Female Roles in Hollywood Films - Essay Example

How are female roles represented in the position of social and economic powers in Hollywood Films? By Date Introduction George Miller’s film, Mad Max; Fury Road captures the roles of women in the society. The film is one of its kinds as it has involved various women in a field that was male dominated. The director is a feminist and has focused on various roles of women in the film industry from Charlize Theron who played the fearless imperator Furiosa to the fascinating and well drawn quintet of kidnapped wives whom Charlize Theron spends the film spiriting to safety. The role of women behind the film was also recognized with the wife of the film director, Margaret Sixel editing the film. The Mad Max: Fury Road on the other has continued to earn accolades for its high octane vision of patriarchy and feminist heroism. The movie is developed around a prison escape. The movie is about Charlize Theron, freeing a group of women from sex slavery at the hands of Joe, an evil patriarch. The movie depicts the role of women as well as women revolution aimed at dealing with issues that affects women in the society. Cases of sex slavery have taken place in various part of the world and have majorly affected women (Berman and Flinn, 2010). The hunger games: mocking jay part 1, maleficent and gone girl are powered by women who are considered indelible and protagonists yet women are still underrepresented in the Hollywood films. They are the mother, the wife or the girlfriend with very few among them playing the major roles of being the main actors in the films. The success of actresses such as Melissa McCathy and Shailene Woodly had with various films such Tammy and Divergent last year has threatened to reduce gender representation glass ceiling in the Hollywood films. The paper will focus on analyzing the economic and social power of women as well as their representation in the Hollywood films (Cohen, 2012). Representation of female actress in Hollywood films The roles of women in economic and social power are well represented by Charlize Theron, a female character in the film. Theron has joined various other women actors such as Melissa McCathyin the spy, Scarlett Johansson in Avengers as well as Emilio Clark in the film of terminator. The women actors have picked up role that initially belonged to men. The imperator Furiosa has so much courage and decides to rescue the wives of the immortal Joe and help them escape from sexual slavery (Contemporary Hollywood masculinities: gender, genre, and politics, 2012). The film is being congratulated by the many individuals for its depiction of Charlie’s character and the amount of the time on the screen that she is able to get. The use of woman as the main character in such an action movie was such breath taking. Laurie Penny, Buzzfeed writer asserts that there are worse ways of bringing feminist propaganda to the masses other than in a giant exploding truck that is covered with war knives. The film doesn’t judge it heroines on the basis of beauty or age. All the women in the film, together, give the lie to the notion of having any proper way to be a female character on the film. Gender stereotyping has well been illustrated in the film (ESCH, 2005). Theron is an emotional linchpin in the movie and has channeled so much grim humor and intensity that helps her to literally drive the story ahead. She is considered to be one of the great actors in the film. She carries most of the themes of the movie that explains about cult psychology, self-determination as well as fertility and it’s a big congratulations to her for her exemplary performance that the movie can acquire overtly feminist without being quite preachy. Imperator Furiosa arrived on the screens when civil liberties union in America asked the state and federal agencies to examine how hiring for Hollywood often takes place. The union stressed on the need to have more women producers, directors and screen play writers to have narratives and films told from the perspective of women. The role of the women in the society has continued to increase and such a step should also be replicated in films (ESCH, 2005). Analyzing the contemporary women in Hollywood films The role of women in the current society is unquestionable with the women being represented in almost all fields in the society. However, the representation of woman in films as major character has been poorly done and has been a reserve for men. Most Hollywood films are non effective in dealing with the character of women. Mad Max: Fury Road film is the only movie that has stood out to represent the diverse roles of women in the society even though the film still utilizes some sexist and lazy tropes as well as clichéd story devices in representation of women in the diverse society. The story depicts a troubled and handsome man rescuing a beautiful woman from servitude. The women sometimes later rescue him back. The film shows how a woman with a background of abuse utilizes her hard won position to impart revenge on an individual considered to be