Trainwreck Research Paper

Nonetheless, the disclosure that surrounds the rape of the woman does not break away from the customary views on violence especially towards women. In the entire movie, women are depicted and viewed as extremely traditional and passive. They are supposed to follow whatever is required from them. Gender through the movie exists in the similar way through which race exists. The society in the movie is largely patriarchy, and gender is unconsciously used for the purpose of justifying oppression and patriarchal

In Hollywood film women 's roles have varied quiet considerably between genres, geographical placement, and period settings. These factors contribute to the different representations of women 's roles in the film they are present in. The roles are diverse going from the traditional maternal role to that of manipulative murderer. Women 's roles in movies can be almost equal to the male roles, and the co-stars are not given the majority of the acclaims just because they are male. Society has set certain standards that women are supposed to follow. The most common image of women is that they are very passive and try to avoid conflict in any situation. More and more in society women are breaking down the social barriers that confine them to their specific roles. The films Rear Window and Resident Evil show women in roles that are untraditional for our society. These two movies help to show how women are rebelling against social norms and that they are taking more active and aggressive roles. In film noir’s we can see women represented as the femme fatale, a woman whose mysterious and seductive charms leads men into compromising or dangerous situations. In action movies we see the heroine who is strong both physically and mentally, and has the ability to use weapons. Women seem to be more trapped than men because they are supposed to live up to society’s standards dealing with beauty and size, which are more physical characteristics. These specific guidelines have been set by

Women often appear with glamorous image on advertisements, movies. However, there are also a lot of pictures to make women soured and routine such as women in the party, velvet erotic games, etc. By taking advantage of beautiful pictures, sexy women in the media seems to make the value of women become simply. People have acknowledging that women typically only have to dep, sexy, attractive, and space for recreation. Indeed, they hardly enhance the value of women. I am really shocked to find that most of social media is making people less interested in the intelligence, curved bar, and a lot of good things that women had not simply outward beauty. The media just give people that the public wants to. The film really makes the viewer think about the true value of women in the media and society. In addition, the film effectively appeals to the audience’s emotions and empathy. Throughout the film, the writer mentions her unborn daughter and her fear of whether her daughter “could grow up to be emotionally healthy and fulfilled given our moder culture.” She mentions that becoming pregnant and discovering her child was a girl is the reason she started looking to make a change in the way society and media sees women. This is an appeal to anyone who has a daughter or wants to have a daughter. They hope that people will want to make changes, just like the narrator did, for the future of the

Gender roles have been, and unfortunately still are, evident in our everyday lives for quite sometime. Women are often portrayed as sexual objects, or delicate individuals; a body with no brain or strength. These traits are easily found within many novels and movies- old and new. In Alfred Hitchcock’s films, Rear Window and Strangers on a Train, Hitchcock begins his films representing women with the same characteristics as stated above. They are very stylish, attractive and presented as second-class individuals to males. But after examining these two films, Hitchcock does something that many directors in his time would not have dared to do. By making the women the heroine and arguably the protagonist of the storyline, Hitchcock proves to

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

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

Gender is an important part of this film. The performance of gender, in particular, is stressed.

Mulvey approaches the concept of psychoanalysis as the idea of a political weapon, which is then used in the way to expose patriarchal unconsciousness in both films and how certain structures in society are formed. A woman can not be the maker of meaning, but can only be the bearer of viewership within this structure, she is the object that is to be viewed in an erotic form. To be the object of pleasure for the male gaze, men take this satisfaction from watching to fulfill their own innate sexual desires (Mulvey, 1975). Her existence is based solely on how the patriarchal society views her, in which she has no choice but to be gazed at. Moreover a woman cannot be a true spectator because of the male dominant culture she is surrounded in.

Trainwreck has Amy playing Amy as a career oriented woman who doesn't believe in relationships and thinks monogamy is a joke. The idea that love exists has been destroyed by her philandering father Gordon played by Colin Quinn (Grown Ups, Who's the Man, Harold) at a very young age. But as a philandering adult herself Amy's pretty happy with the idea of never finding 'the one' or worrying about 'settling down' and as for starting a family? Forget about it! She has one rule that she swears by: Never let them spend the night. That rule has served her well during her many, many nightly escapades. And anyway what does she need to

“Trainwreck”, starring and written by Amy Schumer, is the best comedy directed by Judd Apatow, who never convinced me before with movies like “Knocked Up” or “This is 40”. This film succeeds on many fronts, and I left the theater with a big smile on my face, even disliking its totally staged ending, fancied at the New York Knicks’ Madison Square Garden, which if more extended could really have wrecked what had been done till there. Regardless the final slip-up, the merits go totally to Ms. Schumer, a stand-up comedian who shines with her engaging semi-autobiographical work. Here, Amy plays Amy, a writer who works for S’nuff, a men’s magazine whose unkind director, Dianna (Tilda Swinton), gives her the worst assignment ever: to write an article

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 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”.

Amy Dunne at first expression is a nice, cool, stylish female who would be an ideal daughter and wife. She is her parents’ inspiration for a children’s book series called “Amazing Amy”, which was about a perfect girl who overcomes all obstacles that come her way. To her husband Nick Dunne, she is a dedicated wife, who loves him dearly, and struggles to make her marriage work. Okay now let’s give you the real Amy, analyzing her throughout the book it seems she should be diagnosed with Borderline personality disorders.

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).

In society, women are often perceived as the weaker sex, both physically and mentally. In modern times women have leveled the playing field between men and women, and feminism is a highly discussed topic, but for years, women faced discrimination and prejudice both in life and in the workplace, due to their sex. This way of thinking flooded into the world of film. In their works, the authors of each of the various sources address the limitations and liberations of women both on and off the screen in nineteenth century Film and Cinema. Not every source is completely filled with information related to the research topic, but they do cover and analyze many of the same points from different perspectives. Prominent points addressed in each