Goodness Graciouse me: Going For An English
This episode involves an sterotypical indian family going for an english dinner at a resturant. The video, exaggerates the stereotype of whtie people typically "going for an indian", however by creating a role reversal, where indians go for an english. This creates humour as the indinan characters mock white peoples taste in food, the way they act and their inability to pronounce indian names amongst other things.
Goodness Gracious Me:typical asian parents
The clip shows a sterotypical representation of Indian parents who have just recieved there sons grades.This clip emphasises on the stereotype of the importance that indian parentsplace on their children getting not only a good education, but being the best compared to everyone else. This creates humour as the son achieve 4 a's and 1 B amongst many other things however the father was still unsatisfied and disappointed, despite him being only 6 years old and achieveing all this.
Tuesday 26 February 2008
Self Evaluation
Attainment-c-i given myself this garde for attainment because i believe i have done satisfactory level of work.
Effort-2 i beleive i have pruduced a fair level of qulity work.i have done all homework and i am up to date with all my work.
Punctuality-2 - i attned all lessons on time.Submission and quality of homework-3- i produce satisfactory level of homework.
Ability to work independently-2- i have done adequate anaylisis on my blog.
Quality of writing-3- i try to pruduce a high level of writing but sometimes my work is rushed and therefore not done to a satisfactory level.
Organisation of Media folder-2- i have all my past notes in my folder and can easily accesses my pst work.
Oral contributions in class-3- I contribute in class but i think that i can contribute alot more as there are i number of times where i feel that i have something to say but i do not say it.
Contribution to the debate team-3- Contribution to debate team has been good as i have been researching about the topic regularly.
Standard of Module 5 blog- 2- My module 5 blog is up to date with alot of useful research on it which is really helping me as i fix up my independant study.
Standard of Module 6 blog-2- the blog has some relatevely detailed information.
Effort-2 i beleive i have pruduced a fair level of qulity work.i have done all homework and i am up to date with all my work.
Punctuality-2 - i attned all lessons on time.Submission and quality of homework-3- i produce satisfactory level of homework.
Ability to work independently-2- i have done adequate anaylisis on my blog.
Quality of writing-3- i try to pruduce a high level of writing but sometimes my work is rushed and therefore not done to a satisfactory level.
Organisation of Media folder-2- i have all my past notes in my folder and can easily accesses my pst work.
Oral contributions in class-3- I contribute in class but i think that i can contribute alot more as there are i number of times where i feel that i have something to say but i do not say it.
Contribution to the debate team-3- Contribution to debate team has been good as i have been researching about the topic regularly.
Standard of Module 5 blog- 2- My module 5 blog is up to date with alot of useful research on it which is really helping me as i fix up my independant study.
Standard of Module 6 blog-2- the blog has some relatevely detailed information.
Sunday 3 February 2008
Study
Is Mulvey still relevant when analyzing female representation in action films, with particular reference to ‘Kill Bill 2’?
This essay will be looking at the representation of women in action films, a typically male dominant genre. The Representation of women has changed over the years due to second wave feminism, which rose during the 1970’s where women fought for their rights and equality. “Mulvey argued that the only way to annihilate the "patriarchal" Hollywood system”[1]. Laura Mulvey argued that Hollywood cinema objectified women in a vision for the pleasure of men, where cinema followed a patriarchal ideology this, vision was called the ‘Male Gaze’. The theory was published during the 1950s where not just Hollywood but most of the world was male dominated. The Action genre in particular has been challenged by Mulvey theory; men have played the active role whereas the woman plays a more passive role. “Hollywood female characters of the 1950s and 60s were, according to Mulvey, presented with "to-be-looked-at-ness[2]." Mulvey suggests that there were two distinct modes of the male gaze of this era: "voyeuristic" (seeing women as 'whores') and "fetishistic" (seeing women as 'Madonna’s')”[3]. Mulvey argued that women where set into to different characters one which was to be the sexually active female and the other who was seen as a powerless female comically seen as ‘The housewife’. This theory has dominated Hollywood action films for decades and has recently been challenged by films like ‘Kill Bill 2’ which have challenged this theory and provided a more exiting role for women.
