Revision for genre:
What is genre?
Genre is a French word for type or category
Definition:
Genre is a set of codes and conventions that are dynamic and “flexible” (Richard Maltby, 1995) and followed by a text through the repertoire of elements.
Recognising a genre could be by:
Codes and conventions
Expectations
Pleasures
Similarities of a certain genre
Repertoire of elements
Ø Iconography
Ø Style
Ø Setting
Ø Characters
Ø Audiences response
Ø Narrative
Ø Themes
The importance of genre:
Genre is used everyday in throughout film and is important in order to categorise between films through genres.
Genres being dynamic:
Genres are not fixed, as stated above:
- Richard Maltby stated, “Genres are flexible” and could “adapt and change”.
Films are not permanently fixed to a single genre resulting in a hybrid genre in contemporary films.
We use genres to help us understand films and the process of making them. We look at series of commercially successful films and may find a pattern of repetition and difference.
In other words, some films have identifiable similarities but also contain new elements or similar elements used in new ways.
Genres or groups are not fixed definitions and that can change over time. This is because filmmaking practices change and audiences change in a way they understand films.
Genre is associated with commercial filmmakingà most films are part of a mainstream commercial cinema. Outside the mainstream films are called art films (arthouse films)à selected or specialist audiences (preferred audience). They are unique and try to avoid the tag of genre cinema.
Some genres are far too broad to be used as a category such as comedy or action with wide range of films.
Genres are not fixed categories:
Films such as A nightmare on elm street does not fit neatly into a single category. It has elements of slasher, horror and fantasy. This is called hybrid and is a term borrowed from biology to describe any new genre, which has elements of both its parents in a new structure.
Repertoire of elements
Genre is dynamic. The definition for a particular genre is fluid, changing over time and across cultures. Neale referred to the repertoire of elements, which are different features that an audience might expect to see. From these elements, generic descriptions might be constructed.
A repertoire is a group of routines (songs, magic tricks) and for example film, the repertoire is the generic elements.
Ø Iconography
Definition: iconography refers to a classification of paintings based on common images or icons.
Films contain visual images- knife, blood, and mask
Sounds images- scream, eerie music (strings)
In slasher films, the central visual iconic image is the blood and/or phallic weapon. The central iconic sound image is the scream and/or eerie music.
Ø Style
This is similar to media language. Iconography refers to objects of sounds however style refers to how they are presented. Camera angles and composition, editing and the use of colour and special effects all contribute to the style of a film.
Ø Setting
Some genres have distinct locations such as in slasher genre, it is the isolated area/house in the suburban area.
Ø Narrative
Narrative refers to both the story structures that films employ and the specific narrative devices or elements that are used in the construction.
Most genres offer a narrative of ‘reassurance’ for example the villain being killed/punished.
Narratives are concerned with conflicts over ideas and values. Stories begin when the existing equilibrium or balance between opposing forces.
à Todorov’s theory on narrative structure
(Equilibrium, disequilibrium and resolution)
Narrative moments or set pieces are often the most easily recognisable and eagerly anticipated elements of a film. An example is chases in slasher films usually better killer and final girl
Carol Clover (Men, women and chainsaws)
Ø Characters
Narrative usually develops through characters. The villain causes the narrative problem that must be resolved by the hero.
The villain in a slasher genre is usually a masked killer though not always male.
Some characters are associated with a genre that they attain the status of generic types. An example is the psychopath being stopped by a character described by Carol Clover as the ‘final girl’. (Clover, 1987).
Ø Themes
The binary oppositions in a film to interest the audience.
Claude Levi Strauss
Examples are: male versus female, victim versus killer, insanity versus sanity.
The concept of discourse- an argument or debate about a topic is another way in which film theorists consider themes.
Ø Audience response
Slasher genre gives the audience the sensation/ immediate emotional response. The adrenaline-rush through enigmatic scenes, being at the edge of your seat, tension and anxiety, release of laughter, and for horror/slasherà we watch our deepest fears and desires being played out on actor’s bodies.
Other pleasures audiences may gain from a slasher genre are
Ø Visceral pleasures
Ø Masochistic pleasures
Ø Sadistic pleasures
Rick Altman (film/genre, 1999)
The ‘before’ and ‘after’ view of categorising films
The critics/theorists game takes the after view:
Reads documents and noting references on specific genre
Analyse the characteristics
Find similarities/generic traits to identify it belonging to a specific genre
Analysis begins
The critic is based on analysis after the event (after view).
The film produce takes the view before the event:
1. Identifies a successful film
2. Analyses it to find successful traits
3. Makes film using same formula as successful film
4. Does further analysis and modifies the formula
Film producers are interested in what makes a film successful by identifying successful formulas and using them in different ways.
why do genres change over time?
Ø Changes in Target audience
Media institutions and producers need to have a clear idea about the audience a text is likely to attract before production begins and the age, gender and social class of the audience is likely to influence the way a text is made from choices about who will in the films that ht he special; effects used.
Audience who consume the text may be very different from audiences intended and different texts from different genres may appeal to different audiences.
It is argued that target audiences have become younger over the years. This is known as ‘juvenilisation’.
Ø Changes in audience expectations
Contemporary audience are more sophisticated audiences that those who first started to watching moving texts. In terms of reading a text to establish a likely genre and is likely to be familiar with the codes and conventions of that genre from reading the similar texts.
The expectations of scary, tense atmosphere, heat rate increasing, and seeing something nasty. These familiarly with codes and conventions will all raise expectations.
Enjoyment comes from watching texts as knowing what to expect is enjoyable. Filmmakers can manipulate emotions by meeting or cheating the expectations we have based on a text.
In contemporary films: producers repeat codes and conventions while adding something new:’ final twist’. Novelties may be rejected or absorbed into the genre so they become conventions for newer texts in the future.
Ø Censorship
Explicit scenes were censored in films in 1960 which banned explicit nudity, swearing and excessive and lustful kissing. Modern audiences are used to much more graphic sex and violence and the boundaries of where was considered as tasteful are stretched more and more.
Saturday, June 16, 2007
Revision for representation:
Definition: Representation is the mediated versions of people, in this case woman, in the form of a re-presentation.
Stereotypes are an element that is always found in media texts, whether it adverts, films or television programmes. It is the most common form of media representation ad labels and categorises people.
Ø Media texts contain stereotypes because of the need to economy (create identification)
Ø The function of the media is to please the audience and therefore to fulfil this, representations (stereotypes) are used to meet their expectations
Ø Stereotypes are widely used because audiences can understand theses stereotype are they will be familiar with them.
Ø Familiarly will mean more audiences will understand and attract higher/mainstream audiences because most television programs are quite short, the identities of characters must be established as quickly as possible.
Ø Some stereotypes are used to create humour such as the ‘bimbo’
Feminism is the response to society’s assumptions that women should be subservient to men. Until the emergence of feminism, women were treated almost as objects, passive agents in the male world
PATRIACHAL WORLD
Laura Mulvey
She argues that cinema audiences look at films in tow ways:
Ø Voyeuristically
Ø Fetishistically
Audiences are voyeurs who watch people on screen. This can lead to two effects:
-Objectification- female characters controlling male gaze and human characteristics being taken from them.
-Narcissistic identification-having an ideal image on screen
Gauntlett argues that in contemporary society, gender roles are more complex and that the media reflect this.
He says female’s role models today are often glamorous as well as successful.
He argues that this is due to the ‘rise in girl power’
The reason women are represented inadequately is due to lack of females in higher positions. Media is a male dominated as a result woman is shown representation from their point of view.
Film in particular sees women in an active role however they are being shown as eye candy and objectified. The reason for the lack of directors is due to:
Naomie Harris
“Film is such a male dominated industry”
Ø Men are al every level making it harder for women to get their feet in the door
Ø The way of working makes it difficult for women to succeed in the business.
Ø The responsibly of caring for a child and working in the media could be a lot of work to handle.
Ø Women are better organisers (producers) and males are more creative (directors)
Ø The role of a director is equivalent to raising a family
Ø Films have expensive and advanced equipment and so males understanding how and when to use it
Ø Being charge of 10 to 150 large men with heavy equipment is best carried out by a male
Ø When women just has a child, its easy for them to go back to being a producer, however its harder if you’re a director
Gunter (1995)
In the 50’s, 60’s and 70’s, only 20% to 35% of characters were female. By mid 1980’s, women were in more leading roles but still there were twice as many men that women on television.
Miles (1975)
He found that there were nearly equal proportions of men and women in situation comedy whereas in action adventure shows, only 15% of the leading characters were female.
Gunter (1970’s)
Found that marriage, parenthood and domesticity were shown on television to be more important for women.
McNeil (1975)
Women’s movement had been largely ignored by television with married housewives being the main female role.
He also found men to be dominant characters and the decision makers on TV. Men were more assertive (aggressive) and women more passive.
Gaye Tuchman (1978)
He argued that women were underrepresented in media fictional life. A term he sued to describe this was symbolically annihilated.
Gillian Dyer (1987)
Television was increasingly taken women seriously and there are a number of programmes that feature women in a more central role.
E. Ann Kaplan
In Hollywood films, women’s desire is subjected to male desire.
Rosen (1973)
The role of women in a film almost always revolves around her physical attraction
Ø 89% of adverts used a male voiceover
Ø Men were twice more likely than women to appear in adverts for non-domestic products.
Ø Housewife images began to decline slowly after the 1950’s
Beauty
Greer (1999)
Much more pressure was put on women to impress with make up, high heels and wonder bras.
Walter (1998)
Attractive people earn more than their plain colleagues.
Representation of gender today
Past-stereotyped
Producers- women who kiss ass heroines do better business
Definition: Representation is the mediated versions of people, in this case woman, in the form of a re-presentation.
Stereotypes are an element that is always found in media texts, whether it adverts, films or television programmes. It is the most common form of media representation ad labels and categorises people.
Ø Media texts contain stereotypes because of the need to economy (create identification)
Ø The function of the media is to please the audience and therefore to fulfil this, representations (stereotypes) are used to meet their expectations
Ø Stereotypes are widely used because audiences can understand theses stereotype are they will be familiar with them.
Ø Familiarly will mean more audiences will understand and attract higher/mainstream audiences because most television programs are quite short, the identities of characters must be established as quickly as possible.
Ø Some stereotypes are used to create humour such as the ‘bimbo’
Feminism is the response to society’s assumptions that women should be subservient to men. Until the emergence of feminism, women were treated almost as objects, passive agents in the male world
PATRIACHAL WORLD
Laura Mulvey
She argues that cinema audiences look at films in tow ways:
Ø Voyeuristically
Ø Fetishistically
Audiences are voyeurs who watch people on screen. This can lead to two effects:
-Objectification- female characters controlling male gaze and human characteristics being taken from them.
-Narcissistic identification-having an ideal image on screen
Gauntlett argues that in contemporary society, gender roles are more complex and that the media reflect this.
He says female’s role models today are often glamorous as well as successful.
He argues that this is due to the ‘rise in girl power’
The reason women are represented inadequately is due to lack of females in higher positions. Media is a male dominated as a result woman is shown representation from their point of view.
