Thursday, November 22, 2007
Tuesday, November 20, 2007
My Views on the Topic!
Well, throughout history, women have been portaryed as nothing but "sex symbols", for pure entertainment and pleasure. From the seductive posture to the clothing in which they are defined. None of the above, really state how women are, or behave. To some extent, we can agree that for the audiences, the portrayal of women as sex symbols is essential. However, the controversy is why are women constantly being used just for thier beauty, whether in looks or body. Other industries, have adpated the hollywood perception of women, and therefore used this concept, in thier market to attract audiences. Bollywood have now, started portraying women as sex symbols, the msot well-known film in this category goes to Jism. A sedcutive,sexual film, exploiting wome's bodies.
Media Portrayals of Girls and Women:
We all know the stereotypes—the femme fatale, the supermom, the sex kitten, the nasty corporate climber. Whatever the role, television, film and popular magazines are full of images of women and girls who are typically white, desperately thin, and made up to the hilt—even after slaying a gang of vampires or dressing down a Greek legion.
Many would agree that some strides have been made in how the media portray women in film, television and magazines, and that the last 20 years has also seen a growth in the presence and influence of women in media behind the scenes. Nevertheless, female stereotypes continue to thrive in the media we consume every day.
This section of the site provides a snapshot of the issues around the media’s portrayal of women and girls—from effects on body image and self-identity to ramifications in sports and politics. It looks at the economic interests behind the objectification and eroticization of females by the media as well as efforts to counter negative stereotyping. And it provides the latest articles and studies that explore the ways in which media both limit and empower women and girls in society.
Many would agree that some strides have been made in how the media portray women in film, television and magazines, and that the last 20 years has also seen a growth in the presence and influence of women in media behind the scenes. Nevertheless, female stereotypes continue to thrive in the media we consume every day.
This section of the site provides a snapshot of the issues around the media’s portrayal of women and girls—from effects on body image and self-identity to ramifications in sports and politics. It looks at the economic interests behind the objectification and eroticization of females by the media as well as efforts to counter negative stereotyping. And it provides the latest articles and studies that explore the ways in which media both limit and empower women and girls in society.
James Bond - "The Bond Girl"
Bond Girls are a type of character featured in James Bond movies. They are often victims rescued by Bond, fellow agents or allies, villainesses or members of an enemy organisation; sometimes they are mere eye candy and have no direct involvement in Bond's mission, other Bond Girls play a pivotal role in the success of the mission. Other female characters such as Judi Dench's M and Miss Moneypenny are not typically thought of as Bond Girls.
The role of a Bond Girl is typically a high-profile part that can give a major boost to the career of unestablished actresses, although there have been a number of Bond girls that were well-established prior to gaining their role. For instance, Diana Rigg and Honor Blackman were both Bond Girls after becoming major stars for their roles in the television series, The Avengers. Additionally, Halle Berry won an Academy Award in 2002 - the award was presented to her while she was filming Die Another Day.
Since the series began in the early 1960s, Bond Girls have been criticized by feminists, and others, who feel that such characters objectify women as either bimbos or damsels in distress. Through the years, the Bond Girl has evolved from girl to woman, someone of strong character with the resourcefulness and skills Bond needs to complete the mission or, in some instances, rescue Bond.
The role of a Bond Girl is typically a high-profile part that can give a major boost to the career of unestablished actresses, although there have been a number of Bond girls that were well-established prior to gaining their role. For instance, Diana Rigg and Honor Blackman were both Bond Girls after becoming major stars for their roles in the television series, The Avengers. Additionally, Halle Berry won an Academy Award in 2002 - the award was presented to her while she was filming Die Another Day.
Since the series began in the early 1960s, Bond Girls have been criticized by feminists, and others, who feel that such characters objectify women as either bimbos or damsels in distress. Through the years, the Bond Girl has evolved from girl to woman, someone of strong character with the resourcefulness and skills Bond needs to complete the mission or, in some instances, rescue Bond.
Get Women Right!
A few weeks ago, two AlterNet critics asked whether white Hollywood could ever make a good movie about race relations. This in turn led us to another question: Can Hollywood directors -- male or female -- make good movies about women?
