Hollywood Representations of Women in 1930s Films - Research Paper Example

HOLLYWOOD REPRESENTATIONS OF WOMEN IN 1930S FILMS of Introduction Since the inception of the film industry in the late nineteenth and early twentieth centuries, women have played a central role in the industry’s growth. From full-length features to Nickelodeon cartoons, from silent films to talkies, the film industry trajectory has been influenced by women, who have been directors, writers, actors and audience members. However, women involved in the film industry have often been celebrated more because of their appearance than their acting ability (Kaplan, 1994, p. 3). Moreover, despite certain female stars’ legendary status, the roles they played often reinforced traditional gender roles. Thus, the purpose of this research paper is to document how Hollywood portrayed women in film, with a particular focus on the 1930s, using the 1933 movie The Golddiggers of 1933 as a framework for exploring the roles and portrayals of women in 1930s Hollywood. The 1930s is an important era to explore the role and portrayal of women because the Depression era lends an interesting backdrop to explore how women are portrayed, due to the changing morals and increasing cynicism of the country, and also because the early 1930s is considered to be “pre-code” (Doherty, 1999, p. 3). This refers to the Hays Code, which was instituted in 1931, but not enforced until 1934, and this meant that, during the early 1930s, studios had more free reign to portray women in a lurid fashion. Additionally, the pre-code era portrayed women differently than in the post code era, as the post code era relied less on showing women as sex objects and more on showing women as equals to men (Doherty, 1999, p. 5). Under this topic, the following themes will be discussed: the representation of women in films in the early 1930s, the role of women in films, the portrayal of women in films in the 1930s, and the criticism of women’s roles in films in the 1930s. Representation of Women in Films in the 1930s Hollywood cinematography often objectified women for men’s pleasure (Kaplan, 1994, p. 3). According to Mulvey (1989, p. 56), female characters in Hollywood were presented as being worth looking at but not worth listening to. As such, in this era, men viewed women in different dimensions, often known as the Madonna/Whore (Kaplan, 1994, p. 103). This means that women were stereotyped either as sexually active whores, or pristine and powerless Madonnas (housewives). According to Gates (2011, p. 23), most Hollywood films present women images with the purpose of gratifying male viewers. In the 1933 film The Gold Diggers of 1933, this ethos, that women are sex objects, is on full display. The core group of women, played by Ginger Rogers, Joan Blondell, and Ruby Keeler are the stereotypical bombshells – slender and beautiful, and often dressed in very skimpy costumes. Rogers and Blondell are both platinum blonde, which is another way that a woman is stereotypically portrayed as sexy in the cinema. The single exception in this core group of women is Aline MacMahon, who is not stereotypically pretty, and, perhaps not coincidentally, has the best lines of any of the women. MacMahon is the sole voice of cynicism and hard-boiled attitude, which prevailed during the early 1930s, because of the Great Depression. MacMahon is also clearly portrayed as having a superior intellect than the other girls. That said, the girls embodied the dichotomy of the Madonna/Whore. That is to say that they were portrayed as independent, and their morals are looked at negatively by Lawrence Bradford, the wealthy older brother of Brad Roberts AKA Robert Bradford. Lawrence Bradford is the embodiment of the elite in the 1930s, and gives voice to how the elite viewed women like the core group in this film – with disdain and with the implication that these girls lacked morals. Interestingly, by the end of the film, the girls all become Madonnas. This is because they were all transformed from showgirls – independent with loose morals – into wives – Trixie marries Lawrence’s lawyer, Carol marries Lawrence himself, and Polly marries Brad. Their transformation from Whore to Madonna is thus complete. In short, women’s roles in the 1930s often were stereotypical, in that the women were portrayed in a sexy manner. This is because the women in these films were for the benefit of men, who saw them either as a Madonna or a whore. Another way that women were stereotyped is that they were often portrayed in movies as choosing love over a career, which is the subject of the next section. Portrayal of Women in Films in the 1930s Films reinforce and reflect a society’s dominant ideology, which is from the male point of view. As such, the patriarchal view, that women must choose between love and career, was often the focus of 1930s films. The focus of these films, from the 1930s to the 1940s, was on women who have to sacrifice their career for love. The underlying message of these movies was that a woman had to choose between a career and romance (Gates 2009, p. 29). Along these same lines, also reflecting