History Of Gender Inequality In Movies Film Studies Essay

History Of sexual activity In comparison In Movies Film Studies EssayThe classic Hitchcockian adult female frame a staple compute of glamorous femininity at bottom Hesperian culture a depiction of femininity which has survived various waves of feminism, Betty Friedans condemnation of The effeminate Mystique (1963) and Naomi Wolfs revelation of The Beauty Myth (1991). Despite these attempts to eradicate such(prenominal) depictions of constructed womanhood, the Hitchcock platinum-blonde check outms to hang in forever in vogue, consistently seeing a revival within visual media, both in the picture and within spurt editorials and advertising. The event body that this version of Woman remains steadfast within the culture conscious, upheld as the pinnacle of class, elegance and demure femininity.The dominating and controlling powers of the existing patriarchal culture system has taked, promoted and perpetuated the idea of this previously discussed idyllic femininity. Desp ite the proposeed modern progressions in gender equality, inevitably, it must be unsounded that this version of passive femininity is glamorised simply as it promotes a to a greater extent manageable version of woman for masculinity. It seems ludicrous however, that passive femininity is so thoroughly promoted within modern visual culture, openly focusing upon aesthetics which characterise the Hitchcock Blonde, piece of music seemingly choosing to forgo the consideration of what these iconic representations in truth communicate. There is a consistent re-emergence of this sort of glamorisation within agency and advertising (Fig. 1 4), serving only as a unbroken re-communication of its desirability, seemingly ignoring the fact that this also glamorises the kind of ideology denotative in these films as well as the style. In essence, these images of woman, promoted in contemporary times, seems super regressive, as alone they can inevitably communicate is an era of woman that i s constantly depicted as subdued by man while plagued by the feminine mystique, in the end demoralised and trapped within their domesticity. A time when, as Friedan discusses, women were defined only in sexual coitus to men mans wife, sex object, mother, ho white plaguewife and never as persons defining themselves by their avow actions in society.In the twenty first century, however, there exists a general consensus that this kind of gender inequality is a thing of the past, very a problem for a long forgotten era. Yet, the earth remains that while progress has certainly been made towards a much convinced(p) outlook for femininity under patriarchy, progress has been severely overestimated by the media, allowing the frontage of equality and demonstrative exhibitions of gender equality in the manoeuver abode to permit this belief in substantial developments. For example, while women may like a shot have a more(prenominal) substantial put within the body of take a shi tforce, the fact remains that behind the headline figures of near equality of participation, there remain major discordences in the employment conditions and pay of women and men, ultimately highlighting the remnants of this belatedly seated belief in a gender hierarchy, of passivity and dominance. while there may exist this facade of equality, seemingly functioning in order to placate society, the ideology which creates this unequal environment remains in action. This lack of evident progression within media representation seems to highlight what legion(predicate) a(prenominal) third wave libbers or post feminism movements have expressed that this lack of significant results is the cause for a decrease in the optimism and high-mindedness which seemed to characterise the feminist movements of the 1970s. Far from seeing this as perhaps position for the current state of feminism, it could be argued to, instead, be a positive progression. Judith Stacey, interviewing the second-wa ve feminists and their daughters, ready that this new generation of feminism did not want to continue the effort of anger and political protests. An opinion which seems to be the current assessment, as the observations of Alice Rossi, with her studies of the feminist movement over the past hundred years, reveals the desire to see a change in how feminist values are acted out.This seems to suggest that movement towards a more post feminist barbel to equality, feature with a more postmodern approach to media representations seems to be the way in which progression can be made. A dramatic reorganisation of a figural system would certainly be both too radix and inconceivable, but adhering to more postmodern ideas surrounding complicity would perhaps provide more progressive results. Linda Hutcheon, literary theorist and postmodernist, believes that the combination of both complicity with dominant representational strategies and critique is what characteristically defines a work as postmodern. Essentially suggesting that the dish out of working within the cinema system, utilising the existing codes and conventions which have been responsible for publicising and perpetuating this image of passive femininity, to that degree producing work which suggests the possibility for a re-evaluation of the ruling ideology.The use of a more postmodern approach to progression is certainly more appealing, reinforced by the ways in which Hutcheon discusses howcontemporary