Representation of the Feminine in American Feminist Cinema Essay

Representation of the Feminine in American Feminist Cinema - Essay mannikinThe adopt Rebecca shows how women who strayed outside the lines of pre-defined social roles were generally demonized by society, which includes opposition from other women who are comfortable in fulfilling their traditional roles, save occasionally worshipped by other women who longed for freedom of being. The film captured Rebeccas release of identity as a womanhood who is expected to live according to traditional norms of behavior, handing down this mind-set to succeeding generations as a continuation of the old ways and old ideals, despite their personal proneness for the freedom to express their individuality. In a sense, the film showed that in their uphill quest for freedom, women had to go through and through several barriers imposed by gender and social tradition. This landmark film established the base for akin Hollywood films against which subsequent cinematic outputs would be compared.Whos A fraid of Virginia Woolf (1966) demonstrated in a clearer manner the womens rightist stirrings of American cinema. The depiction of women in Martha combined the traditional - stay-at-home and career-less daughter of a well-known university prof who married a loser - and the modern - childless but with an imaginary child, aware of her sexuality, cursing and nag her husband in public, and flirting openly with a young married guest in drive of her husband and the guests wife.In contrast to other portrayals of women in the past, the film signified a certain form of equalization between the sexes. Elizabeth Taylors Academy Award as Best Actress for her portrayal as Martha in a film laced with profanity and feminine sensuality that shocked audiences at the time may begin marked a turning point as it showed that a woman could be the mistress of her destiny. around two decades later, Desperately Seeking Susan (1981) seemed to move towards closing the loop as it directly addressed the co ncepts of womanish voyeurism and female desire. It starred the 1980s icon of the fun-loving material girl (pop star Madonna) and featured a young woman obsessed with another young woman whom she had never met, and although there is a strong element of sapphic criticism involved, there is little indication that the women are true lesbians. A psychoanalytic approach to the film necessarily excluded the possibility that the desire inherent in the film is not for the female body but is instead a desire for the other, an idealized fantasy life believed to be lived by this other. This film introduced distinguishable viewpoints raised regarding its message that addressed the concept of the feminine directly, making it an ideal framework for studying how muliebrity is reflected in modern cinema