the patriarchy of the era, women were portrayed as easily manipulated sex goddesses, as embodied by the characters played by Marlene Dietrich and Greta Garbo (Kaplan, 1994, p. 118). This is the portrayal of the women before the Code was enforced, and this was enabled by the fact that Hollywood films could, and did, portray women’s overt sexuality. The Code changed this, however, through the use of censoring codes (Doherty, 1999, p. 3). Because of this, Hollywood was forced to portray women in a different way, which, in effect, gave women characters a chance to break away from the Hollywood patriarchal potrayals of the fairer sex. This was exemplified by the films of Katherine Hepburn and Bette Davis, in which their female characters are shown to be more equal to men in the working environment (‘Woman in Hollywood,’ 2008). Once again, the pre-code ethos, that women are looking for love, and must sacrifice her career for love, is implied in the movie Gold Diggers of 1933. As noted above, at the beginning of the film, and through most of the film, the girls are portrayed as independent women relying upon themselves and their girlfriends for support. That said, by the end of the film, the tables have turned. Each of the girls finds love and marriage with a wealthy man. The implication of this is strong – that these women’s financial problems, which are highlighted at the beginning of the film – are over. The other implication – that the girls would cease to be showgirls – is also heavily implied. Therefore, in the 1930s, Hollywood did not portray women in America accurately. Just as real women were in the workforce in increasing numbers, as they had to support their husbands, Hollywood was portraying women as having to make the choice between love and career. The theory is that Hollywood moved away from the representation of women as independent career girls in an attempt to recapture the idealized housewife image and feminine values. Thus, these films did not portray the American woman realistically (Smedley 2011, p. 13). However, as the next section explains, the Depression era also led to other roles for women which are more in line with the female experience during this time. Role of Women in Films in the 1930s During the 1930s, strong, intelligent and smart actresses controlled the film production industry. These women were empowered and self-governing and had reputable morals (Haskell 2002, p. 65). They acted as role models for the ordinary American woman due to their admirable and rational natures, while also being strong willed and capable of developing their careers (Rosen 2003, p. 105). These women are celebrated by the Castro Theatre in its film series Free Souls: The Complicated Women of Pre-Code Hollywood. By the end of the Depression, women’s roles in almost all aspects of life had changed. This resulted from the emergence of new ideologies in the education, social, cultural and economic sectors. The media—specifically films—acted as the most effective medium through which to address these changes. As a result, women entered this industry in order to explore their talent, intelligence, fashion, and the diversification of beauty (Haskell 2002, p. 68). Successful actresses encouraged women to feel empowered and to fight for their rights in education and other fields. Numerous films were geared towards creating awareness about the discriminatory nature of a male-dominated society. Watkins (2001 p. 85) explains that the Depression era led to the development of a wide range of women film roles. This included actresses such as Norma Sheare who was a sophisticated liberal, and Mae West, who was a lust comedian. Shearer is an example of an actress who was transformed by the Depression era. She stated that the Depression caused her to develop as a woman and an individual, which led her to have an increased awareness of her sexuality. When many of Shearer’s pre-code films are analysed, they reveal her as a pioneer in both content and portrayal. Shearer was an inspiring female role model, and style icon, as she embodied a can-do, never give up attitude, and displayed the fashionable bobbed haircut and casual outfits of her day (Kaplan 1994, p. 20). Shearer came to be one of American’s favourite actresses. From another perspective, the films in which Shearer acted had themes that were the basis of today’s culture (Kaplan 1994, p. 22). For example, in the film The Divorce, Shearer raises the topic of unfaithful husbands. Previously, women had believed they had no right to complain about their husbands’ affairs, as they believed they had no control over their husbands’ actions. Such cultural notions were eradicated with the emergence of this new era in film. Moreover, Shearer’s portrayal of a housewife in the film Let Us Be Gay demonstrated that women who were unsatisfied could seek to attain greater achievements than housework (Rosen 2003, p. 107). Shearer was perhaps considered one of the trailblazers of cinema, as she portrayed women who were independent and able to care for themselves. Over time, other female actresses have emulated Shearer, discussing their career experiences