Film in particular sees women in an active role however they are being shown as eye candy and objectified. The reason for the lack of directors is due to:
Naomie Harris
“Film is such a male dominated industry”
Ø Men are al every level making it harder for women to get their feet in the door
Ø The way of working makes it difficult for women to succeed in the business.
Ø The responsibly of caring for a child and working in the media could be a lot of work to handle.
Ø Women are better organisers (producers) and males are more creative (directors)
Ø The role of a director is equivalent to raising a family
Ø Films have expensive and advanced equipment and so males understanding how and when to use it
Ø Being charge of 10 to 150 large men with heavy equipment is best carried out by a male
Ø When women just has a child, its easy for them to go back to being a producer, however its harder if you’re a director
Gunter (1995)
In the 50’s, 60’s and 70’s, only 20% to 35% of characters were female. By mid 1980’s, women were in more leading roles but still there were twice as many men that women on television.
Miles (1975)
He found that there were nearly equal proportions of men and women in situation comedy whereas in action adventure shows, only 15% of the leading characters were female.
Gunter (1970’s)
Found that marriage, parenthood and domesticity were shown on television to be more important for women.
McNeil (1975)
Women’s movement had been largely ignored by television with married housewives being the main female role.
He also found men to be dominant characters and the decision makers on TV. Men were more assertive (aggressive) and women more passive.
Gaye Tuchman (1978)
He argued that women were underrepresented in media fictional life. A term he sued to describe this was symbolically annihilated.
Gillian Dyer (1987)
Television was increasingly taken women seriously and there are a number of programmes that feature women in a more central role.
E. Ann Kaplan
In Hollywood films, women’s desire is subjected to male desire.
Rosen (1973)
The role of women in a film almost always revolves around her physical attraction
Ø 89% of adverts used a male voiceover
Ø Men were twice more likely than women to appear in adverts for non-domestic products.
Ø Housewife images began to decline slowly after the 1950’s
Beauty
Greer (1999)
Much more pressure was put on women to impress with make up, high heels and wonder bras.
Walter (1998)
Attractive people earn more than their plain colleagues.
Representation of gender today
Past-stereotyped
Producers- women who kiss ass heroines do better business
Thursday, May 17, 2007
It is argued that dominant media representations serve the interests of the powerful. Discuss with reference to one or more social group or place. . (June ’04 b)
Definition: Representation is the mediated versions of people, in this case woman, in the form of a re-presentation.
Feminism is the response to society’s assumptions that women should be subservient to men. Until the emergence of feminism, women were treated almost as objects, passive agents in the male world
Women are constantly portrayed in the media as objects of the male gaze.
Semi-naked models are a constant presence on the cover of men’s magazines.
SUN newspaper- Rupert Murdock owns the sun newspaper along with other newspapers. The Page Three girls were introduced in 1969 when Rupert Murdoch re-launched The Sun. The Page Three girl was topless for the first time on November 17, 1970- This meant that women were being objectified. Bare breasted women represented in most tabloids newspapers.
She argues that cinema audiences look at films in tow ways:
Ø Voyeuristically
Ø Fetishistically
Audiences are voyeurs who watch people on screen. This can lead to two effects:
àObjectification- female characters controlling male gaze and human characteristics being taken from them.
àNarcissistic identification-having an ideal image on screen
The reason women are represented inadequately is due to lack of females in higher positions. Media is a male dominated as a result woman is shown representation from their point of view.
Film in particular sees women in an active role however they are being shown as eye candy and objectified. The reason for the lack of directors is due to:
Naomie Harris
“Film is such a male dominated industry”
Definition: Representation is the mediated versions of people, in this case woman, in the form of a re-presentation.
Feminism is the response to society’s assumptions that women should be subservient to men. Until the emergence of feminism, women were treated almost as objects, passive agents in the male world
Women are constantly portrayed in the media as objects of the male gaze.
Semi-naked models are a constant presence on the cover of men’s magazines.
SUN newspaper- Rupert Murdock owns the sun newspaper along with other newspapers. The Page Three girls were introduced in 1969 when Rupert Murdoch re-launched The Sun. The Page Three girl was topless for the first time on November 17, 1970- This meant that women were being objectified. Bare breasted women represented in most tabloids newspapers.
She argues that cinema audiences look at films in tow ways:
Ø Voyeuristically
Ø Fetishistically
Audiences are voyeurs who watch people on screen. This can lead to two effects:
àObjectification- female characters controlling male gaze and human characteristics being taken from them.
àNarcissistic identification-having an ideal image on screen
The reason women are represented inadequately is due to lack of females in higher positions. Media is a male dominated as a result woman is shown representation from their point of view.
Film in particular sees women in an active role however they are being shown as eye candy and objectified. The reason for the lack of directors is due to:
Naomie Harris
“Film is such a male dominated industry”
Compare the media portrayal of two social groups. (June ’02 b)
Definition: Representation is the mediated versions of people, in this case woman, in the form of a re-presentation.
Women:
Women are being underrepresented in the mediaà
Ø as sex objects
Ø as suvordinate to men reinforcing a partiachal society
Positive stereotypes:
Ø Women being more independent
Ø Women try harder at education than men
Negative stereotypes
Ø Women belonging in the home
Ø Housewives
Ø Femme fatale
Ø Only men could do physical jobs such as mechanics
Changing stereotypes
Ø Women becoming more independent, active and self reliant
Ø Women no longer stereotyped as housewives
Ø Women playing as well and as much as men in sports such as football
Women are constantly portrayed in the media as objects of the male gaze.
Semi-naked models are a constant presence on the cover of men’s magazines.
SUN newspaper- Rupert Murdock owns the sun newspaper along with other newspapers. The Page Three girls were introduced in 1969 when Rupert Murdoch re-launched The Sun. The Page Three girl was topless for the first time on November 17, 1970- This meant that women were being objectified. Bare breasted women represented in most tabloids newspapers.
One of the most common stereotypes of women is the term “bimbo”. It carries particular shameful connotations in post-modern culture. A “bimbo” is supposed to have:
Ø Blond hair
Ø Flashy make up
Ø Large breast
Ø Mini skirt
Ø High heels
She is supposed to be:
Ø Promiscuous
Ø Stupid
Ø Uneducated
Ø Helpless
She argues that cinema audiences look at films in tow ways:
Ø Voyeuristically
Ø Fetishistically
Audiences are voyeurs who watch people on screen. This can lead to two effects:
àObjectification- female characters controlling male gaze and human characteristics being taken from them.
àNarcissistic identification-having an ideal image on screen
WHY!!!
The reason women are represented inadequately is due to lack of females in higher positions. Media is a male dominated as a result woman is shown representation from their point of view.
ASAINS!!!
Positive stereotypes
Ø Asians are hardworking
Ø All Asians become doctors
Negative stereotypes
Ø All Muslims are terrorists
Ø All black people are associated with crime
Ø All ethnic minorities have funny accents (speak in a freshy accent)
Ø All Asians have arranged marriages
True stereotypes
Most Asians own corner shops
Barthes- cultural myths
Racial stereotypes are among the most readily employed stereotypes. Racist ideology lie in colonialism which represented blacks as primitive, savage and whites as civilised and developed.
Soap operas have begun to reflect the ethnic diversity of Britain, although even now the Asians always appear as corner shops owners and cultural interests are taken into consideration with programmes on channel 4 and BBC 2
Successful Asian comedy shows and films include:
Ø Goodness Gracious me
Ø The Kumar’s at no. 42
Ø Bhaji on the Beach
BBC
Ø 4% of the ethnic minority of management are form ethnic minorities are pathetically low.
Ø BBC1 share among black audiences fell from 20.9% last year to 18.4% this year
Ø Asian viewer increased from 20.3% to 21.8%
Ø Listening to the radio by black and Asians people remains low
Ø BBC1 reflects cultural diversity in soaps such as EastEnders have successfully reflected multicultural Britain
Ethnic minorities now accounted for 11.8% of people seen on screen
Ø The success of films like Bend it like Beckham and East is East along with Kumars at NO 42àmulticultural entertainment is not firmly entrenched in the UK’s mainstream media.
Ø 78% of people think that ethnic minorities on both televisions and the big screen is reflected in BC news online
73% of black and 67% of Asians also say things have improved
Definition: Representation is the mediated versions of people, in this case woman, in the form of a re-presentation.
Women:
Women are being underrepresented in the mediaà
Ø as sex objects
Ø as suvordinate to men reinforcing a partiachal society
Positive stereotypes:
Ø Women being more independent
Ø Women try harder at education than men
Negative stereotypes
Ø Women belonging in the home
Ø Housewives
Ø Femme fatale
Ø Only men could do physical jobs such as mechanics
Changing stereotypes
Ø Women becoming more independent, active and self reliant
Ø Women no longer stereotyped as housewives
Ø Women playing as well and as much as men in sports such as football
Women are constantly portrayed in the media as objects of the male gaze.
Semi-naked models are a constant presence on the cover of men’s magazines.
SUN newspaper- Rupert Murdock owns the sun newspaper along with other newspapers. The Page Three girls were introduced in 1969 when Rupert Murdoch re-launched The Sun. The Page Three girl was topless for the first time on November 17, 1970- This meant that women were being objectified. Bare breasted women represented in most tabloids newspapers.
One of the most common stereotypes of women is the term “bimbo”. It carries particular shameful connotations in post-modern culture. A “bimbo” is supposed to have:
Ø Blond hair
Ø Flashy make up
Ø Large breast
Ø Mini skirt
Ø High heels
She is supposed to be:
Ø Promiscuous
Ø Stupid
Ø Uneducated
Ø Helpless
She argues that cinema audiences look at films in tow ways:
Ø Voyeuristically
Ø Fetishistically
Audiences are voyeurs who watch people on screen. This can lead to two effects:
àObjectification- female characters controlling male gaze and human characteristics being taken from them.
àNarcissistic identification-having an ideal image on screen
WHY!!!
The reason women are represented inadequately is due to lack of females in higher positions. Media is a male dominated as a result woman is shown representation from their point of view.
ASAINS!!!
Positive stereotypes
Ø Asians are hardworking
Ø All Asians become doctors
Negative stereotypes
Ø All Muslims are terrorists
Ø All black people are associated with crime
Ø All ethnic minorities have funny accents (speak in a freshy accent)
Ø All Asians have arranged marriages
True stereotypes
Most Asians own corner shops
Barthes- cultural myths
Racial stereotypes are among the most readily employed stereotypes. Racist ideology lie in colonialism which represented blacks as primitive, savage and whites as civilised and developed.
Soap operas have begun to reflect the ethnic diversity of Britain, although even now the Asians always appear as corner shops owners and cultural interests are taken into consideration with programmes on channel 4 and BBC 2
Successful Asian comedy shows and films include:
Ø Goodness Gracious me
Ø The Kumar’s at no. 42
Ø Bhaji on the Beach
BBC
Ø 4% of the ethnic minority of management are form ethnic minorities are pathetically low.
