The Roles of Women in Films - Essay Example

? ‘Women and Film ’ Women and film Films are used as an instrument to depict human thoughts and ideas which are occasionally deemed impossible in actuality. The characters in films have had a massive impact, with respect to gender stereotype. There are several deliberations of how female characters are being depicted in the films. Currently, they have begun assuming more dominant roles in films. Some male film directors use female characters only to provide something against which to express masculinity to male relationships. They are self reflexive for men who design them, as they mostly act as mere guardian spirit for a male protagonist. Often times, they exist as characters to push the storyline along and create some balance instead of getting up on feet on their own. For instance, in Japanese video games Persona 3 where they overtly rent women to draw up the female characters. But this may not be the case for all male filmmakers. For instance, when watching Les Rendezvous D’Anna, you could not imagine a male director design such a female protagonist (Grundmann, 2010). The general observation on female film producers observes women characters for their own interest instead of being a channel to an ideological end. Female characters designed by women may have scanty clothes that tend to be more real and relaxed looking. They also have petite eyes, sexy features with a maturity on facial expressions. There are fewer women that design action-based films or movies. They mostly make dramatic, comedic, films related to family stories and others that lean more towards an emotional arc. This may be as a result of having little attention on the action-oriented films or the postulation that the target audience wouldn’t put so much interest in them (Walsh, 1986). There is also the issue of the deepness and vigor of female character. One may ascertain the director, but there is also the genre, writer and actress to consider in such cases. Many films made by women have a more exhaustive evaluation of character that is notwithstanding the gender of the directors. In the same way, there are actresses and writers who can yield more dense characters than customary. For instance, Barbara Stanwyck hardly inhabits a character that is not considerably well grasped irrespective of the script or director. The issue involving Godard stretches beyond him as you will find some directors such as Joseph Mankewiecz making films where the actresses appears far more authentic and vivacious than the males. In spite of the themes of the film, they have an unattractive meaning linked to the women’s actions (Callahan, 2012). Other male directors seem to introduce depth in the roles of women. However, that raises eyebrows as to whether those roles are being viewed as another category of male illusion or imaginations. One that originates from a diverse and good direction yet still somehow off the mark likened to the exact experiences of women. The feminist movement relentlessly battled for women’s rights and equality so as to position women on equal grounds to men in the society. This uprising has since been taken forward in the film industry as women also play prominent and conspicuous roles in films. This which was a sharp disparity in the past where women only played domestic roles in the society (Callahan, 2012). At the same time, there are some films that portray women as morally superior and perfect. Dreyer’s Gertrud is an example of such films that convey strength, liberation and empowerment of women. We also have sturdy, irrepressible, self-determining and plausible women in so many films directed by men. This is without indulging in either male fantasies of femaleness or direct sexual appeal (Power, 2009). The role of women in films has since surpassed the traditional feminine characteristics. Women are no longer being portrayed as one-facet who acts stereotypical female traits. In addition, today men are unlikely to measure up to the conventional form of masculinity though they may still command superiority over the female characters. This shows that masculinity shown by men in films nowadays is disproportionate in nature. For instance, Hamlet by William Shakespeare. Despite him being a male character, women have been exhibiting their concern to act the role and the trend of women getting picked to epitomize Hamlet (Callahan, 2012). Women filmmakers have also made films in genres which often are linked with both women than men. These films are readily available in the video - store and one can see that women filmmakers have dominated the filming industry. Though these films go unnoticed and are not given the same degree of concentration as those which are more conquered by men, they are popular in the society (Walsh, 1986). Unlike the past, the current women are knowledgeable. This enables them to also take up occupations previously held by men. Hasten by the feminist movement; women nowadays are equally as likely as men to be engaged to play professional roles and careers such as doctors and lawyers. There is an upward rise of female characters taking up major roles from 12% in 1960 to 32% in 1990. This implies that female characters in films are a real representation of their place in the society. This is evident from 51% of workers from the United States who are in well-paying managerial and professional occupations are women. Also, advancements in the economy have made it possible for both women and men to spend on prestigious items. Exhibitionist interests with one’s look and body initially known as feminine are being linked to men, making it difficult to conform to the traditional masculinity trait of a man (Callahan, 2012). However, others still dispute that the deferential nature of women’s representation is evident despite the rising fame and supremacy of women. Women are still portrayed as passive and loyal as the authority exerted is based on a maternal design, bringing up a stereotype of mothers and wives. Furthermore, the communal movement of feminism is missing, as women in movies are still answerable to a more assertive male character while acting as a companion to a male character (Power, 2009). Even though male characters may have few masculine characteristic as portrayed by Robert in the movie Romance, his masculinity is only stressed through his job as the manager of the prime female character. This confirms that despite being seen as main character in movies today, women still adhere to the gender stereotype of the conventional feminine traits of answering to a more authoritarian male character. Others may contend also that movies may not be an actual depiction of a society. Thus, the portrayal of men as less masculine is not factual. That is why films depict women as prosperous only when they are skinny and good-looking when in actual sense prosperity is assessed based on aptitude and not looks . In discussing the way female characters in the film are portrayed, one should be careful in the way you frame the discussion since there are several issues which ponder on the debate. First, there is a problem with imposing restrictions to ‘famous’ filmmakers since most have a concern in seeing certain traits or styles being seen as more precious. Many of the highly ‘famous’ female filmmakers are those perceived as being as uncompromising and challenging as a man. That is why their movies may have a fair share just as those films of their male colleagues (Power, 2009). The study, "Changing the Status Quo: Industry Leaders' Perceptions of Gender in Family Films," found that content designers such as film directors or TV show writers, deem gender equality as being important and that it is not that difficult to achieve in those programs that are family-friendly. Madeline DI Nonno, the Institute's executive director who heads a program that works hand in hand with entertainment industry foster story lines that are gender balanced and uphold women in positive ways (Callahan, 2012). A research disclosed that top-grossing G-rated movies have one female character for every three males. The research provides statistical figures that the organization has not yet done anything to improve the situation. Another previous study of the organization refered to as An Examination of Gender on Screen and Behind the Camera in PG-13, PG and G Movies provides that films targeting families and children have female roles remaining not only highly sexualized, marginalized and stereotyped but also scarce (Callahan, 2012). This is directly opposite to the old days when female characters in a film were only allowed to dress in clothes that purely portrayed them as feminine characters. This puts them in a balanced edge with male characters as they put on clothes that match to that particular occasion of the film. So long as the mode of dressing does not compromise her moral decency, female characters nowadays have the freedom to dress freely and feature in the movies. This trend has advanced over the years to an extent that both the male and female characters seem to have similar attires in their wardrobes. In conclusion, films have progressed gradually over the years and still will continue to advance at such a rapid rate. As the roles of women in films continue to advance and take a focus of interest, male characters have since assumed steps in the reverse direction. This has also had an effect to the shifting nature of the society where women continue to rise in status at workplaces. This is attributed to the rising supremacy and the eminence of female characters in films as well as the evolving nature of the society. This shows that the roles of women in film are far much better compared to 30 years ago. They are evolving into a world of their own to an extent of even taking up the lead. That is why the authors of film and visual arts state that the world is becoming pro-women as they can now be portrayed in more than one role in films. References Callahan, D. (2012). Barbara Stanwyck: The Miracle Woman. USA: Univ. Press of Mississippi. Grundmann, R. (2010). A Companion to Michael Haneke. Malden: John Wiley & Sons. Power, N. (2009). One-dimensional woman. Washington: John Hunt Publishing. Walsh, A. (1986). Women's Film and Female Experience, 1940-1950. New York: ABC-CLIO. Read More