At first, it seems like a ludicrous question. After all, we've come so far since the bad old days when Western writer Max Brand summarized everything wrong with the roles we were assigned on film. "There should be a woman," he said, "but not much of one. A good horse is much more important."
Today, we've got our Meg Ryan comedies, our Meryl Streep dramas, and our Angelina Jolie desert romps. We've got girls with guns, girls with laser beams, girls with briefcases, girls with magic powers -- what's there to complain about?
Quite a bit, I think. I'm a woman who makes IMDB.com her homepage, considers popcorn and Raisinets a well-balanced meal, and pays for the "Magic of 8" on her Netflix account because three DVDs at a time just isn't enough. But I've finally accepted that when it comes to putting people who look like me onscreen, Hollywood really only has four movies on its menu, which it reheats and serves to us over and over again:
The Chick Flick. That 90-minute sitcom you're always stuck watching on the plane. Oh, look, they met in a dog park! But neither one of them has dogs! Wait, they love each other online, but hate each other in real life! Oh no, he/she is a hired escort, but in the end, true love will find a way! More exercises in tabloid wish fulfillment than love stories, the chick flick makes you feel like you need a shower, or at least a wardrobe overhaul.
The Earnest Social Commentary. Norma Rae, Silkwood, Erin Brockovich. In which brave women face down The Man, and let us go home feeling exultant, or at least ready to place our bets in the Oscar pool.
The Cancer Weepie. Terms of Endearment, Stepmom, Steel Magnolias. More brave women share their souls on hospital beds, tearing up photogenically as the sisterhood sweeps them up in tissue-soaked arms and ushers them into the great beyond.
The Action Figure. Catwoman, Tomb Raider, Elektra. All the one-dimensional women in three-dimensional popup bras, who seem pieced together to elicit a collective "You go, girlfriend!" from the audience. As if we all thought heroism -- or rather, heroinism -- should be defined by humorlessness, spandex and a good personal trainer.
Throughout my (evidently unrequited) love affair with Hollywood, I've been empowered, encouraged, affirmed and celebrated on screen to within an inch of my life, but I've almost never felt represented in any way that felt plausible. I say almost never, because even in Hollywood, there are exceptions -- ten of which I humbly submit to you here -- in which the women, their relationships or their circumstances, feel somehow authentic, or, for lack of a better word, real.
Beyond saying that they resonate with my sense of what being a woman means, can I define exactly what makes them real? No, and I wouldn't want to, especially because all those attempts to define female authenticity is part of the problem to begin with. But, like Justice Stewart, I know it when I see it.
(This is, of course, my own highly subjective and unscientifically produced list of anti-Max Brand movies that do offer Much of a Woman. It is based entirely, I'm sure, on personal biases and childhood traumas. AlterNet readers are invited to add alternate lists in the comments section.)
At first, it seems like a ludicrous question. After all, we've come so far since the bad old days when Western writer Max Brand summarized everything wrong with the roles we were assigned on film. "There should be a woman," he said, "but not much of one. A good horse is much more important."
Today, we've got our Meg Ryan comedies, our Meryl Streep dramas, and our Angelina Jolie desert romps. We've got girls with guns, girls with laser beams, girls with briefcases, girls with magic powers -- what's there to complain about?
Quite a bit, I think. I'm a woman who makes IMDB.com her homepage, considers popcorn and Raisinets a well-balanced meal, and pays for the "Magic of 8" on her Netflix account because three DVDs at a time just isn't enough. But I've finally accepted that when it comes to putting people who look like me onscreen, Hollywood really only has four movies on its menu, which it reheats and serves to us over and over again:
The Chick Flick. That 90-minute sitcom you're always stuck watching on the plane. Oh, look, they met in a dog park! But neither one of them has dogs! Wait, they love each other online, but hate each other in real life! Oh no, he/she is a hired escort, but in the end, true love will find a way! More exercises in tabloid wish fulfillment than love stories, the chick flick makes you feel like you need a shower, or at least a wardrobe overhaul.
The Earnest Social Commentary. Norma Rae, Silkwood, Erin Brockovich. In which brave women face down The Man, and let us go home feeling exultant, or at least ready to place our bets in the Oscar pool.
The Cancer Weepie. Terms of Endearment, Stepmom, Steel Magnolias. More brave women share their souls on hospital beds, tearing up photogenically as the sisterhood sweeps them up in tissue-soaked arms and ushers them into the great beyond.
