Somethings gotta give
Inital meeting- Erika (Diane Keaton) thinks Harry (Jack Nicholson) is a burglar, she challenges him, calls the police and gets her sister Zoe to grab a knife showing she is a strong and independent character from the start.
In the store- Erika finds out that Harry owns a Rap record label 'drive by records' Erika 'Rap thats interesting' Harry ' some people see rap as poetry' Erika 'yeah but come on how many words can you rhyme with bitch?' Depicting she doesnt care what people think and is not affraid to voice her opinion.
First Lunch- Zoe is analysisng Harry and Erika. Acomplished, successful playwrite, over 50, Divorced, sits in night after night after night. Erika comes back with: she stays in as part of her job, she likes it, she has been married for 20 years - shes done. This shows she is independent, happy, doesnt need a man.
Walk on the beach- Erika and Harry go for a walk on the beach, you see them laughing, smiling and talking together getting on for the first time. This could suggest she didnt really like being on her own she then goes on a Dinner Date- with Harry's Doctor showing she is attractive and strong to be able to hold two males attention but may also suggest she needs a man.
Pancake Scene- Harry Tells Ericka What he thinks of her 'Quote' and She also admits in this scene she misses marriage at night when she is alone.
Dinner with Ex Husband- She goes to Dinner with her daughter Marrin for moral support as it is the first time they meet her husbands new fiance for the first time. Shows she is strong and can move on, she didnt need him.
Crying Scene- Harry has gone back to his old way and young girls, Diane is devastated and thinks it is over so breaks down and cant stop crying or pick herself back up. Maybe she does need a man and she isnt as strong as she would like to be.
Paris <3 - Erika leaves Harry's doctor who was going to ask her to marry him and goes to meet Jack on a famous bridge, they become a couple again they are happy and she is again stronger. Showing she is strong and independent she didnt need a man but chose to have Jack by her side would just make her stronger.
Tuesday, 9 December 2008
Friday, 21 November 2008
Tuesday, 18 November 2008
A Feminist Perspective on Women and the Media
To begin with, liberal feminism is essentially a reformist approach, which tends to see more equal gender relations being brought about by equal opportunities policies and affirmative action programmes. It does not appear to question the power dimensions in society that maintain male superiority of status and female inferiority. Instead it concentrates on sex role stereotypes, prescriptions of sex-appropriate behaviour, appearance, interests, skills and self-perceptions (Van Zoonen, 1991: 121). This perspective maintains that over time the media will 'catch up' with actual social positions and they will present a more accurate view. According to Projansky, this has already occurred. She makes comparisons between perceptions of women and the media at the start of the 20th century and that of today. For example, a popular fictional female character at the turn of the century was the 'vamp' who appeared to represent 'danger, sexuality and the possibility of independence'. Towards the end of the century, movies such as Thelma and Louise showed women acting 'independently, doing things they were not supposed to do, and celebrating women's bonding' (1998: 1). Van Zoonan calls these latter women, 'superwomen', and makes mention of the many ways in which 'glossy magazines' for example, have introduced the superwoman who adeptly juggles her family and her successful work life (1991: 130).
On the other hand, studies conducted by Jones and Jones revealed that women's lives were only partially reflected and represented by the media. More often than not, of that which is published is distorted and misleading (1999: 66). For example, Coward points out, images and articles in popular magazines such as Better Homes and Garden relate to home-improvements. They have a definite style of writing of which any idea of domestic labour is repressed. Labour is there but it is the labour of decorating, designing and painting which leads to the 'house ending up in the perfect state' (1984: 64-66). Turner suggests that this misrepresentation of the 'real home environment' not only represses women's labour but women are made to believe that they are, for the most part, responsible for domestic life. Any deviation from this 'norm' connotes 'inadequacy' (1997: 330-331).
Radical feminists, similar to that above, focus on how women are misrepresented in the media however they investigate the effects of patriarchy on women that is, the system whereby all men directly or indirectly dominate and oppress all women. They are particularly concerned about the media's role in the construction of consciousness and gender identities instead of specific stereotypes. The analysis of male dominance in the media and other social institutions identified the need for women to separate themselves from male-controlled systems and create their own organisations and structures (Donovan, 1985: 24). For example, Cartmell et al suggest that films such as 'Thelma and Louise' (1991) and 'Steel Magnolias' (1989) are an indication of how strong 'sisterhood' has become. They believe that the sharing of female experience and the promise of 'sisterly solidarity' has given women the 'power by numbers' to infiltrate and influence media content (1998:2). Monaco on the other hand, believes these movies whilst portraying women with common aims, are perhaps 'just as insidious as the Brotherhood' while being out of fashion because of their associations with the 'left' rather than the 'right', especially in their attack on an exclusion from patriarchal structures (1981: 219). With 'Thelma and Louise for example, Monaco suggests a hostility to women in that the only form of self-determination it proposes is suicidal. The "Colour Purple' is another example whereby a matriarchal community rules and the former patriarch are only allowed to exist on the outer.
