Feminist film theory is based in general feminist theory and looks at the way women are treated in film in terms of character, lighting, composition, etc. Laura Mulvey's essay is a seminal work in this field.
Using this essay as a lens, look at Rome Open City and discuss the role of women in the film. How are they treated cinematically? Use specific examples from the film and be sure to back up everything you say.
Your essay should be 3 paragraphs. One paragraph should discuss Mulvey's essay and if you agree or disagree with it. One paragraph should discuss Rome Open City. Your last paragraph should be a short cinematic discussion of a film of your choice through the feminist lens.
Write in cinematic language--this is not an English paper.
Feminist film theory is derived from the general idea of feminism, which is the promotion of women’s rights and equality of genders. Laura Mulvey is one of the most significant feminist film theorists and is recognized for her brilliant essay entitled “Visual Pleasure and Narrative Cinema.” In this essay, she examines something she calls the “male gaze” which ultimately depicts women as objects of desire instead of as real people. The woman in a film offers men satisfaction through something called scophophilia, which is essentially receiving pleasure from looking at something. I agree with concept she presents, for I have grasped it myself in movies such as Skyfall and The Seven Year Itch, which stars America’s most sexualized women in history, as well as in everyday life. Random men comment on the posts of women they don’t know and make lewd remarks. It occurs too often and I cannot disagree with something I’ve seen in motion.
ReplyDeleteRome, Open City, directed by Roberto Rossellini, features more than one female main character. Two of these women are Pina, the pregnant fiancée of a Resistance fighter, and Marina, a girlfriend of another Resistance fighter, who is furthermore a cabaret dancer and a prostitute. The filmmaker’s intent lies in the mise-en-scène, in this case, costume and makeup specifically. When Pina is visited by Manfredi in the beginning of the film, she’s dressed down in a plain cardigan with frizzed, muddled hair. She has no visible makeup on; she’s a pregnant women with tired eyes. Then, there’s Marina, who when she calls looking for her significant other, she’s robed in a elegant nightgown. Her hair is done as well as her face; she’s wearing light lipstick and her eyebrows are well groomed. There’s an clear difference in the way the women are clothed. Marina is intended to attract more sexual attention; she’s portrayed as a femme fatale type. Pina is more matronly and is a morally better person than Marina, but she dies anyway, leaving no room for a kindhearted, realistic female lead. In Rome, Open City, the women are either dead or wicked.
In the 1933 musical film, Footlight Parade, the female lead is depicted fairly. She’s in love with her boss and operates mainly as a romantic interest, but there’s something different about her. Nan isn’t seen dressed up in any glitzy, sexy costumes throughout the film like other female characters. Her character has a good sense of humor and she struggles with love, just like everyone else. Although everything’s a little exaggerated in this film, Nan appears as a levelheaded woman who faces pretty typical problems. She’s a basic portrayal of a woman without the underlying sexual tones; she’s a simple female character and that’s all that she needs to be for a film such as this one.
This comment has been removed by the author.
ReplyDeleteLaura Mulvey's essay, "Visual Pleasures and Narrative Cinema", depicts the feminist theory in film and looks at cinema through the feminist lens. She discusses the manner in which the woman is portrayed on screen to appeal to the male viewers and satisfy their visual pleasure. This is usually done through exploiting her sexuality whether that be through her costume, manner of speech, attitude, or all three. Mulvey also discusses the idea of "castration anxiety" which essentially explores the male need to deal with the threat of emasculation from females. Therefore because of this, women in cinema are given two fates: getting kiled or married/courted. I agree with everything Mulvey discusses in her essay about feminist film theory because it is evident on screen through the manner in which women are portrayed overly sexually. This idea of women serving as objects rather than humans is found everywhere even in everyday interactions and in the way people communicate.
