Reaction Paper On Clint Eastwood

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

In the world of film, there is usually a stereotypical role for each gender. For example, the man is usually portrayed as the hero and the woman is in some sort of distress and needs to be saved. Women in movies are generally shown as weak and needing a man to survive. For example, in the Disney movie “Cinderella”, Cinderella lives a horrible and unhappy life until she meets Prince Charming. When Prince Charming rescues Cinderella, they fall in love, she becomes happy, and they live happily ever after. There are a few movies out there, though, which show the opposite. Both “She Done Him Wrong” and “Scarlet Street” are films that portray the main female characters, Lady Lou and Kitty March, as strong and independent women, both acting how

​Since the beginning of cinema, the world has been introduced to many types of films, genres, and actors that influence how cinema is today. In the ever changing world of cinema, there will always be role models that actors and directors look up to for inspiration. As viewers, it’s important that we feel emotion throughout the production. There have been many actors and directors that have caused such a high impact and influence in the world of film, that it’s hard to forget them in years to come. One of the many popular actors/directors described is Clint Eastwood. Eastwood has been more influential than many people think. Eastwood has helped expand and inspire the world of cinema to what is it today.

Hollywood is a very powerful modern day institution, where a star's image can characterize, shape and circulate societal myths and ideologies. The construction of a star's image as a commodity of their societal myths and ideologies has the extraordinary power to exert messages so that even the smallest details become significant yet not overtly obvious. How a star's image is produced and then consumed can justify a society's relationship with that image and therefore aid in explaining the social construction of what society deems as their 'reality'. A star's image is created through a range of representations churned out by Hollywood. Capitalism from the commercialization of these images has made Hollywood the dominant force it is

These differences aren’t biological as some researchers lead us to believe, claiming that men are more sexually stimulated by images, making it natural for women to be gazed at. Bordo argues that our culture determines what if acceptable for “women learn to anticipate, even play to the sexualizing gaze…in the process we learn how sexy being gazed at can feel-perhaps precisely because it walks the fine edge of shame” (135). Yet, with the use of erotic male images and her clearly sexually reaction to them, Bordo pushes readers to question why there are differences in how men and women are viewed and view each other. Who decides what is acceptable?

In the essay “Don’t Look Now: The Male Pin-Up” by Richard Dyer, the author analyzes how male and female models look at the spectator. His argument is that men are always photographed in an active manner, and the women are just there sitting passively. Men do this because they cannot be feminine in any manner or otherwise they face a backlash from society. His goal in this essay is to reveal this cultural phenomenon to the reader by stating what the model’s look represents and the activity of models in images. Throughout this essay I will be analyzing how Dyer explains these concepts to inform the reader.

In representing female subjects, both Pablo Picasso’s oil painting Les Demoiselles d’Avignon (1907) and Édouard Manet’s A Bar at the Folies-Bergère (1882) manipulate the formal techniques of composition and perspective to create new ways of seeing their subject, emulating their contemporary society’s shifting views of women and the individual. Les Demoiselles depicts five naked prostitutes, flaunting their bodies, and some wearing tribal masks. In comparison, A Bar at the Folies-Bergère represents a female, who may also be a prostitute, tending a bar. The depiction of previously ‘hidden’ female subjects alone was an innovation of the perception of the artist, however, the formal treatment in representing these subjects was an important break from tradition.

American commercial cinema currently fuels many aspects of society. In the twenty-first century it has become available, active force in the perception of gender relations in the United States. In the earlier part of this century filmmakers, as well as the public, did not necessarily view the female“media image” as an infrastructure of sex inequality. Today, contemporary audiences and critics have become preoccupied with the role the cinema plays in shaping social values, institutions, and attitudes. American cinema has become narrowly focused on images of violent women, female sexuality, the portrayal of the “weaker sex” and subversively portraying women