The Action Figure. Catwoman, Tomb Raider, Elektra. All the one-dimensional women in three-dimensional popup bras, who seem pieced together to elicit a collective "You go, girlfriend!" from the audience. As if we all thought heroism -- or rather, heroinism -- should be defined by humorlessness, spandex and a good personal trainer.
Throughout my (evidently unrequited) love affair with Hollywood, I've been empowered, encouraged, affirmed and celebrated on screen to within an inch of my life, but I've almost never felt represented in any way that felt plausible. I say almost never, because even in Hollywood, there are exceptions -- ten of which I humbly submit to you here -- in which the women, their relationships or their circumstances, feel somehow authentic, or, for lack of a better word, real.
Beyond saying that they resonate with my sense of what being a woman means, can I define exactly what makes them real? No, and I wouldn't want to, especially because all those attempts to define female authenticity is part of the problem to begin with. But, like Justice Stewart, I know it when I see it.
(This is, of course, my own highly subjective and unscientifically produced list of anti-Max Brand movies that do offer Much of a Woman. It is based entirely, I'm sure, on personal biases and childhood traumas. AlterNet readers are invited to add alternate lists in the comments section.)
Queen of Bollywood - Aiswarya Rai
AISWARYA RAI
Aishwarya Rai (Tulu-Kannada: ಐಶ್ವರ್ಯಾ ರಾಯ್, IPA: [ɛʃvərjɑː rɑːj]; born November 1, 1973) is an Indian actress. Prior to her career in film, she worked as a model and gained fame for winning the Miss World contest in 1994.
She made her film debut in Mani Ratnam's Tamil film Iruvar (1997), and had her first critical and commercial success with Sanjay Leela Bhansali's Hum Dil De Chuke Sanam (1999), with whom she repeated this success with Devdas (2002). Since then, she has acted in nearly forty Hindi, Tamil, Bengali and English films.
Often touted as the most beautiful woman in the world,[1] she is one of the most popular actresses of India and has worked on many international projects, such as Bride & Prejudice (2003) and The Last Legion (2007).
Career
Rai debuted in Tamil language film, Iruvar (1997) with Mohanlal.[2] She was introduced to Bollywood in the film, Aur Pyaar Ho Gaya with Bobby Deol as her co-star; the film was not a big hit on box office. However, her third project, a Tamil-language film, Jeans (1998) by S. Shankar was a critical and commercial success for which she was awarded the Filmfare Best Actress Award South. Aishwarya then appeared in many Bollywood films; a few successful films of her career include Hum Dil De Chuke Sanam (1999) and Taal (1999) for which her performance was lauded.[3] She was awarded the Filmfare Best Actress Award for her role in the former. In 2000 she had a supporting role in the hit film Mohabbatein and also in another hit film Josh. Her third film in Tamil language project to date is, Kandukondain Kandukondain won her positive reviews for her serious portrayal of her character, Meenakshi.
In 2002, Rai appeared with superstars Shah Rukh Khan and Madhuri Dixit in Sanjay Leela Bansali's lavishly produced Devdas, which was a major box-office success[4] and earned her the Filmfare Best Actress Award.[5] The film attracted overseas attention as well, receiving a special screening at the Cannes Film Festival.[6] It was during this time that she garnered the attention of the West as an Indian actress and went on to appear in a few Hollywood projects.
As her name gained popularity in the West, she was chosen by Time magazine in 2004 as one of the World's "100 Most Influential People" and in 2003, appeared on the cover of Time magazine, Asia Edition (TIMEasia). She was the subject of a 60 Minutes profile on January 2. A month later she appeared on the Late Show with David Letterman. She was also featured on Oprah's "Women Across the Globe" segment. In 2003, she acted in the critically acclaimed and commercial success Bengali film, Chokher Bali, an adaptation of one of Rabindranath Tagore's novels by the same name.
