The Idea Of Post-Feminism In The Film Easy A

Feminists that approach analyzing popular culture proceed from a variety of theoretical positions that carry with them a deeper social analysis and political agenda. Popular culture has been a critical part of feminist analysis. “Cultural politics are crucially important to feminism because they involve struggles over meaning” (Storey, Intro 136). Analyzing a piece of pop culture through a feminist viewpoint, whether it be a music video or any sort of media, opens up a broader discussion about the structure of our patriarchal society and the ways in which politics are constantly portrayed and

Technically his book, The Sublime Object of Ideology, was published in 1989, so one can only wonder about whether Zizek would have included commentary on the quasi-Cinderella romantic comedy, Pretty Woman, released in the following year. It certainly warrants a more exhaustive study, but focusing briefly on a few key points in the movie – particularly in the light of theory concepts such as ideology, fetishism, and the commodity-form – should prove equally interesting. While some critics attacked the movie's fantastical plot – charming hooker/heroine Vivian Ward, played by Julia Roberts, is “picked up” and essentially “rented” by troubled corporate mogul Edward Lewis, played by Richard Gere, with the pair eventually falling in love and living “happily ever after” – it was a complete box office success. The film has brought in 178 million dollars since its release in 1990, placing it among the top 50 grossing movies of all time (Internet Movie Database Ltd.).

The Hollywood movie Pretty Woman (1990) is about a prostitute in Hollywood, marrying an extremely rich businessman, in spite of her mutual distrust and prejudice. The movie contains the basic narrative of the Cinderella tale: through the love and help of a man of a higher social position, a girl of a lower social status moves up to join the man at his level.

The magazine article describes the stark contrast in the portrayal of female sexuality between pre-Code and post-Code movies. Pre-Code movies are flagrantly sexual; although some contemporary film critics believe that women were simply embracing their sexual freedom through these pre-code films, the marketing for many of these brazenly sexual films often included derisive comments from males, suggesting that the intent of overt sexuality in films was more crude. Post-code films often used screenwriting strategies to stay within bounds of the Code. Denby argues that this censorship actually created a net benefit for women, who were given stronger personalities and more interesting plot lines instead of simply being sexual objects. The article suggests that censorship led to the inception of the screwball comedy genre, which was forced to “create sex without sex.”

As explained in Judith Lorber’s excerpt from “‘Night To His Day’: The Social Construction of Gender”, gender is a socially constructed concept that everyone unconsciously adheres to (Lorber). As a socially constructed concept, representations of gender roles can reinforce or challenge the stereotypical images. In Killing Us Softly 4, Jean Kilbourne analyzed the advertisement industry’s representation of women and argued that the media plays a huge role in shaping gender formations (Kilbourne). Although objectification of women is still a prevalent issue, Kilbourne acknowledged that there are efforts nowadays that challenges the unrealistic representations of women and femininity (Kilbourne). Inspired partly by Killing Us Softly 4, the project is my way to reflect on how the Disney movies I had watched as I grow up represented gender.

This genre is typically modern, perky and upbeat, but the common narrative in all of them is that it features a woman who is strong and she overcomes adversity to reach her goals. There is also a message of empowerment that also struggles with a romantic predicament and using comedy to poke fun at the male characters. Industries are still producing soppy romantic comedies for the female audience but the divide between the standard chick flick and romantic comedy is slowly disappearing. Similarly to the beginning of this essay it is evident that institutions are moving in the direction of women’s place in culture in relation to this film genre; women are usually shown as the super power since they are made to appeal to the female audience. However

The Dangers of Double Standards Many movies, TV shows, or films in society today portray the double standard with men and woman’s sexuality, shine light on the negative stereotypes, and show many double binds and gender blurs we see in our society every day. An example of a film that portrays every single one of these concepts is the movie Easy A, which takes place in Ojai California. This movie tells the story of a young teenage girl named Olive, who ultimately gets pressured by her best friend into lying about her sexual activities and promiscuity. Told from Olives point of view in a documentary, Olive explains how her world gets flipped upside down when being pressured by her best friend about her sexual activities over the weekend, goes from a little white lie to a massive rumor that ultimately spread like wildfire around her whole high school. As a result of this, Olive becomes the center of attention, talk of the school, and ultimately falls victim to her own rumor.

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

There’s a peculiar trend that is beginning to appear in recent popular culture, and it has to deal with one word: “girl.” Take, for example, this small list of contemporary, popular titles, including Cecily von Ziegesar’s Gossip Girl, Amy Sherman Palladino’s Gilmore Girls, Gillian Flynn’s Gone Girl, Paula Hawkins’ The Girl on the Train, Lena Dunham’s Girls, Disney Channel’s Girl Meets World, Stieg Larsson’s The Girl with the Dragon Tattoo, Fox Network’s New Girl, CBS’s 2 Broke Girls, The CW’s Supergirl, Tina Fey’s Mean Girls… The list goes on. These popular books, television shows, and movies all feature middle to upper class white girls and women in their late teens and early twenties. The “girls” tend to be surrounded by drama

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

My research for this essay will focus on uncovering how teenaged girls have been portrayed in the film industry, particularly with regards to decades since the 1980s. I hope to discover and learn from multiple literary opinions about the patterns as well as the thematic differences between the struggles of teen girls in films throughout the last 30 years. While mainly focusing on Mean Girls (2004), Clueless (1995), and The Breakfast Club (1985), I plan to direct my research towards how these specific decades portrayed in each film are the source of the aforementioned thematic differences. For example, I might try to find research explaining the cultural aspects behind Claire from The Breakfast Club’s struggle with finding her true identity in a culturally segregated high school in the 1980s.

Attitudes towards cross-dressing, transvestitism and transsexuality have changed greatly since the conformity of the 1950’s. Today, the drag queen RuPaul sells cosmetics and a female character with a penis can become a sympathetic addition to a prime time drama such as Ally McBeal. These transgressions from normative gender roles are frequently employed by filmmakers to examine the complexity and fluidity of modern masculinity and femininity. The roots of these explorations can be seen as far back as 1959’s Some Like it Hot, but only in the 1990’s were directors able to use these sliding identities to their fullest extent. By examining Billy Wilder’s, Neil Jordan’s and Kimberley Peirce’s use of

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.

Like most popular gender-bending films, Some Like It Hot calls us to critique constructions of sexuality and gender both within the context of historicized moment of the films production and from the perspective of later

Since its humble beginnings in the later years of the nineteenth century, film has undergone many changes. One thing that has never changed is the filmmaker’s interest in representing society in the present day. For better or worse, film has a habit of showing the world just what it values the most. In recent years, scholars have begun to pay attention to what kinds of ideas films are portraying (Stern, Steven E. and Handel, 284). Alarmingly, viewers, especially young women, are increasingly influenced by the lifestyle choices and attitudes that they learn from watching these films (Steele, 331). An example of this can be seen in a popular trope of the “romantic comedy” genre in this day and age: the powerful man doing something to help, or “save” the less powerful woman, representing a troubling “sexual double standard” (Smith, Stacy L, Pieper, Granados, Choueiti, 783).