My perception of the roles of women in films
The constant undermined, oversexualized, and two-dimensional representation of women in film and other media platforms is undoubtedly extremely prevalent. In fact, it has been so expansive that it has become the accepted normative characterization for women across films, music videos and even magazines.
In the rising emergence of feminism, however, there are reformative expectations that the new form of progressive ideology requires, even demands of modern art producers of the film industry.
Feminist efforts are continuedly made to ensure that women in film would no longer be portrayed through the lenses of myopic stereotypes. It must be emphasized that these sexist portrayals have restricted the growth of women. Especially, in terms of allowing them to take space in the real world.
My perception of the roles of women in films
The “Leading Lady”
One of the most basic and sexist portrayals of women in film is the leading lady. A woman designated to faint, cry, and applaud on cue in support of her leading man. The leading lady is literally just the support. She is a trophy to be won. Her yes isn’t consent. Rather, it’s a sign of victory. Her no, on the other hand, isn’t a negation. Rather, it’s a challenge.
She’s All That is a 1999 American teen romantic comedy film starring Freddie Prinze Jr. and Rachael Leigh Cook. The movie revolves around their respective characters Zack and Laney. One of his friends Dean makes a bet with him to turn any random girl from school into the Prom Queen within six weeks.
Zack, then, accepts and Dean chooses Laney, an awkward and unpopular art student. Despite Laney ignoring his advances and rejections, Zack doesn’t take her no for an answer. And, there it goes — her no isn’t a negation. It’s a challenge. And, to relate to the second type of role of women in films, she also undergoes a makeover just to make herself look appealing to others.
The Glow-Up Doll
When talking about chick flicks, we often think of glamorous makeovers. The ugly duckling trope revolves around typically unattractive women and turns them into glow-up dolls. The main character undergoes a full 180-degree transformation of their physical appearance.
One movie that greatly typecasts the role of women is The Gifted. Starring Anne Curtis, Sam Milby, and Cristine Reyes. The movie starts with storytelling about two “ugly” girls — overweight Zoe and unattractive Aica. They both remain highly gifted when it comes to their studies.
When dumb and stereotypical Mark enrolls in the school, their friendship breaks as Zoe convinces him to pretend to fall in love with Aica. In this particular cheap shot at a comedy, the two smart and educated women fight over the attention of the same manipulative man.
It’s already undermining on its own. In the movie, they communicate that a woman’s worth isn’t found in her existence, character, or even intelligence. Rather, their worth is directly related to their weight and compliance with beauty standards.
Although Mark isn’t attracted to her, he forces himself to date her. Then, time passes by and they both undergo extensive plastic surgery for a makeover to become attractive.
Anne and Cristine’s roles started a career in modeling and remain rivals. Plotting revenge ensues and the story continues. The rivalry between the characters as both empowered women also showed the stereotypical perception of women being incapable to support each other.
The “Extremist Feminist”
One of the most common portrayals of women in roles is the annoying and extremist feminist. She doesn’t wear skirts, she hates make-up, and she isn’t into dating. This typecast literally demonizes feminism in films. One of the movies that show this off is the 1999 teen romantic-comedy classic, 10 Things I Hate About You.
It stars Julia Stiles and Heath Ledger as the extremist feminist Kat and campus bad boy Patrick. The movie starts off with Joseph Gordon-Levitt’s Cameron who is a new student and falls in love with popular sophomore, Bianca.
When he asks her out, she informed him that her father has made a new rule of no dating. It’s a pretense of allowing her to date the self-absorbed Joey, suggesting that Cameron should find someone willing to date her sister, Kat.
Cameron, then, hires Patrick to date Kat. And, of course, he succeeds in making her fall in love with him. They’ve communicated the demonization of feminists to their young female audiences that being a feminist isn’t attractive. Of course, the movie ends with the annoying feminist’s happy ending throwing away feminist values after falling in love with the campus bad boy.
This has impacted society in many ways. Not only does it promote the narrative of changing one’s self to comply with socially constructed beauty standards, but it also damaged the state of feminism whose aim is to promote women supporting women.