Rai has been a regular at the Cannes Film Festival since 2002, and was a member of the Jury at Cannes in the year 2003. In October 2004, a wax figure of Rai became on display in London's Madame Tussaud's wax museum.[7] The same month, her first foreign film was released: Bride and Prejudice.[8] The film was an Indian version of Jane Austen's classic novel Pride and Prejudice. The film did well commercially in the U.K but not in India. Her next overseas venture, The Mistress of Spices, was critically acclaimed though not commercially successful. She then appeared at the closing ceremony of the 2006 Commonwealth Games in Melbourne, as part of a performance showcasing Indian art, on behalf of the 2010 Commonwealth Games, to be held in New Delhi. In between her overseas acting stints, she appeared in the Indian film Bunty Aur Babli in a hugely popular seven minute dance sequence for the song "Kajra Re".
In 2005, Rai signed a three-year contract with L'Oréal, as a spokesmodel for the cosmetics company.
Aishwarya Rai (Tulu-Kannada: ಐಶ್ವರ್ಯಾ ರಾಯ್, IPA: [ɛʃvərjɑː rɑːj]; born November 1, 1973) is an Indian actress. Prior to her career in film, she worked as a model and gained fame for winning the Miss World contest in 1994.
She made her film debut in Mani Ratnam's Tamil film Iruvar (1997), and had her first critical and commercial success with Sanjay Leela Bhansali's Hum Dil De Chuke Sanam (1999), with whom she repeated this success with Devdas (2002). Since then, she has acted in nearly forty Hindi, Tamil, Bengali and English films.
Often touted as the most beautiful woman in the world,[1] she is one of the most popular actresses of India and has worked on many international projects, such as Bride & Prejudice (2003) and The Last Legion (2007).
Career
Rai debuted in Tamil language film, Iruvar (1997) with Mohanlal.[2] She was introduced to Bollywood in the film, Aur Pyaar Ho Gaya with Bobby Deol as her co-star; the film was not a big hit on box office. However, her third project, a Tamil-language film, Jeans (1998) by S. Shankar was a critical and commercial success for which she was awarded the Filmfare Best Actress Award South. Aishwarya then appeared in many Bollywood films; a few successful films of her career include Hum Dil De Chuke Sanam (1999) and Taal (1999) for which her performance was lauded.[3] She was awarded the Filmfare Best Actress Award for her role in the former. In 2000 she had a supporting role in the hit film Mohabbatein and also in another hit film Josh. Her third film in Tamil language project to date is, Kandukondain Kandukondain won her positive reviews for her serious portrayal of her character, Meenakshi.
In 2002, Rai appeared with superstars Shah Rukh Khan and Madhuri Dixit in Sanjay Leela Bansali's lavishly produced Devdas, which was a major box-office success[4] and earned her the Filmfare Best Actress Award.[5] The film attracted overseas attention as well, receiving a special screening at the Cannes Film Festival.[6] It was during this time that she garnered the attention of the West as an Indian actress and went on to appear in a few Hollywood projects.
As her name gained popularity in the West, she was chosen by Time magazine in 2004 as one of the World's "100 Most Influential People" and in 2003, appeared on the cover of Time magazine, Asia Edition (TIMEasia). She was the subject of a 60 Minutes profile on January 2. A month later she appeared on the Late Show with David Letterman. She was also featured on Oprah's "Women Across the Globe" segment. In 2003, she acted in the critically acclaimed and commercial success Bengali film, Chokher Bali, an adaptation of one of Rabindranath Tagore's novels by the same name.
Rai has been a regular at the Cannes Film Festival since 2002, and was a member of the Jury at Cannes in the year 2003. In October 2004, a wax figure of Rai became on display in London's Madame Tussaud's wax museum.[7] The same month, her first foreign film was released: Bride and Prejudice.[8] The film was an Indian version of Jane Austen's classic novel Pride and Prejudice. The film did well commercially in the U.K but not in India. Her next overseas venture, The Mistress of Spices, was critically acclaimed though not commercially successful. She then appeared at the closing ceremony of the 2006 Commonwealth Games in Melbourne, as part of a performance showcasing Indian art, on behalf of the 2010 Commonwealth Games, to be held in New Delhi. In between her overseas acting stints, she appeared in the Indian film Bunty Aur Babli in a hugely popular seven minute dance sequence for the song "Kajra Re".
In 2005, Rai signed a three-year contract with L'Oréal, as a spokesmodel for the cosmetics company.
Bollywood Sex symbols
The most popular women in the bollywood industry, who are repeatedly being portaryed with the sexy, seductive symbol are Bipasha Basu & newly wed Ashwariya Rai.