Laura Mulvey’s theory is built on the concept of there being pleasure in looking. This manifests itself in two ways. The first is scopophilia, “in which looking itself is a source of pleasure” (Mulvey, p. 713). This sort of looking is active looking, and makes whatever is being looked at passive, receiving the gaze. The second way that this visual pleasure manifests itself is in its narcissistic form, which is to derive pleasure through the act of identification with the image seen. The image seen is a more perfect version of the spectator, making it pleasurable for the spectator to identify with them, to live

The film industry has created the conventional gender roles of society into their movies. A majority of films have supported some of the male and female stereotypes. In the history of the film industry, the role of men is primarily that of the stereotypical working class man or hero, while the roles of women are primarily portrayed as being somewhat inferior to men. In the 1930s through the 1970s, men held the leading roles in films while women played smaller roles. In terms of jobs, women were given mostly family roles and rarely were shown outside of their homes, while men had successful careers and did many activities outside of home. “Women were shown doing housework and men were the beneficiaries of their work” (“Women’s roles in the

This article Modernity: Spectatorship, Power, and Knowledge is collected from the book Practices of Looking: An Introduction to Visual Culture written by Marita Sturken, and Lisa Cartwright, published by Oxford University Press, 2001. In modern world an image is not a unleavened embodiment of reality, it is more than that, an image also combines power relations between individuals and institutions. The authors also claim that "the concept of spectatorship allows us to talk about this broader context in which looking is enacted in an interactive, multimodal, and rational field" (p-93). The notion of spectatorship also includes the concept of gaze, a rational activity of looking. In this article, the authors bring different ideas to query the

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.

Straying away from the stereotypical timid housewife, women in the West were given room to create new identities. In the movie Duel in the Sun (1946), Pearl engages in a shootout in the desert with a man. While in the movie The Outlaw (1943), Rio McDonald ambushes gunfighters in order to avenge her brother’s death. Although women often stood in the shadows of their more rugged male counterparts, these movies and characters proved that women were just as “rugged” as men, shocking the world with their ruthless behavior and unladylike behavior.

The second movie in which a woman plays a major role in is Baby Boy. This movie, I believe did not do too much damage to the box offices when it first came out, but it sure portrayed women in a very negative way. The main character is actually a man by the name of Tyrese Gibson. He plays a boy who is struggling to grow up and become not only an independent adult, but also a responsible father (to more than one child). The main female role in the movie is Tyrese’s baby’s mother. She is in love with him and would do anything to keep him happy. She let's him use her car and she let's him stay at her place at any time with her and their son. He cheats on her a lot and at one point even hits her. This was a major part in the movie. He had promised her he would never lay his hands on her and he did. She stopped talking to him for quite some time, and that whole time you could sense they were both miserable without eachother. Some men tend to hurt women for the simple facts that they just don’t know how to control their anger or because they were never taught good communication skills. They end up telling one another that they can’t live without each other and they get back together. She ends up getting pregnant by him again and they get married and live happily ever after. Moral of the story: Teens trying to balance their love life and

The “modern woman” developed a façade (also known as a masquerade) that allowed them to appear like a typical woman — perhaps deemed narcissistic, to use the words of Sigmund Freud — but in fact they were exploring their personal sexual intrigue and ignited the female gaze; which was something to counteract the male gaze, which they had felt the pressure of for centuries (or even millennia). An example of this could be a successful and intelligent working woman after showing her ‘worth’, deciding that she needs to flirt and gain attention from male colleagues for her own entertainment and empowerment. Two artists of Art Deco that used the ‘masquerade’ in their art are Tamara de Lempicka (see Figure 8) and Marie Laurencin (see Figure 9), however both have taken greatly opposing approaches. Lempicka’s piece, Andromeda, shows a chained, nude woman looking submissively and longingly into the distance, perhaps waiting for her Perseus. However, it can be considered that Lempicka’s model is positioned in a way that resembles a strip tease or burlesque dancer, which — as the name suggests — is a form of teasing. A parody or masquerade that exaggerated the model’s femininity that disguises to the male audience that her intention was to bend them to her will. These images of writhing and sexualised bodies were extremely crucial to Lempicka’s art. Meanwhile, Laurencin’s work Camille is particularly indicative of her work style, presenting her exaggeration of femininity as soft, fragile