Criticisms of Womens Roles in 1930s Film - Research Paper Example

Hollywood Representations of Women In 1930s Film Since its inception in late 19th and early 20th centuries, scholars have categorized film industry as one among the industries that have evolved tremendously. As part of its growth, women have played a central role. The manner in which women are presented in films, show how these films are used in reflecting and reinforcing the dominant ideology. Though at first women seemed underrepresented, most of them later came up as been directors, writers, actors and audience members. Arguably, women in the film industry have often been celebrated more because of their appearance that their ability to act. In addition, irrespective of specific female stars’ legendary statues, gender roles have been firmly reinforced by role these women have played (Dawson, 1995, p. 71). This research paper provides a detailed analysis of how Hollywood portrayed women in film focusing particularly ob the 1930s using Gold diggers of 1933 as a framework. To fully cover the topic, four themes will be discusses: the representation of women in early 1930s film, the portrayal of women, the real-life role of women, and the criticism women’s role in these films (Kolbjornsen, 1998, p. 1). The 1930s remains a renowned era of depression. As such therefore, it provides an interesting backdrop to research thoroughly how women are portrayed as a result of the changed morals and cynicism globally. In one of his publications, Kaplan (1994:3) states that Hollywood cinematography in many instances objectified women for men’s pleasure. Another author, Mulvey (1989, p. 56), depicts that that the role women play is worth looking but not worth listening. This proves the controversy that has existed among scholars in respect to women role in Hollywood films. During this era therefore, men viewed women in diverse dimensions, referred to as Madonna (housewives)/whore complex. To many, therefore, women were objects of sexual fulfillments, and hence sexually active whores, or simply pristine and powerless Madonnas. Arguably, it is for this reason that Gates (2011, 23) states that the manner in which women images are presented in Hollywood film solely aims at gratifying male viewers. Representation of Women in 1930s Film As evident in Gold diggers of 1933, argument that women are sex objects in films is a full display. Ginger Rogers, Joan Blondell and Ruby Keeler play the major roles of women. In their role, they appear as stereotypical bombshells, slender and beautiful, and in many of their appearances dressed in skimpy costumes. Another example of how the characters are presented as sex objects is the presentation of Rogers and Blondellare as platinum blonde. Aline MacMahon is the only women character singled out of this characterization. She serves as the sole voice of cynicism and the Hard-boiled attitude that prevailed the start of 1930s forced by the era’s depression. Further, she appears to have a superior intellect compared to the other female characters. Except for MacMahon, all other female characters in the movie represent the characterization of Madonna/whore. For instance, they appear independent, and Lawrence Bradford views their morals from a negative perspective. As the embodiment of the 1930s elite, Bradford thus gives his verdict to how the elite views during this era like the female characters in the film. Interestingly, as the film ends, all the women become Madonnas, since they are no longer showgirls filled with loose morals, but wives. To explain this further, Trixie marries Lawrence’s lawyer, Carol marries Lawrence, and Polly marries Brad. It is arguable therefore that, their transformation from whores to Madonnas is thus complete. In short, women’s roles in the 1930s were often stereotypical, with women portrayed in a sexualised manner for the benefit of men. The way women chose love instead of career is a clear indication of how women were stereotyped. This next section gives an in depth clarification on the same. Portrayal of Women in 1930s Film Scholarly research proves that the main role of films reinforce and reflect a society’s dominant ideology, which in 1930s America was from the male point of view. As such, the patriarchal view that women must make a choice between love and career was frequently the focus of 1930s film. The underlying message of these movies was that a woman had to choose between a career and romance (Gates 2009, p. 29), and ultimately should sacrifice their career for love. Along these same lines, also reflecting the patriarchy of the era, women were portrayed as easily manipulated sex goddesses, as embodied by the various characters played by Marlene Dietrich and Greta Garbo (Kaplan 1994, p. 118). These types of portrayals of women were pre-code, meaning Hollywood films could, and did, show women’s overt sexuality. However, the introduction of the code changed this through censorship (Doherty 1999, p. 3). Hollywood was forced to portray women in a different way, which, in effect, gave women characters a chance to break away from the standard Hollywood patriarchal portrayals. This change is exemplified by the films of Katherine Hepburn and Bette Davis, in which their female characters are shown to be more than equal to men in the working environment (Womenin Hollywood 2008). Nevertheless, the pre-code ethos, that women are looking for love and