Clarissa RamosFilm 301
The films of 1960s to the 1980s’ era supported the ideals of leaving technology and returning to nature. The films were concentrated on how the advancement in technology has created chaos and social anxiety versus benefitting and helping society advance. This links to the ideals of conservative because conservative beliefs are based on confining to the known and not wanting to change to the unknown for fear of the outcome. This is the opposite for the radical ideologies, which challenge the results of technology. One film made during this era that portrays both the conservative and liberal ideologies is Planet of the Apes. The complete human and ape role reversal would be the issue for conservative ideology because it is not natural for humans to be submissive to apes and the radical issue would be the idea that apes actually controlled the world.
The paradoxical relationship between conservatism and modernity is that conservatism must comply and adapt with the evolution of society. Conservatism concerns itself with the foundations of society so those core issues will not be drastically changed or diverted from, for example the idea of family will always be present in society no matter what cultural or technological advancements occur.
Deckard’s true status remains undetermined because “Blade Runner” allows the audience to decide whether Deckard is either a human or replicant. There is much ambiguity as far as Deckards true status. References have “suggested” whether he was a replicant or a human, but there are various clues that are misleading and do not prove his status either way. Roy Baty’s character, as well as the other replicants in the film challenge the boundaries between human and replicant because replicants were “not just physically and intellectually superior to humans; in the dehumanised world that Blade Runner presents, replicants were ‘more human than human’” (Bukatman 77). Therefore, it was difficult to determine whether or not replicants were human because it was near impossible to distinguish between the two.
Tuesday, February 24, 2009
Wednesday, February 18, 2009
Clarissa Ramos: Visual Essay #1
Clarissa P. Ramos
Film 301
Visual Assignment #1
February 18, 2009
Stepford Wives: Created in Their Husband’s Likeness
The 1975 film, The Stepford Wives (Dir. Bryan Forbes, 1975, United States)directed by Bryan Forbes delves into the social conflict of a woman’s involvement in society. The movie is an adaptation of the book, The Stepford Wives by Ira Levin, in which a woman (Joanna) struggles with the concept of stereotypical housewives of Stepford, unaware that the fraternity of men in the Stepford community have used robots in order to duplicate their original wives and create each their own "perfect wife". This conflict in the movie directly correlates with the struggles of the Women’s Movement in the 1960s’. Through the use of history and science fiction the director is able to use Joanna as a model for women’s progression and eventual unwilling compromise to societies wishes.
The killing of Joanna by her robot replacement is a representation of the dream of women’s progress being destroyed. It was significant that the director chose to have Joanna’s replica to kill Joanna because this strengthened the idea that Joanna would have to conform to the ideals and wishes of society. This is a strong statement by the director because he is insinuating that if one person speaks out that it may not be strong enough to overcome the ideals of society without support of the community.
Stepford Wives delves into the issues of the women’s movement of the 1960s’ through its historical and science fiction suggestions. The use of Joanna as a motivated woman that attempts to ignite the revolt against the social norms of society, proves that if movement’s are not supported that the norms that
Film 301
Visual Assignment #1
February 18, 2009
Stepford Wives: Created in Their Husband’s Likeness
The 1975 film, The Stepford Wives (Dir. Bryan Forbes, 1975, United States)directed by Bryan Forbes delves into the social conflict of a woman’s involvement in society. The movie is an adaptation of the book, The Stepford Wives by Ira Levin, in which a woman (Joanna) struggles with the concept of stereotypical housewives of Stepford, unaware that the fraternity of men in the Stepford community have used robots in order to duplicate their original wives and create each their own "perfect wife". This conflict in the movie directly correlates with the struggles of the Women’s Movement in the 1960s’. Through the use of history and science fiction the director is able to use Joanna as a model for women’s progression and eventual unwilling compromise to societies wishes.
During the 1960’s the Women’s Movement made another strong surge with the help of the publication of Betty Friedan’s literary work, The Feminine Mystique. The book was premised on the idea that women of the time were displeased with the expectations placed upon them in society. This is depicted in the movie with the character Joanna through her desire to become a photographer. This desire of a Joanna wanting to separate herself from the status quo woman of Stepford, in order to leave a legacy through her photography, rather than simply be the best housewife is exactly what the women of the 1960’s were striving to achieve. This repression by men is portrayed in the movie when Joanna’s husband argues with her about tending to their children and following the role of the other women in the community, rather than pursue her
photography. This explains the demands and representation of what society wanted versus what women at the time wanted.
photography. This explains the demands and representation of what society wanted versus what women at the time wanted.
In the visual image above, Joanna appears content with taking photographs. Although Joanna does not have a spotless house, she believes that happiness can be achieved through pursing her dream while continuing to care for her family. It is evident that Joanna wishes to engage in a liberating lifestyle, however she fears that she will be the next to have a robot as her replacement who will transform who she is to a programmed, obsessive compulsive housewife.
As Joanna speaks to her psychiatrist (as pictured above) about the transformation of women into robots she says, "When you come back, there will be a woman with my name and my face, she'll cook and clean like crazy, but she won't take pictures and she won’t be me"([1]). It is apparent that Joanna identifies with feminists and does not wish to become "compliant and servile robots, willing to undertake ‘housewifely duties’ for their husbands’" ([2]) The strong move toward progress in the standards for women portrayed by Joanna makes her a perfect character fit for the women’s movement of the 1960s’.