in magazines and television. These women have inspired other women, such that sectors that had previously been considered purely for men, such as the military sector, law and engineering, slowly became accessible to women (Kaplan, 1994, p. 21). Criticisms of Women’s Roles in 1930s Films The roles of women in the pre-code era have been described as great and successful (Rosen 2003, p. 110). However, these same actresses have faced criticism for accepting their societal roles, without showing society the challenges they faced as a result of their gender. Because they accepted their societal roles without voicing the challenges of women, they never sought to liberate women from the negative cultural ideologies. On the contrary, they reinforced conservative cultural perceptions through the roles they played. As such, many have criticised the role these actresses played in restricting women’s liberation (Rowe 2000, p. 152). On the one hand, films played a critical role in the establishment of women’s freedom. This was because, as a result of the media, people were able to see what women had endured to establish their careers. This is exemplified by Norma Shearer, who overcame great odds, such as crossed eyes and a broken home, to become a major star (Rosen, 2003, p. 107). However, while film trends liberated women, they were also associated with reinforcing negative stereotypes, which set back the female experience (Rowe 2000, p. 156). One could argue that, if the films of the 1930s had actually reflected the female experience, and embodied the ethos of the actresses in the roles, these films would be greatly improved and would have been more of a catalyst for the feminist movement. Conclusion Generally, Hollywood’s representation of women in the film industry was that of objectification, in which actresses were intended to satisfy men’s sexual desires. Women were portrayed as worth being seen, but not worth being heard, or allowed to express themselves. As a result, the male-dominated society instilled within actresses a feeling that their roles did not reflect their actual, real-life, experiences and feelings. During the 1930s, women’s roles were exposed to discrimination and the few who succeeded in their careers lacked a favourable environment in which to express their views (Kaplan 1994, p. 26). They subsequently portrayed the stereotyped roles of domestic mothers and romantics. This was embodied by the film The Gold Diggers of 1933, as the women in that movie ended up in the domestic roles, having earlier been portrayed as being independent and self-sufficient. However, this did not last; as women came to realise the strong discrimination against them, they took decisive action to change society’s perception of women’s abilities. As a result, actresses became role models to women and led the way to inspire women to improve their lives. References Doherty, T. 1999. Pre-code Hollywood: Sex, immorality, and insurrection in American Cinema, 1930-1934. New York: Columbia University Press. Gates, P., 2009. ‘Conversing with Scholars of American Popular Culture,’ American Journal of Popular Culture. Gates, P., 2011. Detecting women: gender and the Hollywood detective film, Albany: State Univ. of New York Press. Haskell, M., 2002. From Reverence to Rape: The Treatment of Women in the Movies, New York: Holt, Rinehart and Winston. Kaplan, A., 1994. Women and Film: Both Sides of the Camera, New York: Methuen. Mulvey, L., 1989. Visual and Other Pleasures, Bloomington: Indiana University Press. Rosen, M., 2003. Popcorn Venus: Women, Movies and the American Dream, New York: Coward, McCann & Geoghegan. Rowe, K., 2000. The Unruly Woman: Gender and the Genres of Laughter, Austin: University of Texas Press. Smedley, N., 2011. A divided world: Hollywood cinema and émigré directors in the era of Roosevelt and Hitler, 1933-1948, Bristol: Intellect. Watkins, T., 2001. The Great Depression: America in the 1930s, Boston: Little, Brown and Company. Woman in Hollywood. 2008. [Online] Available at < http://ksmith-hollywoodwomen.blogspot.com/2008/12/stereotypical-roles-of-women-in-films.html> [Accessed June 18, 2012] 2100HUM Hollywood Cinema: Proposal Student name: Noriko Sakamoto Student ID: 2641407 Word count: 164 words Due date: in class Proposal for Research Project – The Portrayal of Women in 1930s Cinema Hollywood has portrayed many different roles in accordance with genres and eras, which are direct reflections of social trends. Numerous cinematic elements contribute to the development of the context of films. In this research project, I will examine the many different ways that women have been portrayed in Hollywood films. In this research project, I will explore how women were portrayed in 1930s Hollywood films, using the 1933 film, The Gold Diggers of 1933 as a framework for exploring this topic. In particular, I will be exploring how women were stereotyped in different ways in 1930s cinema, including how they were stereotyped as sex objects, as well as how, in 1930s films, women were often portrayed as having to choose between love and a career. This research project will be in five