Scrolling through Netflix trying to pick a movie, viewers can generally get the idea of the movie based on the title shown. The first thought that popped into my head after reading the title ‘Fargo’, was how far would an individual strive to achieve and/or accomplish a goal or mission and how far would that individual run if caught in a unforeseen circumstance. The 1996 film ‘Fargo’ by the Coen Brothers, explores a handful of themes such as, life, death and evil. The idea of the movie is that the main character Jerry Lundegaard is a car sales man and is not very good at his job. He is shown no respect from his wife and child and his boss, which is also his father-in-law. The film takes place in a small town in Minnesota. This essay will explore the Feminist and Marxist theory, seen through this film ‘Fargo’ and its characters. The Feminist theory and Marxist theory are mainly seen through the characters Marge, the police officer and Jerry the main character, which the entire movie revolves around. In the Coen Brother’s 1996 film ‘Fargo’, Jerry is a pathetic car salesman who is financially unstable, plans to have his wife kidnapped so he can cash in on some money. A business deal about to go sour Jerry, hires two goons for the kidnapping. Along with Jerry being very nervous and jumpy all the time, no one has any idea why or what, Jerry needs the money for. With Jerry’s father-in-law being a successful businessman and owner of the car dealership, which Jerry is an employed
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American Beauty, a film that was written by Allan Ball and directed by Sam Mendes in 1999 is a unique piece that demonstrates many sociological themes throughout the development of the plot. The characters strive to portray themselves as the All American Family. They live in a nice house, drive nice cars and seem perfectly normal to the general public, but the audience is allowed to view the deep set issues that plague the main characters; Lester Burnham (Kevin Spacey), Carolyn Burnham (Annette Bening), Jane Burnham (Thora Birch), and Jane's best friend Angela Hayes (Mena Suvari). As the plot develops there are many obvious parallels relating the lives of the characters to Merton's Strain
On December 14th, 2000, Miss Congeniality (directed by Donald Petrie) was released, making 212.8 million dollars during its run in theaters. Sandra Bullock, the leading actress of the movie, played a character by the name of Gracie Hart. Bullock’s character is an FBI agent that must go undercover to protect the contestants of the Miss United States Pageant. The contestants were being threatened by a notorious criminal who happened to be the pageant host, Kathy Morningside, played by Candice Bergen. The stereotypical topic Miss Congeniality addresses is women not being good enough to do a man’s job; though the feminist defense in the movie proves the stereotype wrong. It would seem as though Miss Congeniality struggles with an ideological conflict by suggesting that being a feminist is acceptable, yet a woman must stay out of the work traditionally done by men. The conflicted opinions in Miss Congeniality are easily recognized by men and women being represented in film differently, misogyny in the workplace, the juxtaposition of feminism and misogyny, and the future with a continuation of struggles from both sides.
For this assignment, I will be analyzing the 2004, blockbuster film White Chicks with specific reference to dimensions of social stratification such as gender, class, and race. White Chicks follows the story of two African American FBI agent brothers, Kevin and Marcus Copeland who accidently foil an assiduously executed undercover operation intended to capture a group of notorious Dominican drug smugglers. As a final opportunity to redeem their tarnished reputations, the two agents take on an assignment far below their customary standards when they agree to escort billionaire heiresses Brittany and Tiffany Wilson to the Hamptons in order
The 2001 comedy film Legally Blonde tells the story of Elle Woods, an upbeat and optimistic sorority girl who, over the course of the movie, transitions from a simple college student with few professional aspirations into a successful law student. Elle initially presents herself as a stereotypical sorority girl: vain, superficial, and self-obsessed. As such, she consistently faces discrimination from her friends, family, and colleagues alike. The film wants the audience to view Elle as a woman who rises up above the stereotype through hard work and intelligence, and who proves herself as a capable individual in a discriminatory society. Because of this, some view Elle as a feminist icon, a person who empowers women to achieve equality to
The empowerment and the continual push for equal status for women has become widely popular and successful in recent history. Women have stepped out of traditional roles of the housewife, the mother and the submissive doormat to more assertive natures. Many controversial issues surround women’s crusade of freedoms including the widely debated right to choose what she does with her body, referring to an abortion. In 1927 Ernest Hemingway wrote a short story titled, “Hills Like White Elephants” that expressed a feminist movement focusing on this issue. Through the character’s development and ability to come to her own decision despite her boyfriend’s constant pressure suggests a shift towards a powerful feminist theme in a society dominated by men. The story, “Hills Like White Elephants,” reflects how men and women are compared with power and dominance regarding their stereotypical behavior in relation to gender norms; however, this story portrays how a woman steps out of the expectations and takes a stance for what she wants.
