Mean Girls: Why Women Are More Evil Than Women

The novel “Pride and Prejudice” by Jane Austen depicts a social structure in which there are clear gender expectations. These gender expectations control and restrict the lives of both genders, most notably women. In. Austen’s world, women have few opportunities to support themselves, and have high expectations attributed to them. Men were held to similar standards. Upper and middle class men were expected to add to their families’ wealth, be charming, and eventually marry. Deviation from these spoken and unspoken rules, such as Lydia and Wickham’s elopement, would result in becoming a social pariah. In “Pride and Prejudice”, the characters of Elizabeth Bennet, her sister Lydia, and Mr. Darcy challenge the aforementioned gender roles put in

In the movie Mean Girls (https://www.youtube.com/watch?v=yEQV2OJVBx4), there is a scene where the Plastics all go to visit Regina George’s house (Regina is the Queen Bee of the Plastics). In this scene we meet Regina’s mom who greets the girls like they are all friends, she then proceeds to tell the girls that there are no rules in the house. This is apparent when we then see how Regina speaks to her mother, and how she treats others throughout the duration of the movie.

From the introduction before, everyone may have rough concepts about the perception and the movie named mean girls. The movie will be used into analysis perception in the following parts.

Jane Austen’s Pride and Prejudice was first published in 1813(Gary vii) a time when women had “few legal and economic rights or even receiving little respect, women can be seen as oppressed victims of a patriarchal society, subordinate first to their fathers and, then, to their husbands who had, of course, been selected by their fathers” (Swords, 76-82). At first glance one might think that Pride and Prejudice reinforces sexist stereotypes, however upon further examination of Jane Austen and her heroine Elizabeth it is clear that Pride and Prejudice in fact erodes the sexist stereotypes of women.

“Pride and Prejudice”, a novel written by Jane Austen represents eighteenth century English women as illogical, domestic individuals who economically depend on male members in their household. Major decisions in their life are decided by their fathers and brothers. They perform subordinate roles, and are considered inferior to men. This novel reinforces the sexist stereotypes of women.The female characters in the novel possess these virtues in varying degrees depending on their role. Marriage is considered essential to secure a woman’s future ,they are expected to behave in a certain manner to earn the respect of the society, and are treated unfairly by the social and justice

Based on Rosalind Wiseman's non-fiction book, Queen Bees and Wannabes, the 2004 movie, Mean Girls, was directed by Mark Waters and the screenplay was written by Tina Fey. Through the use of cinematography and music, the viewers were able to experience the real high school society. Mean Girls is about a sixteen-year-old homeschooled girl and her first-time experience at a public high school. Through his movie, Walters portrays the damaging effects of female social cliques on every student in high school.

The tension found inside and between Rose Almond and other characters in V for Vendetta develops her character development and is significant not only to the long-debated differences between a graphic novel and a comic but also to the portrayal of women in this graphic novel. This is significant because V for Vendetta portrays women as submissive, incapable of providing for themselves without a man, and driven by their own emotions which shows that the content in graphic novels (i.e. tension and character development) that makes them different from comic books is not given the same attention or thought for women as it is for

Here we see Lady Macbeth calling dark spirits to take away her pureness and give poison just so she could have the power to kill the king showing us she has no guilt, which shows us the non-violent “female” traits are just as powerful as violent “male” ones.

The use of the logical appeals in “6 Feminist Myths That Will Not Die” by Christina Hoff Sommers addresses six hot-button issues that many feminists claim to be true. She debunks these myths using statistics and reliable up to date sources to assure readers that these wide known _____ are myths. Hoff Sommers uses Ethos and Logos to support her reasoning throughout the article, however, her arguments seem to lack pathos.

Mean Girls is a must see teenage movie. If you haven’t seen it, you aren’t “fetch” (a.k.a. cool). I remember when I first saw the movie around age eight, and I believed girls and boys were exactly how they were portrayed in the movie. I was sitting around with my best friends in our sleeping bags giggling just like every other young girl would at a movie like this one. Though the acting is exaggerated, it is effective in portraying the stereotypes of cliques among high schools through its characters, actresses/actors, special effects, and costumes.

Real life examples of gender inequality do sort of hamper the hopes of those wishing for better in the near future, as it will take a while for the pay gap between men and women to be closed and gender norms will be even harder to break; nonetheless, the three main films being discussed in this paper do give people a bit of hope that women may transcend their limits in due time. Indeed, some already are doing this. In Flame, the titular character takes the initiative on things, such as joining the army. While she is on the same level as men and is even acknowledged towards the end of the film, she does go into war mainly for the purpose of finding a man. Still, her mannerisms and actions do show that she is a more independent female. Flame’s

Horror movies throughout history have been known to have their cheesy storylines or continuous bad acting. Especially horror movies. People nowadays could easily spot the flaws in a film and judge them drastically in reviews. Yet, little do people notice the ongoing discrimination between genders. Horror films tend to portray males and females substantially differently because of stereotypical views. There seems to be a pattern in which each gender takes a certain role in a movie continuously. Females are shown to be “objects” such as sex and emotional symbols, while males are shown as strong or powerful and moreover as the main bad guy. Although some of the newer edition films of the horror genre are displaying each gender more and more equal throughout the ongoing years, the gender discrimination dilemma still exists and can be seen by the statistics in the movie industry in general.

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.

Throughout motion picture history, women have experienced more transition in their roles, as a result of changing societal norms, than any other class. At first, both society and the movie industry preached that women should be dependent on men and remain in the home, in order to guarantee stability in the community and the family. As time passed and attitudes changed, women were beginning to be depicted as strong willed, independent minded characters, who were eager to break away from convention. The genre of the crime film represents such a change in the roles handed to women. Two films that can be contrasted, in order to support this view, are: The Public Enemy by William Wellman (1931) and Bonnie

Julia Kristeva is a Bulgarian-French philosopher, psychoanalyst and feminist writer. Her work on abjection gives an engaging insight into human culture in terms of it’s relationship to larger overarching power structures. In Powers of Horror, Kristeva argues that the oppression of woman in patriarchal societies is constructed through fear of the abject. “The tremendous forcing that consists in subordinating maternal power (whether historical of phantasmic, natural or reproductive.)” (Kristeva, 1982, p.91) The abject refers to the human reaction of revulsion to the threat of breakdown between the subject and object, the self and other. The border which separates nature and culture, between human and non human. “The abject confronts us, on one