Girls And War : A Two Film Analysis

It is my opinion that the ability and training of women in the military should be the base of the decision of where and how women serve in the military; rather than gender aspects. In the recent years, the subject of human rights has been the elimination of many media and public discussions. The key topic in the discussions is equality treatment and handling between the two genders. Several policies within the constitution define the expectations of law on each gender (Field & John 7). The societal setting and upbringing also has its impacts on the behavior of each gender and the perception that the genders have for each other. The American culture takes pride in the practices of democracy and justice for every person; however, this may not apply to all people.

The reason being is so that Caleb will know, without a doubt that Ava is a robot, and not human. We learn about Ava along with Caleb through ‘sessions’ and that she likes to draw. Was that all a scheme just so Ava could do what she is programmed to do? Or does she actually have consciousness? I believe this revealed at the end of the scene when Ava kills Nathan, and leaves Caleb locked up in the house forever. At one point you would think it was to get revenge for being locked up but on the other hand, escaping, and acting like a ‘human’ is what Ava was programmed to do. Not only that but what Ava did was, in my opinion, an inhuman thing to do. She had only one concern, and that was escaping, and tricking people she was human. There was no concern or internal battle with herself when she basically killed two people and left her robot sister ‘dead’ on the ground. There was also no sense of emotion when she loses her own arm, so can Ava really have a conscious? Or was that scene created just to trick the audience as well? When it comes to Kiyoko’s betrayal against her God, it’s believed to be because of the abuse he treated her with. In my opinion I believe Ava reprogrammed her somehow when she ‘whispered’ in her ear, and then used her as a pawn to

James Cameron’s 1986 film Aliens can be considered a tweener being made up of many genres including a maternal melodrama, woman’s film, war film, body genre, horror, and a science fiction film. Aliens manages to successfully change the classic horror and sci-fi movie to create a story that explores the place of women in these genres and challenges the roles they normally play. This is done by structuring a horror film to play upon the male fears of female reproduction and sexuality as core themes in the film so as to unnerve its dominant men. As a result, a woman’s film is created by placing its female character as the leading role. Aliens takes its central character Ripley, and places her into a position as the gender monster. Ripley is neither totally feminine nor is she totally masculine resulting in a motherly figure that is a true warrior. Even from her first appearance she is in command and a force to be reckoned with. In Aliens the roles of gender are clearly reversed, as Ripley is the strong female character who makes active judgements and survives what is trying to kill her. The male characters are largely submissive, most die quickly, others wait for her command. Ripley stands out as being a well-developed female hero who avoids the standard portrayal of women in horror films as passive, secondary characters, creating a woman that is in charge and motherly at the same time, thus producing a woman’s film.

Sergeant Leigh Ann Hester and nine other soldiers were trailing a military convoy in 2005 when about 50 Iraqi insurgents launched an ambush. Braving machine gun fire and rocket-propelled grenades, Hester, along with her squad leader, successfully flanked and cleared two enemy trenches, killing three of the attackers. For her actions, Hester was awarded the Silver Star--the first female soldier so honored since World War II. (“The Amazon Edge”)

In conclusion, science fiction is ultimately a genre of displaying humans present state of being and displaying how catastrophic the future can be if we neglect to point out the flaws and challenge each other. Science fiction of course contains information on aliens, futuristic-looking gadgets, distant worlds, and robots but in the core of it all, sci-fi is the ultimate genre of warning. Warning of hazardous technological advancements and utter carelessness to the craft of inventing. Be careful of what the future holds. The future started yesterday and we’re already

First off, in Carol Clover’s essay“Men Women and Chainsaws” the argument is focused on how women overcome their challenges throughout various films.  Clover focuses in on a few different films and specifically looks for the “Final Girl” which is the last female standing after overcoming their challenges.  All of this brings a new aspect to film watching because Clover’s theory shifts the viewer's attention from focusing on how the male is essentially tormenting a female to zooming in on how the female overcomes the challenge.  Clover does this because she wants to show the viewers a different aspect of film and genre.  This is because Clover feels that instead of having the audience focusing on a main character which is essentially a male tormentor she has them focus on how the female(s) overcome the challenge and defeat their tormentor.  This perspective opens up a new gateway to film

During the course of both the World Wars, women had proven themselves to be worthy of the ‘elite’ group; men, of that time period. They had done this by commencing a sequence of work that needed to be carried out while the men were absent. However, some may argue that the women merely replaced the men and did nothing more but others believe that they had done even more than what was required of them as well as replacing them. The series of sources are propagated puzzles which have been aired recently and in this essay I will slowly depict the literal and further meaning of each one, fully describing if the women did simply just replace men or, exceed their requirements.

