The Bechdel Test In A Movie

In the movie there was a lot of traditional gender-role. Men had to prove they are though and women had to me caring a nurturing. Oscar had to play a dominant role around his family and friends. Oscar was struggling with money because he recently got fired but he wouldn’t let anyone know. Around Oscar’s friends he had to show how tough

sexy women are used for movies because that’s what men likes to see. A film that use women

The male gaze puts his fantasy onto the female figure, which is styled, in a unique sort of way. In this traditional exhibitionist, role women are continuously being looked at and their appearance is delivered to the male gaze in such a way as a strong visual and erotic impact and provides male desire. The presence of a woman in a normal narrative film is the key of the movie. However, the key of the narrative film works against the development of the story-line and stops the action due to the erotic gaze. Butt Boetticher said: “What counts is what the heroine provokes, or rather what she represents. She is the one, or rather the love or fear she inspires in the hero, or else the concern he feels for her, who makes him act the way he does. In herself the woman has not the slightest importance”.

In Buffy the Vampire Slayer, this is seen so often because the entire show is based around it. You have buffy this strong and witty girl who run’s around slaying vampires. While all of the male side characters are practically useless. A good example pulled from the footage of this would be from episode 2. Xander which is Buffy’s new male friend at the time insists on going with Buffy to save his friend who had been captured by the vampires. As much as Buffy defied him to he still was going no matter what she said so she just backed down. Then when they get there and confront him Xander is basically useless. He just stands there helpless while Buffy saves the day.

In Babich’s post, he begins by talking about the transition from hand drawn films to computer animated movies, saying that, “…the new computer-animated films drove their hand-drawn cousin aside…” (Babich 235). His next argument is that popular production companies like Disney, Pixar, and Dreamworks avoided using female protagonist for a long time after box office showed triumph for computer-animated movies, something Babich claims to be the cause of the shift (Babich 236). Babich continues by saying that the storyline of kid’s animation movies would not be affect if a female played the lead. He then talks about sexism in these films and the switch from human characters to inanimate objects (Babich 236-238). His cause and effect style of writing this post gives his audience a sense of understanding about the topic, because each idea leads up to the argument of his discussion. In Lawson and Doll’s article, each part of their argument is broken down and elaborated under subtitles. These included: "You will never have to choose between two amazing men (or women)", "You will not find someone ten years after you met them", and, "You will never fall in love with a hooker with a heart of gold" (Lawson and Jen Doll 230-231). This gives the authors the freedom to directly address each scenario they view as inaccurate, as their own entity.

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

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

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 different roles women and men characters play in the stories are also largely influenced by the society’s views. Women are portrayed

Gender issues were also prevalent in this movie. In the beginning of the movie Bruno is playing with his friends before moving to the country. They are playing soldier and pretending to shoot and kill each other, while his sister Gretel was playing with her dolls. Mom is seen coming home from a shopping trip with some packages. Gender roles are “patterns of attitude and behavior that a society expects of its members because they are female or male” (Thio, 224). Throughout the movie gender roles are seen as the mom stays home and takes care of the children while the dad is working. As well Gretel the sister is always portrayed as sweet while Bruno is portrayed as an adventurous boy who likes soldiers. Men are also portrayed as strong, while the women in the movie are portrayed as weak.

It seems that the film breaks out of traditional gender stereotypes. However, looking a little deeper one will see that in all the fight scenes, Uhura plays no part in giving out commands or taking initiative, which perpetuates the stereotype that women don’t take initiative. The women officers are shot with the camera from the top-down – rather than from the bottom-up as the men are – which emphasizes the physical size difference between the men and the women officers and belittles the power of the women officers. Although the film appears to show strong women, the women in fact are weak and are depicted as mostly useless – the women also don’t break out of any traditional gender stereotypes.

     In many ways today's society, even though women have come a long way, we still live in a patriarchal world. There are many examples of this in everyday life, whether it be that there aren't very many women CEO's or the mere fact that we've yet to have a woman president. No matter where you live, there is the presence of a male dominated world. It especially extends into the working fields. There are professions that are categorically 'women's' jobs like nursing, school teacher, or secretarial jobs. The rest of the professional world is mainly male dominated, i.e. engineering, CEO's of major companies, and Law Firms. Which brings us to the movie I picked to watch, Legally Blonde.

The relevance of romantic/sexual conflict is indicated by the dynamic role played by such conflict in cinematic storytelling. A film's point of view may be identified according to four characteristics. The first involves identifying gendered reference in the titles of the films. For example, in the title Indiana Jones: The Last Crusade (Paramount, 1989) the reference is clearly male. The second involves identifying the sex of the leading character, or "star," of a given film. If a film gave equal billing to actors of both sexes, then both sexes are recognized and no clear point of view is acknowledged. However, the third characteristic clarifies such situations by identifying the sex of the leading character upon whose image the film opens. For example, in Titanic, it is the leading female character, an elderly survivor of the disaster at sea, to whom the audience is first introduced. The fourth, and perhaps most directly relevant characteristic, involves the relative amounts of screen presence given to leading female and male characters when they are not interacting with each other. In other words, when the leading woman is not interacting with the leading man, whom does the camera tend to follow? (

To begin with, the power in the relationships in the novel lean towards the women. This isn’t inherently bad, but considering a few aspects, such as how Dicken’s depiction of the female characters and that he wrote the novel in the Victorian era, this portrayal of women is misogynistic. For example, Mrs.

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