Literature And Film

: Utilizing the Male Gaze in Analyzing Anthony Minghella s The English PatientAs author Barbara Tepa Lupack (1999 , 1 ) contends , Hollywood has historically turned to literature for its story ideas . And wo work force s allegory has non disappointed , providing some(a) of the most interesting , as well as some of the best , sources for Hollywood breathe with . Fiction by American wo hands has both afforded insights into American federation and character and provided producers and directors with a wealth of paintingable material (Lupack 1Through the age , some of Hollywood s most profitable videos have been ground on novels by American women , i .e . Gone with the lace (1939 ) found on Marg art Mitchell s novel (1936 ) of the Old S knocked out(p)h , which refuse the author s insistence that it was non mean to mirror th e quagmire or other al events , both book and demand gripped the American public s favorite imagination who , in the outcome of one world war and in the opening long time of a nonher , recall with nostalgia more genteel days and a Civilization gone with the windHowever , many of these memorable hires adapted from novels by American women , like so much of classical and predominant Hollywood cinema , tend to `stereotype or other than misrepresent women and thereby to minimize their credibility (Lupack , 5 . As Marjorie Rosen (as cited by Lupack 7 ) puts it , movies being `a blueprint of public culture that altered the way women looked at the world and reflected how men intended to keep it the movie mills of Hollywood created `a Cinema Woman who has been a Popcorn Venus , a delectable but insubstantial hybrid of cultural distractions (Erens 19Such a view is shared by Molly Haskell , whose pioneering study From awe to Rape , documented the treatment of women on film an d recall that Hollywood has `typically pres! ented negative views of women (Lupack 6 ) in much(prenominal) a way that they are relegated to poor role models , if not glamorous , unattainable ones .

Female film characters are gum olibanum defined in relation to their informality - by its supernumerary , i .e . the vamp , the sex goddess , or the femme fatale , or its absence seizure seizure (the virgin the spinster , the motherHaskell adds that movies brought into the big screen what the ground women as a sex have been referred to over the long time . It does germ as no surprise that cinema brought forth images of the female `disparate from women s act ual lives (Lupack 7 ) - limited , sterile and demeaningSharon metalworker (1972 , 13 ) adds that `women , in any respectabley kind form , have been almost completely left out of film . from its very beginning they were present , but not in characterizations any self-respecting person could identify with (Gledhill , Re-vision 19 . This experimental condition of `limited visibility so to blab out becomes more overt when one considers the representation of minority women in film , who are continually boxed in stereotypical roles - whores , seducers , Amazons and matriarchs , martyr wives , exotics , and tragic mulattoesMore recent studies by feminists and feminist film critics decry the `sexual spectacle...If you want to get a full essay, order it on our website: BestEssayCheap.com

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