The Representation of Women in Films in the 1930s - Essay Example

?The Representation of Women in Films in the 1930s Introduction The 1930s was a period of serious depression worldwide, both economic and spiritual, particularly because of the aftermath of World War I (WWI). All these depressions were the reason why people turned to the media to entertain themselves and escape from the problems of their tough daily routine, which saw the film industry experience huge growth. In the 1930s, film producers concentrated more on war and romance. These films relied on unrealistic and exaggerated portrayal of sexual relationships and romance to appeal the audience. The films positioned women on a narrative scale of patriarchal capitalism (Berry, 2000, p. 27). According to this choice of portrayal, the principles of womanhood conflicted with material and economic pressures, which touched upon class and gender identity problems as well. In the 1930s, Hollywood produced different styles of films depending on the eras and genres that synchronised with social trends. Numerous elements of cinematic style existed within the development of a film context. Since the 1930s, the role of women in films has differed conspicuously depending on social trends. This research paper examines the portrayal of women in films during the 1930s. The Portrayal of Women in Films in the 1930s Women’s position in films was subjected to gender discrimination as reflected during this era. Women stayed behind the scenes as undervalued and frail characters and were rarely featured as main characters (Adams, 2002, p. 210). They played the role of supporting a male lead character. In the film, Gold Digger of 1933, by Busby Berkeley, sound effects and women featured numerously in many scenes of the film. In this film, women were portrayed in an elegant and classic way. These times exemplified utter respect for women subject to the classy and dignified way of dressing and commentary. This film also portrayed women as equal to men especially in the many scenes they featured in and various lead roles they took in the film just like men. Starting from this film, it could be seen that women were given preference and were glorified unlike in the current films (Feuer, 1982, p. 80). Fashion in the 1930s was elegant and classy. During this period, the world faced many wrangles and financial depressions as depicted in Purple Rose of Cairo by Woody Allen. The only escape route from the depression was by going to the films. The stunning fashion of the 1930s corresponded with the glamour of Hollywood. People were eager to show that their fashion was copied from the films (Adams, 2002, p. 210). The United States (US) encountered the Great Depression and its effects between 1929 and 1941 and was going through a difficult phase of international politics; the advent of World War II (WWII) was gaining momentum. Movie producers took it upon themselves to minimise the effects of the depressions by producing movies that were captivating and enthralling (Watkins, 2005, p. 10). The movies in the 1930s took a different turn with the introduction of the comedy category. These comedies focused on women with movies like Lady Eve, Nothing Sacred, and His Girl Friday. These films had the characteristic of women characters having more screen time and sharing equal rights with the male actors (Watkins, 2005, p. 10). The movie, The Women by George Cukor released in 1939 exemplified the ever-growing importance of female actresses. The film featured female protagonists and it comprised of three women who shared a bond with each other. The film included women gossiping about aspects of their lives as they spoke about men and matters concerning them. This film demonstrated a feminist viewpoint regarding womanhood (Lovas, 2007, p. 15). It comes as no surprise that during this era people experimented with new ideas for pleasing the audience. Movie directors did a cast of women with a sensual appearance and look. This culminated into the acceptance of the different roles that women can play in a movie thus initiating a new dimension of women-centric roles of Hollywood movies. This era characterised the portrayal of the beauty and gorgeousness of women in their youth (Siegel, 2009, p. 120). Actresses like Betty Davis and Shirley McLain were lovable because of their charisma and charm displayed on the screen. People loved seeing gorgeous women on the screen, and provided platforms for acquiring new roles for popular heroines. Actresses began to play an independent role in movies. For instance, Marlene Dietrich and Greta Garbo used their sexual prowess in controlling relationships on the screen (Lovas, 2007, p. 15). Actresses started using make-up to attract male audiences. Directors and producers used this effectively as a marketing plan for their movies. Otherwise, these films would not have recorded immense successes as they did on account of being based on women’s lives. The films also helped provide women with a platform for showcasing their talent and served to increase their powers in US families (Streb, 2004, p. 14). In the 1930s, films profoundly influenced women’s fashion. Paris dressmakers and fashion gurus offered their chic expertise to US actresses. Actresses such as Joan Crawford became fashion icons because of their fashionable screen appearance. She characterised glamour, sophistication and drama. Many women imitated actresses’ fashion styles