Bollywood Industry
Bollywood (Hindi: बॉलीवुड, Urdu: بالی وڈ) is the informal name given to the popular Mumbai-based Hindi-language film industry in India. Bollywood is often incorrectly used to refer to the whole of Indian cinema; it is only a part of the Indian film industry. Bollywood is one of the largest film producers in the world, producing more than 1,000 films a year.[1] Bollywood has an audience of 3.6 billion people[2], more than half the population of the world.
The name is a portmanteau of Bombay (the former name for Mumbai) and Hollywood, the center of the American film industry. Though some deplore the name, arguing that it makes the industry look like a poor cousin to Hollywood, it seems likely to persist and now has its own entry in the Oxford English Dictionary.
Bollywood is commonly referred to as Hindi cinema, even though Hindustani, the substratum common to both Hindi and Urdu, might be more accurate. Bollywood consists of the languages of Hindi, Urdu and English. The use of poetic Urdu words is fairly common. The connection between Hindi, Urdu, and Hindustani is an extremely contentious matter.
There has been a growing presence of Indian English in dialogue and songs as well. It is not uncommon to see films that feature dialogue with English words and phrases, even whole sentences. There are a growing number of English films. A few films are also made in two or even three languages (either using subtitles, or several soundtracks).
The name is a portmanteau of Bombay (the former name for Mumbai) and Hollywood, the center of the American film industry. Though some deplore the name, arguing that it makes the industry look like a poor cousin to Hollywood, it seems likely to persist and now has its own entry in the Oxford English Dictionary.
Bollywood is commonly referred to as Hindi cinema, even though Hindustani, the substratum common to both Hindi and Urdu, might be more accurate. Bollywood consists of the languages of Hindi, Urdu and English. The use of poetic Urdu words is fairly common. The connection between Hindi, Urdu, and Hindustani is an extremely contentious matter.
There has been a growing presence of Indian English in dialogue and songs as well. It is not uncommon to see films that feature dialogue with English words and phrases, even whole sentences. There are a growing number of English films. A few films are also made in two or even three languages (either using subtitles, or several soundtracks).
Wednesday, September 12, 2007
NOT MUCH CHEER FOR WOMEN IN BOLLYWOOD
India's women filmmakers have little to cheer this International Women's Day Monday as discrimination between sexes on-screen and off it continue to afflict their status in the trade. The best that the so-called new wave cinema could throw up in a week that witnessed a worldwide celebration of womankind was a drama named "Insaaf", inspired by real-life situations, and the typical masala flick "Love in Nepal" where the female actor needs only to look good and dance well.
To be fair to the Hindi film industry, in the last two years the silver screen's portrayal of women has matured from all-sacrificing mothers and wives to exceptionally well-crafted characters like Lady Macbeth. This has been made possible with female filmmakers bringing in their distinctive style to an industry dominated by male directors and leading ladies plunging into direction, production and heading industry associations.
Nevertheless, much is wanting. In the last decade not one film with a strong feminist message or female protagonist has triumphed at the box-office. India has the biggest film industry in the world but we can count the number of women filmmakers on our fingertips. The number of women directors in mainstream cinema, both Hindi and Tamil, can be counted on the fingers of one hand.
Many women are making a name for themselves in the world of documentaries, where budgets are bottom-of-the-barrel, but where there is big money involved, a male has a better chance of getting funding.
Directors like Gurinder Chaddha ("Bend It Like Beckham"), Deepa Mehta ("Bollywood/Hollywood"), Aparna Sen ("Mr & Mrs Iyer"), Tanuja Chandra ("Sur") and Revathi ("Mitr: My Friend") have proved their craft, yet getting finances is an uphill task for them.
To break the glass ceiling, women filmmakers seem to be consciously avoiding making women-oriented films. We have Kalpana Lajmi making "Kyon", Honey Akhtar marking her debut with "Armaan" and Farah Khan debuting with "Main Hoon Na", which seem to be saying that boys will be boys and men will be boys.
To be fair to the Hindi film industry, in the last two years the silver screen's portrayal of women has matured from all-sacrificing mothers and wives to exceptionally well-crafted characters like Lady Macbeth. This has been made possible with female filmmakers bringing in their distinctive style to an industry dominated by male directors and leading ladies plunging into direction, production and heading industry associations.