According to Christine Cornea’s Science Fiction Cinema Between Fantasy and Reality, "[t]he late 1970s had seen the advent of science fiction film novels […] that ostentatiously undermined the idea of science fiction as a masculine realm and that extended the limits of the genre" ([3]). The use of Joanna, a goal oriented woman to take on the lead role of a male dominated genre speaks to the message the director was portraying in support of the women’s movement. This motivation by Joanna distinguishes her from the rest of the women in Stepford and what causes her weariness of the rest of the women. Joanna’s suspicion becomes evident when her best friend, Bobbie loses interest in the feminist movement. Joanna’s uncertainties are proven true when Bobbie states, "that's what's important, my new cookbook. And my husband, and my family, and making a perfect home. It's a lesson every gal needs to learn, especially you" ([4])
According to Christine Cornea’s Science Fiction Cinema Between Fantasy and Reality, "[t]he late 1970s had seen the advent of science fiction film novels […] that ostentatiously undermined the idea of science fiction as a masculine realm and that extended the limits of the genre" ([3]). The use of Joanna, a goal oriented woman to take on the lead role of a male dominated genre speaks to the message the director was portraying in support of the women’s movement. This motivation by Joanna distinguishes her from the rest of the women in Stepford and what causes her weariness of the rest of the women. Joanna’s suspicion becomes evident when her best friend, Bobbie loses interest in the feminist movement. Joanna’s uncertainties are proven true when Bobbie states, "that's what's important, my new cookbook. And my husband, and my family, and making a perfect home. It's a lesson every gal needs to learn, especially you" ([4])
The visual depicted above of Joanna stabbing Bobbie with a kitchen knife revealing that Bobbie is not human, since she displays no reaction but continuously repeats the same actions. This scene is significant because the drastic overhaul of the most feminist minded character of the story is changed solely because of the capabilities that science fiction. Through the directors use
of robots he is able to mold and display the figure that men and society at the time wanted from all women. The character of Joanna allows for the repression of the thought that all women must adhere to the stereotypical desires of society. It is here that the director’s choice of science fiction as the film’s genre was crucial in making the character of Joanna more effective.
The killing of Joanna by her robot replacement is a representation of the dream of women’s progress being destroyed. It was significant that the director chose to have Joanna’s replica to kill Joanna because this strengthened the idea that Joanna would have to conform to the ideals and wishes of society. This is a strong statement by the director because he is insinuating that if one person speaks out that it may not be strong enough to overcome the ideals of society without support of the community.
Stepford Wives delves into the issues of the women’s movement of the 1960s’ through its historical and science fiction suggestions. The use of Joanna as a motivated woman that attempts to ignite the revolt against the social norms of society, proves that if movement’s are not supported that the norms that
suppress certain groups will not change and we as a society will become stagnated.
Endnotes
[1] The Stepford Wives, dir. Bryan Forbes, perf. Katherine Ross, Paula Prentiss, Peter Masterson, and Nanette Newman, 1975, DVD, Paramount, 2004
[2] Christine Cornea, "Gender Blending and the Feminine Subject," Science Fiction Cinema Between Fantasy and Reality. (New Brunswick: Rutgers University Press, 2007) p. 157
[3] Christine Cornea, "Gender Blending and the Feminine Subject," Science Fiction Cinema Between Fantasy and Reality. ( New Brunswick : Rutgers University Press, 2007) p. 152
[4] The Stepford Wives, dir. Bryan Forbes, perf. Katherine Ross, Paula Prentiss, Peter Masterson, and Nanette Newman, 1975, DVD, Paramount, 2004
Works Cited
Cornea, Christine. Science Fiction Cinema Between Fantasy and Reality. New
Brunswick : Rutgers University Press, 2007.
The Stepford Wives, dir. Bryan Forbes, perf. Katherine Ross, Paula Prentiss, Peter
Masterson, and Nanette Newman, 1975, DVD , Paramount , 2004
[1] The Stepford Wives, dir. Bryan Forbes, perf. Katherine Ross, Paula Prentiss, Peter Masterson, and Nanette Newman, 1975, DVD, Paramount, 2004
[2] Christine Cornea, "Gender Blending and the Feminine Subject," Science Fiction Cinema Between Fantasy and Reality. (New Brunswick: Rutgers University Press, 2007) p. 157
[3] Christine Cornea, "Gender Blending and the Feminine Subject," Science Fiction Cinema Between Fantasy and Reality. ( New Brunswick : Rutgers University Press, 2007) p. 152
[4] The Stepford Wives, dir. Bryan Forbes, perf. Katherine Ross, Paula Prentiss, Peter Masterson, and Nanette Newman, 1975, DVD, Paramount, 2004
Works Cited
Cornea, Christine. Science Fiction Cinema Between Fantasy and Reality. New
Brunswick : Rutgers University Press, 2007.
The Stepford Wives, dir. Bryan Forbes, perf. Katherine Ross, Paula Prentiss, Peter
Masterson, and Nanette Newman, 1975, DVD , Paramount , 2004
Subscribe to:
Posts (Atom)
