The Evolution of the Leadership Archetype of Female - Essay Example

Archetypes Film as a medium is powerful, influential and plays an integral role in the society as a tool for creation and perpetuation of well-known culture. Mythic archetypes utilize symbolic language and show significant culture experience in untimed past that is always there in the contemporary revelation of the myth. Archetypal designs represent types that can be explained in the linkages within texts or content. The analysis of female films, in category, discerns these archetypal designs in the texts made of the 3 eras of female films. With reference to the Hollywood determinable designs, movies trigger mythic archetypes to integrate recipients or audience. Women in the film industry remain confined by archetypes of traditional mythic nature. The Evolution of the Leadership Archetype of Female The Baby Boon Comedy In reference to this 1887 comedy (starred by Diane Keaton and produced by William A. Franker), the female individuals confers upon a high social leadership level. The main character J.C Wiatt (Diane Keaton) is a driven Manhattan professional nicknamed the tiger lady, probably because of her strong personality. She mixes up her business professionalism with life care, in that she starts caring for the child. This movie lays credence to the socio-economic position of the world during that 10-year period and is characterized by the decreased growth of countries’ low standards of living. Wiatt’s key decision that surpassed 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 left her at a critical time (Harold Ramis), an investment banker. Despite all the challenges and hurdles that Wiatt had encounter including suffering a nervous breakdown, she returns, and all hopes are high when the Baby Food company (owned by her) brings in millions after sale. The Devil Wear Prada Movie With the growth in the global economy, female leadership levels stabilized. This 2006 movie shows female power based on relationships of career, friendship and love in complex and at times paradoxical opinions. Female power relationships detailed in the movie, portray that women use power appropriately to ensure they maintain their business competitiveness. They also help other women improve on their professional fields. This surfaces when Andrea acts loyal to Miranda when she attempted to alert of the coup that intended to overthrow Miranda for a younger woman. However, love and friendship linkages depreciate as women become successful professionally. In spite of relationship drawbacks, such movies portray optimism and stable female figures for young females in the workforce (Danya 70). The Girl Next Door movie With the high and improved economic standards, there enhancement occur in life and consequently because of westernization, social evils such as prostitution and production of pornographic materials have sprung up. In this 2004 American teen film, the main actor Matthew (an honor student), decides to love for the first time a girl next door, but in the process meets challenging circumstances after he learns of her former porn work. He is out to win a crucial scholarship, but his dreams saw the light of day later when the movie ends. The Patriarchal Archetype of Women Heroines According to the producers of The Girl Next Door movie,’ the female character, Danielle (Elisha Cuthbert) contrasts to her male counterpart Matthew Kidman (Emile Hirsch) in a way that Matthew holds a higher leadership level due to his higher education. Unlike in the comedy, ‘Baby Boon’ and in the Devil Wear Prada movie, where the female figure confers upon a high social class and at the same time cares for life (caring for the child). On the other hand, Danielle is portrayed as a reformed porn star. It is unclear whether she has any significant form of education. She underwent this social vice in order to sustain herself. During the instant when Matthew took Danielle to a motel, the scenario gets into a high level of the patriarchal social positioning of the female counterpart when Danielle performs a striptease dance to Matthew and further proceeds to offer herself to his desires. The producers of this movie strategically placed a male porn producer, Kelly (Timothy Olyphant) who functioned to produce the pornographic material that these females shot 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 production of 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). In conclusion, Analysts can currently agree that the regular 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 remain mythically restricted. As the supported images affect the culture, so do the 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. They show that one, the reign of the woman’s film gives traditional archetypes, and, for example, the Wife and 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. Despite the ongoing development on and off viewers, women in movies remain restricted to stereotypical roles from the myths. Popular movies achieve this by incorporating the traditional feminine archetypes and the picturing of themes and concerns that tend to change with times. Probably, these restrictions also regulate development for women in the real world. Work cited Danya, Day. From woman to chick: The rhetorical evolution of women in American Film, Texas A$M University. 2008. Print. Read More