in an attempt to look like them. They graduated from the 1920s daring fashion and flair clothes to sophisticated dressing in the 1930s. Elegance became a key aspect of clothing in films because of its appeal to society at the time (Streb, 2004, p. 10). The increase in popularity of fashion pushed the themes of adultery in movies during the 1930s, as shown by movies like Madame Satan and Secrets. These themes influenced society and led to watering down of social values, which shook the moral principles of the family setting. The strong fashion and bold outlook of women influenced women’s fashion on the ground, which increased their appeal to men (Lovas, 2007, p. 13). Bisexual actresses like Dietrich began to wear men’s suits and clothing depicting the independence of women’s fashion in a patriarchal society. During the premier of the film The Sign of the Cross, she arrived dressed in a tuxedo topped with a cane and hat. This stirred riots among masses, and she later signed a contract requiring her not to wear men’s attire in public. This is because it was presumed that her dressing portrayed a negative image to the society, which gave men an inferior standing (Watkins, 2005, p. 8). The responsibilities of the film censorship board took shape in the 1930s because of the language and scenes from the films. Actresses began using rough and bold clothing in films to reinforce their feminism and strength. Hollywood films in this period consisted of pictures that people had not seen before like that of Walt Disney and D. W. Griffith; thus, they aimed to show people the forbidden and unknown. These concepts displayed the simplicity of women as portrayed prior to 1930. After, their roles moved from being homemakers to a different role as dictated by the society. In the movie The Office Wife by Lloyd Bacon, the public had to use their imagination regarding the actions of Joan Blondell when she was naked because the censor board blurred the scenes. However, the scenes were nonetheless shot in a bold manner. Sexual innuendos, helplessness, fear and references to homosexuality were some of the tarnishing portrayals that women took in the movies (Brewer, 2009, p. 7). Women began modelling their lives around the lives of these actresses. In one way, this enhanced independence among women, and though men liked independent women on screen, they did not like the same in their homes; they wanted to control their families. Movies influenced the growth of fashion scenes worldwide, and a culture began to initiate conversations among women at Sunday brunches. This helped women understand fashion, and they took to setting trends rather than just following them. This also provided the impetus to designers to begin serving women (Watkins, 2005, p. 8). The 1930s witnessed sweeping changes regarding the depiction of women in films; social trends underwent massive renovations as women took to fashion, sex and the elegance of life. Movies in this decade suggested that women should leave their comfort zones and show the world their real characters and what they are capable of doing. Most actresses during this period had bold statements, charm, charisma, sexuality and fashion. Such actresses include Davis and Garbo who even though they were old, people still remember them for their beauty and on screen charisma. Thus, just like vintage vine, clothes or vehicles, these actresses together with others like Joan Fontaine, Elizabeth Taylor, Marilyn Monroe, Jean Harlow and Claudette Colbert among others made classical statements about women. They influenced people’s perception of classical movies and they helped overcome the problems that most women faced in the US during this period, such as male domination and suppression (Brewer, 2009, p. 8). The Role of Women in Films in the 1930s In the last years of the Great Depression, the perception paradigms in relation to women changed significantly as shown in the films. This is attributed partly to the changing lifestyles, homes, economy and advances in education. The media, particularly movies, played significant roles in advancing these changes. Movies contributed to the acceptance of the diversity of women’s beauty and fashion. Movies were a platform for women to express their actions, cultural, social and intelligent thinking and fashion (Brewer, 2009, p. 6). Movies became crucial in the 1930s in valuing wealth, body sizes, as well as enhancing social connection. Between 1930 and 1960, there was an abrupt shift to conservative lifestyles. Indeed, the greater participation of women in film and film production since 1930 helped change these lifestyles. Women slowly began to win their rights for education, property, and to social wellbeing because of the influence of women figures in films. In the 1940s, universities such as Cambridge bowed to pressure to admit women students. Consequently, the 1950s saw a rise of professional female leaders in society because of the role that women played in films in the 1930s (Brewer, 2009, p. 6). After the 1930s, women’s fashion became expensive, demure and elegant because of the trends in the film industry. Hence, professional women, actresses, and women in leadership gained recognition as being expensive and elegant as a result of the fashion they adopted. Fashion became immensely prominent during this period. The films also portrayed women as being at leisure because of fashion and material provisions (Adams, 2002, p. 210). Numerous