Nevertheless, much is wanting. In the last decade not one film with a strong feminist message or female protagonist has triumphed at the box-office. India has the biggest film industry in the world but we can count the number of women filmmakers on our fingertips. The number of women directors in mainstream cinema, both Hindi and Tamil, can be counted on the fingers of one hand.
Many women are making a name for themselves in the world of documentaries, where budgets are bottom-of-the-barrel, but where there is big money involved, a male has a better chance of getting funding.
Directors like Gurinder Chaddha ("Bend It Like Beckham"), Deepa Mehta ("Bollywood/Hollywood"), Aparna Sen ("Mr & Mrs Iyer"), Tanuja Chandra ("Sur") and Revathi ("Mitr: My Friend") have proved their craft, yet getting finances is an uphill task for them.
To break the glass ceiling, women filmmakers seem to be consciously avoiding making women-oriented films. We have Kalpana Lajmi making "Kyon", Honey Akhtar marking her debut with "Armaan" and Farah Khan debuting with "Main Hoon Na", which seem to be saying that boys will be boys and men will be boys.
Monday, July 30, 2007
Asian - British Cinema
Lumping together filmmakers of any kind within a single cultural grouping is fraught with difficulty, so the term 'British-Asian' may, for example, fail to recognise individual artistic voices (such as those British-Asian filmmakers who are not making Asian-themed films). Nevertheless, it is possible to identify a notion of British Asian film, and these films do often have Asian themes and may be seen to share a number of features, including relatively low budgets.
It is clear that, over the last twenty years, attitudes in Britain towards Asian cultures have shifted, as has the taste of mainstream audiences for Asian-themed films such as East is East (1999) and Bend It Like Beckham (2002). The latter became one of the most popular British films ever and was a far cry from the colonially-obsessed images of Asians depicted in mainstream British cinema and television in the 1980s and earlier.
Asian-themed commercial films of the '90s have many similarities thematically with mainstream British features, not least feel good-comedy elements such as in East is East or Bhaji on The Beach. British notions of class and regionality are also played out, particularly a preoccupation with the post-industrial 'north' and all its incumbent stereotypes. Udayan Prasad's Brothers In Trouble (1996), for instance, depicts the troubled existence of illegal Pakistani immigrants in the early 1960s mill towns; East is East also delights in a romp through northern stereotypes. Another common feature of commercial Asian films of the '90s is an homage to Bollywood, perhaps in deference to its popularity with Asian audiences. Chadha's Bhaji on the Beach has a surreal romantic interlude in which a White man and Asian woman dance Hindi-style around a tree. In East is East, the Khan family make a day trip to Bradford to catch a Bollywood movie, while the teenage daughter flounces around the backyard with a broom to the classic Bombay song 'Inhi logon ne' from Pakeezah (India, 1972; instantly recognised by Asian audiences around the world). Inter-racial romance is also a common narrative obsession, with cross-racial encounters in Bhaji, Brothers in Trouble and Sammy and Rosie Get Laid, while in Shani Grewal's Guru in Seven (1997), Sanjay (Nitin Chandra Ganatra) aims to score with a range of women. Today, 'Asian', once unfashionable, has become fashionable and almost 'sexy' in the Western media culture. In the USA, 1960s Swamis have been re-incarnated in the form of the 'life guru' Deepak Chopra. Madonna wears saris and mehndi, and calls to the youth accompanied by Hindi violins. Meanwhile, British-Asian musicians Nitin Sawhney and Talvin Singh are now established in the British music charts. The British film industry has gradually begun to wake up to the 'brown pound'. British Asians are watching so many Hindi films that since 1998 these films have regularly entered the British top ten box-office charts. Director Gurinder Chadha has noted the change in attitudes between the release of her first film, Bhaji on the Beach (1994), and her third, Bend it Like Beckham (2002): "People are much more aware of difference, what was once foreign is now familiar".
It is clear that, over the last twenty years, attitudes in Britain towards Asian cultures have shifted, as has the taste of mainstream audiences for Asian-themed films such as East is East (1999) and Bend It Like Beckham (2002). The latter became one of the most popular British films ever and was a far cry from the colonially-obsessed images of Asians depicted in mainstream British cinema and television in the 1980s and earlier.