Moreover, Laura Mulvey was a feminist film critic who is thought of as the lead the way of modern feminism in the cinema. She said that mainstream films presented images of women that were produced simply for the gratification of male viewers. She developed a theory based on the idea that because we live in a patriarchal society, the enjoyment of looking at images on screen in an sexual way, shows the male being active and the female being passive. She thought that Hollywood films used women as erotic objects and that the narrative of certain films is slowed down to give heterosexual male audiences the opportunity to stare at the woman on display. Often, as in sex scenes, the camera circles on physical aspects of a woman for so long that the image becomes almost iconic for male viewers. The interests and fantasies seen on screen are made to fulfill with the dominant males that arguably run the industry. It is referred to as the ‘male gaze’, which combines the theories of voyeurism, narcissism and fetishism. Feminists such as Mulvey declared that women should shun this traditional narrative and begin to consider the idea of a ‘female gaze,’ which could redefine the representation of women.
“One of the most influential feminist film theorists and critics in the world, Laura Mulvey….”[4] Mulvey has been very influential in the past and has been used as a tool of psychoanalysis for many years. The action genre is where Laura Mulvey’s theory has been most dominant. ‘In the past, lead roles for women have always seemed scarce compared to males’[5]. Laura Mulvey, regarded as one of the most influential feminist film theorists, is famous for saying "narrative fiction film created images of women used for the gratification of men"[6]. Feminism became a revolution for women in Hollywood cinema where male dominance was challenged. Laura Mulvey theory became of great power used by the feminist movement (1970s) which demanded change in representation. The theory became as influential because of the revealing of representation of women in the 1970s.
Nevertheless, more recent films such as ‘Kill Bill 2’ by Quentin Tarantino’ are changeing as they include female characters who do scenes in the same kind of roles as men would usually be given without their femininity ever really becoming an issue. Kill Bills Vol 2 main characters are all women, and although the film is both a martial arts film and directed by a man, the women still retain their femininity. This is done through the certain parts of the narrative, such as Uma Thurman’s character gaining revenge on villains who attempted to kill her and killed her family, and also through costume, as the women are not made to appear masculine in any way. As both of these films are martial arts films, I decided to focus my research on the representation of female protagonists in action films.
“The representation of women in film is all based upon the understanding of the director's view within the ideology of the narrative of the film in which they have formed the film around the institution that best suits there script therefore constructing the film.” [7]Directors are in a popular cases in contemporary film portrayed as strong figures that helps in the narrative and show the plot in order to reach the climax in a film. This can be achieved as Laura Mulvey points out by taking advantage of the femininity of the female body and manipulating the sexual figure in order to gain a sexual aspect to the film and producing a male view on the film. The representation of women in films tend to be in some films for the use of comedy stereotypical and sexist, this is very evidence in such films as Austin Powers, in which Austin merely sees women as objects for his desire and pleasure and of course them being from the 60's and it being a time of male dominance. This is shown by the statement "You're an object Baby" [8]as it is degrading to a woman's independence and paints as a possession of a man, this is one of Austin's regularly used phrases in all the Austin Powers movies. This is one of the very few movies of contemporary times that have been so sexist towards women in such a way and been successful in its promotion and showings this conforming to Mulvey’s theory.
Kill Bill also challenges Mulvey’s theory in other ways. The narrative of “kill Bill 2” follows a female character played by Uma Thurman, and her quest to seek revenge on the death of her family and her baby inside her stomach. To an extent the narrative conforms to stereotypes as it shows the protagonist Uma Thurman to posses’ typical familial ideologies that a typical female conforms to. However, this can be argued as by the lose of her family Uma Thurman is left independent to seek her own revenge with the help of no being.
