Women in Films: Not Truly Lifted Off Their Traditional Stereotypes
Films may encapsulate many messages and beliefs and are an effective mode of relaying messages to its audience. Over the years, films are known to carry messages on gender stereotypes as the traits the characters in the films embody serve as a signal for audiences to follow.
Traditionally, males are regarded as ‘real men’ when they accomplish jobs which males customarily ought to do (Rajan, 2006). Rajan (2006) elucidates that these include having a stable job, fulfilling family and social obligations, playing sports and being heterosexual and that masculinity is attained by the amount of recognition received for their actions. Additionally, males are also required to possess masculine, patriarchal characteristics or qualities such as undoubted power, physical strength, social authority, competitiveness, tendency to isolate oneself and not easily sharing one’s emotions (Attwood, 1995; Gillam and Wooden, 2008).
A breakthrough for males
However, various studies suggest that males can breakthrough their traditional stereotypes and promote a new model of masculinity (Gillam and Wooden, 2008; Rajan, 2006). Firstly, males can adopt masculinity that females increasingly demand and desire of males, which includes exercising power by intelligence and competitiveness, being thoughtful to women’s concerns and being in concord with present-day feminist approaches towards marriage and sex (Rajan, 2006). Alternatively, males can also acquire feminine qualities by developing a soft side to them, where they can be more expressive of their feelings, recognize their need for communal support and show sympathy rather than violence (Gillam and Wooden, 2008).
These findings propose an idea where the portrayal of one gender is largely dependent on the other (Attwood, 1995; Gillam and Wooden, 2008; Taylor and Setters, 2011). Instead of expressing masculinity or femininity as fixed definitions, we should focus on the processes and relationships through which men and women
Traditionally, males are regarded as ‘real men’ when they accomplish jobs which males customarily ought to do (Rajan, 2006). Rajan (2006) elucidates that these include having a stable job, fulfilling family and social obligations, playing sports and being heterosexual and that masculinity is attained by the amount of recognition received for their actions. Additionally, males are also required to possess masculine, patriarchal characteristics or qualities such as undoubted power, physical strength, social authority, competitiveness, tendency to isolate oneself and not easily sharing one’s emotions (Attwood, 1995; Gillam and Wooden, 2008).
A breakthrough for males
However, various studies suggest that males can breakthrough their traditional stereotypes and promote a new model of masculinity (Gillam and Wooden, 2008; Rajan, 2006). Firstly, males can adopt masculinity that females increasingly demand and desire of males, which includes exercising power by intelligence and competitiveness, being thoughtful to women’s concerns and being in concord with present-day feminist approaches towards marriage and sex (Rajan, 2006). Alternatively, males can also acquire feminine qualities by developing a soft side to them, where they can be more expressive of their feelings, recognize their need for communal support and show sympathy rather than violence (Gillam and Wooden, 2008).
These findings propose an idea where the portrayal of one gender is largely dependent on the other (Attwood, 1995; Gillam and Wooden, 2008; Taylor and Setters, 2011). Instead of expressing masculinity or femininity as fixed definitions, we should focus on the processes and relationships through which men and women
References: 1. Attwood, L. (1995). Men, machine guns, and the mafia: Post-soviet cinema as a discourse on gender. Women 's Studies International Forum, 18(5-6), 513-521. doi:10.1016/0277-5395(95)00082-8 2. Gillam, K. and Wooden, S. R. (Spring 2008). Post-Princess Models of Gender: The New Man in Disney/Pixar. Journal of Popular Film & Television 36(1), 2-8. 3. Rajan, G. (2006). Constructing-Contesting Masculinities: Trends in South Asian Cinema. Signs: Journal of Women In Culture & Society, 31(4), 1099-1124. 4. Taylor, L., & Setters, T. (2011). Watching Aggressive, Attractive, Female Protagonists Shapes Gender Roles for Women Among Male and Female Undergraduate Viewers. Sex Roles, 65(1/2), 35-46. doi:10.1007/s11199-011-9960-1 5. Gilpatric, K. (2010). Violent Female Action Characters in Contemporary American Cinema. Sex Roles, 62(11/12), 734-746. doi:10.1007/s11199-010-9757-7 6. Spiker, J. A. (2012). Gender and Power in the Devil Wears Prada. International Journal Of Business, Humanities & Technology, 2(3), 16-26. 7. Furia, S. R., & Bielby, D. D. (2009). Bombshells on Film: Women, Military Films, and Hegemonic Gender Ideologies. Popular Communication, 7(4), 208-224. doi:10.1080/15405700903046369