Ø BBC1 share among black audiences fell from 20.9% last year to 18.4% this year
Ø Asian viewer increased from 20.3% to 21.8%
Ø Listening to the radio by black and Asians people remains low
Ø BBC1 reflects cultural diversity in soaps such as EastEnders have successfully reflected multicultural Britain
Ethnic minorities now accounted for 11.8% of people seen on screen
Ø The success of films like Bend it like Beckham and East is East along with Kumars at NO 42àmulticultural entertainment is not firmly entrenched in the UK’s mainstream media.
Ø 78% of people think that ethnic minorities on both televisions and the big screen is reflected in BC news online
73% of black and 67% of Asians also say things have improved
What is there to be said for or against stereotyping in the media? Answer with reference to specific examples. (Specimen Question, ’00 a)
Definition: Representation is the mediated versions of people, in this case woman, in the form of a re-presentation.
Positive stereotypes:
Ø Women being more independent
Ø Women try harder at education than men
Negative stereotypes
Ø Women belonging in the home
Ø Housewives
Ø Femme fatale
Ø Only men could do physical jobs such as mechanics
Changing stereotypes
Ø Women becoming more independent, active and self reliant
Ø Women no longer stereotyped as housewives
Ø Women playing as well and as much as men in sports such as football
Stereotypes for:
They make a text easier to understand
Live up to the label (motivates people)
Stereotypes are an easier option to use in a short time slot
Stereotypes against:
Some could be unfair (racist stereotypes)
There are negative stereotypes
Women being sex objects
Some stereotypes are not accurate
False stereotypes can frequently be seen as true and could lead to misunderstanding or hurt feelings.
Asians:
Some stereotypes are sometimes good such as hardworking, doctors, and good in maths.
Against:
They are underrepresented in the media (off-screen)
They are neglected in most media forms
Examples of stereotypes on women:
Ø Women are being sex objects à Laura Mulvey’s theory
Ø Women being subordinate to menàpatriarchal society
Stereotypes are an element that is always found in media texts, whether it adverts, films or television programmes. It is the most common form of media representation ad labels and categorises people.
Ø Media texts contain stereotypes because of the need to economy (create identification)
Ø The function of the media is to please the audience and therefore to fulfil this, representations (stereotypes) are used to meet their expectations
Ø Stereotypes are widely used because audiences can understand theses stereotype are they will be familiar with them.
Ø Familiarly will mean more audiences will understand and attract higher/mainstream audiences because most television programs are quite short, the identities of characters must be established as quickly as possible.
Ø Some stereotypes are used to create humour such as the ‘bimbo’
One of the most common stereotypes of women is the term “bimbo”. It carries particular shameful connotations in post-modern culture. A “bimbo” is supposed to have:
Ø Blond hair
Ø Flashy make up
Ø Large breast
Ø Mini skirt
Ø High heels
She is supposed to be:
Ø Promiscuous
Ø Stupid
Ø UneducatedHelpless
Definition: Representation is the mediated versions of people, in this case woman, in the form of a re-presentation.
Positive stereotypes:
Ø Women being more independent
Ø Women try harder at education than men
Negative stereotypes
Ø Women belonging in the home
Ø Housewives
Ø Femme fatale
Ø Only men could do physical jobs such as mechanics
Changing stereotypes
Ø Women becoming more independent, active and self reliant
Ø Women no longer stereotyped as housewives
Ø Women playing as well and as much as men in sports such as football
Stereotypes for:
They make a text easier to understand
Live up to the label (motivates people)
Stereotypes are an easier option to use in a short time slot
Stereotypes against:
Some could be unfair (racist stereotypes)
There are negative stereotypes
Women being sex objects
Some stereotypes are not accurate
False stereotypes can frequently be seen as true and could lead to misunderstanding or hurt feelings.
Asians:
Some stereotypes are sometimes good such as hardworking, doctors, and good in maths.
Against:
They are underrepresented in the media (off-screen)
They are neglected in most media forms
Examples of stereotypes on women:
Ø Women are being sex objects à Laura Mulvey’s theory
Ø Women being subordinate to menàpatriarchal society
Stereotypes are an element that is always found in media texts, whether it adverts, films or television programmes. It is the most common form of media representation ad labels and categorises people.
Ø Media texts contain stereotypes because of the need to economy (create identification)
Ø The function of the media is to please the audience and therefore to fulfil this, representations (stereotypes) are used to meet their expectations
Ø Stereotypes are widely used because audiences can understand theses stereotype are they will be familiar with them.
Ø Familiarly will mean more audiences will understand and attract higher/mainstream audiences because most television programs are quite short, the identities of characters must be established as quickly as possible.
Ø Some stereotypes are used to create humour such as the ‘bimbo’
One of the most common stereotypes of women is the term “bimbo”. It carries particular shameful connotations in post-modern culture. A “bimbo” is supposed to have:
Ø Blond hair
Ø Flashy make up
Ø Large breast
Ø Mini skirt
Ø High heels
She is supposed to be:
Ø Promiscuous
Ø Stupid
Ø UneducatedHelpless
Sunday, May 06, 2007
Recent developments in genre have included the emergence of parody, pastiche and hybrid form. Show how such developments have influenced the nature of media texts.
(January ‘06a)
Introduction:
The granddaddy of slasher films was psycho (1960, Alfred Hitchcock). This straightforward film has developed over many years to from a new form of slasher genre with the use of intertexaulity, pastiche, parody and hybrid genres. Richard Malby stated that “genres are flexible”. This reflects the genres theory as genres are not static but dynamic allowing the combination of other genes called hybrid films, which are becoming more popularly used with texts.
PARODY:
a composition that imitates somebody's style in a humorous way
make a spoof of or make fun of
humorous or satirical mimicry
spoof: make a parody of; "The students spoofed the teachers"
1st cycle: The development cycle: the loose gripping so the film (psycho, Texas chainsaw massacre, Black Christmas and Halloween.
(Near the time of the Vietnam war) (1960’s to 1970’s)
2nd cycle: introduction to special effects and technology): Evolution to a classic period—Nightmare on Elm street, Friday the 13th (1980’s)
3rd cycle: DECLINE ‘genre in crisis’: Introduction to Video/VCR): Freddy vs. Jason Franchises/sequels (80’s/90’s)
4th cycle: post modern era: Scream (1997)
5th cycle: re makes: Psycho, Texas chainsaw massacre, Halloween
Douglas Pye (1975)
“Generic consistency allows for the use of conventions and stereotype but also with the relationship between confirmed expectation and novelty”
“…Enough to allow for enormous individual variation”
Steve Neale (1980)
“Films repeat themselves in different ways”
Jim Collins
“Bricolage the playful mixing of elements”
Elements of bricolage are used in slasher films such as Texas chainsaw massacre remake as it is laid out like a documentary (the opening).
The main element of genre theory is genres are dynamic. This means that they are not fixed static allowing genres to become hybrid.
Definition
A hybrid film is a genre that is difficult to categorise as it combines a number of different genres into one production. The film cannot be classified simply as comedy, horror, romance or mystery.
Scream
Post modern text—references to other slasher films and film making.
First post modern text was Wes Cravens new nightmare- Scream directed by same director and both are post modern texts.
Intertexual references to other slasher genres – has details of the rules of a slasher—created identification for the audience
Sidney is told she sounds like a Wes Carpenter flick
l l
Director John Carpenter (co-producer)
Directed Halloween- was made as a reference
He also directed A nightmare on Elm Street- Hybrid film with features of fantasy- comes in children’s dreams and kills them
-- Freud’s theory on the unconscious is being employed
Screams also makes intertexaul reference to psycho- Billy (killer) quotes Norman Bates= “We all go mad sometimes”
Psycho: ‘granddaddy’ of the slasher genre through not fully classified as a full slasher film.
-started the emergence and popularity of the slasher genre
-Makes reference to the use of the corpse in the next slasher film- Texas Chainsaw Massacre (Tobe Hooper, 1974)
- (Texas Chainsaw Massacre) Wider context: Mid 70’s oil crisis= countries limited and led to shortages
- happens in the film where they couldn’t get gas
Some elements get passed along to the next slasher films from psycho such as:
- Hitchcock creates suspense and shock (enigma)-- > audiences have more information = dramatic irony
- Phallic object being the knife(Mulvey's theory)- further used in slasher genres
- The scream by the victim
- Isolated area
Minimal blood is shown in psycho—partly due to censorship
- this increases over time due to the relaxation of censorship
- people (audiences) become desensitised to what is being shown marking the development =of the genre-makes changes
* CULTIVATION THEORY
The failed authority figures is another element that is transferred from one slasher film to another- challenged hypodermic needle model
Police/authority figures presented with power- failed- passive audiences injected with negative ideologies of the police and their ability to protect.
Hybrid genres are becoming more popular because different conventions could be used to make the film more unique and attract different audiences suiting the genre. Slasher genre is combined with:
- Horror
- Thriller
- Fantasy
- Mystery
- Comedy
Recent development could be due to the changing characteristics. The texts reflect the changing times and societies in which they are produced as well as changes in media institutions such as film industry.
Other reasons for the changes and developments of the slasher genre could be due to changes in target audiences:
- Certain texts are likely to attract different audiences. These audiences depend on socials class, age and gender. Emerging other elements such as parody, pastiche and hybrid genres attract wider and mainstream audiences that best suit their genre.
- The new elements themselves may attract more audiences to watch the text as it is different however similar through conventions and codes.
- It is often argued that target audiences for films have become younger over the years. This is known as the ‘juvenilisation’. This could be the reason why slasher genres are now aimed at teenagers.
Changes in audience expectations
- Contemporary audiences are much more sophisticated viewers than those who first saw moving pictures.
- Audiences reading a text are familiar with the codes and conventions- this results in new elements being introduced
Changes in society
- Contemporary audiences are harder to shock and more accustomed to representations of graphic violence, sexual images and bad language and well as more special effects that before. This results in producers trying new things to entertain audiences.
- This explains why genres change ( introduction of hybrid genres)
- Genre changes over time as it reflects the values and concerns in society around them. The changing position of women (final girl due to feminism), attitudes, violence and other issues present in society.
Rick Altman
Critic looks at similarities across a range of films and is based on analysis after the event (after view of categorising films). The film producer identifies a successful film, analysis the film to what made it successful and the codes and conventions of the genre. The producer then uses this formula to create another film—this results in films becoming hybrids as successful traits are used to make a film successful from different genres.
(January ‘06a)
Introduction:
The granddaddy of slasher films was psycho (1960, Alfred Hitchcock). This straightforward film has developed over many years to from a new form of slasher genre with the use of intertexaulity, pastiche, parody and hybrid genres. Richard Malby stated that “genres are flexible”. This reflects the genres theory as genres are not static but dynamic allowing the combination of other genes called hybrid films, which are becoming more popularly used with texts.
PARODY:
a composition that imitates somebody's style in a humorous way
make a spoof of or make fun of
humorous or satirical mimicry
spoof: make a parody of; "The students spoofed the teachers"
1st cycle: The development cycle: the loose gripping so the film (psycho, Texas chainsaw massacre, Black Christmas and Halloween.
