Essay about Pretty Woman

Q: Describe the bright and representational tropes of post feminism in Very Woman.

The perfect romance Fairly Woman (1990) staring Julia Roberts and Richard Gere is essentially a modern day day mythic where the underprivileged young female meets her handsome royal prince and lives happily ever before after. The film resonates the same narrative formula as classic myth Cinderella, in that the film's protagonist Vivian (Roberts) plays a prostitute who is bought for a week by rich businessman Edward (Gere) pertaining to everything however the standard reason, sex. Fairly Woman contains a number of designs that are similar to common attributes of post-feminist discourse, particularly the third wave. Third trend feminists interpret gender, consumerism and sexuality as central to their ideology. This article will discuss some of the discursive and representational tropes in Pretty Woman as a postfeminist text.

Feminist discourse from the feminist movement in the 1960's and 1970's come about in well-known media applying representational tropes centering on the privileged girl protagonist. Text messages featured narratives focusing on the empowerment of women, be it interpersonal, economic physical. For many feminists, feminine values and conduct were seen like a major reason behind women's oppression, so they rejected anything associated with a patriarchal traditions where guys and masculinity were considered higher in status than women and femininity. Some of the key key concerns and debates raised during the second wave period included but were not limited to: equivalent pay in the workplace; access to education; equal task opportunities; the right to contraception and abortion; and provision of childcare establishments. Feminist suggestions and discursive motivs shot to popularity in the mass media, based on a premise of the rejection of femininity and it's really ideals, including female oppression and subjugation. The quest for independence came about as a common theme, featuring strong female characters unrestricted by guy control, subordination or dependence. Feminists declined femininity labeling it being a patriarchal create " linked to passivity, submissiveness and dependence” (Hollows, 2k, p 10) and observed it fundamentally as a substandard state to masculinity. Feminism began to be sidelined due to the repercussion of antifeminism and developing discontent. Inside the 1980's male or female discourse and rhetoric in representational lifestyle shifted coming from ‘feminism' to ‘post-feminism, ' which included many variations with the feminist important framework. Because of all the ideological uncertainty that goes along with post-feminist talk another body of thought emerged labeled the ‘third wave'. Some of the common representational characteristics of third influx thought are touched about in Pretty Woman, hence the film could be considered as a ‘third wave' post-feminist text.

Early feminists were a great anti-beauty and anti-consumption traditions, which shunned fashion; make-up and anything deemed to create the female as more attractive for the opposite love-making. Contemporary american society even so has accepted consumerism and beauty traditions as two characteristics central to post feminist media. It really is no longer regarded a taboo to wear lip stick or lingerie and " freedom is definitely construed while the freedom to shop. ” (Taska and Negra, 2005, l. 107) This kind of reawakening of feminine ingestion can be characterized as post-feminist in characteristics, more specifically, the next wave. Quite Woman appreciates beauty lifestyle and consumerism in the iconic Rodeo Travel shopping moments. We find superb pleasure in watching because Vivian gets her payback on the snobby saleswomen who wouldn't provide her, when ever she returns moments later empowered by simply Edward fantastic credit card, of which at that moment the clerks morph into Vivian's minions, waiting around on her hands and foot. The ideological power of natural beauty culture is likewise illustrated with a sharp comparison from inside the lobby scenes at the Regent Beverly Wilshire Hotel, before and after Vivian's makeover....

Bibliography: Benshoff, H. M., & Griffin, S. (2004). America on film: symbolizing race, class, gender, and sexuality on the movies. Oxford: Blackwell.

Bignell, L

Brunsdon, C. (2000). Post- Feminism and Shopping Videos. The film studies reader (pp. 289-299). Oxford: Oxford University Press.

Dines, G., & Humez, J. M. (2011). Gender, race, and class in media: a crucial reader (3rd ed. ). Thousand Oak trees, Calif.: SAGE Publications.

Dowling, C. (1981). The Cinderella complex: ladies 's hidden fear of freedom. New York: Summit Books.

Gill, R. (2007). Gender as well as the media. Cambridge, UK: Polity.

Hollows, M. (2000). Feminism, femininity, and popular lifestyle. Manchester, U. K.: Manchester University Press.

Kearney, Meters. C. (2012). The male or female and media reader. Ny: Routledge.

Garnishment, A. (2005). Female chauvinist pigs: women and the surge of raunch culture. New York: Free Press.

Kelley, T. (1994). A modern day Cinderella. Log Of American Lifestyle (01911813), 17(1), 87.

Nixon, S. (1997). Visual Requirements of Masculinity. Representation: ethnical representations and signifying techniques (pp. 291-336). London: Sage in association with the Open University or college.

Marshall, G. (Director). (2001). Pretty woman [Motion picture]. New Zealand: Touchstone Pictures.

Tasker, Y. & Negra, D. (2005). In Focus: Postfeminism and Modern Media Research. Cinema Journal 44(2), 107-110. University of Texas Press. Retrieved 04 27, 2013, from Project MUSE databases.


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