Female Archetype in the Heroine Categories of Films - Essay Example

Female Archetype in the Heroine Categories of Films Insert Insert Introduction Besides the pursued development, women in the films have restrictions by archetypes of traditional mythical orientation. As linked images affect the culture, archetypal ones of women in films potentially further restrain women’s social development. The domineering archetype of women In line with the 1887 comedy, ‘Baby Boon’ starred by Diane Keaton and produced by William A. Franker, the female personality confers upon a high social domineering and leadership level. The main character J.C Wiatt (Diane Keaton) is a driven Manhattan expert with the nickname (the tiger lady), probably because of her strong personality. She mixes up her business professionalism with life care, in that she endows the main task of caring for the child. This movie lays credence to the socio-economic position of the global period during that 10-year period, characterized by the decreased growth of countries’ low standards of living. Her final decision that overcame the thought of an adoption, as she had grown attached to the child shows how the female figure appreciates life. The viewers remain appreciating the rational decision presented. They remain criticizing her male counterpart who abandoned her at her most crucial time (Harold Ramis), an investment banker. Despite all the challenges and hurdles that Wiatt had grown through including suffering a nervous breakdown, she later resurfaces, and all hopes are high when her Baby Food company sales at millions. Women leadership position in the Devil Wear Prada With the improvement in the world economy, women leadership position has even been more solidified as the new economic period ushers occurs. The movie, The Devil wears Prada of 2006; shows career based female power, love, and friendship linkages in complex and sometimes paradoxical perspectives. Women power linkages explained in the movie reveal that females utilize power effectively to ensure they are competitive in business. They also help other women advance in their careers. This is evident when Andrea acts loyal to Miranda when she attempted to warn her against the coup that intended to overthrow Miranda for a younger woman. However, love and friendship linkages deteriorate, as women become successful professionals. In spite of linkage drawbacks, such movies portray optimism and stable women figure images for young females in the workforce (Danya 70). The Girl Next Door movie With the high and improved economic standards, there has been enhancement in life and consequently because of westernization, social evils such as prostitution and production of pornographic materials have sprung up. In the 2004 American teen film, The Girl Next Door, the main character Matthew (an honor student) decides to love for the first time a girl next door, but in the process meets complex situations after he learns of her former porn professionalism. He is out to win a large scholarship, but his dreams saw the light of day later when the movie ends. The patriarchal archetype of women heroes According to the producers of this movie, The Girl Next Door,’ the female character, Danielle (Elisha Cuthbert) contrasts to her male counterpart Matthew Kidman (Emile Hirsch) in a way that Matthew holds a higher domineering power due to his level of education. Unlike in the comedy, ‘Baby Boom’ and in the movie, ‘Devil Wear Prada’ where the female figure confers upon a high social class; besides caring for life (caring for the child) as in ‘Baby Boon’ she is a leader by herself. His (Matthew) graduation is yet to come. On the other hand, Danielle is portrayed as a reformed porn star. It is not told if she has any considerable education of any form. She underwent this social vice in order to fend for her life. During the instant when Matthew took Danielle to a sleazy motel, movement gets into a high level of the patriarchal social positioning of the female counterpart when Danielle performs a striptease dance to Matthew and goes further to offer herself to his desires. The producers of this film strategically placed a male porn producer, Kelly (Timothy Olyphant) who functions to produce the pornographic material that these females shoot out. Kelly gladly welcomes Danielle to the porn business and plans to travel to Las Vegas for an adult film convention. In this sense, the patriarchal feminine positioning in the social arena comes out as also facilitated by men. At the end, there is a stint of hope when information comes out that Danielle who was to save Matthew from his predicament by shooting a pornographic film on the school ground had spearheaded the making of growing detailed sex awareness instead of pornographic film. In this regard, arguments emerge to revert to a state of humanity, which is a progressive nature of the women (Danya 85). There is also hoping for women regarding the fading of patriarchal positioning of women in the society as Matthew the intellect, is saved from a fall by Danielle, the porn star. In summary, Analysts can now confirm that the continuing themes and images found in the films work as framework myths that intuitively resonate with the recipients. In the discussion, arguments show that despite the progress realized, women in the film are still restricted by the mythical traditional archetypes. As the supported images affect the culture, women archetypical images in the film potentially increase the restriction on the social development of women. The film discussions explore mythical feminism archetypes from each part and show that one the reign of the woman’s film gives traditional archetypes. For example, the Wife, Mother, and two, representation becomes highly progressive in the new woman’s film of the 1970s because of the influence of women’s movement, besides resonating around feminists for failing to foresee sacrifices they would have to make. These films are appropriately detailed to suit and satisfy any audience with interest to know the content behind the evolution of women and as they rise through education. Considering the women’s films from the opinion of the recipients, there is a provision for another involving avenue for further research. This might include investigations of recipients feedback through media i.e. newsletters, magazines, historical articles, journals, personal interrogations etc. In addition to other areas of research, the discussion above details the required evaluation of female representations covering three film entities. The interactive method incorporates the issues of rhetoric, myth, film, genre, and women’s history. The conclusions bridge gaps and encourage understanding of women in films. Reference Danya, Day. From woman to chick: The rhetorical evolution of women in American Film, Texas A$M University. 2008. Print. Read More