(Near the time of the Vietnam war) (1960’s to 1970’s)
2nd cycle: introduction to special effects and technology): Evolution to a classic period—Nightmare on Elm street, Friday the 13th (1980’s)
3rd cycle: DECLINE ‘genre in crisis’: Introduction to Video/VCR): Freddy vs. Jason Franchises/sequels (80’s/90’s)
4th cycle: post modern era: Scream (1997)
5th cycle: re makes: Psycho, Texas chainsaw massacre, Halloween
Douglas Pye (1975)
“Generic consistency allows for the use of conventions and stereotype but also with the relationship between confirmed expectation and novelty”
“…Enough to allow for enormous individual variation”
Steve Neale (1980)
“Films repeat themselves in different ways”
Jim Collins
“Bricolage the playful mixing of elements”
Elements of bricolage are used in slasher films such as Texas chainsaw massacre remake as it is laid out like a documentary (the opening).
The main element of genre theory is genres are dynamic. This means that they are not fixed static allowing genres to become hybrid.
Definition
A hybrid film is a genre that is difficult to categorise as it combines a number of different genres into one production. The film cannot be classified simply as comedy, horror, romance or mystery.
Scream
Post modern text—references to other slasher films and film making.
First post modern text was Wes Cravens new nightmare- Scream directed by same director and both are post modern texts.
Intertexual references to other slasher genres – has details of the rules of a slasher—created identification for the audience
Sidney is told she sounds like a Wes Carpenter flick
l l
Director John Carpenter (co-producer)
Directed Halloween- was made as a reference
He also directed A nightmare on Elm Street- Hybrid film with features of fantasy- comes in children’s dreams and kills them
-- Freud’s theory on the unconscious is being employed
Screams also makes intertexaul reference to psycho- Billy (killer) quotes Norman Bates= “We all go mad sometimes”
Psycho: ‘granddaddy’ of the slasher genre through not fully classified as a full slasher film.
-started the emergence and popularity of the slasher genre
-Makes reference to the use of the corpse in the next slasher film- Texas Chainsaw Massacre (Tobe Hooper, 1974)
- (Texas Chainsaw Massacre) Wider context: Mid 70’s oil crisis= countries limited and led to shortages
- happens in the film where they couldn’t get gas
Some elements get passed along to the next slasher films from psycho such as:
- Hitchcock creates suspense and shock (enigma)-- > audiences have more information = dramatic irony
- Phallic object being the knife(Mulvey's theory)- further used in slasher genres
- The scream by the victim
- Isolated area
Minimal blood is shown in psycho—partly due to censorship
- this increases over time due to the relaxation of censorship
- people (audiences) become desensitised to what is being shown marking the development =of the genre-makes changes
* CULTIVATION THEORY
The failed authority figures is another element that is transferred from one slasher film to another- challenged hypodermic needle model
Police/authority figures presented with power- failed- passive audiences injected with negative ideologies of the police and their ability to protect.
Hybrid genres are becoming more popular because different conventions could be used to make the film more unique and attract different audiences suiting the genre. Slasher genre is combined with:
- Horror
- Thriller
- Fantasy
- Mystery
- Comedy
Recent development could be due to the changing characteristics. The texts reflect the changing times and societies in which they are produced as well as changes in media institutions such as film industry.
Other reasons for the changes and developments of the slasher genre could be due to changes in target audiences:
- Certain texts are likely to attract different audiences. These audiences depend on socials class, age and gender. Emerging other elements such as parody, pastiche and hybrid genres attract wider and mainstream audiences that best suit their genre.
- The new elements themselves may attract more audiences to watch the text as it is different however similar through conventions and codes.
- It is often argued that target audiences for films have become younger over the years. This is known as the ‘juvenilisation’. This could be the reason why slasher genres are now aimed at teenagers.
Changes in audience expectations
- Contemporary audiences are much more sophisticated viewers than those who first saw moving pictures.
- Audiences reading a text are familiar with the codes and conventions- this results in new elements being introduced
Changes in society
- Contemporary audiences are harder to shock and more accustomed to representations of graphic violence, sexual images and bad language and well as more special effects that before. This results in producers trying new things to entertain audiences.
- This explains why genres change ( introduction of hybrid genres)
- Genre changes over time as it reflects the values and concerns in society around them. The changing position of women (final girl due to feminism), attitudes, violence and other issues present in society.
Rick Altman
Critic looks at similarities across a range of films and is based on analysis after the event (after view of categorising films). The film producer identifies a successful film, analysis the film to what made it successful and the codes and conventions of the genre. The producer then uses this formula to create another film—this results in films becoming hybrids as successful traits are used to make a film successful from different genres.
Friday, May 04, 2007
“The audience may know what to expect, but are still excited by genres texts.” To what extent is this true?
(June ‘05a)
(June ‘05a)
Introduction:
Steve Neale (1980) argues that “films repeat themselves in different ways”. This makes similar films different to each other to a certain extent by adding a new and different element. Rick Altman’s theory on the after view is then used to find successful traits and formulas from other genres thus the reason for having hybrid genres. This means that they audiences expect conventions of a slasher genre however are introduced with another genre alongside the slasher genre. An example is Halloween which is a slasher and a horror. This is the reason why audience are excited by repeated texts as they are different in their own way.
Steve Neale (1980) argues that “films repeat themselves in different ways”. This makes similar films different to each other to a certain extent by adding a new and different element. Rick Altman’s theory on the after view is then used to find successful traits and formulas from other genres thus the reason for having hybrid genres. This means that they audiences expect conventions of a slasher genre however are introduced with another genre alongside the slasher genre. An example is Halloween which is a slasher and a horror. This is the reason why audience are excited by repeated texts as they are different in their own way.
Genre: a French word for ‘type’ or category
Definition of genre: Genre is a set of conventions that are dynamic and are followed by a text through iconography.
Useful quotes
Richard Malby- “genres are flexible”
Steve Neale- “films repeat themselves in different ways”
James Monaco- “increasingly we are all going to see the same then movies”
In order to make a slasher film successful and to fulfil expectations for the audience, this is done through the repertoire of elements (Neale). This includes:
Iconography
Style
Narrative
Themes
Setting
Audience response
Characters
They all follow conventions of a slasher genre thus their expectations are met.
Expectations through conventions of the slasher genre are:
The weapon used such as the knife in numerous films, the chainsaw, the hook in modern films and the axe.
There is always a killer, usually tends to be male (except Friday the 13th (Sean S Cunningham, 1980, USA)
The chase- in almost every slasher there is a chase scene involving the final girl and the killer (Carol Clover)
The scream- this element if the slasher makes them all similar—has a sympathy effects upon the character in distress. Texas chainsaw massacre uses this to it effect of making this film successful.
Setting: isolated location- main location is old gothic house, deserted area.
The binary oppositions (Strauss) used to excite the audience- the main binary oppositions is between killers versus victim.
The characters are teenagers however; in psycho this was not the case though psycho is not fully classified as a slasher film.
The use of backlighting creates an enigmatic effect à Bathes code.
The killer is almost always a maleà reinforcing patriarchy.
This is challenged in Texas chainsaw massacre, as the killer is a femaleà this could be due to feminism—women fought for their equal rights.
Slasher has an element of humour to it as a result this will attract more audiences to watch the genre. An example is Nightmare on Elm Street (Wes Craven, 1984, USA) where the audience are provided with visceral pleasures such as when he starts running.
Psycho (Alfred Hitchcock, 1960, USA) - granddaddy of the slasher genreà was a template which created genre elements i.e. run down bates hotelà setting is isolated –rainy weather
à Made specially this way to scare (create visceral pleasures)
Every slasher has similar elements and follows the same conventions however; they are different in their own wayà presented in a different way so expectations are fulfilled as well as excited by the genre.
New films not excite the audience in different ways such as the developmental of postmodern texts. The main and most successful text being Scream (Wes Craven, 1996, USA)
Postmodern elements include:
Parody
Pastiche
Intertextuality
These are the main elements used to create a new form of the slasher genre providing the audience with new and exciting texts along with the conventions of the genreà excite and fulfil expectations.
The use of enigma is a key element in which the audience are excited with the slasher genre such as:
Halloween: the startle when he appears from nowhere creating visceral pleasure such as jumping. Don’t know who the killer is as his face his covered.
Friday the 13th: cant see who the killer is, male or female, as the audience are shown everything the killer does from the point of view of the killerà create identification with the killerà audience are made to think like the killer
Scream: the killer is a teenager, act normal, attends school, makes the audience think “whodunit”
Texas chainsaw massacre: the audience cant see his face (from human flesh), don’t know why he does this à creates assumptions (audience are made to think of the reasonà feel alienated
The producer does this for audience
--> à Make money; use copied elements to make it successful
Rick Altman
Film producers are interested in what makes a film successfulà the after viewing
Analyse films to see what made it successfulà they identify familiar formulas and use it to make it successful.
Slasher genres could be identified as
· Horror
· Thriller
· Fantasy
· Mystery
· Comedy
This makes it a hybrid genre ofà having different elements of other genresà makes it more exciting that having one genre
Agrees with genre theory. à “Genres are not fixed”
à This makes genre more dynamic rather than
Static.
“Repetition and variation in films means when they have identifiable similarities but also contain new elements or similar element used in new ways”.
Uses and gratifications theory: why we read the text à assumes an active audience.
Slasher films provide the audience with escapist entertainment
The new forms of the slasher genre have been made to excite the audience through the genre development cycle. The new intertextuality, parody or pastiche elements presented in films have been through the genre evolution. They have been re-invigorated in the fourth cycle making it a post-modern text.
The fifth cycle: includes remakes to previous films making giving them a more contemporary element (reflecting zeitgeist). Examples include remakes to Texas chainsaw massacre, Halloween, Black Christmas.
Due to desensitisation to slasher genreà films have become gorier that before to excite the audience.
Cultivation theory
The target audience would be teenagers as the characters are teenagersà this enables the teenagers to identify with the teenagers in the film.
Censorship is becoming less influential as a result more films become more violent than before. Texas chainsaw massacre was banned however now films are being released that are more violent that those shown in the 70’s and 80’s.à Society has moved on.
Douglas Pye (1975) 
“Novelty”
The shower scene became the scene in which was used as an outline for other slasher films. This scene is the most remembered scene. The use of backlighting creates enigma- audience are excited as they are provided with pleasures.
“Novelty”
The shower scene became the scene in which was used as an outline for other slasher films. This scene is the most remembered scene. The use of backlighting creates enigma- audience are excited as they are provided with pleasures.
Thursday, May 03, 2007
Account of the popularity of one genre of your choice. Illustrate your answers with examples.
(June ‘03a)
Introduction:
To a certain extent, psycho could be classified as the granddaddy of the slasher genre. From there on developments in order to entertain audiences has allowed genres to be dynamic. Richard Malby stated that “genres go through the process of adaptation and change. No long after psycho was Texas chainsaw massacre. This was the starting point in the popularity of this genre however to avoid audiences from viewing the same film again and again requires a new formula. James Monaco (1979) said that “we are all going to see the same ten movies”. This is where Rich Altman’s after view takes place so the audience are given the chance to view the same expectations, the same genres, same conventions but with a new and different element to make it different from other slasher films.
Slasher genre
Attracts audiences through the use of the repertoire of elements. The repertoires of elements (Neale) are:
Iconography
Style
Setting
Characters
Audience Pleasures/ Audience response
Narrative
themes
Iconography
The murder weapons- use of knife in Halloween, psycho, Friday the 13th.
