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 custody s allegory has non disappointed , providing both(prenominal) of the most interesting , as well as some of the best , sources for Hollywood reside with . Fiction by American wo manpower 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 ) establish on Marg art Mitchell s novel (1936 ) of the Old S issueh , which lower the author s insistence that it was non mean to mirror the falling off or other al events , both book and carry gripped the American public s favorite imagination who , in the takings of one world war and in the opening geezerhood of a nonher , recall with nostalgia more genteel days and a Civilization gone with the windHowever , many of these memorable flicks adapted from novels by American women , like so much of classical and reign Hollywood cinema , tend to `stereotype or other 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 everyday 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 devotion to Rape , documented the treatment of women on fil m and consider that Hollywood has `typical! ly presented 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 thus defined in relation to their informality - by its supererogatory , i .e . the vamp , the sex goddess , or the femme fatale , or its absence seizure (the virgin the spinster , the motherHaskell adds that movies brought into the big screen what the equipment casualty women as a sex have been referred to over the years . It does germ as no surprise that cinema brought away images of the female `disparate from women s ac tual lives (Lupack 7 ) - limited , sort and demeaningSharon metalworker (1972 , 13 ) adds that `women , in any generousy man 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 let out becomes more overt when one considers the representation of minority women in film , who are continually boxed in conventional 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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