The mise en scene in ‘Kill Bill 2’ also helps represent the character in a way appealing to the ‘gaze’. Uma Thurman is modified or specially designed in any way to enhance her femininity. The actress is also shown in a way that makes her look ‘sexy’, with makeup and emphasis of her figure through the tight clothing. This emphasizes her appeal to the male audience.
Furthermore, as the years change so have women's roles in society have changed, and therefore their representation in the media. Changes in female representation media images still portray women as sex objects; as independent (but still sexy) career women; as loving mothers obsessed with food and clean clothes. “Women are still portrayed as objects to lust after; they are often the focus of the male gaze”[9], camera effects, mise-en-scene and use of sound to alter what is being represented. But the definition of beauty has changed. Images of women as dizzy blondes or mothers have been replaced by a new type. In the past most males wanted a powerless cleaner for a wife. Now men are looking for intelligent and confident as this is seen as sexy and attractive. This can be related to Kill Bill 2 where Uma Thurman is presented as a ‘ass kicking’ female who is shown as independent and powerful. But arguably Uma Thurman is still dressed to appeal to the ‘gaze’ through her costume.
Stereotypes that exist in contemporary films are used in more clever ways that make it hard to notice they are being used intentionally. The obvious stereotypes are easily visible such as the ‘bimbo’ [10]and this continuing role appears in ‘Charlie’s Angels’, when females are used as a device such as a distraction for the men. This representation is used in the very first scene where the Angels show a display of “ass kicking female empowerment” [11]using their strength to save a kidnapped man, a complete role turnaround for the representation of women in the past where they were once the ‘damsel in distress’ who was portrayed as helpless and weak. However, although women are in more empowering and active roles, they are still subordinate to men as they are mainly seen as the ‘objects of the gaze’. This means that they are represented as tools of visual pleasure and not for their other qualities such as acting ability, undermining a women’s ability to succeed without resort to her looks.
Furthermore, the changes in representation of women can be seen in the Terminator' trilogy. In Terminator I Sarah Connor, the main female is portrayed as typical female, screaming and in need of rescue. Terminator II shows her as a strong, powerful/independent female able to hold her own. The two main female characters in Terminator III are Kate Brewster, another damsel in distress and the TX, a deadly but sexy killing machine who uses her sexuality as a weapon for example enlarging breasts are used to attract males and get out of trouble from police. Both of the two robots the Terminator himself also known as Arnold Schwarzenegger and the female Terminator, the TX, are robots supposedly with no human feelings showing some level of equality in some characteristics.
This is also shown in James Bond Movies. “Women have gradually become more independent and powerful in Hollywood cinema”[12]. As time has changed so have women roles in movies since ‘Golden eye’ (1995) to the present ‘Casino Royale’ (2006). James Bond was an icon in Hollywood cinema where females where famously named “Bond Girls”[13]. A Bond girl is a character portraying Bond's love interest or sex object. In most films, they are victims rescued by Bond. This dependence on a male figure became an icon theme to all Bond movies. However, this representation of ‘bond girls’ has been challenged in contemporary movies. In ‘tomorrow never dies’(2004) Halle Barry has been given a professional occupation where she is also seen with possessing male characteristics. But this is done to an extent as the female character is also seen sleeping with Bond thus conforming to typical representations. As well as the promiscuous female representation Halle Barry is also objectified as a sex object for the pleasure of men which can be supported by the dress code of the female.
Another film that challenges Mulvey’s theory is ‘Blue Steel’. The narrative of ‘Blue Steel’ (1990) follows the character of Megan Turner and her life when she joins the police force. Through the course of the film, she faces disrespect from her colleagues, unfriendliness from men, and hate from her family, all because she is a woman on a career that was previously only to men. The audience grows to understand that the character is experiencing a struggle within her to build the confidence to succeed at a job which leaves her subject to sexism and also very dangerous. There are two sides to the protagonist Megan Turner’s police force investigating a serial killer, and one of a man who she becomes involved with. The villain could be seen to embody the ‘male gaze’ as he is later found to be Turners lover and the killer. He objectifies Turner, worshipping the image of her holding a gun. “Mulvey theory of the pleasure a male gains from watching conforming to stereotype of women being passive, appealing to male fetishism of domination and power[14].” The mise-en-scene of the film also affects on the representation of the lead character. Her costume, a police uniform, is not modified or specially designed in any way to objectify her female characteristics. This can be however challenged by relating to Kill Bill 2 where Uma Thurman is shown wearing enhanced costume to emphasis her female characteristics.