Socialist feminism, unlike the previous approaches, does not concentrate exclusively upon gender, but incorporates analyses of social class, ethnicity, sexual preference, age and disability into the discourse. This theory appears embedded in socioeconomic conditions to which the above and other factors take second place. The media are perceived as ideological apparatuses that represent the essential rightness of capitalism as a social system and socialist feminists concentrate on the ways in which gender is constructed through language and imagery, that is semiology. It is based within a Marxist framework of reference, namely Gramsci's (1971) theory of hegemony or otherwise known as 'the manipulative model' (Jones and Jones: 1999: 68). For example, news might serve as the means by which a dominant class, such as white male elites, could condition a population of subordinate classes (women, minorities) to adopt prevailing values and behaviours, thereby perpetuating an inherently unequal system of power (Byerly, 1990a: 80). Rakow supports this claim by suggesting that the 'news is essentially a masculine narrative in which women function not as speaking subjects but as signs '(1992: 9). Moritz says that 'news media practices continue to be deeply implicated in the perpetuation as a sexist, heterosexual, homophobic, and class-driven culture that privileges elite, white, conservative, male voices (1995: 127).
According to Kray, media personnel may appoint as newsmakers and/or salespersons, individuals they feel to be representative of marginal groups however most are males while females of any type are 'symbolically annihilated'. Producers and owners (powerful elite) believe this representation, although minimal, will clear them of any discrimination and place them in a favourable position with their public (1995: 225). Some women such as Oprah Winfrey and Roseanne Barr have successfully infiltrated mainstream media structures however women tend to remain largely absent.
Although the above perspectives may provide relevant arguments concerning the relationship between women and the media, research tends to show that women are still largely oppressed. Dominick and Rauch undertook the earliest systematic study of gender stereotyping on American television in 1972. They found that seven-five percent of advertisements used women for kitchen and bathroom products, over fifty-six percent of women were portrayed as housewives while men were portrayed in authoritative roles and eighty-seven percent of voice-overs used a male voice (1972: 76-79). In 1990, Cumberbatch's studies showed that men still outnumbered women on screen by the ratio of nearly 2:1 and over eighty-nine percent of voice-overs were male. Women were still portrayed far more commonly in decorative roles than men were and far more as attractive and slim (1990: 11-14). In other words, it appears that women remain in what is essentially a man's world and as Dow points out,
To begin with, liberal feminism is essentially a reformist approach, which tends to see more equal gender relations being brought about by equal opportunities policies and affirmative action programmes. It does not appear to question the power dimensions in society that maintain male superiority of status and female inferiority. Instead it concentrates on sex role stereotypes, prescriptions of sex-appropriate behaviour, appearance, interests, skills and self-perceptions (Van Zoonen, 1991: 121). This perspective maintains that over time the media will 'catch up' with actual social positions and they will present a more accurate view. According to Projansky, this has already occurred. She makes comparisons between perceptions of women and the media at the start of the 20th century and that of today. For example, a popular fictional female character at the turn of the century was the 'vamp' who appeared to represent 'danger, sexuality and the possibility of independence'. Towards the end of the century, movies such as Thelma and Louise showed women acting 'independently, doing things they were not supposed to do, and celebrating women's bonding' (1998: 1). Van Zoonan calls these latter women, 'superwomen', and makes mention of the many ways in which 'glossy magazines' for example, have introduced the superwoman who adeptly juggles her family and her successful work life (1991: 130).
On the other hand, studies conducted by Jones and Jones revealed that women's lives were only partially reflected and represented by the media. More often than not, of that which is published is distorted and misleading (1999: 66). For example, Coward points out, images and articles in popular magazines such as Better Homes and Garden relate to home-improvements. They have a definite style of writing of which any idea of domestic labour is repressed. Labour is there but it is the labour of decorating, designing and painting which leads to the 'house ending up in the perfect state' (1984: 64-66). Turner suggests that this misrepresentation of the 'real home environment' not only represses women's labour but women are made to believe that they are, for the most part, responsible for domestic life. Any deviation from this 'norm' connotes 'inadequacy' (1997: 330-331).
