The Rocky Horror Picture Show

In current society today, technology is advancing at a rapid rate and with so much exposure to the media it is difficult to control what is being seen by children. Disney is one of the largest and most successful companies in the film industry. From children 4 years old to adults and every age in between, Disney has found a way to create films that entertain all ages. The seemingly innocent content of Disney movies are enjoyed from a very young age; however, behind the colorful and lighthearted storylines of many Disney films lies many unreasonable social ideologies that children may be subconsciously becoming accustomed to. In her work, “Where Do the Mermaids Stand,” Laura Sells discusses the hidden messages in Disney’s The Little Mermaid. Sells explains how this movie expresses a hierarchy of gender and exaggerated femininity by demeaning the role of women in society. Susan Jeffords, author of “The Curse of Masculinity,” discusses similar ideologies in her article. This article looks at Disney’s Beauty and the Beast and focuses primarily the role of men and the how they perform to fit into this white male system by means of upholding hegemonic masculinity. The two articles “Where do the Mermaids stand” and “The curse of Masculinity,” bring to attention the reinforcement of the white male system, the racialization in the white male system, and the reinforcement of hegemonic masculinity in beloved childhood Disney movies.

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

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 documentary This Film is Not Yet Rated, provides an account about the MPAA and their rating system. The film contends three main arguments against the MPAA rating's prejudice between; sex and violent content, homosexual sex and heterosexual sex, and bloody and non-bloody violence, by their use of side-by-side comparisons. A main argument in the film is how the MPAA differs in its treatment of sexual content versus violent content. The documentary contends that main difference between NC-17 and R is that R would only show missionary position sex; while other type of sexual behaviors is NC-17. Side-by-side examinations of The Cooler and Scary Movie, is used as evidence for this argument.

This paper will look at how the movies portray women in a way that women can relate to regardless if it’s an insulting

In the media we see today, and movies that are continually coming out all have a central idea in common. They all show and represent the idealistic perspective of male versus female in society. From cartoons to chick flicks to romances and comedies we notice identifiable differences and trends represented between the two genders. In the movie I watched, “Clueless,” there are many examples illustrating male superiority over female, ideas of what femininity should be, and female appeal towards the male figures in the film.

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 Rocky Horror Picture Show , directed by Jim Chapman, is a campy comedy musical set in a horror and science fiction themed castle in which sexuality and hilarity run rampant. The film, closely based on a stage production, hit theaters in 1975 and continued to rule the midnight film scene, becoming a cult-classic. By using homage and allusion to science fiction and horror B-films, lambasting sexual identity and gender normality, and employing a self-referential universe, The Rocky Horror Picture Show stands as a strong representation of 1970 's postmodernism in film.

The media is such a large part of the United States, and the world in general. The media and all of its components can be a rewarding part of society, like entertainment and staying well-informed, but it can also paint a stereotypical and degrading image of women. In the early 1900's, around the 1920's to be more precise, women in movies and on television did not have the creative boundaries they have today. Women were able to control their own sexuality, but in the mid-1900's Hollywood set up two major roles women could portray; the “innocent ingenue or the threateningly sexual vamp (pg 18).” Although media has changed over the years since 1950, the limits still remain. By today's standards, women typically play the love interest of the protagonist who can be used by the antagonist as leverage.

“A lie told often enough becomes the truth”, said Vladimir Ilyich Lenin. In George Orwell’s allegorical novella, Animal Farm, the pigs were able to gain power by manipulating the other animals: They took advantage of their knowledge, told lies, and changed the rules, which ultimately gave them great power and influence over the farm and the animals.

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).

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.

One of the most heavily discussed topics today is the death penalty. On one side of the spectrum, many argue that death is the only form of justice for the most heinous crimes. On the other, many argue that it is a pointless waste of time. Recent studies have supported the latter argument. In 2011, states without the death penalty have had 18% less murder rates than states that do enforce it. For the ten years prior, the murder rates in the state without the death penalty have been consistently lower and even, at times, the murder rate in those states have been lower than average (”Deterrence: States Without the Death”). Furthermore, “In New Mexico, according to the legislative finance committee a death penalty case costs approximately $20-25,000, compared to $7-8,000 for a non-death penalty murder case” (de Leon). From a monetary front, the death penalty has been shown to cost more on average than a regular life sentence. Money is being wasted on a service that harms an individual. The death penalty is not an effective form of deterrence because studies have shown that states with the death penalty have higher crime rates, and it provides no form of justice to anyone.

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

During my current position as a Teaching Associate (and Affiliated Lecturer) I wrote and delivered the core second-year course of eight lectures, and facilitated eight MPhil seminars, in Economic Anthropology. I also wrote and delivered two lectures concerning the anthropology of welfare and social protection, supervised over forty students for the papers SAN1, SAN2, S5 and SAN8, and supervised an undergraduate dissertation. My effectiveness as a lecturer is attested by a quantitative evaluation, in which I received 88% for how interesting the material was, and 90% for how clearly this material was presented. One part IIA student provided the following in their feedback form at the end of the SAN2 economic anthropology lecture course: “My favourite lectures of the year. I thought I didn’t like economic anthropology because I didn’t understand it. These lectures clearly explained concepts with a diverse range of ethnographies. I am now doing my dissertation in economic anthropology! Thank you!”. This quote encapsulates my approach to lecturing in which I clearly explain theoretical approaches using ethnographic examples. In some lectures I aim to provide a coherent overview of a particular topic, while in others I explicate particular concepts and theories using a more circumscribed set of literature. Aside from teaching economic anthropology and supervising students, I would also welcome the opportunity to teach research methods. I recently co-facilitated a five-day