Hunchback Of Notre Dame Analysis

Even the girls’ dress-up game becomes dangerous as they walk down the streets in the high heels, past a wide variety of men. Some men, like Mr. Benny, try to warn the girls of the potential dangers of wearing those shoes around this neighborhood, saying “them shoes are dangerous” (41). However, the girls are too excited about being a grown-up, they ignore his warnings and continue walking down the streets. Other men, like the bum man, try and take advantage of the vulnerable girls young age by persuading them to do things that are inappropriate. No one should be sexualizeing you girls due to their pretty shoes and young boys wearing fancy shoes would have never been in that position because most people believe women to be passive, but men to be aggressive.. Even Esperanza's has a heard a thing or two about women being placed in submissive roles “She was a horse woman too, born like me in the Chinese year of the horse – which is supposed to be bad luck if you're born female – but I think this is a Chinese lie because the Chinese, like the Mexicans, don't like their women strong.” (10) The fact that she is most likely right due to the submissive position both cultures put women into only added to the pressure Esperanza must be feeling about being different and more

With a help from three research assistants, after collecting the movies, they extracted the story lines, images, dialogues as well as songs about sexuality in the movies. As a result, in the samples of $100 Million G-Rated Movies from 1990 to 2005, including animated Disney movies, they found heterosexuality, which contained both sexiness and ogling of women’s bodies, was accountable in The Little Mermaid, Beauty and the Beast, Aladdin, The Hunchback of Notre Dame, Toy Story 2, and Princess Diaries, etc (Martin and Kazyak 2009). Most of men characters, as researchers observed, were more likely to gaze at women characters’ bodies in a desiring way, which was considered to be portrayed as “less serious and less powerful than hetero-romantic love” (Martin and Kazyak 2009:323). This left me a question: should girls be stunning, sexy, and beautiful so as to be noticed and loved by

Stephan Babich 's blog post entitled, "The Fall of the Female Protagonist in Kids Movies", and Richard Lawson and Jen Doll 's article, "The Lies Hollywood Told Us: Love and Romance Edition”, are rhetorical arguments that attempt to support a notion about an explicit aspect of motion-picture theatre. In Babich 's post, he writes about how women are hardly ever the protagonist in kid 's movies. The goal of his argument is to persuade avid animation movie watchers that future films should have a female playing the leading role. The main idea of Lawrence and Doll 's article is to convince men and women who frequently watch romance movies that they should not expect the romantic situations and endings that Hollywood

Because of the male-dominance in Esperanza’s society, women fall short of their capabilities in life which denies their ability to achieve autonomy. Men have all the control of their female partner and do not allow them to be the person they want to be and do the things that they want to do. Cisneros uses the motif women by windows to represent the women that are trapped by their partners. Rafaela is the perfect example because she is locked indoors always leaning out a window dreaming of a life where she is capable to do whatever she

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

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

Godard, the director of this film, comes across as having misogynistic views, due to the way he portrays women in the film; however, his portrayal is merely to show the objectification of women during this time. Since the sexuality of women played such a huge role in society, Godard depicted women in this way intentionally in order to gain attention for the subject.

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.

Even though male gaze is still the fundamental construct in modern films, I do not think lesbians and majority of women these days enjoy objectification. Women are trying to break through gender differences and evolve as equal being to men. In trying to explain how women are positioned in films, Kaplan says “Psychoanalysis a crucial tool for explaining the needs, desires and male-female positioning that are reflected in film” p. (). Kaplan uses psychoanalysis to argue how women take

In this excerpt Esmeralda is dancing and aristocratic women including Fleur-De-Lys are watching alongside Phoebus of whom all of the women are attempting to attract. The women call Esmeralda over however when she arrives the narrator describes an atmospheric change as Esmeralda’s beauty is found intimidating to the bourgeois women. Hugo depicts this by stating that her beauty was of the type that would bewitch anyone around her which therefore gave her a certain power that the aristocratic women could not obtain themselves. The narrator uses this analogy the describe how the women felt their own beauty diminish at the arrival of Esmeralda as all it takes was one woman of superior beauty to move the

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.

As an advanced representation system the cinema possesses questions of the ways the unconscious structure ways of seeing and pleasure in looking. Feminists have been using Freud’s psychoanalytical theory as a political weapon in order to deconstruct popular Hollywood cinema and how it stimulates the patriarchal culture. Even though we are more conscious about these structures nowadays, Hollywood cinema still uses the Male Gaze in order to control the identification processes of the spectator. A recent example is the thriller Disturbia (2007) by D.J. Caruso, seen as a modern interpretation of Hitchcock’s Rear Window. It’s a movie about a grounded teenager who starts spying on his neighbours

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).

As one of the most visibly queer characters in Esmeralda de noche vienes, Tito Vasconcelos’ multiple appearances throughout the film can represent how queer identity is represented in Mexican society. Vasconcelos is nameless throughout the entire film, as we see him show up in multiple spaces, portraying different characters. He appears through various expressions, those ranging from appearing as a feminine woman to a highly macho charro—showing that queerness quietly exists everywhere in Mexican society. The characters’ Vasconcelos plays range from a contrast between male and female identity and even sometimes to be in between. Although he has many roles in this film, he is often left in the background, without a speaking role or an introduction. Yet, Vasconcelos’ invisibility to other characters in the film, and his strong presence to the viewer offers the audience a peek into how queerness is taken and handled in Mexico.

Laura Mulvey is a British feminist film theorist who is best known for her essay Visual Pleasure and Narrative Cinema. In this essay, she claimed that men and women are positioned differently by cinema: men are the subjects who drive the story’s plot, while women are objects solely for male desire. Her theories were heavily influenced by Jacques Lacan and Sigmund Freud, while also including psychoanalysis and feminism. Mulvey used Lacanian psychoanalysis to support her account of gendered subjectivity, visual pleasure, and desire. She is also widely known for her theory of sexual objectification of women in the media, or more commonly known as “The Male Gaze” theory. As one of the most recognized theorists in the world, Mulvey’s ideas and proof of misogyny in film opened eyes around the world and female objectification was finally questioned.