must sacrifice their career for love, is implied in the movie Gold diggers of 1933. As noted earlier, at the beginning of the film, and through most of the film, the women are portrayed as independent, relying upon themselves and their girlfriends for support. That said, by the end of the film, the tables have turned. Each of the women finds love and marriage with a wealthy man, and thus these women’s financial problems, which are highlighted at the beginning of the film, are over. Further, the fact that the girls would eventually cease to be showgirls is very evident from how they are all interested in love affairs only to finally get in to marriage. Therefore, it can be argued that in the 1930s, Hollywood did not portray women in America accurately realistically (Smedley 2011, p. 13). Just as real women were in the workforce in increasing numbers, because they had to support their husbands, Hollywood was portraying women as having to make the choice between love and career. The theory is that Hollywood moved away from the representation of women as independent career girls in an attempt to recapture the idealised housewife image and feminine values. However, as the next section explains, the Depression era also led to other roles for women that were more in line with the female experience during this time. The real life role of women in 1930s film Despite the fact that in many Hollywood Films women character was portrayed only through the eyes of men, in the late 1930s things started taking a positive direction. This directions presented what scholars termed as the real-life role of women. During this time, a number of willing, strong and intelligent actresses took full control of the film industry many of whom are celebrated up to date. These women were empowered and self-governing and had reputable morals (Haskell 2002, p. 65). They acted as role models for the ordinary American woman due to their admirable and rational natures, while also being strong willed and capable of developing their careers (Siegel, 2009, p. 105). For instance, the film series Free souls: the complicated women of pre-code Hollywood by Castro Theatre, a documentary of 2003 exploring the provocative role of women between the years 1929-1934 is a god example of their recognition. As the great Depression ended, the role of women in society in almost all aspects of life had changed. This change among other things was pioneered by the emergence of new ideologies in the education, social, cultural and economic sectors. The media—specifically films—acted as the most effective medium through which to address these changes (Berry, 1997, p. 45). As a result, women entered this industry in order to explore their talent, intelligence, fashion and the diversification of beauty (Haskell 2002, p. 68). Successful actresses encouraged women to feel empowered and to fight for their rights in education and other fields. Many of the films that were produced this time aimed at creating awareness about discriminatory nature of a male-dominated society. For instance, The Girls Next Door (1930), as the name suggests shows that girls have another option as it focuses on Hefner’s Girlfriend with whom they lived with. Watkins (2001, p. 85) explains that the Depression era led to the development of a wide range of characters for women. This included those portrayed by actresses such as Norma Shearer, who was a sophisticated liberal, and Mae West, a lusty comedian. Shearer is an example of an actress who was transformed by the Depression era. The author documents that she was forced by the depression from a woman and an individual to have increased awareness of her sexuality. For instance, in her first appearances, there was a disastrous stereotype precisely during the introduction of Ziegfeld in 1920 when she was turned down with critics of her crossed easy and squat legs to a point of being called a dog. In analyzing many of the film, she features like an icon of change and a pioneer in both content and portrayal. Shearer was an inspiring female role model and style icon, as she embodied a can-do, never gives up attitude, and displayed the fashionable bobbed haircut and casual outfits of her day (Kaplan 1994, p. 20). Eventually, Shearer became one of American’s favourite actresses replicated by many. Perceiving it differently, many of the films acted by Shearer have the themes representing today’s culture. For instance, in the film The Divorcee, produced in 1930, it is from her that the topic of unfaithful husbands is raised. Previously, it was a taboo that women had no right to raise complains about their husbands irrespective of their affairs. This is because it was believed that women had no control over the actions taken by their husbands. Such cultural notions ware eradicated with the emergence of this new era in films were by women married work for themselves and make decision, head institutions with men as junior staffs and others raise families as single parents. In the film, Let us be gay (1930), Shearer clearly proves that in case of dissatisfaction during marriage, women had the chance to seek better achievements than mere housewives provided they felt comfortable. This is evident when Shearer, acting as Mrs Katherine, divorces her husband and re-invents herself venturing in fashion. Shearer was arguably considered one of the trailblazers of cinema because she portrayed women who were independent