasculate his reputation of portraying women as powerless and one-dimensional characters.

The concept art imitates life is crucial to film directors who express their views on political and social issues in film. In regard to film studies, race is a topic rare in many films. Like America, many films simply refuse to address this topic for various reasons. However, more recently, Jordan Peele’s 2017 box office hit Get Out explicates contemporary race relations in America. In the form of an unconventional comedy horror, Get Out is intricate in its depiction of white liberal attitudes towards African Americans. In short, Get Out suggests a form of covert racism existing in a post- Jim Crow era. Similarly, Eduardo Bonilla- Silva’s book Racism Without Racists acknowledges the contemporary system of racism or “new racism,” a system

The film ‘Hidden Figures’, directed by Theodore Melfi, follows the story of Katherine and Mary, two African American women who work at NASA, but are stopped from achieving their goals because they are ‘coloured’. Melfi uses props, dialogue and music to manipulate the audience to think that racism takes effort to resolve and that we are all human. Melfi does this to influence us to change the way we think and feel about people.

Mulvey, Laura. Visual Pleasure and Narrative Cinema (1975) - Laura Mulvey. Thesis. N.d. N.p.: Laura Mulvey, 1975. Visual Pleasure and Narrative Cinema (1975) - Laura Mulvey. NG Communications, 2006. Web. 20 Feb. 2014. .

Both Laura Mulvey and bell hooks describe the idea of the “gaze” in film. In both of the theories presented by Mulvey and hooks, the “gaze” is the way in which viewers are subjected to a particular perspective because of their social standing. In Mulvey’s case, she argues that the “gaze” in which the audience is forced into is that of the “male gaze” while hooks argues a more nuanced “gaze” including the “oppositional gaze”. While some of Mulvey’s argument is accurate, hooks argues that it leaves out important other factors, in particular, race. Both arguments have many similarities and differences, and can be seen exemplified in many films, such as Spike Lee’s She’s Gotta Have It.

Several film theorists have used a variety of tactics and view points to analyze feature films since their inception. One of the most prominent theorists of those that analyze films from a feminist perspective is Laura Mulvey. Mulvey is famous for her essay “Visual Pleasure and Narrative Cinema,” which presents an array of theories involving the treatment of women in films. Arguably the most notable idea presented in Mulvey’s work is the existence of the “male gaze” in films. This essay will examine Mulvey’s theory of the male gaze in relation to Alfred Hitchcock’s film, Vertigo. Vertigo does not fit the criteria of a film that

The characters Sherman portrays, lighting, clothing and expressions are cliché of what is present in cinema, so much that viewers of her work have told Sherman that they ‘remember the movie’ that the image is derived from, yet Sherman having no film in mind at all.[iv] Thus showing that her word has a pastiche of past cinematic genres, and how women are portrayed in cinema and photography and how Sherman has manipulated the ‘male gaze’ around her images so they become ironic and cliché.

Redefining Black Film by Mark A. Reid is the book I’ve selected for the mid-term reading report. This book is an eye opener learning experience as well as a beginning guide to understanding African American film, filmmaking, actor/actress and directors. Mark A. Reid discussed the challenges and obstacles African Americans faced during the turn of the century up and through the civil rights movement of the Sixties including the focus on feminism in black cultural production . Redefining Black Film fits in the history of filmmaking as it relates to the ground breaking movements of African Americans in film as well as production process. The acceptance by white society of African Americans in film was a major part of this book as African American

The unnamed narrator in the novel, Invisible Man, by Ralph Ellison is subjected to an impossible situation shortly after the beginning of the novel when he is forced to watch a white woman perform a sexual dance all for the entertainment of the town’s wealthiest of white men. The female characters are portrayed not as individuals but rather as symbols and as a collective representative of the female gender and women’s situation at the time. The aim of this essay is to show that the inequality and invisibility forced on the Invisible Man is not exclusively reserved to him; it is also applicable to female characters within the novel. It is a nightmarishly antagonistic situation, yet the narrator manages to portray it by the use of imagery, the