[1] Laura Mulvey (1989). Visual and Other Pleasures. Bloomington: Indiana University Press.
[2] Laura Mulvey (1989). Visual and Other Pleasures. Bloomington: Indiana University Press.
[3] Laura Mulvey (1975). "Visual Pleasure and Narrative Cinema.
[4] http://www.wellesley.edu/PublicAffairs/Releases/2006/032406.html
[5] Laura Mulvey (1975). "Visual Pleasure and Narrative Cinema
[6] Laura Mulvey (1975). "Visual Pleasure and Narrative Cinema.
[7] Genre and Hollywood by Steve Neale
[8] Austin Powers Gold member
[9] Visual Pleasures and Narrative Cinema by Laura Mulvey
[10] Inage And Representation by Nick Lacey
[11] http://www.movieviews.org/reviews/may-july2003.shtml
[12] Genre and Hollywood by Steven Neale
[13] Box Office History for James Bond Movies, The Numbers. Retrieved on 2007
[14] http://www.wellesley.edu/PublicAffairs/Releases/2006/032406.html
This essay will be looking at the representation of women in action films, a typically male dominant genre. The Representation of women has changed over the years due to second wave feminism, which rose during the 1970’s where women fought for their rights and equality. “Mulvey argued that the only way to annihilate the "patriarchal" Hollywood system”[1]. Laura Mulvey argued that Hollywood cinema objectified women in a vision for the pleasure of men, where cinema followed a patriarchal ideology this, vision was called the ‘Male Gaze’. The theory was published during the 1950s where not just Hollywood but most of the world was male dominated. The Action genre in particular has been challenged by Mulvey theory; men have played the active role whereas the woman plays a more passive role. “Hollywood female characters of the 1950s and 60s were, according to Mulvey, presented with "to-be-looked-at-ness[2]." Mulvey suggests that there were two distinct modes of the male gaze of this era: "voyeuristic" (seeing women as 'whores') and "fetishistic" (seeing women as 'Madonna’s')”[3]. Mulvey argued that women where set into to different characters one which was to be the sexually active female and the other who was seen as a powerless female comically seen as ‘The housewife’. This theory has dominated Hollywood action films for decades and has recently been challenged by films like ‘Kill Bill 2’ which have challenged this theory and provided a more exiting role for women.
Moreover, Laura Mulvey was a feminist film critic who is thought of as the lead the way of modern feminism in the cinema. She said that mainstream films presented images of women that were produced simply for the gratification of male viewers. She developed a theory based on the idea that because we live in a patriarchal society, the enjoyment of looking at images on screen in an sexual way, shows the male being active and the female being passive. She thought that Hollywood films used women as erotic objects and that the narrative of certain films is slowed down to give heterosexual male audiences the opportunity to stare at the woman on display. Often, as in sex scenes, the camera circles on physical aspects of a woman for so long that the image becomes almost iconic for male viewers. The interests and fantasies seen on screen are made to fulfill with the dominant males that arguably run the industry. It is referred to as the ‘male gaze’, which combines the theories of voyeurism, narcissism and fetishism. Feminists such as Mulvey declared that women should shun this traditional narrative and begin to consider the idea of a ‘female gaze,’ which could redefine the representation of women.
“One of the most influential feminist film theorists and critics in the world, Laura Mulvey….”[4] Mulvey has been very influential in the past and has been used as a tool of psychoanalysis for many years. The action genre is where Laura Mulvey’s theory has been most dominant. ‘In the past, lead roles for women have always seemed scarce compared to males’[5]. Laura Mulvey, regarded as one of the most influential feminist film theorists, is famous for saying "narrative fiction film created images of women used for the gratification of men"[6]. Feminism became a revolution for women in Hollywood cinema where male dominance was challenged. Laura Mulvey theory became of great power used by the feminist movement (1970s) which demanded change in representation. The theory became as influential because of the revealing of representation of women in the 1970s.