Radical feminists, similar to that above, focus on how women are misrepresented in the media however they investigate the effects of patriarchy on women that is, the system whereby all men directly or indirectly dominate and oppress all women. They are particularly concerned about the media's role in the construction of consciousness and gender identities instead of specific stereotypes. The analysis of male dominance in the media and other social institutions identified the need for women to separate themselves from male-controlled systems and create their own organisations and structures (Donovan, 1985: 24). For example, Cartmell et al suggest that films such as 'Thelma and Louise' (1991) and 'Steel Magnolias' (1989) are an indication of how strong 'sisterhood' has become. They believe that the sharing of female experience and the promise of 'sisterly solidarity' has given women the 'power by numbers' to infiltrate and influence media content (1998:2). Monaco on the other hand, believes these movies whilst portraying women with common aims, are perhaps 'just as insidious as the Brotherhood' while being out of fashion because of their associations with the 'left' rather than the 'right', especially in their attack on an exclusion from patriarchal structures (1981: 219). With 'Thelma and Louise for example, Monaco suggests a hostility to women in that the only form of self-determination it proposes is suicidal. The "Colour Purple' is another example whereby a matriarchal community rules and the former patriarch are only allowed to exist on the outer.
Socialist feminism, unlike the previous approaches, does not concentrate exclusively upon gender, but incorporates analyses of social class, ethnicity, sexual preference, age and disability into the discourse. This theory appears embedded in socioeconomic conditions to which the above and other factors take second place. The media are perceived as ideological apparatuses that represent the essential rightness of capitalism as a social system and socialist feminists concentrate on the ways in which gender is constructed through language and imagery, that is semiology. It is based within a Marxist framework of reference, namely Gramsci's (1971) theory of hegemony or otherwise known as 'the manipulative model' (Jones and Jones: 1999: 68). For example, news might serve as the means by which a dominant class, such as white male elites, could condition a population of subordinate classes (women, minorities) to adopt prevailing values and behaviours, thereby perpetuating an inherently unequal system of power (Byerly, 1990a: 80). Rakow supports this claim by suggesting that the 'news is essentially a masculine narrative in which women function not as speaking subjects but as signs '(1992: 9). Moritz says that 'news media practices continue to be deeply implicated in the perpetuation as a sexist, heterosexual, homophobic, and class-driven culture that privileges elite, white, conservative, male voices (1995: 127).
According to Kray, media personnel may appoint as newsmakers and/or salespersons, individuals they feel to be representative of marginal groups however most are males while females of any type are 'symbolically annihilated'. Producers and owners (powerful elite) believe this representation, although minimal, will clear them of any discrimination and place them in a favourable position with their public (1995: 225). Some women such as Oprah Winfrey and Roseanne Barr have successfully infiltrated mainstream media structures however women tend to remain largely absent.
Although the above perspectives may provide relevant arguments concerning the relationship between women and the media, research tends to show that women are still largely oppressed. Dominick and Rauch undertook the earliest systematic study of gender stereotyping on American television in 1972. They found that seven-five percent of advertisements used women for kitchen and bathroom products, over fifty-six percent of women were portrayed as housewives while men were portrayed in authoritative roles and eighty-seven percent of voice-overs used a male voice (1972: 76-79). In 1990, Cumberbatch's studies showed that men still outnumbered women on screen by the ratio of nearly 2:1 and over eighty-nine percent of voice-overs were male. Women were still portrayed far more commonly in decorative roles than men were and far more as attractive and slim (1990: 11-14). In other words, it appears that women remain in what is essentially a man's world and as Dow points out,
Friday, 14 November 2008
Films
The First Wives Club
Three ex-wives, dumped for newer models, determine to get their revenge. They had helped their husbands become financially successful, so they cleverly plan to hurt their exes. Justice is sweet and fun with plenty of great one-liners and physical gags. These three strong and independent women 'don't get mad' they get 'everything!'
The Family Stone
The Stone family unites in common cause when their favorite son brings his uptight girlfriend home for the Christmas holiday, with plans of proposing. Overwhelmed by the hostile reception, she begs her sister to join her for emotional support, triggering further complications. Despite complications Christmas is a time when families come together and initial perceptions of people are forgotten, as life is to short which the characters understand all to well.
Something's Gotta Give
Harry Sanborn (Nicholson) is an aged music industry exec with a fondness for younger women like Marin (Peet), his latest trophy girlfriend. Things get a little awkward when Harry suffers a heart attack at the home of Marin's mother Erica (Keaton). Left in the care of Erica and his doctor (Reeves), a love triangle starts to take shape and Harry finds himself in an unusual relationship and has broken down Erica's hard exterior. 'i do think you use your strength to separate yourself from everyone but its thrilling when your defences are down and your not isolated i believe that is your winning combo' 'i cant decide if you hate me, or your the only person who ever really got me'
Three ex-wives, dumped for newer models, determine to get their revenge. They had helped their husbands become financially successful, so they cleverly plan to hurt their exes. Justice is sweet and fun with plenty of great one-liners and physical gags. These three strong and independent women 'don't get mad' they get 'everything!'