a powerful rapist. The film has been celebrated by the feminist allies as a result of the deconstruction and introduction of the gender politics to a stereotypic male genre (Fritz Lang: genre and representation in his American films, 2010). George Miller, the director and the film maker designed vehicles as characters in their own right, played a blinder as well as grotesque chimeras of vintage functions and styles, spewing doomed maniacal soldiers and black smoke. The name that is given to the soldiers, war boys highlights their status as being disposable and the disputed but rigid gender roles that have inspired the feminist masterpiece claims. In the movie, girls are bred for breeding whereas the boys are bred for fighting. Birth defects would be high a post-apocalyptic nuclear wasteland. The film antagonist, Immortan Joe, owns a citadel that is often powered by humans. Lactating women are hooked just like dairy cow with the milk produced reserved for human consumption (Contemporary Hollywood masculinities: gender, genre, and politics, 2012). Joe’s beautiful and incredible wives are selected by him for their breeding traits that are desired and in pursuit of his desire to have male offsprings that are considered perfect. The women are exploited and mistreated by Joe yet it only requires the courage of one woman, Furiosa to help save the women who are being mistreated. Furiosa is the driver of the war rig. However, it is difficult to explain how she was able to acquire such a title in a society that mistreats and discriminate women. She uses her key military role to help her smuggle the women who were under mistreatment out of wasteland with Joe’s wives being hidden under the belly of her vehicle. The women can be seen as rebelling against the act of slavery by their captor Joe. She builds the notion of women being natural peace makers with men being natural war-mongers (The films of Tim Burton: animating live action in contemporary Hollywood, 2006). Examination and evaluation of the female representation in the different Hollywood films; women are underrepresented in Hollywood films: stereotyped gender ideologies and behavior Women are underrepresented in the Hollywood films according to the recent research. Any time an individual thinks of Hollywood films, they often think of women on red carpet with large meticulously designed dresses. Women are however not the heart of the Hollywood films with many films under representing them. Women are the stars of America’s film industries only red carpets but only fifteen percent of them features on the screen films. It is indeed true that Hollywood has a gender problem. The movies that are produced have increasingly underrepresented women with recent film, however, showing some slight improvement in the representation. Most movies tend to portray women as inferior to the male actors (Gabbard and Gabbard, 2010). The issue can be traced back to many years back when it was thought that audience or viewers preferred male actors. The challenge has become large for the Hollywood film makers to address. It was for such a reason that George miller decided to make the difference and directed a film that captured a female actor as the main actor. The film Mad Max: Fury Road captures Furiosa as the main actor. We are all aware of the many movie stars in Hollywood. They act iconic roles that helps engrain them in the imaginations of the public. Their action is watched carefully, their words are listened to carefully and whether we like it or not, movie stars often define cultural reference for various generations. It is for such a reason that film makers ought to become inclusive other than becoming exclusive. It is therefore of essence to discuss the issue of gender equality in the Hollywood films both on television and movies. In a perfect Hollywood, the protagonists of television shows and movies would be as diverse in terms of economics, race, gender and sexuality (USA: getting it wrong with women, 2001). Despite all these the roles of women in the Hollywood films has continued to increase following recent campaigns about gender equality in Hollywood films. For instance, 2013, was the year for women representation in the films. Examples of films that were released and captured women as the main characters included frozen, catching fire, gravity and the hunger game. Gravity, for example, won an Oscars with its star Sandra Bullock being nominated. Despite all such the representation of women in various films as the main characters has stagnated at fifteen percent and something ought to be done to help change the difference (Stokes‐Brown and Dolan, 2014). Moreover, many of the many women characters are often in the control of men. Neither do they neither control their own destinies nor make their own decisions. Gender equality issue has also affected the social and economic role of women in the films. Women are often paid less based on the character they play to make the film successful. The top ten highest paid actors in 2013 made a collective amount of four hundred and forty five million dollars