On September 20, 1984 a show aired that changed the way we view gender roles on television. Television still perpetuates traditional gender stereotypes and in reflecting them TV reinforces them by presenting them as the norm (Chandler, 1). The Cosby Show, challenged the typical gender stereotyping of television, daring to go against the dominant social values of its time period. In its challenge of the dominant social view, the show redefined the portrayal of male and female roles in television. It redefined the gender role in the work place, in social expectations, and in household responsibilities. The Cosby Show supported Freidan in her view of "castigating the phony happy housewife heroine of the women's magazines" (Douglas 136).
South Park has been around for a while now. Since it was aired for the first time on 13th August 1997, the show has constantly pushed the boundaries taking on everything, leaving out nothing. The reception among the wider population and the media had a wide range from “shocking” to “excellent”. One of the aspects of this success story is that, because of its provocative tone the show has managed to stay in the limelight. Public debate was evolving around certain episodes, bringing more and more attention to the show. As it was constantly picking up contemporary themes, topics or events, expectations were growing and “ 'How will South Park deal with x ' has become a common catch phrase” (Johnson-Woods 257). Another
Shirley Jackson’s novel, The Haunting of Hill House, explores the cultural anxieties in the mid 20th century. Specifically, men use womanhood (societal norms) as purposely infantilizing women in order to confine the female mind. Jackson utilizes symbolism, metaphor, and anaphora in her novel in order to convey the message for men to stop infantilizing women. Moreover, Jackson spreads awareness that women are being confined by a system that men developed: womanhood. Hence, in effect, the novel serves as an informal protest against male repression through a medium that can be read by a wider audience —more importantly an indirect challenge to male readers. According to Krolokke, Second Wave Feminism became prominent due to cultural discontent with patriarchy during the mid 20th century. Moreover, Krolokke informs the readers that Second Wave Feminism influenced women to challenge traditional family roles and male ideologies about women not belonging in the workplace (11-12). Mid 20th century is also when Jackson published The Haunting of Hill House. So, with these historical and cultural contexts in mind, Jackson’s The Haunting of Hill House ends the novel with Eleanor killing herself because she wants women to challenge the ideas of patriarchy into effect. Hence, Second Wave Feminism has a connection to Eleanor having a childlike personality (can not think for herself) because she wants women (especially young and single women) to explore their rights (their choices) and
In today’s world, men and women are perceived equally by the society. In the past, authority and control define men while women are given the characteristic of helplessness. Men are able to get hold of high positions while women usually are subservient to them. In movies, we would usually see women portray roles that are degrading due to the stereotypical notions they associate with this gender group. Moulin Rouge, a movie set during the 1900s narrates the story of a courtesan woman, Satine, as she undergoes hardships to earn money, experiences love but unfortunately, due to her irrational choices, faces tragic consequences at the end. Satine is a symbol of how women are being treated by the society during the era before post-feminism,
Yes, I believe that Judd Apatow is a feminist. My reasoning behind this claim lies behind the way he directs his movies. Throughout each of his movies he portrays each of the male characters as shallow or kiddish. Also, he doesn't seem to take either side, but yet honestlys sways in a way that percieves women as the more emotional smarter charcters while the men are complete opposite. I do not believe it is coincendental that he does so, but yet does it on purpose. Also, Judd Apatow acts as an innovator towards actors such as Lena Dunham and Amy Schumer. The biggist hit beyond why Judd Apatow is a feminist lies behind my most recently watched movie, Knocked Up. It comes off as very sexiest, appearing women to have great authority and knowledge
The Screwball comedy is a film genre that found its way onto the screens in the early 1930s and lasted till the early 1940s. They were a consequence of the newly adapted censorship law in 1934 that restricted addressing adult content on screen. They therefore incorporated more comedic and creative ways of symbolizing topics such as sex and homosexuality. Screwball comedies were mainly based on plots that had conflict between social classes as their many premise and always had a happy ending which was almost always marriage. This consistent maintenance of the status quo of marriage is a major aspect of feminism depicted in screwball comedies (Heather 26). While advocating for marriage, screwball comedies highlighted the shift in the
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
In society we have a lot of women actresses. Some tend to play the motherly type, some play the manipulator type and some even play the victims of abusive relationships. No matter what women seem to be coming up in the industry of movies in more ways than before. The three movies I have chosen to analyze in my critique are Heartbreakers, Baby Boy and Stepmom. These three movies all have women in them that either play a major role or the main role. All their roles are very different in character and none of the women in these three movies play a similar role.