ReplyDeleteThe feminist film theory can most definitely be applied to Rome Open City. Looking through the movie from a feminist lens, it is evident how women are portrayed in a provocative manner. Marina, the friend of Pina's sister Laura, is depicted through her costume and attitude as an object of desire rather than an actual person. She is clothed in scandalous, provocative, and "showy" attire most likely in an attempt to appeal to men. She is also adorned with makeup to emphasize her beauty. She is a cabaret worker and occasionally works as a prostitute which dehumanizes her even more and illustrates the idea of women being nothing more than objects of sex. Marina also betrays Giorgio in exchange for drugs and a fur coat which shows her materialistic nature and signifies the idea that women are "bad" and are a threat to their male counterparts.
In Alfred Hitchcock's Psycho, the female character, Marion, is victim to the two fates of women as depicted by the feminist film theory. She is killed but not only is she murdered, it is done as so in her most vulnerable moments. A shadowy figure later known as Norman Bates dressed as his mom stabs her with a knife while she is in the shower. This illustrates the need for women to be killed off (as she is murdered earlier on in the movie) but not before objectifying them and exploiting their sexuality in one of their most vulnerable moments. This shows how the idea of castration anxiety affects the way men view women on screen and deal with the threat of emasculation.
This comment has been removed by the author.
ReplyDeleteAccording to Laura Mulvey, feminist film theory is rooted in the pleasure derived from the male gaze and from phallocentric theory. In her essay, she talks about the fear of castration resulting in obsessive male behavior in real life that leads to the objectifying of women reflected in films. She claims these behaviors must first be addressed before they can be corrected, which I would agree with. Mulvey talks about two kinds of objectifying scopophilic behaviors that movies bring out: voyeurism and and fetishes. White fetishes focus on specific parts of the subject and "exist outside linear time", voyeurism is more of a slow sadistic oppression in which the male imposes guilt upon the female and either punishes or saves her from it. Mulvey claims voyeurism makes for a better story and therefore is used more often in movies. I would agree with her to a large extent, especially in the way she describes the male being the active character giving the objectifying look and the female being the passive character receiving it. The reason being is that the roots of our society are founded on male domination, and they fear losing their power over women which is then reflected in movies and in the feminist film theory. I do not believe in "penis envy", although there could have been some truth to the idea that women envied men's phallus’s, mostly because they symbolized power.
ReplyDeleteIn Rome Open City, the woman are portrayed in the way Mulvey describes, but not to as great of an extent. Pina is portrayed as a down-to-earth woman who cares for her family but is cracking under stress. When she breaks down in front of her lover Francesco on the stairs, they are almost at equal heights, but Francesco is placed slightly higher than her in side profile, his gaze directed down at Pina who is in full view. Here, Francesco’s gaze isn’t necessarily voyeuristic, but the man takes on the active role of comforting the passively distressed damsel. With Marina, however, she is the focus of men’s gazes and their phallocentric fears. She is essentially a puppet of Major Bergmann and his partner Ingrid, the ultimate objectification. Dressed up in pretty robes, she lures Francesco and his friend into a false sense of security. Ingrid, who dresses more sharply—almost masculine with her suit—is still subject to Bergmann’s phallocentric fears. She might be more powerful than Marina, but she is still merely the Major’s attack dog, not quite human and not able to gain the same amount of power that her male partner has.
Feminist film theory is strongly evident in Alfred Hitchcock’s Vertigo (1958). Madeleine, as Mulvey’s essay talks about, is the perfect female character to model this theory of male scopophilic tendencies. Scottie, once a police officer symbolic of “order and the law” who can no longer work due to his vertigo, lets his insecurity drive him to his sexual impulses. Madeleine is always dressed in light colors, with her platinum blonde hair tightly bound to suggest she’s closed up. This makes her stand out against the background and presents her as something pure, ready for Scottie to impose his sexual desires on and mold her. The image is most often from Scottie’s point of view, especially when he’s following Madeleine around, his gaze locked onto her. After “Madeleine” dies, Scottie finds Judy again, now wearing plainer clothes with her hair down. Once again, his voyeuristic impulses take over as he forces the guilt of Madeleine’s death onto Judy and molds her into the appearance of Madeleine, the object of his desire. Judy at first refuses to put her hair up because she is clinging to the last sign of her identity, but gives in and tucks herself away so she can have Scottie’s attention. When she emerges from the bathroom, she is shrouded in a green haze of enchantment, representing the height of Scottie’s passion. Unfortunately, in trying to save Madeleine, Scottie punishes Judy and ultimately loses them both.
