Evolution Of Females In Film

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 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

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

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

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.

Femme Fatale women of the film noir movies of the 1940’s were the start of normal and demented personalities. The decade of the 1940’s saw the rise of the independence of women. Film Noir demonstrated the lives of women, the challenges, and emotions these women portrayed while men were away for World War II. However after the return of men, by 1945 many of these women no longer saw themselves as temporary replacement of men work roles these women now wanted to continue their lives and continue working. These women now had a sense of them and were no longer limited to seeing themselves solely in relation to men as they had done when men were away at war (Goldin 1991). In this era film noir exposes the power attained by women that disrupts the

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

Since the feminist movement in the 70’s various crime dramas have increasing numbers of smart, strong leading female protagonists which is now seen as acceptable, advancing contemporary portrayals of women in television by not conforming to stereotypes eradicating them, helping to battle outdated views showing how views have changed overtime.

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.

The anxiety that infused film noir, born out of post-war fears about the place women had found outside of the family structure, challenged hesitant conceptions towards the role of women in family and oppressive social relationships. Film noir’s included gender politics were to alleviate male confusion over women’s roles and their sexual identity through a restoration of the patriarchy. The femme fatale represented an independent and powerful femininity, rejecting the conventional role of the devoted wife and loving mother that mainstream society had prescribed for women, but in the end her transgression of social norms led to her own destruction and the destruction of the men who were attracted to her.

The film industry has created the conventional gender roles of society into their movies. A majority of films have supported some of the male and female stereotypes. In the history of the film industry, the role of men is primarily that of the stereotypical working class man or hero, while the roles of women are primarily portrayed as being somewhat inferior to men. In the 1930s through the 1970s, men held the leading roles in films while women played smaller roles. In terms of jobs, women were given mostly family roles and rarely were shown outside of their homes, while men had successful careers and did many activities outside of home. “Women were shown doing housework and men were the beneficiaries of their work” (“Women’s roles in the

British film theorist Laura Mulvey’s 1973 essay ‘Visual Pleasure and Narrative Cinema’, published in 1975 to the British film theory journal ‘Screen’, tackles the themes of objectification of women in mainstream 1970’s Hollywood cinema through run by a patriotic society. Through the analysis of actress’s roles in famous Hollywood cinema and psychology theories from the French psychoanalyst Jacques Lacan and Sigmund Freud, Mulvey implies this is due to the heterosexual ‘male gaze’ which views women as a fear biologically but simultaneously sexualises them to reject this notion. Through the years evidence showing that women are being sexualised in the texts supports this theory such as the subtle sexualisation of women in the 2017 Baywatch trailer. However it can be argued that although parts of Mulvey’s argument is true, both genders have been sexualised throughout history before cinema existed through propaganda, ideology and romantic fiction created through our desire to engage in intercourse. This is shown throughout Labyrinth (1999) (which first came out in 1986) as it still shows objectification of men and women.

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).

The presentation of women on screen is another highlighted issue in many of the gathered sources. Because men were ultimately in control of what went on the screen much of what the audience perceived were women from the male imagination or fantasy. Bernard Beck elaborates in his article Where the Boys Are: The Contender and other Movies about Women in a Man’s World that, “…women have been used to dress up a male story or motivate a male character” (Beck 15). Women were often insignificant and trivial characters. Although, Kathe Davis disagrees to a point. In her article, Davis offers a dissonant opinion to the fore-mentioned insignificance of the female character. She instead describes many female characters as “predators,” and analyzes the roles of lead women in three prominent films of the nineteenth century. In each film, she finds parallels and similarities of cases of “female emasculation” and instances where “women are turned into objects of male desire” (Davis 47-48). Davis does not perceive female characters as being insignificant, just stripped of their power and misrepresented. She discusses how females of power are often portrayed as crazy

How women are perceived by others, and how women perceive themselves, impacts their leadership roles in the work place. Stereotypes and gender biases are themes women have been dealing with for centuries. How women are perceived by social medial and television have been influencing how they are treated by men, and how they view themselves when it comes to taking a leadership role in their organization. According to Omega Institute (2012), “The rapidly shifting landscape of new media and technology, including reality television and celebrity culture, continue to reinforce gender stereotypes” (p. 1). This leads to men still growing up viewing women as home makers versus bread winner. With more women entering leadership roles in the work place they lack the respect from men due to how these men have grown up to know the typical role of a man and woman. Men tend to feel belittled due to the gender stereotypes seen on television, and this leads to women struggling to succeed as a leader with the lack of support from their male counterparts. Lack of confidence with women in the workplace is also influenced and effected by how women are perceived in social media and television. According to Steele (2005), “Exposure to stereotypic commercials persuade women to avoid leadership roles” (p. 276). As young women grow up seeing the typical gender stereotypes they lack ambitions to break the mold and