Use of chainsaw- Texas chainsaw massacre
Use of axe
Use of hook in contemporary films
These connote phallic objects- penetrating the body- a substitute penis
Theorised by LAURA MULVEY.
This leads to the castration anxiety of the male audience- fear of being castrated. If not a phallic object then fetish objects. Result in them being objectified (human characteristics being taken away from them). This is theorised by FREUD.
The conventions of a slasher make it more appealing to audience- make it more popular such as
Blood (in contemporary films, the blood is used more and more)
Because audience become desensitised to what is being shown.
=CULTIVATION THEORY
Scream- was first seen in the granddaddy of the genre in psycho. This element has been used in films after then reflecting Altman’s theory of the after view.
The scream—producers analyse films to see what made it successful—they use the formula to receive the same success- audience are fulfilled with this expectation making it a popular genre
Useful quotes
Richard Malby- “genres are flexible”
Steve Neale- “films repeat themselves in different ways”
James Monaco- “increasingly we are all going to see the same then movies”
The visceral pleasures are the main reason for the popularity. These pleasure include tension, increasing heartbeat, sweaty palms== due to enigma, one of BARTHES codes.
The visceral pleasures the audiences gain from this are different to other genres. This makes it more popular as it is unpredictable and films use same elements in different ways.
The use of the final girl is another popularity element that may attract a mainstream audience, especially female audiences due to the dominant role they are being given- reflecting the zeitgeist of contemporary society.
The popularity has increased due to the use of post modern elements such as:
Pastiche
Parody
Intertexuality
This makes it different and is in the forth cycles of genre development allowing re invigoration of the genre. The use of playfully using other slasher genres is another reason for the account of the popularity of the genre.
Another reason for the popularity of the genre is because this genre is becoming more and more frequent and easy to access as new releases get released. This means that they are consumed by a mainstream audience rather than a niche audience.
Past films ended with no resolution. This led to the enigma code being introduced again- keeps the audience entertained and makes them wonder what will happen next. This challenges the Todorovian narrative structures in it being a linear narrative. However contemporary society, this is not the case as the killer is killed by the final girl, theorised by Carol Clover. Examples include Scream movies.
The expectations are fulfilled thus attracting a mainstream audience. The expectations are that people are killed of one by one. However the audience are guessing and wondering whose next and how they will be killed thus another reason for the popularity of the genre.
During the time of censorship—Texas chainsaw massacre was banned. This could be due to the gory bits and the high amount of blood in the film. Censorship is being coming less affective against the slasher genre resulting in the blood levels increasing.
The point of view shots—creates realism
Natural lighting--- making it more realistic
(June ‘03a)
Introduction:
To a certain extent, psycho could be classified as the granddaddy of the slasher genre. From there on developments in order to entertain audiences has allowed genres to be dynamic. Richard Malby stated that “genres go through the process of adaptation and change. No long after psycho was Texas chainsaw massacre. This was the starting point in the popularity of this genre however to avoid audiences from viewing the same film again and again requires a new formula. James Monaco (1979) said that “we are all going to see the same ten movies”. This is where Rich Altman’s after view takes place so the audience are given the chance to view the same expectations, the same genres, same conventions but with a new and different element to make it different from other slasher films.
Slasher genre
Attracts audiences through the use of the repertoire of elements. The repertoires of elements (Neale) are:
Iconography
Style
Setting
Characters
Audience Pleasures/ Audience response
Narrative
themes
Iconography
The murder weapons- use of knife in Halloween, psycho, Friday the 13th.Use of chainsaw- Texas chainsaw massacre
Use of axe
Use of hook in contemporary films
These connote phallic objects- penetrating the body- a substitute penis
Theorised by LAURA MULVEY.
This leads to the castration anxiety of the male audience- fear of being castrated. If not a phallic object then fetish objects. Result in them being objectified (human characteristics being taken away from them). This is theorised by FREUD.
The conventions of a slasher make it more appealing to audience- make it more popular such as
Blood (in contemporary films, the blood is used more and more)
Because audience become desensitised to what is being shown.
=CULTIVATION THEORY
Scream- was first seen in the granddaddy of the genre in psycho. This element has been used in films after then reflecting Altman’s theory of the after view.
The scream—producers analyse films to see what made it successful—they use the formula to receive the same success- audience are fulfilled with this expectation making it a popular genre
Useful quotes
Richard Malby- “genres are flexible”
Steve Neale- “films repeat themselves in different ways”
James Monaco- “increasingly we are all going to see the same then movies”
The visceral pleasures are the main reason for the popularity. These pleasure include tension, increasing heartbeat, sweaty palms== due to enigma, one of BARTHES codes.
The visceral pleasures the audiences gain from this are different to other genres. This makes it more popular as it is unpredictable and films use same elements in different ways.
The use of the final girl is another popularity element that may attract a mainstream audience, especially female audiences due to the dominant role they are being given- reflecting the zeitgeist of contemporary society.
The popularity has increased due to the use of post modern elements such as:
Pastiche
Parody
Intertexuality
This makes it different and is in the forth cycles of genre development allowing re invigoration of the genre. The use of playfully using other slasher genres is another reason for the account of the popularity of the genre.
Another reason for the popularity of the genre is because this genre is becoming more and more frequent and easy to access as new releases get released. This means that they are consumed by a mainstream audience rather than a niche audience.
Past films ended with no resolution. This led to the enigma code being introduced again- keeps the audience entertained and makes them wonder what will happen next. This challenges the Todorovian narrative structures in it being a linear narrative. However contemporary society, this is not the case as the killer is killed by the final girl, theorised by Carol Clover. Examples include Scream movies.
The expectations are fulfilled thus attracting a mainstream audience. The expectations are that people are killed of one by one. However the audience are guessing and wondering whose next and how they will be killed thus another reason for the popularity of the genre.
During the time of censorship—Texas chainsaw massacre was banned. This could be due to the gory bits and the high amount of blood in the film. Censorship is being coming less affective against the slasher genre resulting in the blood levels increasing.
The point of view shots—creates realism
Natural lighting--- making it more realistic
Wednesday, May 02, 2007
Final Draft of Independent Study!!
“I'd recognise that arse anywhere, you piece of shit”[1]. Are women in Hollywood films represented purely as sex objects to entertain and pleasure men, with particular reference to ‘Charlie’s Angels-Full Throttle’ (2003)?
The Representation of women has changed over recent years due to second wave feminism, which arose during the 1970’s where women fought for their rights and equality. However, despite this women are still seen as subordinate to men, which is the result of a patriarchal society. In the past women have been negatively represented in films such as ‘Fatal Attraction’ (Adrian Lyne, 1987), where women were represented as evil ‘femme fatales’[2]. However, in contemporary society the representation of women is developing in the media, due to the fact that women are now achieving more active opposed to passive roles, whereas active roles were typically associated with men. This is evidence that both the media and society is changing with each reflecting the other. However, this does not stop the fact that women are still often seen as tools for pleasure and are still represented in a stereotypical manner even when active in contemporary films such as ‘Charlie’s Angels-Full Throttle’ ( McG, 2003).
The stereotypes that exist in contemporary films are used in more subtle ways where those who are media literate will be able to notice they are being used deliberately. The obvious stereotypes are easily noticeable such as the ‘bimbo[3]’ and this enduring role appears in ‘Charlie’s Angels-Full Throttle’, when Cameron Diaz is used as a plot device such as a distraction for the men. This representation is used in the very first scene where the Angels show a display of “ass-kicking female empowerment”[4] using their strength and initiative to save a kidnapped man, a complete role reversal for the representation of women in the past where they were once the ‘damsel in distress’ who was portrayed as vulnerable and weak. However, although women are in more empowering and active roles, they are still subordinate to men as they are mainly seen as the ‘objects of the gaze’. This means that they are represented as tools of visual pleasure and not for their other qualities such as acting ability, undermining a women’s ability to succeed without resort to her looks.
On the other hand, men are constantly stereotyped as the “active, providing and tough individual who drives the narrative forward, whereas the passive, home orientated and emotional”[5] people tend to be the women who are constantly being controlled by the man and are there to make the hero look good providing ‘scopophillic pleasures’ to the audience. This is challenged by contemporary films for example the angels in Charlie’s Angels-Full Throttle or Patience Phillips (Halle Berry) in Catwoman (Pitof, 2004). This stereotype is progressing in the media as awareness of women’s ability is becoming more noticeable in society.
Another example is Kill Bill 2 (Quentin Tarantino, 2004), a contemporary hybrid where the protagonist role is challenged. The protagonist role was once associated with the male gender, however Uma Thurman plays Beatrix Kiddo, a dominant, active and tough women. This is evidence of women’s ability to be just as equal to men, which, reflects the zeitgeist. Representations of women are gradually changing due to the positive role women are being given as a result this film was highly successful making a total of $66,207,920[6] as well as promoting women’s authority. However, this film is evidence that the society we live in views women for ‘erotic pleasure’ as she is wearing a tight suit which creates a ‘male gaze’ amongst men. The yellow outfit she is shown wearing can connote happiness. This could represent goodness as oppose to evil creating identification with the audience. This is also present in Charlie’s Angels as they are “reduced to their most predominant parts”[7].
On the other hand, Alien (Ridley Scott, 1979) represented women with the power they deserved by featuring the first female protagonist, Sigourney Weaver who played the active hero and remained the only survivor. It was huge success in the 70’s, the decade for feminists making $1,983,690[8] and has played a major part in the progression of positive representation against women in the media. This film was successful due to the fact that women were finally emerging from their stereotypical roles and not getting objectified or viewed for pleasure; as a result this film challenges Laura Mulvey’s theory and proves that not all women are objectified in order to make a film successful. On the other hand, Ripley’s role was “never intended to be played by a female”[9] as a result it would have been another male action hero film due to misogynistic views held against women held in society.
In addition, Haskell (1973) points out that directors were guilty of having “misogynistic views upon women”[10]. This would lead to the negative representation of women as it oppresses them. Feminism may have played a major part in the progression to minimise objectification however, women are still getting viewed for the wrong reasons such as pleasure and degrading them for instance Charlie’s Angels. Basic Instinct (Paul Verhoeven, 1992) is another example where the spectators are provided with ‘scopophillic’ and ‘voyeuristic’ pleasures throughout and at this time we are introduced with the ‘female gaze’. We also see a misogynist view from Gus Moran (George Dzundza) who constantly calls Catherine Tramell (Sharon Stone) degrading words such as “pussy” and ‘Bitch’,[11] this proves that he does not respect her and uses vile words when mentioning Tramell as a result reinforces a patriarchy.
These views are held in other films such as Thelma and Louise (1990), directed by Ridley Scott who also directed Alien, as both feature female protagonists. However, in this film the two women could be categorised in two groups. “The ‘whore’ and the ‘Madonna’[12]”. They had freedom and lived independently. Louise was portrayed as the ‘Madonna’ as she was the housewife, a role given to her by her husband as a result reinforcing patriarchy. Thelma is represented as the ‘whore’ who is carefree that she “almost got raped and gets no respect from the males”[13] reinforcing these misogynistic views. “Bitch! I shoulda gone ahead and fucked her!” (Harlan)[14]. Feminists could argue that due to this, women belong in the home, as they cannot look after themselves without the male figure.