and able to care for themselves. Over time, other female actresses have emulated Shearer, discussing their career experiences in magazines and television. These women have inspired other women, and sectors that had previously been considered purely for men, such as the military sector, law and engineering, slowly became accessible to women (Kaplan 1994, p. 21). Criticisms of Women’s Roles in 1930s Film The roles of women in the pre-code era have been described as great and successful (Siegel, 2009, p. 110). However, these same actresses have faced criticism for accepting their societal roles without showing society the challenges they faced as a result of their gender. Because they accepted their societal roles without voicing the challenges of women, they never sought to liberate women from the negative cultural ideologies. On the one hand, films played a critical role in the establishment of women’s freedom. This was because, due to media, people were able to see what women had endured to establish their careers. Norma Shearer, who overcame great odds, such as crossed eyes and a broken home, to become a major star is a good example (Siegel, 2009, p. 107). Despite the efforts to end these stereotypes, it irritates how some film still reinforced negative stereotypes almost drawing back female experience and efforts like The Sex Goddess In American (1930). One could argue that, if the films of the 1930s had actually reflected the female experience and embodied the ethos of the actresses in the roles, these films would be greatly improved and would have been more of a catalyst for the feminist movement. Conclusion Conclusively, Hollywood’s representation of women in the film industry was that of objectification, in which actresses were intended to satisfy men’s sexual desires. As previously stated, women were portrayed as worth being seen, but not worth being heard or allowed to express themselves. As a result, Watkins, (2005, p. 4) thesis denotes that the male-dominated society instilled within actresses a feeling that their roles did not reflect their real-life experiences and feelings. During the 1930s, women’s roles were exposed to discrimination and the few who succeeded in their careers lacked a favourable environment in which to express their views (Kaplan 1994, p. 26). They subsequently portrayed the stereotyped characters of domestic mothers and romantics. This can be seen in the film Gold diggers of 1933, where the women end up in domestic roles, having earlier been portrayed as being independent and self-sufficient. However, this trend did not last; as women came to realise the strong discrimination against them, they took decisive action to change society’s perception of women’s abilities. As a result, actresses became role models to women and led the way to inspire women to improve their lives. Bibliography Doherty, T. 1999, Pre-code Hollywood: sex, immorality, and insurrection in American cinema, 1930–1934, New York: Columbia University Press. Gates, P. 2009, “Conversation with Scholars of American Popular Culture: Featured Guest Philippa Gates. Americana: The Journal of American Popular Culture 1900 to the Present 8.2. Available online: http://www.americanpopularculture/journal/articles/fall_2009/gates.htm Gates, P. 2011, Detecting women: gender and the Hollywood detective film, New York: State University of New York Press, Albany. Dawson, J. E. 1995, Hollywood’s image of the working woman, Las Vegas: University of Nevada. Haskell, M 2002, Fromreverence to rape: the treatment of women in the movies, Holt, Rinehart and Winston, New York. Kaplan, A 1994, Women and film: both sides of the camera, New York: Methuen. Mulvey, L 1989, Visual and other pleasures, Bloomington: Indiana University Press. Siegel, M. B. 2009, ‘Busby Berkeley and the projected stage’, Hudson Review, vol. 62, no. 1, pp. 106-114 Rowe, K 2000, Theunruly woman: gender and the genres of laughter, Austin: University of Texas Press. Smedley, N 2011, A divided world: Hollywood cinema and émigré directors in the era of Roosevelt and Hitler, 1933–1948, Intellect, Bristol. Watkins, T 2001, The Great Depression: America in the 1930s, Boston: Little, Brown and Company. Berry, Sarah E. 1997, Screen style: consumer fashion and femininity in 1930s Hollywood, New York: New York University Women in Hollywood 2008, ‘Stereotypical roles of women in films’. Retrieved June 18, 2012, from http://ksmith-hollywoodwomen.blogspot.com/2008/12/stereotypical-roles-of-women-in-films.html Watkins, J. 2005, From fallen women to risen heroines: representations of gender and sexuality in American film, 1929–1942, http://www.marshall.edu/etd/masters/watkins-jessica-2005-ma.pdf Kolbjornsen, Tone Kristine 1998, ‘Dansingi Hollywood: punktnedslagi film-musikalenshistorie’, dissertation (Villanova University). Retrieved from https://library.villanova.edu/Find/Summon/Record?id=FETCH-proquest_dll_7356761111 Proposal for Research Project—The Portrayal of Women in 1930s Film Hollywood has portrayed many different roles in accordance with genres and eras, which are direct reflections of social trends. Numerous cinematic elements contribute to the development of the context of film. In this research project, I will examine the many different ways that women have been portrayed in Hollywood film. In this research project, I will explore how women were portrayed in 1930s Hollywood films, using Gold diggers of 1933 (1933) as a framework for exploring this topic. In particular, I will explore how women were stereotyped in different ways in 1930s cinema, including how they were stereotyped as sex objects, as well as how, in 1930s film, women were often portrayed as having to choose between love and a career. This research project will be in five sections, not including the introduction. The first section will explore the representation of women in 1930s film, and this section will concentrate on how women were objectified in 1930s cinema; the second section will focus on the portrayal of women in 1930s film and will look at how 1930s cinema, pre-code, portrayed women as having to choose between career and love; section three will look at the role of women in 1930s film and will theorise that some women, notably Norma Shearer, could transcend stereotypes and offer a more nuanced portrayal of the female experience, and explore how women’s roles in the cinema evolved from the beginning to the end of the depression; section four will examine criticisms of women in 1930s cinema; and section five will be the conclusion. Annotated Bibliography Berry, Sarah Elizabeth 1997, Screen style: consumer fashion and femininity in 1930s Hollywood, New York: New York University. This book details how Greta Garbo, Joan Crawford and Marlene Dietrich influenced women filmgoers as role models for self-determination. This book also shows why the public is fascinated with these strong-willed women and others. Dawson, Jody Elizabeth 1995, Hollywood’s image of the working woman, Las Vegas: University of Nevada. In this PhD dissertation, Dawson explores the roles that women have taken on the silver screen, concentrating upon how working women are portrayed. Also, this dissertation explores the psychological aspects of working women in film, and how these images of working women have psychologically effected the women who view these films. Feuer, Jane 1982, The Hollywood Musical, Bloomington: Indiana University Press. The Hollywood Musical explores the origin and evolution of the Hollywood musical, as well as how the Hollywood musical has effected society over the years. The chapter ‘Dream worlds and dream stages’ specifically details how the Hollywood musical was able to transform the audience by escapist entertainment, which was especially important during trying times in the nation’s history, including times of war and depression. Watkins, Jessica 2005, From fallen women to risen heroines: representations of gender and sexuality in American film, 1929–1942, thesis submitted to the Graduate College of Marshall University. Retrieved from http://www.marshall.edu/etd/masters/watkins-jessica-2005-ma.pdf This dissertation explores the fallen woman and screwball comedy genre during the golden age of motion pictures. It focuses on how the issues of economics and culture effected these films and how gender is portrayed in these films, showing how the portrayal of women became more conservative in the 1930s, due to outside pressure. It also explores how the Great Depression changed the portrayal of women in cinema. Kolbjornsen, Tone Kristine1998, ‘Dansingi Hollywood: punktnedslagi film-musikalenshistorie’, dissertation (Villanova University). Retrieved from https://library.villanova.edu/Find/Summon/Record?id=FETCH-proquest_dll_7356761111 This dissertation explores musical film aesthetically, and how spectators are transformed by the experience of watching these musicals. Included in this dissertation is an exploration of dance as an aesthetic sign and how women are transformed into kinetic ornaments. It focuses on three different periods of time for Hollywood musicals and films centred around music: Busby Berkeley shows in the 1930s, Gene Kelly in American in Paris and John Travolta in Saturday night fever. Lovasz, Katalin 2007, Technologies of self-presentation: women’s engagement with mediated representation from the era of silent film to the internet age, dissertation, Princeton University, New Jersey. In this dissertation, Lovasz explores identity theory, which explains how women relate to patriarchal culture, by exploring a woman’s imagined and virtual cultural experiences, including that of film. Siegel, Marcia B 2009, ‘Busby Berkeley and the projected stage’, Hudson Review, vol. 62, no. 1, pp. 106-114. Busby Berkeley is one of the filmmakers of the 1930s who pioneered dance movies. Siegel discusses some of the movies that show Berkeleys projected dance dreams. Richard, Christopher & Davies, Lawe 1988, New women, new culture: the womens weekly and Hollywood in Australia in the early 1930s, Griffith University Press, Queensland. This book explores how the new woman came to be, and how the new woman effected culture, including how women are portrayed on the silver screen. Additionally, it shows how the Hollywood portrayal of women in the 1930s effected women in Australia. Streb, Jennifer L. 2004, Minna Citron: a socio-historical study of an artist’s feminist social realism in the 1930s, Pennsylvania State University, Pennsylvania. This dissertation explores the work of Minna Citron, who was a depression-era feminist artist. In particular, the dissertation explores how Citron’s dual roles of homemaker and artist was effected by feminist concerns. Also explored is how Citron’s body of work was woven into the social fabric of the Depression era, and how her work reflected her feminist leanings. Read More