Tuesday, 9 September 2008
Monday, 1 September 2008
Information
Laura Mulvey:
http://www.answers.com/topic/laura-mulvey
Feminist film theory:
http://en.wikipedia.org/wiki/Feminist_film_theory
http://www.answers.com/topic/laura-mulvey
Feminist film theory:
http://en.wikipedia.org/wiki/Feminist_film_theory
Analysis of “What happens in Vegas” film
What Happens in Vegas
Release Date:9 May 2008 (UK)
Genre: Romance and Comedy
Tagline: Get Lucky.
Plot: Set in Sin City, story revolves around two people who discover they've gotten married following a night of debauchery
Release Date:9 May 2008 (UK)
Genre: Romance and Comedy
Tagline: Get Lucky.
Plot: Set in Sin City, story revolves around two people who discover they've gotten married following a night of debauchery
Media Representations
Who is being represented?
The females, with focus on Cameron Diaz
• In what way?
• Her representation changes throughout the film.
• Beginning: she is a loving and caring partner
• Middle: she goes to Vegas and parties, gets married in the ;heat of the moment’ and then tries to anger her new husband so he will ask for a divorce so she can have all the money.
• End: she falls in love with him
• Is the representation fair and accurate?
• She is shown in many ways: intelligent, funny, dopey at times, a bit crazy and caring
Needs to be continued….
Research
I will read the following blogs,over the next couple of days, which will help me with my work......
http://cbjuicyfruity.blogspot.com/
‘ I’m the deadliest women in the world – but right now, I’m scared shitless about my baby![1] With particular reference to “Kill Bill”, how and why have women’s roles in action films changed?
And i need to go to the libabry to get books which will help me.
-Title: Sexing Code: Subversion, Theory and Representation Author: Claudia Herbst
http://cbjuicyfruity.blogspot.com/
‘ I’m the deadliest women in the world – but right now, I’m scared shitless about my baby![1] With particular reference to “Kill Bill”, how and why have women’s roles in action films changed?
And i need to go to the libabry to get books which will help me.
-Title: Sexing Code: Subversion, Theory and Representation Author: Claudia Herbst
Friday, 29 August 2008
Women in horror films: Ripley, the alien, and the monstrous feminine
http://www.helium.com/items/132886-women-in-horror-films-ripley-the-alien-and-the-monstrous-feminine
Female Protagonists
http://www.screenonline.org.uk/film/id/824016/
KEY LINE:
"we can see the development of an impressive variety of female characters and protagonists. One might even argue that by comparison with Hollywood, British cinema, with its perennial concern for realism, its desire to speak about ordinary lives and social concerns and its comparative lack of emphasis upon superficial beauty and glamour, has permitted a greater breadth of female representation. "
"While a number of famous female protagonists have been presented as strong models of motherhood (as in Poor Cow (d. Ken Loach, 1967) and A Taste of Honey (d. Tony Richardson, 1961)), we have rarely seen women whose priority is to pursue and develop their ambitions, talents or vocations (see, for example, The Red Shoes (d. Michael Powell/Emeric Pressburger, 1948), Educating Rita (d. Lewis Gilbert, 1983), and Little Voice (UK/US, d. Mark Herman, 1998)). Female characters who are uninterested in motherhood and domesticity are frequently depicted as lacking something or paying a price for their success. Those who do pursue larger ambitions are often portrayed as being in some sense naïve, manipulated by other (male) characters in the pursuit of their dreams."
"female characters play a larger part in propelling the narrative forward"
"confined their female characters to motherhood and domesticity, leaving the male protagonists to speak out about larger social concerns, many contemporary social realist films allow female characters greater power over their own destinies."
"The representation of women in film depends as much on issues of production, institutions and genres as on social, political and historical contexts"
KEY LINE:
"we can see the development of an impressive variety of female characters and protagonists. One might even argue that by comparison with Hollywood, British cinema, with its perennial concern for realism, its desire to speak about ordinary lives and social concerns and its comparative lack of emphasis upon superficial beauty and glamour, has permitted a greater breadth of female representation. "
"While a number of famous female protagonists have been presented as strong models of motherhood (as in Poor Cow (d. Ken Loach, 1967) and A Taste of Honey (d. Tony Richardson, 1961)), we have rarely seen women whose priority is to pursue and develop their ambitions, talents or vocations (see, for example, The Red Shoes (d. Michael Powell/Emeric Pressburger, 1948), Educating Rita (d. Lewis Gilbert, 1983), and Little Voice (UK/US, d. Mark Herman, 1998)). Female characters who are uninterested in motherhood and domesticity are frequently depicted as lacking something or paying a price for their success. Those who do pursue larger ambitions are often portrayed as being in some sense naïve, manipulated by other (male) characters in the pursuit of their dreams."
"female characters play a larger part in propelling the narrative forward"
"confined their female characters to motherhood and domesticity, leaving the male protagonists to speak out about larger social concerns, many contemporary social realist films allow female characters greater power over their own destinies."
"The representation of women in film depends as much on issues of production, institutions and genres as on social, political and historical contexts"
Subscribe to:
Posts (Atom)