In addition, domestic roles for women were present before mid-nineteenth century, which focused on the “first wave feminism”[15] where women decided to change their “presence in society for equality”[16] and this resulted in the three waves of feminism. At that time the society was patriarchal in every area with men in a higher position, undermining women. Their main and only jobs in the nineteenth century available for women were as a domestic servant with figures of “1,740,800 numbers of women employed”[17]. Many poorly educated women simply worked for a large household as a servant. This meant that women were given the jobs that held a low status in society reflecting the zeitgeist. Additionally, the twentieth century made an improvement in the variety of jobs available for women such as films; nevertheless, women are still negatively represented by being presented as a sex symbol for the satisfaction of the opposite sex. This is evident in films such as Coyote Ugly (David McNally, 2000). Violet (Piper Sanford) the protagonist and other females are totally controlled by the “‘ogling’ men when she lands a job as a ‘coyote’ bar dancer/sex kitten and waitress”[18] at a club. She is seen pouring liquid over herself, providing ‘erotic pleasure’ and being the “subject of the ‘male gaze’ as theorised by Laura Mulvey”[19]. This is an example of post-feminism as the females are aware of what they are doing and they have the will to decide what they want. It could also be interpreted as the females having the competence, capability and the potential to tease the men, a sign of dominance from the females rather than males.
This dominance is also presented in films such as Charlie’s Angels-Full Throttle, Kill Bill, and Catwoman and all attract different audiences. Charlie’s Angels-Full Throttle is a hybrid due to the “repertoire of elements”[20], reflecting the genre theory by being “dynamic and not static”[21]. Richard Maltby (1995) stated that “Genres are flexible”[22] as a result genres could change or adapt. The genre of the film decides the audience and this result in an active audience. ‘Uses and gratifications theory’ could be applied to these films as they all provide the audience with escapist entertainment. This can be seen in Charlie’s Angels-Full Throttle, which stars beautiful and glamorous women who can also “kick asses and perform the role of the action hero”[23]. This theory assumes an active audience where individuals choose the text they consume and have dissimilar reasons for consuming the films. The primary audiences are teenagers who appeal to an action/adventure genre providing voyeuristic pleasures. The secondary audience would be feminists and fans of the actors/actresses as it manifest female empowerment and fans of kung fu because there are Matrix inspired kung-fu fighting scenes and intertextuality as one Angel is wearing a Harry Potter costume making it a post-modern text and also “appeals to different ‘cult’ groups within a wide/mainstream audience”[24].
Moreover, the mainstream audience are provided with entertainment and pleasure by constructing together scenes to attract their attention and by doing this results in the ‘male gaze or even in some cases the ‘female gaze’. An example is Basic instinct (1992), where the spectator is provided with the ‘female gaze’ of a naked Nick Curran (Michael Douglas), this in contrast administers ‘erotic’ pleasure for the female audience and is also a prime example for patriarchy as it challenges the passive female. On the other hand, Mulvey identified that the ‘male gaze’ resulted in the male viewer to slaver over the “erotic exhibition of women’s bodies on the screen”[25]. Greer (1999) identified that women are under much more pressure to “impress with their make-up and high heels”[26]. This proves that women are passive and are conforming to the ideologies that they are confronted by to impress the opposite sex, as a consequence the “hypodermic needle model is reinforced”[27]. This is reinforced by Charlie’s Angels-Full Throttle, as they are represented as “three attractive angels who ‘kick ass’[28]” having the active role but being objectified at the same time.
Furthermore, they may be in an active role however, Gaye Tuchman (1978) argues that females are represented far less than males on TV. “Tuchman stated that when females have roles, they are mostly shown as being negative roles”[29]; Tuchman called this ‘symbolic annihilation’. This can be challenged to a certain extent as women in protagonist roles are becoming more common in contemporary films such as the angels however; they are still being shown in negative roles such as ‘objects’. Their human characteristics are being taken away from them leaving them as the tools of desire to entertain and pleasure such as when Diaz is running along the beach soaking wet creating sexual desires.
Furthermore, ‘phallic’ objects support these sexual desires and are widely used in films such as Charlie’s Angels-Full Throttle. They are either ‘phallic’ or ‘fetish’ objects that may be used to reinforce the ‘male gaze’ resulting in women being represented as object of desire. For example, ‘Charlie’s Angels-Full Throttle’, the angels are shown in a club called the treasure chest. The angels in the film fight crime without the use of guns that connote a ‘phallic’ object however; they use ‘phallic’ objects to manipulate the men in this scene. They are seen seducing the men by dancing alongside a pole in “‘skimpy’ outfits and jiggling breasts, wiggling bums”[30] causing the ‘male gaze’. This means that they use “‘phallic’ objects for ‘eye candy’”[31] for the men but also homosexual women to a certain extent.
Alternatively to phallic objects, slow motion is used, creating enigmas to keep audience entertained in the film; a code theorised by Barthes. An example is when the angels fall off a building after being shot. This is an alternative to keeping the audience engaged and entertained besides the ‘eye candy’ (women). However, in Charlie’s Angels-Full Throttle, these interlink with each other. The desirable object being Diaz running along a beach in a bikini suit played in slow motion. She is being portrayed as the “to-be-looked-at-ness”[32] object resulting in her to be gazed upon.
Additionally, Mulvey identified this gaze is viewed in two ways from the spectator: voyeuristically and fetishistic. This leads to the Freudian theory in terms of males feeling ‘castration anxiety’[33]. This is the misunderstood removal of male genital organs for women causing anxiety amongst males. In Charlie’s Angels the substitute is the pole in which they dance alongside. This provides ‘erotic’ pleasure as the heterosexual spectators are given a buzz to satisfy their urges. Kaplan and Kaja Silverman (1980) argued that “the gaze could be adopted by both male and female subjects: the male is not always controlling the subject and nor is the female always passive object”[34]. An example is when Cameron Diaz is running along the beach shot in slow motion. The males view her as an object; whereas women could adopt the role of aspirers who want to be like Diaz in terms of body figure.
Additionally, the aspirers may have a desire to be like Ripley in Aliens or Thurman in Kill Bill 2; both active women seen in a conventional role of a mother. Even though they are in an active masculine role, both females are still stereotypically represented; the outcome that women are presented stronger bringing up a child, fighting evil and protecting them however she is objectified at the same time. Emanuel Levy (1990) conducted a study and concluded that physical looks and youth were far more important for the female stars putting pressure on females to look pretty to attract a male audience by conforming to what males want reinforcing a patriarchy. However, female groups such as Destiny’s Child are promoting female empowerment by releasing a soundtrack song called ‘Independent Women’ promoting independence, hoping it may progress the existing representation of women not as sex objects but as autonomous, strong and independent women challenging misogynistic views that are present in society. Pink’s appearance in the film was beneficial because she could be represented as open minded, masculine and robust woman who is ideal for promoting equality. On the other hand, David Gauntlett argues that “female role models such as Destiny’s Child are glamorous”[35] as well as successful; these providing voyeuristic pleasures whatever role women are in. This suggests that women are primarily there to entertain the male audience by their looks and features rather than other aspects.
On the other hand, men are judged according to their acting skills making it harder to achieve success. Sharon Smith (1972) declared “The role of woman in a film almost always revolves around her physical attraction”[36]. This means that women have to try harder to gain attention from the audience and achieve this by using their physical attraction to appeal to the audience making it more demanding to succeed. This is challenged in Charlie’s Angels as Demi Moore is forty years old, which reflects the social development in society.
Likewise, this development is also challenging stereotypes. Gauntlett (2002) later argued that “movie producers have realised that kick-ass heroines do better business”[37]. He also realised that audiences would “laugh at images of pretty housewife and reacted by showing women how to be sexy at work”[38]. This concludes that society had moved on in terms of representing women in stereotypical roles and is no longer accepted in society. However appearance still matters for entertainment and pleasure purposes. The angels are associated with their “simpering, body-grinding bikini-clad tits n' ass”[39]. The girls are represented as empowering but repeatedly using their looks to “distract and outwit the pathetic men in the film”[40]. This indicates that women resort to their looks as a distraction device resulting in woman being represented in a more intelligent role than men as they use their intuitive to fool, gain control and power over them whereas men are shown with weapons such as a gun to guild them. However it means that women are getting themselves objectified in order of achieving what they want, but then again, Charlie in ‘Charlie’s Angels-Full Throttle’ could be described as “promoting hegemony”[41] as he is “dominant and rules”[42] the angels and are under his power reinforcing Antonio Gramsci’s theory. This is because the angels are ‘Charlie’s’ angels; controlled by a mysterious male voice as a result they can be seen as passive reinforcing Mulvey’s theory on active/male and passive/female.
Then again, at forty, Demi Moore plays a ‘fallen angel’[43] in an active antagonist role following Propp’s theory on character roles as she goes against the angels and Charlie who she once worked for. This can be linked with Claude Levi Strauss theory on “binary oppositions”[44] as they clash. The hero versus villain can be labelled upon the angels and Madison Lee (Moore). This binary opposition creates identification by the audiences in the film. Moore is shown to be wearing black, which connotes evil whereas, Diaz is wearing white, which connotes purity, and heavenly associated with angels, which represents their role in the film. Likewise, ‘Charlie’s Angels-Full Throttle’ has a non-linear narrative due to flashbacks of the angels before they worked for Charlie, living the nostalgic memories of the past of the angels, helping the audience identify with the characters and not feel alienated. Parts of the film follow Todorov’s narrative structure as it ends with a resolution where the angels finally win the battle against the objectified female antagonist. However, some films do not follow this such as Basic Instinct where Tramell doesn’t die resulting in a sequel.
Finally, to justify the reason why women are represented as objects could be due to the lack of female directors. As there are only a few female directors, the audience are shown the film from a male point of view resulting in women being represented in tight clothing, revealing and with ‘phallic’ objects. Naomie Harris quoted “film is such as male-dominated industry”[45]. However, to some extent, theses representations can never be accurate as they are mediated versions of people (women) to create a re-presentation for the entertainment for the audience. These mediated versions of women result in them being negatively/inaccurately represented and reinforcing a patriarchal society.
Overall, women are increasingly seen in films in a male associated role of action hero or protagonist however, they are still being represented as sex objects with the use of ‘phallic’ or ‘fetish’ objects with the main aim to attract heterosexual males in gaining pleasure and entertainment. On the other hand, females are also given sexual desires via the ‘female gaze’. “The last twenty years has seen a “growth in the presence and influence of women in media”[46] despite this, their bodies are used as a mechanism to succeed in action films. Alanis Morissette, a feminist quoted “I see my body as an instrument, rather than an ornament”[47].