Nevertheless, more recent films such as ‘Kill Bill 2’ by Quentin Tarantino’ are changeing as they include female characters who do scenes in the same kind of roles as men would usually be given without their femininity ever really becoming an issue. Kill Bills Vol 2 main characters are all women, and although the film is both a martial arts film and directed by a man, the women still retain their femininity. This is done through the certain parts of the narrative, such as Uma Thurman’s character gaining revenge on villains who attempted to kill her and killed her family, and also through costume, as the women are not made to appear masculine in any way. As both of these films are martial arts films, I decided to focus my research on the representation of female protagonists in action films.
“The representation of women in film is all based upon the understanding of the director's view within the ideology of the narrative of the film in which they have formed the film around the institution that best suits there script therefore constructing the film.” [7]Directors are in a popular cases in contemporary film portrayed as strong figures that helps in the narrative and show the plot in order to reach the climax in a film. This can be achieved as Laura Mulvey points out by taking advantage of the femininity of the female body and manipulating the sexual figure in order to gain a sexual aspect to the film and producing a male view on the film. The representation of women in films tend to be in some films for the use of comedy stereotypical and sexist, this is very evidence in such films as Austin Powers, in which Austin merely sees women as objects for his desire and pleasure and of course them being from the 60's and it being a time of male dominance. This is shown by the statement "You're an object Baby" [8]as it is degrading to a woman's independence and paints as a possession of a man, this is one of Austin's regularly used phrases in all the Austin Powers movies. This is one of the very few movies of contemporary times that have been so sexist towards women in such a way and been successful in its promotion and showings this conforming to Mulvey’s theory.
Kill Bill also challenges Mulvey’s theory in other ways. The narrative of “kill Bill 2” follows a female character played by Uma Thurman, and her quest to seek revenge on the death of her family and her baby inside her stomach. To an extent the narrative conforms to stereotypes as it shows the protagonist Uma Thurman to posses’ typical familial ideologies that a typical female conforms to. However, this can be argued as by the lose of her family Uma Thurman is left independent to seek her own revenge with the help of no being.
The mise en scene in ‘Kill Bill 2’ also helps represent the character in a way appealing to the ‘gaze’. Uma Thurman is modified or specially designed in any way to enhance her femininity. The actress is also shown in a way that makes her look ‘sexy’, with makeup and emphasis of her figure through the tight clothing. This emphasizes her appeal to the male audience.
Furthermore, as the years change so have women's roles in society have changed, and therefore their representation in the media. Changes in female representation media images still portray women as sex objects; as independent (but still sexy) career women; as loving mothers obsessed with food and clean clothes. “Women are still portrayed as objects to lust after; they are often the focus of the male gaze”[9], camera effects, mise-en-scene and use of sound to alter what is being represented. But the definition of beauty has changed. Images of women as dizzy blondes or mothers have been replaced by a new type. In the past most males wanted a powerless cleaner for a wife. Now men are looking for intelligent and confident as this is seen as sexy and attractive. This can be related to Kill Bill 2 where Uma Thurman is presented as a ‘ass kicking’ female who is shown as independent and powerful. But arguably Uma Thurman is still dressed to appeal to the ‘gaze’ through her costume.
Stereotypes that exist in contemporary films are used in more clever ways that make it hard to notice they are being used intentionally. The obvious stereotypes are easily visible such as the ‘bimbo’ [10]and this continuing role appears in ‘Charlie’s Angels’, when females are used as a device such as a distraction for the men. This representation is used in the very first scene where the Angels show a display of “ass kicking female empowerment” [11]using their strength to save a kidnapped man, a complete role turnaround for the representation of women in the past where they were once the ‘damsel in distress’ who was portrayed as helpless and weak. However, although women are in more empowering and active roles, they are still subordinate to men as they are mainly seen as the ‘objects of the gaze’. This means that they are represented as tools of visual pleasure and not for their other qualities such as acting ability, undermining a women’s ability to succeed without resort to her looks.
