Narration V/O: Lady Snowblood

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

This film paints multiple stereotypes and over exaggerates them to emphasize their relevance in society in hopes of changing the audiences' viewpoint of these stereotypes set before women.

This is a man’s movie all the way to the core. Look at Wyatt Earp; he was a MAN if you know what I mean. I definitely think that is why I enjoyed the movie so much myself. It just gives you a glimpse of what it means to manly and tough. We have it easy these days in not having to battle for our own dignity whenever someone calls you out. I forgot how good this film is seeing how that is had been a long time since the last time I watched it, but I had never observed in the way I did to complete this paper. This process has given me a new appreciation for the little things I enjoy subconsciously in movies, but never have the opportunity to really express in words. I would recommend this film to anyone who has not seen it yet in a heart

Hollywood seems to be going all in on the idea that whatever men can do, women can do it to…no matter how bad it is and how bad it bombs in the box office. Female action movies are the current trend, in the span of one week we have a female spinoff of John Wick coming, the trailer for Taraji P. Henson’s new assassin flick Proud Mary was released, and here we have the opening of Charlize Theron’s Atomic Blonde. Now I’ve many people complain about this film based on the fact they cannot buy a 130-pound woman beating up men 3x her size, while I do agree to a degree, I leave the science of this film to people like Steven Crowder. I decided to take a balanced view with this film and take for it what it is. The result of the movie was…pretty good.

In conclusion, the film She’s the Man shows the audience how gender gets represented in films. It shows the traditional femininity as well as the traditional masculinity. This illustrates that gender has impacts on power and gender relations to contribute gender inequality. Gender norms are enforced in films which maintain the power inequality difference between both genders. These issues confine the way modern films represent gender and gives a direct effect to the

The movie that I am going to be writing about is called Run Lola Run directed and written by Tom Tykwer, released in 1998. This movie is about a girl, Lola, who has to save her boyfriend, Manni, from the mob by getting 100,000 marks to him in twenty minutes and is about her efforts to get to him in three separate runs. The topic that I am going to focus on is the representation of gender in Run Lola Run compared to more typical representations in other movies. The four main topics that I am going to discuss are the history of gender representation, a look back at how gender is portrayed in movies in the past, gender in genre and with character, which is looking at different characters that broke or follow typical gender representation and

Cut to the scene in Clueless where the water sprouts from the fountain behind Cher when she realizes that she loves Josh. It is shot in high and straight angle, boom down. The fountain is so dramatic, which shows that Cher had realized something really important.

People such as Kate Moss, Winona Ryder, and Milla Jovovich held the desire of the public, while male stars such as Jared Leto, Leonardo Di Caprio and Justin Timberlake infatuated the public without the normative display of masculinity (Milestone & Meyer, 2012). With the context of the contemporary popular culture in mind, it becomes obvious that the two films were targeted at a completely different audience. Luhrmann embraced contemporary views of gender and presented this view in his film, while Zeffirelli adhered to a much more traditional presentation of the masculine and feminine elements of his characters, including the selection of actors to tell the story.

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.

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.

The issue at the heart of the David Fincher film, Fight Club, is not that of man’s rebellion against a society of “men raised by women”. This is a film that outwardly exhibits itself as promoting the resurrection of the ‘ultra-male’, surreptitiously holding women accountable for the decay of manhood. However, the underlying truth of the film is not of resisting the force of destruction that is ‘woman’, or of resisting the corruption of manhood at her hand, but of penetrating the apathy needed to survive in an environment ruled by commercial desire, not need. In reality, Fight Club is a careful examination, through parody, of what it means to be a man; carefully examining the role of women in a society busy rushing towards sexual

David Fincher’s Fight Club, 1999, contains strong themes of masculinity and enforced gender roles. It is subjective, however, whether or not the gender narrative within the film complies with modern feminist values, or serves as nothing more than masculine empowerment. The two critical texts I have chosen to study are Masculinity in Crisis and Private Satisfactions and Public Disorders: Fight Club, Patriarchy, and the Politics of Masculine Violence, both of which analyse Fight Club through a feminist lens. My first critical text views the film as a feminist statement on the toxicity of masculine violence, while my second text finds more faults with the gender roles in the film.

Frequently, most superheroes in cinema are portrayed by male characters rather than women, creating a distinction between gender roles. Indeed, through the passage, “These results may suggest to viewers that women are less important, knowledgeable, and capable than men – and less likely to be a hero” (Miller et. al) women are much less likely to be featured as the hero within the film, and more likely to be featured as the “damsel in distress” of the story. Furthermore, women are much more likely to be depicted in a sexualized fashion, even when displayed in the role of hero. This feature of women with a lack of dominance defies feminism, as they lack roles in superhero films and they are portrayed with the sole purpose of boasting

The first research entitled “The representation of gender roles in the media - An analysis of gender discourse in Sex and the City movies ” was constructed by Therese Ottosson and Xin Cheng in 2012.

Filmmakers use traditional gender stereotypes to produce characters audiences can easily identify with by portraying conventional images of a person with identifiable characteristics. In previous years, the dominant representation of a women in film has been the passive, subjugated protagonist. However, through the development of female empowerment and added feminist representations of film, the female heroine transformed to become strong and independent women in her own right, as an individual character.