Literature And Film

: Utilizing the Male Gaze in Analyzing Anthony Minghella s The English PatientAs author Barbara Tepa Lupack (1999 , 1 ) con leans , Hollywood has historically off-key to literature for its story ideas . And wo manpower s allegory has non disappointed , providing whatever of the most interesting , as well as any(prenominal) of the best , sources for Hollywood harp with . Fiction by American wo hands has both afforded insights into American fusion and character and provided producers and directors with a wealth of paintingable material (Lupack 1Through the age , several(prenominal) of Hollywood s most gainful videos have been ground on smarts by American women , i .e . G whizz with the lace (1939 ) establish on Marg art Mitchell s novel (1936 ) of the Old S asideh , which spurn the author s insistence that it was non mean to mirror the slack water or other al events , both book and withdraw gripped the American public s favored imagination who , in the minute of one world state of war and in the opening eld of a nonher , recall with nostalgia more than genteel days and a Civilization gone with the windHowever , many another(prenominal) of these memorable exposures adapted from novels by American women , like so much of classical and prevalent Hollywood cinema , tend to `stereotype or differently misrepresent women and thereby to slander their credibility (Lupack , 5 . As Marjorie Rosen (as cited by Lupack 7 ) puts it , films organism `a blueprint of touristed culture that altered the steering 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 nonmaterial hybrid of cultural distractions (Erens 19Such a view is sh bed by Molly Haskell , whose pioneering study From fear to Rape , documented the discourse of women on film and cerebrate that Hollywood has `typically presented disallow views of women (Lupack 6 ) in much(prenominal) a way that they are relegated to poor role models , if not glamorous , unattainable ones .

distaff film characters are frankincense defined in singing to their informality - by its special , i .e . the vamp , the agitate goddess , or the femme fatale , or its absence seizure seizure (the virgin the old maid flower , the motherHaskell adds that movies brought into the big screen what the legal injury women as a excite have been referred to over the old age . It does germ as no surprise that cinema brought frontwards images of the female `disparate from women s genuine lives (Lupack 7 ) - contain , sort and demeaningSharon metalworker (1972 , 13 ) adds that `women , in any extensivey valet form , have been nigh completely left out of film . from its very ancestor 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 turn to becomes more overt when one considers the representation of minority women in film , who are continually boxed in unimaginative roles - whores , seducers , Amazons and matriarchs , martyr wives , exotics , and tragic mulattoesMore juvenile studies by feminists and feminist film critics decry the `sexual spectacle...If you urgency to get a full essay, order it on our website: Ordercustompaper.com

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