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There are several deliberations of how female characters are being depicted in the films. Currently, they have begun assuming more dominant roles in films. Some male film directors use female characters only to provide something against which to express masculinity to male relationships. They are self reflexive for men who design them, as they mostly act as mere guardian spirit for a male protagonist. Often times, they exist as characters to push the storyline along and create some balance instead of getting up on feet on their own. For instance, in Japanese video games Persona 3 where they overtly rent women to draw up the female characters. But this may not be the case for all male filmmakers. For instance, when watching Les Rendezvous D’Anna, you could not imagine a male director design such a female protagonist (Grundmann, 2010). The general observation on female film producers observes women characters for their own interest instead of being a channel to an ideological end. Female characters designed by women may have scanty clothes that tend to be more real and relaxed looking. They also have petite eyes, sexy features with a maturity on facial expressions. There are fewer women that design action-based films or movies. They mostly make dramatic, comedic, films related to family stories and others that lean more towards an emotional arc. This may be as a result of having little attention on the action-oriented films or the postulation that the target audience wouldn’t put so much interest in them (Walsh, 1986). There is also the issue of the deepness and vigor of female character. One may ascertain the director, but there is also the genre, writer and actress to consider in such cases. Many films made by women have a more exhaustive evaluation of character that is notwithstanding the gender of the directors. In the same way, there are actresses and writers who can yield more dense characters than customary. For instance, Barbara Stanwyck hardly inhabits a character that is not considerably well grasped irrespective of the script or director. The issue involving Godard stretches beyond him as you will find some directors such as Joseph Mankewiecz making films where the actresses appears far more authentic and vivacious than the males. In spite of the themes of the film, they have an unattractive meaning linked to the women’s actions (Callahan, 2012). Other male directors seem to introduce depth in the roles of women. However, that raises eyebrows as to whether those roles are being viewed as another category of male illusion or imaginations. One that originates from a diverse and good direction yet still somehow off the mark likened to the exact experiences of women. The feminist movement relentlessly battled for women’s rights and equality so as to position women on equal grounds to men in the society. This uprising has since been taken forward in the film industry as women also play prominent and conspicuous roles in films. This which was a sharp disparity in the past where women only played domestic roles in the society (Callahan, 2012). At the same time, there are some films that portray women as morally superior and perfect. Dreyer’s Gertrud is an example of such films that convey strength, liberation and empowerment of women. We also have sturdy, irrepressible, self-determining and plausible women in so many films directed by men. This is without indulging in either male fantasies of femaleness or direct sexual appeal (Power, 2009). The role of women in films has since surpassed the traditional feminine characteristics. Women are no longer being portrayed as one-facet who acts stereotypical female traits. In addition, today men are unlikely to measure up to the conventional form of masculinity though they may still
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A ballerina dances on her toe, her entire body balanced on the tips of her feet where she appears weightless and fragile. The ballet is the essence of femininity, not to downplay the efforts of male dancers, but more often the male is the frame, the female the picture in a dance that challenges the body to move against gravity and become the appearance of something supernatural.
Over the years, Asian women have viewed by many as "submissive sex objects" (www.boston.com). There are a lot of glossy magazines all over the world depicting the beautiful, seductive, and outstanding figures of Asian women. Not only have that but there were a lot of films produced, western and eastern, showcasing Asian talents in sexual arena.
One of the stereotypes of the African American woman is that she is never innocent and always sexually competent. Seeing an African American woman does not evoke the imagery of virginity, a prejudice that has endured since slavery when African American did not have control over the use of their bodies.
56). The Film The Women was directed by George Cukor wad based on Clare Boothe Luce’s play that starred Norma Shearer, Joan Crawford, Rosalind Russell,Paulette Goddard, Joan Fontaine, Lucile Watson, Mary Boland, and Virginia Grey in the screenplay was a typical Hollywood representation of them.
Some females have been portrayed, but these are nearly always sidekicks or romantic interests for the leading, male character. At the beginning of Thelma and Louise several scenes occur that illustrate the sheer mundane and trapped nature of their lives, all of which lead to the still shocking moment at which Louise shoots the attempted rapist Harlan in the face for, at least on a superficial level, saying, "suck my cock".
Though we have women in the top management position in almost all fields in film industry we have only 6% women directors in the whole world and in America it is only 7%.
This article aims to study the role of women in the film industry on both sides of the camera through years. Women were part of film field from the emergence of this industry itself.
The book explored women in film noir through the different milestones in history. More than half her book discussed the evolution of the role of women in film noir during and after the war. The trend of using less glamorous male characters was explained as being necessary to offset the shortage of eligible men.
The author states that the trend of using less glamorous male characters was explained as being necessary to offset the shortage of eligible men as all able bodied ones were drafted to serve in the Army. This was an important accommodation as the new types of roles were written to pair the beautiful actresses with older men.
efore getting the blow on the head and being identified with the “free spirit” Susan, played by Madonna, Roberta is actually hit within, her inner world is in turmoil and she is extremely fed up with her life and she turns to adventurism.
Susan Seidelman makes the move
Pulkit Datta conducted the opening presentation.
The first film, “No Country for Women” (2012) is about sexual violence in India. The directors of the film were Keith Gomes, Ashwin Shetty, and Sajid Ali. The film is arguably a national campaign that aims to change
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