Trying to hold the homefront together while there was a war waging abroad was not an

World War I made a colossal impact on all aspects of human life and almost everyone in Europe was affected by this impact to different degrees as a consequence. One group in particular, most often illustrated as a real turning point, largely in enfranchisement and employment, were women.

Neuromancer is an amazingly complex novel. Being one of the first of its kind, Gibson tells a chilling tale of a world where computers, and a thing called " the matrix," become more "real" than reality. The story, set in the not-so-distant future, has our hero, Henry Dorsett Case, embarking on an adventure that stretches the limits of the reader's imagination. But even though Case is our main character, there are others with as much or more power and influence. Women play a significant role in aiding Case throughout his mission. Not only are they noteworthy, they hold most of the "power" and at the end, it is a woman who holds the final "key." By using the feminist approach to literary

George Miller’s action packed film Mad Max: Fury Road, shines a new light on the role of women in contemporary culture. Mad Max takes place in what is called the “The Citadel”, a post apocalyptic wasteland, where an infamous tyrant by the name of Immortan Joe rules all women and war boys as servants. As the fourth installment in the Mad Max trilogy and an honorable rating of 8.1/10 (Imbd.com), what really makes the film one of a kind is that the movie, usually lead by the vengeful male protagonist, Max Rockatansky, is actually centered on a female cast this time around. By centering the film around a female cast, it alone challenges the views of feminism in popular culture because it portrays women in successful leadership roles, otherwise given to men in a notable action film and popular media. Miller provides the film with the reoccurring role of Max Rockatansky but this time focuses on a new strong and willing female cast, led by a determined Imperator Furiosa who is played by the talented Charlize Theron. In the film, Furiosa and the fives wives are obligated to serve Immortan Joe as slaves and breeders, so the five wives put their lives on the line and with the assistance of the Vulvani, challenge male authority in hope of winning back their freedom. By closely examining feminist ideologies and the actions of the female heroines in the film, the audience can determine the feminist tendencies and message Fury Road is sending popular

Through this written piece of work, I want to examine the ways in which the dominant ideas of gender and war, from a Feminist perspective. I will be contributing an understanding to the role of the Kurdish female fighters in the field of war and politics, that have broken the taboos of gender roles within the community, and the national movement. The concept of gender, war, and conflict has lightened the issue of women in war. The image of war is associated to masculinity, and in many cases women are not welcomes in the field of war, as “she is exposed as a victim of war by drawing the idea of women being helpless (Sjoberg, 2014, p. 10).” Laura Sjoberg; Gender, War, and Conflict, states that “war-making and war-fighting have been traditionally

“For the concept of the monstrous feminine, as constructed within/by a patriarchal and phallocentric ideology, is related intimately to the problem of sexual differences and castration.” (Creed, 1993, p.2) Creed takes an interesting approach to Kristeva theory of abjection and Freud’s theory of castration and applies it to horror film. Taking Kristeva’s theory of the abject and the archaic mother, she constructs monstrous representations of the abject woman. The monstrous womb which is the representation of mans fear of woman’s maternal functions. “Fear of the archaic mother turns out to be essentially fear of her generative power. It is this power, a dreaded one, that patrilineal filiation has the burden of subduing.” (Kristeva, 1982, p.77) Freud argued that woman terrifies because she is castrated. “Castration fear plays on a collapse of gender boundaries” (Creed, 1993, p.54) She suggests, that Freud misread Han’s fear in the Little Hans and that Han’s viewed his mothers as the castrator not his father, that his mother’s lack of phallus is seen not as a castrated organ but that of a castrating organ. The mother-child border is entangled in the complex and multi-faceted image of the castrating mother. According to Freud, man fears that of the mother as castrated and as that of the cannibalistic all devouring mother. “Construction of a patriarchal ideology unable to deal with the threat of sexual differences as it is embodied in the images of the feminine as archaic mother and is seen as the castrated mother.” (Creed, 1993, p.22) Kristeva suggests that the notion of the castrated women is to ease mans fear of woman, who has the power to psychologically and physically castrate him. The archaic mother as the monstrous womb and the castrating mother can be used as a way of understanding the work of Mona Hatoum and AIne Phillips, both

I think that women were so eager to see men go to war because, firstly

The war film genre includes films about warfare, including naval, air or land battles. Films in this genre may focus on the battles, prisoners of war, military training, life during wartime or morality and humanitarian issues of warfare. This genre commonly includes works of fiction, works based on historical facts and occasionally works based on alternate-history fiction. According to American Cinema/American Culture, the genre also includes four narrative elements: the suspension of morality during times of war, the prioritization of collective goals over individual motivations, the rivalry between men and their objectification of women and the issues of reintegrating veterans. (Belton 165-71)