Gone Girl

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

- “The main issues we face today were prefaced by the work done by the previous waves of women. We are still working to vanquish the disparities in male and female pay and the reproductive rights of women. We are working to end violence against women in our nation as well as others. We are still fighting for acceptance and a true understanding of the term ‘feminism,’ it should be noted that we have made tremendous progress since the first

The directors Darren Aronofsky and David Fincher key concern in Black Swan and Gone Girl are to convey how destructive, unhealthy relationships can be to women. Women have become dependent on the peoples in their lives for their sense of purpose. Both films depict women in a negative way. In fact, each film suggests that women can be adversely impacted by the relationships they have with others. In each film, the women characters are dependent on a strong character whom they rely on mentally and emotionally. Therefore, this allows the directors to expand the stereotype people have around on a mental illness. These methods are created by the use of cinematography, which communicate the dependent roles and non- diegetic music which convey

Although with the high percentage of “feminist acts” surrounding every corner of social media they should see the up and downs yet, all the women deserve the recognition of being strong and independent and only few truly deserving it. Calling the title rather than earning it, women have not yet been acknowledged for this act. Asking for that higher position in society yet depending on the male population

Chastain goes on to add, “I don’t know that Kathryn Bigelow would make a movie like that, because…she stands on her own . . . she’s capable and intelligent, and I think she represents this generation of woman, and that was really exciting for me to discover on the page in the script, and to discover about our history.” One could make the argument that Chastain refers to both American and feminist history. In lieu of feminism’s third wave, media is moving further and further away from the misogynistic overtones of females-as-plot-devices. But while media follows “trends”, reality is less keen to do the

Gee’s theory of Discourse is that mushfaking can never be successful without already being native within that Discourse or learning the Discourse early on through apprenticeship. The movie Mean Girls is an example to confirm Gee’s claims, but also the claim of constant resistance and reform to mushfake a dominant Discourse well, needs to be included. If the claim is not included, values will conflict between primary and secondary Discourses. The conflict of values in Mean Girls demonstrates the dangers of mushfaking a dominant Discourse and proves that mushfaking itself is not enough to become successful without resistance and reform efforts, which in consequence, will

Are Girls To Mean To Each Other I do believe that girls are to mean to each other because well with girls there's always something. It could be an argument, fighting over a boyfriend, something someone said on the internet, or they just don’t like each others. Honestly I don’t know why girls are even like that I mean us guys we don’t really trip off of what people say about us.

The 2010 Sony production of the romantic comedy film Easy A (Will Gluck) approaches the idea of post-feminism in modern popular culture by neglecting to provide a clear stance on the ideas of gender sexualization and/or the empowerment of women. According to Yvonne Tasker, “Postfeminism broadly encompasses a set of assumptions, widely disseminated within popular media forms, having to do with the “pastness” of feminism, whether that supposed pastness is merely noted, mourned, or celebrated.” (Tasker, 1) The film, like post-feminism itself, operates by centering around the mundane lives of young-white-suburban-middle-class-straight girls. While Easy A often alludes to a glorification of the heteronormative ideals of what it means to have romance

When discussing women that have an impact, the ones that are commonly brought up are those whom have had positive influences on the world they’ve touched. But there are the rare few who are often overlooked and their accomplishments diminished plainly because they are portrayed as antagonists. I have decided to analyze the role that Rosamund Pike played beautifully in Gone Girl.

The women’s liberation movement (or feminism as it is now known) of the 1960s and 1970s touched every home, business, and school (WA, 705). The movement even touched the sports and entertainment industries, in fact, “There are few areas of contemporary life untouched by feminism” (WA, 717). The word feminism in the early 1960’s wasn’t often used and when it was it was used with condescension or hatred. However, in the late sixties that changed thanks to a new group of women. This new diverse group of women included the: young, old, heterosexual, lesbians, working class, and even the privileged. This diverse group came together and collectively created the second wave of feminism.

Throughout the 2016 presidential election, feminism and its influence on politics was a driving force for men and women alike in support of the first female presidential nomination Hillary Clinton; however, the election of Donald Trump has inspired a new wave of feminism in response to the administration of those in office, particularly seen during the International Women’s March.

Today, the feminist movement has grown and is still growing as women around the globe have joined hands in the fight against inequality. Even though a lot has changed, all feminists, despite

In the year 1848 America held the first gathering dedicated to women’s rights; after decades of fighting for women’s equality, the 1920’s national election was the first for women to cast their presidential vote. The feminist movement, as a unisex advocacy, has had some successes other than voting rights, such as discrimination related to equal pay, having credit cards in their own names, terminating pregnancy, purchasing contraception or “the pill”, attending prestigious schools, becoming an astronaut or supreme court justice, and many more that have now been fixed due to this movement. So the question remains: do we still need feminism? After all, there have been many successes and several women claim they “don’t need feminism anymore”; however,

Throughout the last century, women have had to fight to have the same opportunities as men. Women have had to earn the right to vote, the right to have a career, and the right to autonomy. However, these are all rights that men have simply been given, which is why today’s feminists work to promote equality. Despite these efforts, feminism is often misunderstood and is interpreted with a negative connotation. According to a study conducted by Precopio and Ramsey (2017), “feminism is commonly recognized as a movement driven to grant social, political, and economic equality to both women and men.” The participation of others besides women is crucial to the spread of equality among the genders. Furthermore, the stigma and negative feelings surrounding feminism must be reduced in order for the ideals of feminism to have a greater impact.

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