One of the most prominent fight scenes in the movie Kill Bill includes the main female character, referred to as “The Bride,” in the foreground and about a dozen or more men in the middleground and background. The background seems as though this scene is taking place in an Asian style restaurant or building. There are about five men who are lying dead on the floor as the other men stand surrounding the main character. All of the men are shown holding a samurai sword with both of their hands while the main character is shown holding her sword with only her left hand. The men are all dressed in black suits with their faces covered by black masks. While the main character is wearing a bright yellow with black stripes tracksuit. She seems to be of Caucasian descent while the men are of Asian descent. These elements convey a drastic contrast between the main character and the rest of the characters. By doing so, this scene challenges the idea of gender roles in society.
In action movies, many plots contain violent and dangerous scenes. Usually, females cannot burden such dangerous tasks in which even male characters usually get injured (Dargis, 2014). This phenomenon can be attributed to the division of work among females and males. In the long history, males are the ones who join in the army and participate in the war. Females are the ones who prepare supplies at home. Therefore, females seldom join in violent fights. Therefore, the sexualization of action movies is related to the social position of females in history. Fortunately, females are taking more responsibilities from males in action movies. For example, Michelle MacLaren is hired to direct the movie Wonder Woman, which is an action movie with female main characters. This is a breakthrough in the history of action movies and demonstrates a trend of De-sexualization in action movies. Also, female-led action movies like Underworld: Evolution show a direct response to decades of suppression of females in action movies as well as the society (Meslow,
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.
Bridesmaids, as a full on comedy, is interesting as it is a full cast of female lead roles. As a female version of the hit ‘The Hangover’; it has a level of raunchiness that is usually only seen as acceptable when acted out by male characters. The success of this movie’s ability to overcome this stereotype (that women shouldn’t act or think like this) is hopefully opening a door to new avenues for women in lead comedic roles similarly now to ‘The Heat’, ‘Spy’, ‘Identity Thief’ ‘Tammy’ ‘Pitch Perfect’ ‘The Other Women’ ‘Gone Girl’ women using foul language, sexual references, passing wind and
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.
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
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
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.
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
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 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
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.
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.
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