with the highest paid actresses making a combined amount of 181 million dollars. Angelina Jolie who was the highest paid actress that time made the same amount of money as the ninth most paid male actor. Even though women may be at the centre or front on media coverage and red carpets, they are still considered as minority in film industries. Women are underrepresented both behind the scenes and before the screen (GABBARD, 2006). Compare the changes and development of the position of social and economic powers of women in the Hollywood films Campaigns about the underrepresentation of female actress in the Hollywood films have had an impact on the recent film. The number of female actress both behind the scene and on our screen has continued to rise lately, despite many years of female underrepresentation on the film industry. The last five years have captured women as the main characters in the films. Success in the representation of female actress as the main characters in the film was witnessed in 2013 as a result of the release of the hunger games and gravity (Simmonds, 2010). The number of female representation as leads increased with many of them making up the speaking roles. The release of the Mad Max: Fury Road is also one of its kinds that have captured a female actress Furiosa as the main lead (Haig, 2010). The representation of few women on the screen may be as a result of less women behind the scene. But through women empowerment and promotion of gender equality in the film industries, many women will be represented. Powerful women behind the scenes such as Lynda Obst and Army Pascal have reiterated the essence of building female base of power and support. Other women such Tyler Perry and Lee Daniels have demonstrated that the best idea or method of breaking properly into Hollywood may be to around it though construction of a powerful empire that will offer support to promote the economic and social powers of women in the Hollywood films. Some films have represented women in stereotypic roles which can be explained as stereotypes that perpetuate gender roles within a society that is male dominated. In such roles women are considered overtly feminine, lack confidence, have weaker characters and have identities that should either be saved by a man or tied to a man. Many movies often sexualize female characters or sometimes promote stereotypic gender roles. Some films have tried to create female characters who are independent and those that require less assistance from the males. In the white and the huntsman movie, there exists a clash between two poignant characters, the evil queen and the snow white and their fight for beauty. Snow white, one of the female character is not overly sexualized. She tries to portray a female heroine that is stronger. She is fearless and bold. However, we see her being mentored by a huntsman. In their fight for beauty too, the judgment of who is better comes from a male character (Jamieson, 2010). This is a depiction that females are non independent and often depend on male character to accomplish their mission. These should never be the case and more female movies should show women characters as independent to an extent that they too can help save men from troubles. Compare the man directors and female directors in the Hollywood films industry. Analysis why male-dominated The number of female movie directors even though small is increasing. Women are still facing a lot of gender based disparities in the Hollywood industry. There are only 29.8% of female filmmakers that includes writers, directors, cinematographers, editors and producers. Women are more likely to become producers of many Hollywood films even though money factor has reduced their number in their role of becoming more high profile. Therefore, as a result of financial issues, most women have been forced to take the role of being an associate director in production of films (Schmahmann, 2010). it is unfortunate that the number of female actress in most of the Hollywood films are still low as a result of less support from the few female individuals who play the roles of being producers. Women often support women and therefore the number of female directors or writers can only be increased when the number of women producers is increased through support (LAVERY and BOWSKILL, 2011). Films that are mostly directed by women has featured women almost in all roles. Statistics indicates that there is a 21% increase in the number of women who are working on a narrative film and 24% of women working on documentaries when the director is a woman. Sundance institute is one of the institutions that have supported the need for women directors and producers in the film industry. Women have faces a lot of challenges in their move to become film directors or producers (Renov, 2010). Some of the challenges that they face include not being hired because they are women, getting stereotyped as women directors, balancing family issues and work, male dominated industry acts as a barrier with a higher percentage of women quoting financial constraint as the