Laura Mulvey's essay "Visual Pleasures and Narrative Cinema" discusses how women are portrayed in cinema to appeal to the male viewer. I completely agree with Mulvey's idea of women being over sexualized in cinema and have noticed this in almost every film I have seen. Even powerful, independent female main characters such as Katniss Everdeen and Princess Leia are over sexualized in their respective films, and I think that it is ridiculous that almost every female character in cinema is designed to appeal to the male viewer.
ReplyDeleteFeminist film theory is definitely evident in Rome Open City through the character of Marina. Marina is obviously an object of male desire in the film. She is constantly dressed in exposing clothing and covered in makeup, which makes her more an object of sexual desire rather than a normal person.
Throughout the Star Wars films, Princess Leia is depicted in many different ways, which has caused outcry and celebration among feminists. As the franchise gained popularity, Princess Leia became more and more sexualized. For example, in Return of the Jedi, Princess Leia plays a major role in the film and is shown as a powerful female character. However, throughout most of the film she was dressed in a gold bikini clearly intended to sexualize her. Return of the Jedi has caused a great deal of controversy throughout the years and I personally think its a shame that a powerful female character was made to be the object of male desire.
This comment has been removed by the author.
ReplyDeleteI completely agree with Laura Mulvey's "Visual Pleasures and Narrative Cinema" because it touches upon the theory of the male gaze, which states that literature and film can depict a world where everything is seen through a heterosexual male's point of view that see's women as objects and sexualizes their bodies for the male viewers' pleasure.
ReplyDeleteI think the feminist film theory can be applied to Rome Open City because there aren't too many female leads within the film, but the ones that are there somewhat conform to the male gaze theory, but also doesn't. Like Pina's character for example, she is a pregnant woman usually seen without makeup, still fighting for what she believes in and participating in riots. The other female lead who could be part of the male gaze in this film is Marina, who seems to be the completely opposite of Pina. She works as a showgirl and seems to be easily manipulated with offers of free clothes and drugs.
I think the feminist film theory can also be applied to Micheal Bay's "Transformers" series, specifically referring to Megan Fox's character, Mikaela. In the first movie, there is a scene where the main character, Sam (Shia LeBeouf), gives Mikaela a ride in his car, but his car break down. Mikaela then offers of examine the engine because she is pretty smart and knows a lot about cars, which are typically a positive male attributes; but then the scene dives right into the male gaze. While Mikaela is examining the engine, the camera/audience is examining her body. She is seen wearing a crop top and short shorts to accentuate her curves and exposing her midriff. And while the camera is examining her body, so is Sam within the scene; he is shown actively reacting to what her body looks like treating her like she is just something pretty to look at, further supporting the male gaze theory.
Laura Mulvey, a respected film theorist, discusses the male gaze in film. Essentially discussing the concept that women are to be looked at when men are the ones made to do the looking. Dealing with different ways women are presented cinematically such as focusing the camera on their bodies instead of medium shots used in identical contexts for men. I agree that this is an issue in older films such as Rome Open City or even newer models such as Twilight.