sections, not including the introduction. The first section will explore the Representation of Women in Films in the 1930s, and this section will concentrate on how women were objectified in 1930s cinema; the section section will focus on the Portrayal of Women in Films in the 1930s, which will look at how 1930s cinema, pre-code, portrayed women as having to choose between career and love; section three will look at the role of women in 1930s films, which will theorize that some women, notably Norma Shearer, could transcend stereotypes and offer a more nuanced portrayal of the female experience, and how women’s roles in the cinema evolved from the beginning of the depression to the end; section four will examine criticisms of women in 1930s cinema; and section five will be the conclusion. Annotated bibliography Berry, Sarah Elizabeth 1997, Screen style: Consumer fashion and femininity in 1930s Hollywood, New York University, New York. This book details how Greta Garbo, Joan Crawford and Marlene Dietrich influenced women filmgoers as role models for self-determination. This book also shows why the public is fascinated with these strong-willed women and others. Dawson, Jody Elizabeth 1995, Hollywood’s image of the working woman, University of Nevada, Las Vegas. In this PhD dissertation, Dawson explores the roles that women have taken on the silver screen, concentrating upon how working women are portrayed. Also, this dissertation explores the psychological aspects of working women on film, and how these images of working women have psychologically impacted the women who view these films. Feuer, Jane 1982, ‘Dream worlds and dream stages’ The Hollywood Musical, Indiana UP, Bloomington, pp. 67-85. The Hollywood Musical explores the origin and evolution of the Hollywood musical, as well as explores how the Hollywood musical has impacted society over the years. The chapter ‘Dream worlds and dream stages’ specifically details how the Hollywood musical was able to transform the audience by escapist entertainment, which was especially important during trying times in the nation’s history, including times of war and depression. Watkins, Jessica 2005, From fallen women to risen heroines: Representations of gender and sexuality in American film, 1929–1942, Thesis submitted to the Graduate College of Marshall University. Available at: http://www.marshall.edu/etd/masters/watkins-jessica-2005-ma.pdf This dissertation explores the fallen woman and screwball comedy genre during the golden age of motion pictures. The dissertation focuses on how the issues of economics and culture impacted these films and how gender is portrayed in these films, showing how the portrayal of women became more conservative in the 1930s, due to outside pressure. It also explores how the Great Depression impacted the portrayal of women in cinema. Kolbjornsen, Tone Kristine 1998, ‘Dansing i Hollywood: Punktnedslag i film-musikalens historie’, Dissertation. Available at: https://library.villanova.edu/Find/Summon/Record?id=FETCH-proquest_dll_7356761111 This dissertation explores the film musical aesthetically, and how spectators are transformed by the experience of watching these musicals. Included in this dissertation are the exploration of dance as an aesthetic sign, how women are transformed into kinetic ornaments. It focuses on three different periods of time for Hollywood musicals and films centered around music: Busby Berkeley shows in the 1930s, Gene Kelly in American in Paris, and John Travolta in Saturday Night Fever. Lovasz, Katalin 2007, Technologies of self-presentation: Women’s engagement with mediated representation from the era of silent film to the Internet age, Princeton University, New Jersey. In this dissertation, Lovasz explores identity theory which explains how women relate to patriarchal culture, by exploring a woman’s imagined and virtual cultural experiences, including that of film. Siegel, Marcia B 2009, ‘Busby Berkeley and the Projected Stage’, The Hudson Review, vol. 62, no. 1, pp. 106-14. Busby Berkeley is one of the filmmakers of his time who pioneers dance movies. Siegel discusses some of the movies that show Berkeleys projected dance dreams. Richard, Christopher, & Davies, Lawe 1988, New women, new culture: The womens weekly and Hollywood in Australia in the early 1930s. Queensland: Griffith University Press. This book explores how the new woman came to be, and how the new woman impacted culture, including how women are portrayed on the silver screen. Additionally, it shows how the Hollywood portrayal of women in the 1930s impacted women in Australia. Streb, Jennifer L 2004, Minna Citron: A socio-historical study of an artist’s feminist social realism in the 1930s, The Pennsylvania State University, Pennsylvania. This dissertation explores the work of the artist Minna Citron, who was a depression-era feminist artist. In particular, the dissertation explores how Citron’s dual roles of homemaker and artist was impacted by feminist concerns. Also explored is how Citron’s body of work was woven into the social fabric of the Depression era, and how her work reflected her feminist leanings. Read More