The Family Stone
The Stone family unites in common cause when their favorite son brings his uptight girlfriend home for the Christmas holiday, with plans of proposing. Overwhelmed by the hostile reception, she begs her sister to join her for emotional support, triggering further complications. Despite complications Christmas is a time when families come together and initial perceptions of people are forgotten, as life is to short which the characters understand all to well.
Something's Gotta Give
Harry Sanborn (Nicholson) is an aged music industry exec with a fondness for younger women like Marin (Peet), his latest trophy girlfriend. Things get a little awkward when Harry suffers a heart attack at the home of Marin's mother Erica (Keaton). Left in the care of Erica and his doctor (Reeves), a love triangle starts to take shape and Harry finds himself in an unusual relationship and has broken down Erica's hard exterior. 'i do think you use your strength to separate yourself from everyone but its thrilling when your defences are down and your not isolated i believe that is your winning combo' 'i cant decide if you hate me, or your the only person who ever really got me'
Wednesday, 12 November 2008
Diane Keaton - Short Biograpghy.
Diane Keaton was born on the 5th of January 1946, Los Angeles, California, USA.
Diane’s Birth name was Diane Hall but got called Annie for short. She is 5' 6½" tall.
She studied Drama at Santa Ana College for a while before dropping out to study at the Neighborhood Playhouse in New York.
She got her first major stage role in the Broadway rock musical ‘Hair’. As understudy to the lead, she gained attention by not removing any of her clothing. In 1970, Woody Allen cast her in his Broadway play ‘Play It Again, Sam’, which had a successful run. It was during this time that she became involved with Allen and appeared in a number of his films. The first one was ‘Play It Again, Sam’ (1972), the screen adaptation of the stage play. That same year Francis Ford Coppola cast her as Kay in the Oscar-winning ‘The Godfather’ (1972) and she was on her way to stardom. She reprised that role in the film's first sequel, ‘The Godfather: Part II’ (1974). She then appeared with Allen again in ‘Sleeper’ (1973) and Love and Death (1975). In 1977 Keaton broke from away from her comedy image and stared in the unsettling ‘looking for Mr. Goodbar’ this performance won her a golden globe. It was the same year that she appeared in what many regard as her best performance, in the title role of ‘Annie Hall’ (1977), which Allen wrote specifically for her as her real last name is Hall, and her nickname is Annie. She won the Oscar and the British Award for Best Actress. She started a fashion trend with her unisex clothes and was the poster girl for a lot of young males. Her mannerisms and awkward speech became almost a national craze. She then became involved with another director and stared in some of his movies also. Diane began directing when she wasn’t doing much work as an actress. She directed the documentary ‘Heaven’ (1987), as well as some music videos. For television she directed an episode of the popular, but strange, ‘Twin Peaks’ (1990).
To date Diane Keaton is a single mother of a child which she adopted and is also working on an up coming movie from zero to sixty.
Diane’s Birth name was Diane Hall but got called Annie for short. She is 5' 6½" tall.
She studied Drama at Santa Ana College for a while before dropping out to study at the Neighborhood Playhouse in New York.
She got her first major stage role in the Broadway rock musical ‘Hair’. As understudy to the lead, she gained attention by not removing any of her clothing. In 1970, Woody Allen cast her in his Broadway play ‘Play It Again, Sam’, which had a successful run. It was during this time that she became involved with Allen and appeared in a number of his films. The first one was ‘Play It Again, Sam’ (1972), the screen adaptation of the stage play. That same year Francis Ford Coppola cast her as Kay in the Oscar-winning ‘The Godfather’ (1972) and she was on her way to stardom. She reprised that role in the film's first sequel, ‘The Godfather: Part II’ (1974). She then appeared with Allen again in ‘Sleeper’ (1973) and Love and Death (1975). In 1977 Keaton broke from away from her comedy image and stared in the unsettling ‘looking for Mr. Goodbar’ this performance won her a golden globe. It was the same year that she appeared in what many regard as her best performance, in the title role of ‘Annie Hall’ (1977), which Allen wrote specifically for her as her real last name is Hall, and her nickname is Annie. She won the Oscar and the British Award for Best Actress. She started a fashion trend with her unisex clothes and was the poster girl for a lot of young males. Her mannerisms and awkward speech became almost a national craze. She then became involved with another director and stared in some of his movies also. Diane began directing when she wasn’t doing much work as an actress. She directed the documentary ‘Heaven’ (1987), as well as some music videos. For television she directed an episode of the popular, but strange, ‘Twin Peaks’ (1990).
To date Diane Keaton is a single mother of a child which she adopted and is also working on an up coming movie from zero to sixty.
Monday, 10 November 2008
Hypothesis.
The role of Diane Keaton in the films 'First Wives Club', 'Somethings Gotta Give' and 'The Family Stone' and whether they conform to stereotypical gender roles.
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