ReplyDeleteWomen in Rome Open City were presented as very strong and dominant, especially for the time period. On the protagonist side Pina is undoubtedly the strongest characters in the entire movie. Instead of simply being a wife and a mother she is someone men, women, and children depend on in the community. Surprisingly she is not at all dependent on francesco, moreso the other way around. She isn’t talked down to or patronized and she is seemingly treated equally to her male counterparts because of how much of a powerful persona she is presented to be. Pina is often ahead of her male counterparts or closer to the forefront of the frame. Such as the scene when francesco is about to be taken. Pina is in front of the window with the two men standing behind her. Not only giving a balance, which is frequently done, but showing her to be the dominant one in the situation. Other simple tactics such as having Pina carry bags are employed throughout her time in the film to demonstrate her strong character. The less drastic time Pina was seen as emotional was also the time when she was most drastically below a male on the screen, sitting below francesco on the stairs. Her face covered in shadow as she talks and in the background, as if to imply that the moment was one of weakness and not a general personality trait. On the antagonist side is Ingrid, who like Pina is seemingly highly respected. She is in a way in charge of the entire operation and is extremely dominant and combats certain gender roles at the time. Where as a lower class citizen Pinas characterization of strong had her doing work the opposite is true of Ingrid. Constantly seen literally whispering in the ear of characters it is her lady Macbeth ways that show her to be strong within the film. But then agains she is only left to deal directly with women, but I believe that to be more of a limitation of the time period than indication of her character. In sharp comparison to the both of them is Pina’s sister’s friend who’s looks and material possessions are all that matter to her, a stereotype. When on screen she never transgresses that role of the bratty naive girl and instead is her entire personality and impact on the film.
Through a Feminist lens, and probably most lenses, the film Twilight is horrendous. Bella, the main character is clumsy, helpless, and overall submissive. In comparison Edward is a god. Sure of himself, charming, and smart. Immediately Edward takes on the dominant role, completely controlling bella’s life, which she is completely fine and accepting of. Unlike Pina she needs saving, every. Single. Time. Finally when Edward leaves the codependent and frankly severely unhealthy relationship, she gives up on life completely succumbing to a near year long depression and eventual death risking stunts because she needed him that bad. In the entire movie, or even the four movies, bella never once was able to stand up on her own. Almost like a disney princess in her inability to take care of herself without a boyfriend. Although in the end it is Edward that is subject of the “gaze” that Mulvey writes about Twilight is one of the least feminist approved movies of modern times.
Feminist film theory is derived from the feminist movement, focusing on the portrayal of women in movies. In her essay, Laura Mulvey suggests that the image of woman is presented for the pleasure of the male characters, as well as for the audience. Female characters are sexualized to avoid posing a threat the masculinity of their male counterparts. If female characters do not conform to this damsel in distress stereotype, they often become the villains of the narrative, or are eventually killed off. No matter how the character is portrayed, she is still the focus of the male gaze. I personally do agree with the ideas presented in Mulvay's essay, because they are rooted in the real-life treatment of women and it seems like nearly every female lead is objectified in some way.
ReplyDeleteAlthough the two main female characters, Pina and Marina, were in many ways opposites, they were both portrayed in a way that conformed with gender roles. Pina is undoubtedly a very strong woman, who often speaks out for her views on the war. However, when a man is included in a scene with her, her strength as a character is often minimized. In one scene, she sits on the stairs with her fiancee Francesco while they discuss the difficulties of war. Francesco is on the left, occupying significantly more space in the frame since he is placed closer to the camera. By comparison, Pina looks smaller and more fragile on the right side of the frame. Francesco is turned to look at Pina so we can only see half of his face, meaning that our gaze is meant to be directed toward Pina. Her entire face is visible, with the key lighting focused on her, and she looks off into the distance rather than directly at her fiancee. The dialogue in this scene also suggests that Pina is not as strong as Francesco. She tells him that she can not bear the war, and he replies by comforting her and sharing his wisdom on the issue. This makes Francesco appear as a savior to Pina, even though in many scenes she is the most powerful character. By comparison, Marina is a more stereotypical female character. She is sexualized more heavily that Pina with her revealing dresses and luxurious fur coat, and it soon turns out that she is willing to sacrifice her boyfriend Giorgio for material wealth. She is easily overpowered by both male and female characters, as seen in her interactions with the Gestapo. In the scene where the female Gestapo official bribes her for information, she gives in easily in exchange for the fur coat. Later on, she stumbles into the room where Giorgio was being tortured, literally being supported by a German officer. She is much smaller than he is in the frame, indicating the imbalance of power between them. Like Pina, she is represented on screen as less than men, but she was a much weaker character.