cultural changes occurred to women since the 1930s. During the Great Depression of the 1930s, women were forced to go back home as men resumed their jobs after the World War 1. This meant that women had time for discussing movies and films. The leisurely portrayal of US women in the 1930s films corresponded with the state of the society during the Great Depression period (Brewer, 2009, p. 6). With the growing popularity of female actors, they gained recognition and credence in the society for their roles in the films. They appeared on posters and emerging magazines because it was felt that they were doing an admirable job on the screen. The covers of these magazines were filled with photos of these actresses because they had gained celebrity status. The actresses’ images were later edited to suit the magazine’s taste and timeliness (Watkins, 2005, p. 8). It is crucial not to generalise, but the public in most cases learns about professions through films. Sectors such as the military, the law, and law enforcement gain recognition from media outlets like the film industry. The portrayal of women in these roles increased the figures of women in these specialised careers. It also offered an understanding of professions and the roles that women played in the society during this era to people who lacked personal experience (Streb, 2000, p. 10). The 1930s saw an increase in the reputation for women’s films. These films centred on women’s narratives, included female protagonists and were produced to appeal to female audiences. These films portrayed the concerns of women, such as domestic issues, romance, motherhood, sacrifice and family (Brewer, 2009, p. 3). In addition, most of the films in the 1930s portrayed women from a domestic and leisurely perspective. Some films, like Dracula and Frankenstein, portrayed women as fearful and emotionally distressed. Criticism of Women’s Role in 1930s Films Women’s role in 1930s films faced criticism for reinforcing conservative values, such as the notions that women found happiness in motherhood, love and marriage. The films portrayed women as subtly subversive implying that they could not merge happy family lives with a good career. However, their roles offered an insight into women’s potential (Brewer 2009, p. 5). The movies depicted women as having successful careers as pilots and journalists without showing the difficulties that existed at the time for attaining these careers. Women were portrayed equally in a mixture of liberation and repression. However, the message of liberation derived from women roles as portrayed in the movies could not be grasped easily; only the repressive perspectives remained (Brewer, 2009, p. 5). Conclusion The Great Depression of 1929-1941 had significant effects on the representation of women in the film industry. In the 1930s, Hollywood illustrated different styles of films depending on the eras and genres that synchronised with social trends. In the early, 1930s women role in the film industry was subject to discrimination. However, the growing fashion, increased women actresses, and elegance played a fundamental role in changing the women’s role in the film arena. Most significantly, women began modelling their lives around the lives of these actresses. Actresses like Joan Fontaine, Elizabeth Taylor, Davis, Garbo, Marilyn Monroe, Jean Harlow and Claudette Colbert played a major role in changing people’s perception on women in the movies. Moreover, in the last years of the Great Depression, the perception paradigms in relation to women changed significantly as shown in the films. Female characters in the 1930s gained credence for their excellent work on the screen. Women took the image of having motherly characteristics, being lovely and leisurely. The 1930s saw an increase in the reputation for women’s films. Actually, these films portrayed the concerns of women, such as domestic issues, romance, motherhood, sacrifice and family. Very few movies portrayed women in a bad light. Indeed, some films, like Dracula and Frankenstein, portrayed women as fearful and emotionally distressed. Moreover, women’s role in 1930s films faced criticism for reinforcing conservative values, such as the notions that women found happiness in motherhood, love and marriage. Bibliography Adams, Gretchen A. 2002, ‘Screen style: Fashion and femininity in 1930s Hollywood’, Journal of Women History, vol. 14, no. 1, p. 210-222. Brewer, C. 2009, The stereotypic portrayal of women in slasher films: Then versus now, Louisiana State University. Louisiana. Berry, Sarah 2000, Screen style: Fashion and femininity in 1930s Hollywood, University of Minnesota Press, Minneapolis. Feuer, Jane 1982, The Hollywood musical, Indiana University Press, Bloomington. Gold Diggers of 1933 1933, Feature Film, Warner Bros., United States. Lovasz, Katalin 2007, Technologies of self presentation: Women’s engagement with mediated representation from the era of silent film to the internet age, Princeton University. New Jersey. Siegel, Marcia B. 2009, ‘Busby Berkeley and the Projected Stage’, The Hudson Review, vol. 62, no. 1, pp. 106–12. Streb, Jennifer L. 2004, Minna Citron: A socio-historical study of an artist’s feminist social realism in the 1930s, Pennsylvania State University, Pennsylvania. Watkins, Jessica 2005, From fallen women to risen heroines: Representation of gender and sexuality in American Film, 1929-1942, Marshal University, West Virginia. Read More