artists engage with the systems of the media and the market with strategies of subversive complicity, by which she means the ability to operate within dominate codes of representation while at the same time questioning them.Considering this in the context of a more progressive cinema system, postmodernism would function by utilising the position as an insider, operating many usual codes and conventions, yet ultimately working to de-toxify existing cultural conventions, the givens that go without saying within narrative, mainstream cinema. Presenting the possibility of providing the feminist cause with a way in which to resist or shorten oppressive ideologies from within the system which has been responsible for creating them.While not all postmodern work may utilise this process of depravity finished complicity, there is certainly an argument for its use in the cause of progressing equality within cinema narratives for women.Perhaps the best example of such subversion within cinema lays with the work of director David Lynch. Fittingly, his Hitchcockian influence is demonstrable with his obvious addressal of of film noir aesthetics as well as with his implimation of HITCHOCKIAN THEMES SUCH AS VOEYIRSM, PSYCHOLOGY HIS INTENTIONS ARE OBVIOUSLT ALWAYS TO SUBVERT THE DOMINANT ORDER OF filmWhile he may not specifically have such aims, the work of Lynch can be argued to showcase a manageable development towards a more agreeable cinematic depictions or messages which differ from the dominant order. While Lynch may adhere to many typic conventions of cinema (often passive women, voyeurism, dominance, violence etc) women are not alone in their degradation within Lynchs narratives.Postmodernism? while not all postmodern work may utilise this theory or complicity in order to create change, there is certainly an argument for the success of such an approach.Such an approach seems useful for the cause of feminism, allowing cinema, to not be utterly deconstructed and reconstructed, but instead, provided subverted.Perhaps one of the most notable examples of this kind of subversion is the work of David Lynch. His work complies to the general rules of cinema, presentingTypical cinematic depictions? Women and men? Narrative? notwithstanding at the same time, causing spectators to witness a narrative which subverts what mainstream cinema has caused them to give birth.Considering this idea of postmodernism within cinema, the discussion of director David Lynch is extreme ly useful. primarily considered a surrealist and significantly influenced by Hitchcockian film noir motifs and visual styles, Lynchs narratives adhere to many cinematic conventions, yet subverts the usual message which audiences have come to expect through constant exposure to mainstream cinema. There, for instance, exists a notable lack of the stigma which characterises Hitchcocks work, as Lynch instead practices what Zizek refers to a as extraneation the decomposition of ingenuousness in such a way as to expose the reverie and real elements that constitute it.Essentially, lynch utlisies cinemas abibilty for creating fantasies and entertainment, yet seems to utilise it in a way which creates an unnerving effect.This extraneation presenting fiction, while causing us to consider the reality that formed it.However, it is precisely in this way, Zizek argues, that Lynch achieves what he calls the ridiculous sublime. On the one hand we have the flimsy, absurd symbolic and next to it we vex the real, abominable Thing. In a way quite different from Hitchcock, yet with a certain kinship with him, Lynch has exposed the mechanism of sublimation without entirely dispensing with it.Against the ideology of psychologically convincing characters, Zizek favors Lynchs extraneation of the characters, the effects of which are strangely de-realized or de-psychologised persons. There is a rule to Lynchs madness, so to speak. The psychological unity of the characters disintegrates into a spiritual transubstantiation of common cliches, as Zizek calls it here, and into outbursts of the brutal Real, with reality and its fantasmatic paraphernalia acting side by side, as though existing on the same surface. Ultimately, Zizeks reading of Lynch, and by extension Lynchs fim itself, is profoundly political. Their common method is the opposite of obscurantism or pastiche of arcane topics. Both in their own way provide proof that our fantasies support our sense of reality, and that th is is in bout a defence against the Real. Together with their sublime thought, both Lynch and Zizek are profoundly entertaining through their ridiculous art.Pg.6Firstly, Zizeks observation that extraneation in Lynchs work has a magic redemptive quality is ecvhoed in Jungs theory of intelligence and unconscious(p) Only in an interplay of consciousness and the unconscious can the unconscious prove its value, and perhaps even show a way to crucify the melancholy of the void. If the unconscious, once in action, is left to itself, there is a put on the line that its contents will become overpowering or will endorse their negative, destructive side (Jaffe. Pg.297) This interplay can be directly observed in the style of all three films, especially where the distinction between unreal but real images and dreams as fantasy images are blurred. Pg22 We Live privileged a Dream The Function and Origins of Dreams in David Lynchs Blue Velvet, Twin Peaks set up Walk with Me and Lost Highwa y