The Role Of Oversexualization Of Women In Film

The gender and feminist representations conveyed by the media are as harmful as any other kind of representations; they are easily depicted whether directly or indirectly. Their effect starts with little children and goes on to reach adults. Many film studios are devoted especially for children films, and this is the place where the magic happens, portrayals that might seem very innocent and harmless, but in fact are indirectly extremely vicious. Children grow with these assumptions portrayed by the movies, so as full gown adults they will find the motion picture representations as very normal and very acceptable, whatever they might hold in them, because of the background and the platform that was laid before them when they were kids.

Sexualization is one of the obvious characteristics in action movies. Sexualization represents the issue of gender inequality, showing the imbalanced participation of characters with different gender in action movies. When talking about the sexualization in action movies, we firstly need to identify the stereotypes of females in action movies. As we know, the action movies usually present the heroism of the main characters, who are mostly males. To frame the heroism of male characters, it is routine to add female characters in action movies. Such female characters are fragile, vulnerable and weak. They usually need the protection of males. In action movies, the typical female characters are “wife” and “daughter”. In action movies, especially the ones who involve revenge, such female characters usually got

Women are portrayed in this movie as the housewives that stayed home all day. They would cook, clean, and take care of their children. For example, in the movie, a woman of any race was not allowed outside of her house because they were not with their husband or had their boyfriend’s permission. In addition, the men told their girlfriends or wives that they were going out to drink, and never did they think that they should invite their wife’s and girl friends because they felt that they were too dumb to go to a gang meeting and it was no place for a woman to be. Moreover, a white girl wanted to join the Jets gang and was told to go home, and that the streets were not a place for women. In comparison to during the fight scenes, the women are

In contemporary film women's roles in films have varied quiet considerably between genres, geographical placement, and between

On the same cable networks that act as the home for gay and lesbian television series, America finds its new woman for the new millenium: she’s smart, independent, gainfully employed, sexually confident, and, usually, she’s single. Television finally has room for a woman to fly on her own, without her minivan, Cub Scout den-mother meetings, or workaholic husband to feed and clean up after. The prime example for TV’s new “wonder woman,” is found in the four women of HBO’s Emmy Award winning series, “Sex & The City.” These

The objectification of women does not exist in America as it does in other areas of the world. In fact, they perfect equality and prosperity of all genders in all places: Wal-mart, schools, and even Hollywood. Showing women what they need to look like gives them an image to strive for. In movies, girls always need saving but never saves. Girls here know what they have to look and act like in order to find success, unlike other countries where they have to pretend they aren’t anything at all. Being the person everybody wants is better than not being anybody at all. Hollywood allows few lucky girls to act like that person while also promoting that woman to others. Today’s Hollywood gives women an outline to not only who but where society allows them to be. In films today, there is an undeniable lack of women as main characters. Less than a third of women receives main roles out of 800 movies and 35,205 speaking characters (Smith). As in movies, it is imperative for women to hide in life. Let the men take the spotlight, and stay in the shadows. For example, in the 2016 election, a woman ran for president. Having intellectual thoughts and opinions does not make a woman more attractive, which proves why Hillary Clinton inevitably failed, especially to such a politically polished and more qualified Donald Trump. Hillary fools herself into thinking a girl stood a chance against a man if she only wore an ugly

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

Women are deemed as a “minority” yet make up 51% of the world population and in 2014 made up only 12% of protagonists in films. And that is just on-screen, the percentage decreases as you go farther and farther into behind-the-scenes positions such as directors, cinematographers, and writers. Add race and ethnicity and those characters' percentages decline even more (Lauzen, 2015.) Women in film and television are often portrayed with emphasis based on their body type and in advertisement are largely objectified. The large objectification and misrepresentation of women in the media has led to an offset psychological view of women from growing up to adulthood.

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

That status of women in television programs is grossly misrepresented. Female sexuality on broadcast television is, in most cases, exaggerated and has set an unrealistic standard that real women are attempting to reach. Not only this, but it has created new expectations for men. With my personal project, I wrote letters to television executives—Robert Greenblatt, chairman of NBC Entertainment; Paul Lee, president of ABC Entertainment Group; Nina Tassler, president of CBS Entertainment; Dana Walden and Gary Newman, co-chairpersons of FOX Broadcasting—demanding that promote a better representation of female sexuality. As well as have a better representation of all sexualities, meaning more accurate depictions of lesbian women, bisexual women, and trans women.

In cinema, women are chiefly casted as objects who yearn for the adoration of men. They are expected to fulfill traditional tropes of femininity and to vehemently deny the pursuit of independence. When viewers encounter the trailer of Trainwreck, they are greeted by a woman who patently defies the cinematic criteria of the patriarchy. She is sexually liberated, emotionally unavailable and an established professional. However, upon further examination, it is evident that her life is dictated by the male gaze. While she indulges in sexual relations, she does not receive pleasure. Furthermore, while she happily consumes alcohol, she does so to avoid the state of despair that emerges when she does not. Ultimately, she is not a transgressive figure, as she solely exists to fulfill the mantra that her father instilled in her since her childhood.

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

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.

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

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.