Word count 3,159
[1] Charlie’s Angels –Full Throttle (2003)-Seamus ‘o’ Grady
[2] http://www.peom.co.uk/femmefatale.html
[3] http://www.moviehabit.com/reviews/cha_f703.shtml
[4] http://www.movieviews.org/reviews/may-july2003.shtml
[5] A2 Media studies: the essential introduction pg. 227
[6] http://movies.yahoo.com/movie/1808504212/info
[7] Gauntlett, David ‘Media, Gender and Identity’ pg 67
[8] http://movies.yahoo.com/movie/1800020133/details
[9] Lacey, Nick ‘Image and representation’ pg.218
[10] Nelmes, Jill (1996) ‘An introduction to film studies-third edition’ pg. 248
[11] http://en.wikiquote.org/wiki/Basic_Instinct_(film)
[12] http://www.screenonline.org.uk/film/id/824016/index.html
[13] Rayner, Philip (2004) ‘Media studies : the essential resource’
[14] http://www.imdb.com/title/tt0103074/quotes
[15] Bennett, Peter (2006) ‘A2 Media Studies: essential introduction’ pg. 229
[16] Bennett, Jacquie (2005) ‘Media Studies AS & A2’ pg. 108
[17] http://www.historylearningsite.co.uk/women_in_1900.htm
[18] http://www.imdb.com/title/tt0200550/plotsummary
[19] Mulvey, Laura (1975) ‘Visual pleasures and narrative cinema’
[20] Neale, Steve (2000)
[21] Introducing media studies
[22] Maltby, Richard
[23] Gilligan, Sarah (2003) ‘Teaching women and film’ pg. 25
[24] http://wwwfp.education.tas.gov.au/English/word/Blockbusters.doc
[25] Bennett, Peter (2006) ‘A2 Media Studies: the essential introduction’
[26] Gauntlet, David (2002) ‘Media, Gender and identity’ pg. 78
[27] Bennett, Jacquie (2005) ‘Media Studies: AS & A2’ pg. 86
[28] Gauntlet, David (2002) ‘Media, gender and identity’ pg 66-67
[29] http://en.wikipedia.org/wiki/Symbolic_annihilation
[30] http://www.empireonline.com/reviews/review.asp?DVDID=9572
[31] http://www.bullz-eye.com/mguide/reviews_2003/charlies_angels_full_throttle.htm
[32] http://en.wikipedia.org/wiki/Laura_Mulvey
[33] http://www.aber.ac.uk/media/Documents/gaze/gaze09.html
[34] Ibid.
[35] Bennett, Jacquie (2005) ‘Media Studies: AS & A2’ pg. 109
[36] Gaunlett, David ‘Media, gender and identity’ pg. 48
[37] ibid
[38] Bennett, Peter ‘A2 media studies: a essential introduction’
[39] http://www.dailyinfo.co.uk/reviews/feature/504/Charlies+Angels+Full+Throttle+/
[40] Ibid.
[41] Gauntett, David ‘Media, Gender and Identity ’pg 69
[42] Bennett, Jacquie (2005) ‘Media Studies: AS & A2’ pg. 111
[43] http://movies.yahoo.com/movie/preview/1808403424
[44] Bennett, Jacquie (2005) ‘Media Studies: AS & A2’ pg. 92, 93
[45] http://www.guardian.co.uk/print/03855141912_06368000.html
[46] http://www.media-awareness.ca/english/issues/stereotyping/women_and_girls/
[47] Readers digest (march, 2000)
“I'd recognise that arse anywhere, you piece of shit”[1]. Are women in Hollywood films represented purely as sex objects to entertain and pleasure men, with particular reference to ‘Charlie’s Angels-Full Throttle’ (2003)?
The Representation of women has changed over recent years due to second wave feminism, which arose during the 1970’s where women fought for their rights and equality. However, despite this women are still seen as subordinate to men, which is the result of a patriarchal society. In the past women have been negatively represented in films such as ‘Fatal Attraction’ (Adrian Lyne, 1987), where women were represented as evil ‘femme fatales’[2]. However, in contemporary society the representation of women is developing in the media, due to the fact that women are now achieving more active opposed to passive roles, whereas active roles were typically associated with men. This is evidence that both the media and society is changing with each reflecting the other. However, this does not stop the fact that women are still often seen as tools for pleasure and are still represented in a stereotypical manner even when active in contemporary films such as ‘Charlie’s Angels-Full Throttle’ ( McG, 2003).
The stereotypes that exist in contemporary films are used in more subtle ways where those who are media literate will be able to notice they are being used deliberately. The obvious stereotypes are easily noticeable such as the ‘bimbo[3]’ and this enduring role appears in ‘Charlie’s Angels-Full Throttle’, when Cameron Diaz is used as a plot device such as a distraction for the men. This representation is used in the very first scene where the Angels show a display of “ass-kicking female empowerment”[4] using their strength and initiative to save a kidnapped man, a complete role reversal for the representation of women in the past where they were once the ‘damsel in distress’ who was portrayed as vulnerable and weak. However, although women are in more empowering and active roles, they are still subordinate to men as they are mainly seen as the ‘objects of the gaze’. This means that they are represented as tools of visual pleasure and not for their other qualities such as acting ability, undermining a women’s ability to succeed without resort to her looks.
On the other hand, men are constantly stereotyped as the “active, providing and tough individual who drives the narrative forward, whereas the passive, home orientated and emotional”[5] people tend to be the women who are constantly being controlled by the man and are there to make the hero look good providing ‘scopophillic pleasures’ to the audience. This is challenged by contemporary films for example the angels in Charlie’s Angels-Full Throttle or Patience Phillips (Halle Berry) in Catwoman (Pitof, 2004). This stereotype is progressing in the media as awareness of women’s ability is becoming more noticeable in society.
Another example is Kill Bill 2 (Quentin Tarantino, 2004), a contemporary hybrid where the protagonist role is challenged. The protagonist role was once associated with the male gender, however Uma Thurman plays Beatrix Kiddo, a dominant, active and tough women. This is evidence of women’s ability to be just as equal to men, which, reflects the zeitgeist. Representations of women are gradually changing due to the positive role women are being given as a result this film was highly successful making a total of $66,207,920[6] as well as promoting women’s authority. However, this film is evidence that the society we live in views women for ‘erotic pleasure’ as she is wearing a tight suit which creates a ‘male gaze’ amongst men. The yellow outfit she is shown wearing can connote happiness. This could represent goodness as oppose to evil creating identification with the audience. This is also present in Charlie’s Angels as they are “reduced to their most predominant parts”[7].
On the other hand, Alien (Ridley Scott, 1979) represented women with the power they deserved by featuring the first female protagonist, Sigourney Weaver who played the active hero and remained the only survivor. It was huge success in the 70’s, the decade for feminists making $1,983,690[8] and has played a major part in the progression of positive representation against women in the media. This film was successful due to the fact that women were finally emerging from their stereotypical roles and not getting objectified or viewed for pleasure; as a result this film challenges Laura Mulvey’s theory and proves that not all women are objectified in order to make a film successful. On the other hand, Ripley’s role was “never intended to be played by a female”[9] as a result it would have been another male action hero film due to misogynistic views held against women held in society.
In addition, Haskell (1973) points out that directors were guilty of having “misogynistic views upon women”[10]. This would lead to the negative representation of women as it oppresses them. Feminism may have played a major part in the progression to minimise objectification however, women are still getting viewed for the wrong reasons such as pleasure and degrading them for instance Charlie’s Angels. Basic Instinct (Paul Verhoeven, 1992) is another example where the spectators are provided with ‘scopophillic’ and ‘voyeuristic’ pleasures throughout and at this time we are introduced with the ‘female gaze’. We also see a misogynist view from Gus Moran (George Dzundza) who constantly calls Catherine Tramell (Sharon Stone) degrading words such as “pussy” and ‘Bitch’,[11] this proves that he does not respect her and uses vile words when mentioning Tramell as a result reinforces a patriarchy.
These views are held in other films such as Thelma and Louise (1990), directed by Ridley Scott who also directed Alien, as both feature female protagonists. However, in this film the two women could be categorised in two groups. “The ‘whore’ and the ‘Madonna’[12]”. They had freedom and lived independently. Louise was portrayed as the ‘Madonna’ as she was the housewife, a role given to her by her husband as a result reinforcing patriarchy. Thelma is represented as the ‘whore’ who is carefree that she “almost got raped and gets no respect from the males”[13] reinforcing these misogynistic views. “Bitch! I shoulda gone ahead and fucked her!” (Harlan)[14]. Feminists could argue that due to this, women belong in the home, as they cannot look after themselves without the male figure.
In addition, domestic roles for women were present before mid-nineteenth century, which focused on the “first wave feminism”[15] where women decided to change their “presence in society for equality”[16] and this resulted in the three waves of feminism. At that time the society was patriarchal in every area with men in a higher position, undermining women. Their main and only jobs in the nineteenth century available for women were as a domestic servant with figures of “1,740,800 numbers of women employed”[17]. Many poorly educated women simply worked for a large household as a servant. This meant that women were given the jobs that held a low status in society reflecting the zeitgeist. Additionally, the twentieth century made an improvement in the variety of jobs available for women such as films; nevertheless, women are still negatively represented by being presented as a sex symbol for the satisfaction of the opposite sex. This is evident in films such as Coyote Ugly (David McNally, 2000). Violet (Piper Sanford) the protagonist and other females are totally controlled by the “‘ogling’ men when she lands a job as a ‘coyote’ bar dancer/sex kitten and waitress”[18] at a club. She is seen pouring liquid over herself, providing ‘erotic pleasure’ and being the “subject of the ‘male gaze’ as theorised by Laura Mulvey”[19]. This is an example of post-feminism as the females are aware of what they are doing and they have the will to decide what they want. It could also be interpreted as the females having the competence, capability and the potential to tease the men, a sign of dominance from the females rather than males.
This dominance is also presented in films such as Charlie’s Angels-Full Throttle, Kill Bill, and Catwoman and all attract different audiences. Charlie’s Angels-Full Throttle is a hybrid due to the “repertoire of elements”[20], reflecting the genre theory by being “dynamic and not static”[21]. Richard Maltby (1995) stated that “Genres are flexible”[22] as a result genres could change or adapt. The genre of the film decides the audience and this result in an active audience. ‘Uses and gratifications theory’ could be applied to these films as they all provide the audience with escapist entertainment. This can be seen in Charlie’s Angels-Full Throttle, which stars beautiful and glamorous women who can also “kick asses and perform the role of the action hero”[23]. This theory assumes an active audience where individuals choose the text they consume and have dissimilar reasons for consuming the films. The primary audiences are teenagers who appeal to an action/adventure genre providing voyeuristic pleasures. The secondary audience would be feminists and fans of the actors/actresses as it manifest female empowerment and fans of kung fu because there are Matrix inspired kung-fu fighting scenes and intertextuality as one Angel is wearing a Harry Potter costume making it a post-modern text and also “appeals to different ‘cult’ groups within a wide/mainstream audience”[24].