I think that the film Days of Heaven is a really interesting film to look at throughout a feminist lens. In Days of Heaven there are two main female character, Abby and the teenage Linda, but only Abby's portrayal seems to uphold gender stereotypes. Abby does not intend to start any drama, but she is easily convinced by her boyfriend Bill to marry the farmer for his money. In her relationship with Bill, Abby appears to be a submissive character, and in her relationship with the farmer, she is keeping secrets. She is also indecisive, torn between her old boyfriend and her new love, which leads to the death of both men. In addition to her role in the deaths, Abby is also idealized by the farmer, to the point where he ignores a warning about her from his foreman. Linda, although traveling with her brother, seems to rely much less on male characters, often being shown with female friends that she has made or by herself. I think that it is also worth noting that at the end, Abby continued her life all alone, but Linda was last seen running away from school with a female friend that she made. Abby does not seem to have much direction without the men in her life, but Linda appears unaffected by this.
I agree with Laura Mulvey's Feminist lens theory essay in its entirety. She touches upon voyeurism and how women are sexualized from the male gaze. How they are portrayed to men in the film is what the camera is manipulating, and ultimately what the audience believes and sees. If women are ever depicted strong, or a male viewer connects with the character they fear castration and to further try to find things wrong with that character. The directors show the strong females as masculine, or unappealing or kill them off. I also agree with the narcissistic view of finding yourself in the main character or comparing yourself to them. Cinematically we turn a blind eye to how women are portrayed as a "damsel in distress" or just for sexual pleasure, which paves the way for male domination and entitlement in our world today.
ReplyDeleteIn Rome Open City some women were depicted as strong females and some were the "damsels in distress" sex appeal of the film. Pina was strong woman who stood for what she believed in. Although she was strong it was still noted that there were some things that women were not to be apart of, like Don Pietro's service, or Francesco and Manfredi's meetings. They were "don't ask, don't tell" situations where she would exit the scene as if it was none of her business. Eventually like most strong female characters, as Pina chased Francesco when he was take she was killed by the Gestapo. Another side of the women were the "damsels in distresses" like Manfredi's girl of interest Maria. She was viewed through a male gaze and depended o the soldiers for affection and possessions, as well as the female villain of the Germans Giovanna, for drugs. Three examples of feminist lens are shown with Pina as a strong female who gets killed off, Maria the weak, sex appeal, and Giovanna the villain.
The Feminist lens can be used to view the film Easy A directed by Will Gluck. The main female character Olive, played by Emma Stone starts out in the beginning of the film as kind of nerdy and insecure. She is not seen through the male gaze as a sexual object but I think to begin we use narcissism to compare ourselves to her from the beginning of the film or identify with her. Later when she is accused of performing sexual acts simply by being taken out on a date her character has a shift into the male gaze as a huge sexual object by dressing and behaving more provocatively. The curves of her body are exaggerated and manipulated by the camera so the audience can begin to see through that male gaze. Some will argue that she is a strong female character through all of this because she is using the reputation she has falsely attained to become noticed and not fall into humiliation but "live up" to what people think she is., but this could also be seen is weak because she is making her decisions and clothing by what her peers are saying about her.
Calah--You have great ideas, but be sure to ALWAYS back up your statements with CINEMATIC EVIDENCE. Do not just rely on character traits or narrative. Look at how the women are presented cinematically within the frame.
Delete