The theories of Laura Mulvey and Bell Hooks share their views on how individuals who attend the cinema have the opportunity to gaze and interrupt the messages that are being portrayed. Based upon their views, spectators can have their own beliefs and views of life and not have to focus on societal practices of racism and sexism. The article “Visual Pleasure and Narrative Cinema” critiqued by Mulvey, focused on how sexism and voyeurism were the main theme in terms of how males dominated society and how woman were subservient to males due to castration. In the article “In Black Looks: Race and Representation” Chapter 7, The Oppositional Gaze, Hooks mainly focused on black woman’s identity and touches on both sexism and male/white female dominance over them. Both Mulvey and Hooks help to focus ones attention on how the white male sexist and black racial domination is portrayed by Hollywood in cinema. An example of this portrayal is represented by the movie “The Help”, produced in 2011 and directed by Tate Taylor.

By the same token, the romance fiction genre pivots on the presentation of “women’s triumphs over systemic inequality” (Jagodzinski 9)¬–that is, Caucasian women’s triumphs, as the romance fiction genre “seldom extends that kind of concern to other marginalized groups” (Jagodzinski 9). The romance fiction genre’s endeavor to “debunk ideological justifications for women's subordination offers little insight into the domination” (Crenshaw 155) of women of color, and the messages that correlate with the genre’s narratives are “overgeneralized at best” (Crenshaw 155) as a consequence of the narratives embedment in solitarily Caucasian experience. Disagreeing with this model of romance fiction, Jagodzinski proposes that romance fiction authors who “look beyond just patriarchal oppression to consider other types of systemic oppression, like racial oppression” (Jagodzinski 9) create a new subcategory of romance fiction: intersectional romance fiction, as various forms of identity-directed oppression “are considered in conjunction with one another” (Jagodzinski 9-10). The conflicts within intersectional romance fiction often “demonstrate how the maintenance of power is invested in the oppression” (Jagodzinski 150) of those who fail to meet the dominant standards of what the average member of society should appear as. When an author deliberately distinguishes “each character’s various avenues to power based on [their] identity” (Jagodzinski 40), the audience is naturally made

The most common, if not one of the most common methods the morals and perceptions of American society are shaped is through our own storytellers in Hollywood. Filmmakers, writers, and producers for both cinema and television make it their career to create works that tell a compelling story. On occasion, American Society will be reflected in these works, which raises the question: do the works influence society, or vice-versa? This can be problematic when the focus of these works solely to “sell” them. As history reveals, certain groups of people, especially African Americans, have been portrayed with certain biases and stereotypes, which has been seen by the masses, and has shaped not only our society, but have caused us to develop our own racist perceptions. Racist portrayals have changed from the time of the Civil Rights movement, but they have not disappeared, having taken on new forms and effects.

Cléo from 5 to 7, directed by Agnes Varda, is a film about one woman’s struggle to come to terms with the possibility of her potential illness. Not only is Cléo struggling with her physical health, but she is also dealing with her beauty and the consequences of being an attractive woman in the modern world of the 1960s. When examined through the lens of Laura Mulvey’s “Visual Pleasure and Narrative Cinema” theory, another aspect of the film comes to light. The film seems to objectify Cléo and thus trivialize her struggles with others’ perceptions of her throughout the film by adhering to the construct of the male gaze. Although Cléo from 5 to 7 appears to play into the construct of the male gaze through the repeated objectification of Cléo, it actually subverts this idea and instead confronts the viewer, and the notion of women as passive objects to be viewed.

In the early 1990s Laura Mulvey’s thesis concerning the patriarchal structure of an active male gaze has influenced feminist film critiques and Hollywood. Mulvey’s project is to use psychoanalysis to uncover the power of patriarchy in Hollywood cinema. Patriarchal influence upon cinema is found primarily in pleasure (pleasure in looking) or as Freud’s has put it, scopophilia. Mulvey suggests that it may be possible to create a new for of cinema due to the fact that patriarchy power to control cinematic pleasure has revealed.

However, according to African American film scholar Thomas Cripps, these early films were not truly Black because their function, more or less, were to enlighten and mollify White people’s curiosity concerning Black culture. The argument presented by Cripps creates an opportunity for speculation on how to categorize a well-known group of films about Black people that in most cases included the participation of White filmmakers. How do we define the term “race film”? Moreover, can these films be considered a “genre” or are they imitations of similar narratives produced by White filmmakers such as comedies,