Furthermore, the changes in representation of women can be seen in the Terminator' trilogy. In Terminator I Sarah Connor, the main female is portrayed as typical female, screaming and in need of rescue. Terminator II shows her as a strong, powerful/independent female able to hold her own. The two main female characters in Terminator III are Kate Brewster, another damsel in distress and the TX, a deadly but sexy killing machine who uses her sexuality as a weapon for example enlarging breasts are used to attract males and get out of trouble from police. Both of the two robots the Terminator himself also known as Arnold Schwarzenegger and the female Terminator, the TX, are robots supposedly with no human feelings showing some level of equality in some characteristics.
This is also shown in James Bond Movies. “Women have gradually become more independent and powerful in Hollywood cinema”[12]. As time has changed so have women roles in movies since ‘Golden eye’ (1995) to the present ‘Casino Royale’ (2006). James Bond was an icon in Hollywood cinema where females where famously named “Bond Girls”[13]. A Bond girl is a character portraying Bond's love interest or sex object. In most films, they are victims rescued by Bond. This dependence on a male figure became an icon theme to all Bond movies. However, this representation of ‘bond girls’ has been challenged in contemporary movies. In ‘tomorrow never dies’(2004) Halle Barry has been given a professional occupation where she is also seen with possessing male characteristics. But this is done to an extent as the female character is also seen sleeping with Bond thus conforming to typical representations. As well as the promiscuous female representation Halle Barry is also objectified as a sex object for the pleasure of men which can be supported by the dress code of the female.
Another film that challenges Mulvey’s theory is ‘Blue Steel’. The narrative of ‘Blue Steel’ (1990) follows the character of Megan Turner and her life when she joins the police force. Through the course of the film, she faces disrespect from her colleagues, unfriendliness from men, and hate from her family, all because she is a woman on a career that was previously only to men. The audience grows to understand that the character is experiencing a struggle within her to build the confidence to succeed at a job which leaves her subject to sexism and also very dangerous. There are two sides to the protagonist Megan Turner’s police force investigating a serial killer, and one of a man who she becomes involved with. The villain could be seen to embody the ‘male gaze’ as he is later found to be Turners lover and the killer. He objectifies Turner, worshipping the image of her holding a gun. “Mulvey theory of the pleasure a male gains from watching conforming to stereotype of women being passive, appealing to male fetishism of domination and power[14].” The mise-en-scene of the film also affects on the representation of the lead character. Her costume, a police uniform, is not modified or specially designed in any way to objectify her female characteristics. This can be however challenged by relating to Kill Bill 2 where Uma Thurman is shown wearing enhanced costume to emphasis her female characteristics.
[1] Laura Mulvey (1989). Visual and Other Pleasures. Bloomington: Indiana University Press.
[2] Laura Mulvey (1989). Visual and Other Pleasures. Bloomington: Indiana University Press.
[3] Laura Mulvey (1975). "Visual Pleasure and Narrative Cinema.
[4] http://www.wellesley.edu/PublicAffairs/Releases/2006/032406.html
[5] Laura Mulvey (1975). "Visual Pleasure and Narrative Cinema
[6] Laura Mulvey (1975). "Visual Pleasure and Narrative Cinema.
[7] Genre and Hollywood by Steve Neale
[8] Austin Powers Gold member
[9] Visual Pleasures and Narrative Cinema by Laura Mulvey
[10] Inage And Representation by Nick Lacey
[11] http://www.movieviews.org/reviews/may-july2003.shtml
[12] Genre and Hollywood by Steven Neale
[13] Box Office History for James Bond Movies, The Numbers. Retrieved on 2007
[14] http://www.wellesley.edu/PublicAffairs/Releases/2006/032406.html
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