Women 's Portrayal Of Women

The 1960 Alfred Hitchcock classic thriller, Psycho and the psychological thriller novel, The Talented Mr.Ripley by notable American author Patricia Highsmith both challenge the audience’s perception of the noir protagonist through pronounced exploration controversial themes via the. Through the use of a range of stylistic features, the authors aim to blur the line between innocence and guilt in order to develop a false sense of empathy for the protagonists Tom Ripley and Norman Bates (Anthony Perkins). Characterisation of both of these protagonists, used in a way that forces the audience to connect with them and adopt an controversial point of view, transforms the audiences perception of how the murderer of a psychological thriller should behave. Hitchcock uses

In this essay I have chosen to analyse two key scenes, each from two of Hitchcock’s most critically acclaimed films, ‘The Birds’ (1963) and ‘Psycho’ (1960). Both of these scenes from both films display the female protagonists at their most vulnerable, facing the threat and fear of death.

Alfred Hitchcock uses dramatic and verbal irony to explain women’s powerful intuition compared to men’s analytical skills. Gender differences are presented in a dramatic manner. Further, the short film explains the differences in gender character’s present in the society (Leitch, 18). For instance, men appear to have an arrogant feeling of superiority against women. This is highly evident in the society we live in because there are high levels of gender inequality. Moreover, women in the story act in solidarity-resisting men’s act of superiority. This brings the theme of feminism creatively in the film.

In the United States, study after study continues to show that women have fewer opportunities to advance in the workplace than men. These disadvantages are a result of society’s views of women in leadership positions and how women may view themselves in these roles. Women have been making progress in terms of equality in pay and job positions, but significant gaps remain. Women who strive to be promoted into higher levels of responsibility in their companies often meet resistance that prevents them from achieving the goal of a senior or executive level of management. This barrier is referred to as the “glass ceiling” and it is a controversial issue in our country today. The glass ceiling called this because women are able to see the higher level positions, but can reach them because of an intangible barrier. One can look at the Fortune 500 companies, which are the most successful companies in the U.S. in terms of revenue to see how few women are in leadership positions. Clearly, women are significantly underrepresented in these companies, as less than 5 percent of these companies have female chief executive officers (CEO) today (Dockterman 105). Providing the opportunity for women to move into management positions, like CEOs, would bring a unique talent and a new perspective on how the company can operate to perform better (Buckalew 147). The “glass ceiling” is a real obstacle that creates an intangible barrier that puts women at a disadvantage in advancing in a company.

The violence in Alfred Hitchcock’s film exposes underlying issues with gender. In addition to abuse of domestic violence and sexual assault, violence is posed as a measure to treat or deescalate hysteria. There is a tendency in Hitchcock pictures for people to use slapping and subdued in order to contain hysterical women. However, hysteria does not represent a legitimate disease inflicted upon these women, but an excuse to knock down women who do not conform to authority.

Alfred Hitchcock is known as a controlling director, most especially when it comes to women. In his film, the female characters are reflected to have the same qualities, such that they are blond, icy, and remote (Ebert). Aside from that, these women are imprisoned in costumes which combined fashion and fetishism (Ebert). Hitchcock’s Vertigo is considered as the most confessional, as it deals directly with themes and arts that he controls (Ebert). This film is all about how Hitchcock used,

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

Throughout history women have been depicted and treated as an inferior to the male all aspects of life. It is without debate, that to this day, like many other countries, the United States of America is a patriarchal society, valuing men over women and using various tactics to oppress women by constructing gender roles. These gender roles are thrust upon people before birth and are reinforced through society within the media. This object here is to provide an overview of the portrayal of women in magazines from the late 1800’s to present day. As the years progress, so do the number of women’s rights. While women are still fighting for equality, the birth of feminism has done much to close the gender gap. Mass media, magazines in particular, facilitated in fostering a stereotype which became the standard, and continues to be, used by society. A society that continues to oppress and suppress its women. However, as the mass media has the capability to demystify, or to bring down and/or destroy a particular group or person, they also have the ability of mystification, or emulating a person or group into society’s graces. I plan to review how women were portrayed since this country’s inception with an analysis of how gender equality might be possible today.

For this paper, I have decided to compare two Hitchcock films. Ever since I can remember, I have seen Alfred Hitchcock films; Psycho, The Birds, North by Northwest, I enjoy his work because I like the suspense, and visual effects that he was able to accomplish. Out of all of his films, I believe that my favorite Hitchcock films would have to be Rear Window (1954) and Vertigo (1958), because I think that the two incorporate everything that is “Alfred Hitchcock”. Hitchcock films are known for being mysterious, cynical, as well as suspenseful and they are all similar because of his use of symbolism, light, repetitive actors, and repetition of theme.

Alfred Hitchcock’s 1958 drama Vertigo explores the mystery and relationship through ex-detective Scottie and elusive Madeleine. Although some see it as a love story hidden within a psychological thriller, it is also a critique of cinema, gender, and the sexist issues of the time. The dynamics between Scottie and Midge and Scottie and Madeleine/Judy demonstrate these issues. Hitchcock uses Scotties character to portray the uncomfortable male-centric viewpoint of most films through plot, mise en scene, and character blocking.

Over the years the United States has grown to love each other as the way people are, especially women. Women have proven to be even stronger than what people expected them to be. You can see the strength, the courage, and the confidence they have gained. It has been discussed many years that women shouldn’t be allowed in combat for not being “strong enough”. Men have shown that they can be “manly” enough to do women or girl things, so why can’t women do “manly” things? If women feel like they can handle being on the frontline then we should respect their decision and allow them to go.

Several film theorists have used a variety of tactics and view points to analyze feature films since their inception. One of the most prominent theorists of those that analyze films from a feminist perspective is Laura Mulvey. Mulvey is famous for her essay “Visual Pleasure and Narrative Cinema,” which presents an array of theories involving the treatment of women in films. Arguably the most notable idea presented in Mulvey’s work is the existence of the “male gaze” in films. This essay will examine Mulvey’s theory of the male gaze in relation to Alfred Hitchcock’s film, Vertigo. Vertigo does not fit the criteria of a film that

Many women today struggle to be what society and the media deem perfect. Soft and shiny hair is what most women work so hard every day to obtain. Taking care of their hair is not a difficult task; but, when they compare it to the fake photographs in advertisements they have started an endless journey.

The amount of critical analysis surrounding Alfred Hitchcock's Vertigo is itself dizzying, but as the film has recently been restored, it seems appropriate to provide it with a fresh critical reading. The purpose of this paper then, is to draw this film out of the past with a reading that offers not only a new way of understanding it, but a close look at the culture that produced it. Specifically, Vertigo offers its most exciting ideas when contextualized in a culture of consumerism. Consumerism shaped the film, and also shapes the way we view it. The desire of the consumer is the driving force behind not only our economy, but our mode of seeing the world, and seeing films. As consumers,

The issue of female persecution throughout many of Hitchcock’s films has been fiercely contested, none more so than the controversial issue of assault and the attempted rape of a woman. Views that Hitchcock represents the archetypal misogynist are supported, Modelski suggesting that his films invite “his audience to indulge their most sadistic fantasies against the female” (18). Through both the manipulation of sound and the use of language, none more so than in Blackmail and Frenzy, the idea of rape and violence does effectively silence and subdue not only the women in the films, but the also the women watching them (18).