Moreover, the mainstream audience are provided with entertainment and pleasure by constructing together scenes to attract their attention and by doing this results in the ‘male gaze or even in some cases the ‘female gaze’. An example is Basic instinct (1992), where the spectator is provided with the ‘female gaze’ of a naked Nick Curran (Michael Douglas), this in contrast administers ‘erotic’ pleasure for the female audience and is also a prime example for patriarchy as it challenges the passive female. On the other hand, Mulvey identified that the ‘male gaze’ resulted in the male viewer to slaver over the “erotic exhibition of women’s bodies on the screen”[25]. Greer (1999) identified that women are under much more pressure to “impress with their make-up and high heels”[26]. This proves that women are passive and are conforming to the ideologies that they are confronted by to impress the opposite sex, as a consequence the “hypodermic needle model is reinforced”[27]. This is reinforced by Charlie’s Angels-Full Throttle, as they are represented as “three attractive angels who ‘kick ass’[28]” having the active role but being objectified at the same time.
Furthermore, they may be in an active role however, Gaye Tuchman (1978) argues that females are represented far less than males on TV. “Tuchman stated that when females have roles, they are mostly shown as being negative roles”[29]; Tuchman called this ‘symbolic annihilation’. This can be challenged to a certain extent as women in protagonist roles are becoming more common in contemporary films such as the angels however; they are still being shown in negative roles such as ‘objects’. Their human characteristics are being taken away from them leaving them as the tools of desire to entertain and pleasure such as when Diaz is running along the beach soaking wet creating sexual desires.
Furthermore, ‘phallic’ objects support these sexual desires and are widely used in films such as Charlie’s Angels-Full Throttle. They are either ‘phallic’ or ‘fetish’ objects that may be used to reinforce the ‘male gaze’ resulting in women being represented as object of desire. For example, ‘Charlie’s Angels-Full Throttle’, the angels are shown in a club called the treasure chest. The angels in the film fight crime without the use of guns that connote a ‘phallic’ object however; they use ‘phallic’ objects to manipulate the men in this scene. They are seen seducing the men by dancing alongside a pole in “‘skimpy’ outfits and jiggling breasts, wiggling bums”[30] causing the ‘male gaze’. This means that they use “‘phallic’ objects for ‘eye candy’”[31] for the men but also homosexual women to a certain extent.
Alternatively to phallic objects, slow motion is used, creating enigmas to keep audience entertained in the film; a code theorised by Barthes. An example is when the angels fall off a building after being shot. This is an alternative to keeping the audience engaged and entertained besides the ‘eye candy’ (women). However, in Charlie’s Angels-Full Throttle, these interlink with each other. The desirable object being Diaz running along a beach in a bikini suit played in slow motion. She is being portrayed as the “to-be-looked-at-ness”[32] object resulting in her to be gazed upon.
Additionally, Mulvey identified this gaze is viewed in two ways from the spectator: voyeuristically and fetishistic. This leads to the Freudian theory in terms of males feeling ‘castration anxiety’[33]. This is the misunderstood removal of male genital organs for women causing anxiety amongst males. In Charlie’s Angels the substitute is the pole in which they dance alongside. This provides ‘erotic’ pleasure as the heterosexual spectators are given a buzz to satisfy their urges. Kaplan and Kaja Silverman (1980) argued that “the gaze could be adopted by both male and female subjects: the male is not always controlling the subject and nor is the female always passive object”[34]. An example is when Cameron Diaz is running along the beach shot in slow motion. The males view her as an object; whereas women could adopt the role of aspirers who want to be like Diaz in terms of body figure.
Additionally, the aspirers may have a desire to be like Ripley in Aliens or Thurman in Kill Bill 2; both active women seen in a conventional role of a mother. Even though they are in an active masculine role, both females are still stereotypically represented; the outcome that women are presented stronger bringing up a child, fighting evil and protecting them however she is objectified at the same time. Emanuel Levy (1990) conducted a study and concluded that physical looks and youth were far more important for the female stars putting pressure on females to look pretty to attract a male audience by conforming to what males want reinforcing a patriarchy. However, female groups such as Destiny’s Child are promoting female empowerment by releasing a soundtrack song called ‘Independent Women’ promoting independence, hoping it may progress the existing representation of women not as sex objects but as autonomous, strong and independent women challenging misogynistic views that are present in society. Pink’s appearance in the film was beneficial because she could be represented as open minded, masculine and robust woman who is ideal for promoting equality. On the other hand, David Gauntlett argues that “female role models such as Destiny’s Child are glamorous”[35] as well as successful; these providing voyeuristic pleasures whatever role women are in. This suggests that women are primarily there to entertain the male audience by their looks and features rather than other aspects.
On the other hand, men are judged according to their acting skills making it harder to achieve success. Sharon Smith (1972) declared “The role of woman in a film almost always revolves around her physical attraction”[36]. This means that women have to try harder to gain attention from the audience and achieve this by using their physical attraction to appeal to the audience making it more demanding to succeed. This is challenged in Charlie’s Angels as Demi Moore is forty years old, which reflects the social development in society.
Likewise, this development is also challenging stereotypes. Gauntlett (2002) later argued that “movie producers have realised that kick-ass heroines do better business”[37]. He also realised that audiences would “laugh at images of pretty housewife and reacted by showing women how to be sexy at work”[38]. This concludes that society had moved on in terms of representing women in stereotypical roles and is no longer accepted in society. However appearance still matters for entertainment and pleasure purposes. The angels are associated with their “simpering, body-grinding bikini-clad tits n' ass”[39]. The girls are represented as empowering but repeatedly using their looks to “distract and outwit the pathetic men in the film”[40]. This indicates that women resort to their looks as a distraction device resulting in woman being represented in a more intelligent role than men as they use their intuitive to fool, gain control and power over them whereas men are shown with weapons such as a gun to guild them. However it means that women are getting themselves objectified in order of achieving what they want, but then again, Charlie in ‘Charlie’s Angels-Full Throttle’ could be described as “promoting hegemony”[41] as he is “dominant and rules”[42] the angels and are under his power reinforcing Antonio Gramsci’s theory. This is because the angels are ‘Charlie’s’ angels; controlled by a mysterious male voice as a result they can be seen as passive reinforcing Mulvey’s theory on active/male and passive/female.
Then again, at forty, Demi Moore plays a ‘fallen angel’[43] in an active antagonist role following Propp’s theory on character roles as she goes against the angels and Charlie who she once worked for. This can be linked with Claude Levi Strauss theory on “binary oppositions”[44] as they clash. The hero versus villain can be labelled upon the angels and Madison Lee (Moore). This binary opposition creates identification by the audiences in the film. Moore is shown to be wearing black, which connotes evil whereas, Diaz is wearing white, which connotes purity, and heavenly associated with angels, which represents their role in the film. Likewise, ‘Charlie’s Angels-Full Throttle’ has a non-linear narrative due to flashbacks of the angels before they worked for Charlie, living the nostalgic memories of the past of the angels, helping the audience identify with the characters and not feel alienated. Parts of the film follow Todorov’s narrative structure as it ends with a resolution where the angels finally win the battle against the objectified female antagonist. However, some films do not follow this such as Basic Instinct where Tramell doesn’t die resulting in a sequel.
Finally, to justify the reason why women are represented as objects could be due to the lack of female directors. As there are only a few female directors, the audience are shown the film from a male point of view resulting in women being represented in tight clothing, revealing and with ‘phallic’ objects. Naomie Harris quoted “film is such as male-dominated industry”[45]. However, to some extent, theses representations can never be accurate as they are mediated versions of people (women) to create a re-presentation for the entertainment for the audience. These mediated versions of women result in them being negatively/inaccurately represented and reinforcing a patriarchal society.
Overall, women are increasingly seen in films in a male associated role of action hero or protagonist however, they are still being represented as sex objects with the use of ‘phallic’ or ‘fetish’ objects with the main aim to attract heterosexual males in gaining pleasure and entertainment. On the other hand, females are also given sexual desires via the ‘female gaze’. “The last twenty years has seen a “growth in the presence and influence of women in media”[46] despite this, their bodies are used as a mechanism to succeed in action films. Alanis Morissette, a feminist quoted “I see my body as an instrument, rather than an ornament”[47].
Word count 3,159
[1] Charlie’s Angels –Full Throttle (2003)-Seamus ‘o’ Grady
[2] http://www.peom.co.uk/femmefatale.html
[3] http://www.moviehabit.com/reviews/cha_f703.shtml
[4] http://www.movieviews.org/reviews/may-july2003.shtml
[5] A2 Media studies: the essential introduction pg. 227
[6] http://movies.yahoo.com/movie/1808504212/info
[7] Gauntlett, David ‘Media, Gender and Identity’ pg 67
[8] http://movies.yahoo.com/movie/1800020133/details
[9] Lacey, Nick ‘Image and representation’ pg.218
[10] Nelmes, Jill (1996) ‘An introduction to film studies-third edition’ pg. 248
[11] http://en.wikiquote.org/wiki/Basic_Instinct_(film)
[12] http://www.screenonline.org.uk/film/id/824016/index.html
[13] Rayner, Philip (2004) ‘Media studies : the essential resource’
[14] http://www.imdb.com/title/tt0103074/quotes
[15] Bennett, Peter (2006) ‘A2 Media Studies: essential introduction’ pg. 229
[16] Bennett, Jacquie (2005) ‘Media Studies AS & A2’ pg. 108
[17] http://www.historylearningsite.co.uk/women_in_1900.htm
[18] http://www.imdb.com/title/tt0200550/plotsummary
[19] Mulvey, Laura (1975) ‘Visual pleasures and narrative cinema’
[20] Neale, Steve (2000)
[21] Introducing media studies
[22] Maltby, Richard
[23] Gilligan, Sarah (2003) ‘Teaching women and film’ pg. 25
[24] http://wwwfp.education.tas.gov.au/English/word/Blockbusters.doc
[25] Bennett, Peter (2006) ‘A2 Media Studies: the essential introduction’
[26] Gauntlet, David (2002) ‘Media, Gender and identity’ pg. 78
[27] Bennett, Jacquie (2005) ‘Media Studies: AS & A2’ pg. 86
[28] Gauntlet, David (2002) ‘Media, gender and identity’ pg 66-67
[29] http://en.wikipedia.org/wiki/Symbolic_annihilation
[30] http://www.empireonline.com/reviews/review.asp?DVDID=9572
[31] http://www.bullz-eye.com/mguide/reviews_2003/charlies_angels_full_throttle.htm
[32] http://en.wikipedia.org/wiki/Laura_Mulvey
[33] http://www.aber.ac.uk/media/Documents/gaze/gaze09.html
[34] Ibid.
[35] Bennett, Jacquie (2005) ‘Media Studies: AS & A2’ pg. 109
[36] Gaunlett, David ‘Media, gender and identity’ pg. 48
[37] ibid
[38] Bennett, Peter ‘A2 media studies: a essential introduction’
[39] http://www.dailyinfo.co.uk/reviews/feature/504/Charlies+Angels+Full+Throttle+/
[40] Ibid.
[41] Gauntett, David ‘Media, Gender and Identity ’pg 69
[42] Bennett, Jacquie (2005) ‘Media Studies: AS & A2’ pg. 111
[43] http://movies.yahoo.com/movie/preview/1808403424
[44] Bennett, Jacquie (2005) ‘Media Studies: AS & A2’ pg. 92, 93
[45] http://www.guardian.co.uk/print/03855141912_06368000.html
[46] http://www.media-awareness.ca/english/issues/stereotyping/women_and_girls/
[47] Readers digest (march, 2000)
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