biggest challenge that they are able to face. Statistics have showed that for every female director there are 15.24 male directors. According to research, the number of female directors can be increased though financial support, encouragement and mentorship early in the career as well as raising awareness of the disparities that exist in the industry. The number of women is however increasing with the recent statistics showing half of the narrative films in the Sundance festivals conducted recently was mostly directed by women (McLaughlin and Bartlett, 2010). The latest Oscars indicated that male still dominates Hollywood as directors, actors, and producers, an industry where actresses still get less meaty roles, lower pay and fewer big budget films than those in action. The reason behind men dominating the role of directors in the Hollywood industry is because many people still define the job of a director in masculine terms. Gender stereotyping also plays a huge role with female directors facing presumptions that are deeply rooted from the film industries about their ambitions, tendencies, creative qualifications and sensibilities. Women just like any other man should be given support and offered a chance to participate in the production of films, direction and actress (Naremore, 2010). Conclusion The representation of female roles in the position of social and economic powers in the Hollywood film is still low even though the number of women participating in the production as well as directing the films is increasing. The number of female actress and directors has also increased as a result of support from institutions such as Sundance international institute. The representation of women in the film however has met a lot of challenges that includes gender stereotyping, financial issues and other men domination in the industry. The movies produced by Hollywood have often underestimated women and mostly portrays them as characters that are inferior to men (Osterweil, 2006). It is time for Hollywood to represent women without discrimination. It is time for Hollywood to be diverse in terms of economics, race, gender and sexuality as the world is. References Berman, N. and Flinn, C. 2010. Strains of Utopia: Gender, Nostalgia, and Hollywood Film Music. Notes, 50(4), p.1420. Cohen, H. 2012. Sweatshop Cinderella, a film by Suzanne Wasserman. Nashim: A Journal of Jewish Womens Studies & Gender Issues, (23), pp.196-198. Contemporary Hollywood masculinities: gender, genre, and politics. 2012. Choice Reviews Online, 49(12), pp.49-6776-49-6776. ESCH, K. 2005. Movie Acting: The Film Reader: Movie Acting: The Film Reader. Film Quarterly, 59(1), pp.62-63. Fritz Lang: genre and representation in his American films. 2010. Choice Reviews Online, 26(08), pp.26-4401-26-4401. Gabbard, G. and Gabbard, K. 2010. The Female Psychoanalyst in the Movies. Journal of the American Psychoanalytic Association, 37(4), pp.1031-1049. GABBARD, K. 2006. Hollywood Fantasies of Miscegenation: Spectacular Narratives of Gender and Race, 1903–1967: Hollywood Fantasies of Miscegenation: Spectacular Narratives of Gender and Race, 1903–1967. Film Quarterly, 60(1), pp.66-67. Haig, P. 2010. Female Stories, Female Bodies: Narrative, Identity, and Representation (review). symploke, 6(1), pp.209-210. Jamieson, M. 2010. An American Actress at Balmoral. TRI, 2(02), p.117. LAVERY, J. and BOWSKILL, S. 2011. The Representation of the Female Body in the Multimedia Works of Regina José Galindo. Bulletin of Latin American Research, 31(1), pp.51-64. McLaughlin, M. and Bartlett, A. 2010. Male Authors, Female Readers: Representation and Subjectivity in Middle English Devotional Literature. The American Historical Review, 102(4), p.1146. Naremore, J. 2010. Film Acting: The Techniques and History of Acting for the Camera Mary Ellen OBrien. Film Quarterly, 37(1), pp.57-58. Osterweil, A. 2006. Women Filmmakers Refocusing: Women Filmmakers Refocusing. Film Quarterly, 60(2), pp.66-67. Owen, L. 2015. Fat Women Take Center StageReview of Female Bodies on the American Stage: Enter Fat Actress , by Jennifer-Scott Mobley. Fat Studies, 4(2), pp.227-230. Renov, M. 2010. Advertising/photojournalism/cinema: The shifting rhetoric of forties female representation. Quarterly Review of Film and Video, 11(1), pp.1-21. Schmahmann, B. 2010. Casting a Glance, Diverting the Gaze: George Segals Representation of the Female Body. American Art, 12(3), p.10. Simmonds, F. 2010. "Shes Gotta Have It": The Representation of Black Female Sexuality on Film. Feminist Review, (29), p.10. Simmonds, F. 2010. “Shes Gotta Have It”: The Representation of Black Female Sexuality on Film. Feminist Review, 29(1), pp.10-22. Stokes‐Brown, A. and Dolan, K. 2010. Race, Gender, and Symbolic Representation: African American Female Candidates as Mobilizing Agents. Journal of Elections, Public Opinion & Parties, 20(4), pp.473-494. The films of Tim Burton: animating live action in contemporary Hollywood. 2006. Choice Reviews Online, 43(05), pp.43-2710-43-2710. USA: getting it wrong with women. 2011. Film technology , 10(2), pp.91-91. Read More