Asian-themed commercial films of the '90s have many similarities thematically with mainstream British features, not least feel good-comedy elements such as in East is East or Bhaji on The Beach. British notions of class and regionality are also played out, particularly a preoccupation with the post-industrial 'north' and all its incumbent stereotypes. Udayan Prasad's Brothers In Trouble (1996), for instance, depicts the troubled existence of illegal Pakistani immigrants in the early 1960s mill towns; East is East also delights in a romp through northern stereotypes. Another common feature of commercial Asian films of the '90s is an homage to Bollywood, perhaps in deference to its popularity with Asian audiences. Chadha's Bhaji on the Beach has a surreal romantic interlude in which a White man and Asian woman dance Hindi-style around a tree. In East is East, the Khan family make a day trip to Bradford to catch a Bollywood movie, while the teenage daughter flounces around the backyard with a broom to the classic Bombay song 'Inhi logon ne' from Pakeezah (India, 1972; instantly recognised by Asian audiences around the world). Inter-racial romance is also a common narrative obsession, with cross-racial encounters in Bhaji, Brothers in Trouble and Sammy and Rosie Get Laid, while in Shani Grewal's Guru in Seven (1997), Sanjay (Nitin Chandra Ganatra) aims to score with a range of women. Today, 'Asian', once unfashionable, has become fashionable and almost 'sexy' in the Western media culture. In the USA, 1960s Swamis have been re-incarnated in the form of the 'life guru' Deepak Chopra. Madonna wears saris and mehndi, and calls to the youth accompanied by Hindi violins. Meanwhile, British-Asian musicians Nitin Sawhney and Talvin Singh are now established in the British music charts. The British film industry has gradually begun to wake up to the 'brown pound'. British Asians are watching so many Hindi films that since 1998 these films have regularly entered the British top ten box-office charts. Director Gurinder Chadha has noted the change in attitudes between the release of her first film, Bhaji on the Beach (1994), and her third, Bend it Like Beckham (2002): "People are much more aware of difference, what was once foreign is now familiar".
Wednesday, July 18, 2007
Hypothesis
For my hypothesis i'm going to be analysing the portrayal of women as "sex symbols" in films, thorought the world of cinema. Looking at various women in both the hollywood £ bollywood industry. Also, to what extent do people agree that the representation of women in film is that they are seen as sex objects.
Sunday, July 8, 2007
women on both sides of the camera
To look separately at the role of women in the fields of film, video and television in Britain is to recognise that the experiences of women in these areas are somehow different to those of men. The work by women in moving image production both reflects and informs the position of women within British society since the 1920s.
In the silent period, Mary Field and sisters Marion and Ruby Grierson took advantage of the camaraderie and pioneering spirit of the time by joining the British documentary movement, where they made opportunities for themselves and other women to enter the system of film production. Their influence and impact on the movement was significant: Field is noted for her work on the Secrets of Nature series (1922-33) and for her inauguration, in 1944, of the children's entertainment division of British Instructional Films.
During the Second World War, women were among many filmmakers employed to make films for the Ministry of Information. Muriel Box, once a continuity girl, began directing short documentaries. In the postwar period, there were great changes for women in society; women demanded more autonomy and the opportunity to fulfil their potential. In contrast, the film industry, unions and work conditions retained a rigid structure, and many women directors were rejected or moved to less influential roles.
By the 1950s, women already played a key role as audience members and consumers of film culture. Understanding female audiences became an important factor in the success or failure of a film. The melodrama genre is designed to appeal to a specifically female audience because of its emotional and sentimental content, and its depiction of femininity. Although great consumers of the film, few women directed during this period, although one notable exception is Wendy Toye.
The British new wave saw a new depiction of women and sexuality, in films like Poor Cow (d. Ken Loach, 1967) and A Taste of Honey (d. Tony Richardson, 1961), which departed from the romantic vision of melodrama. Female characters were seen to break moral codes and defy expectations of how they should behave. But in the hands of male directors, the representation of women in these films tells us more about the position of men and their feelings about women than about the way women feel about themselves.
It was not until the early 1970s that feminism and women's consciousness began to influence the production, exhibition and distribution of film and television, as well as education and the emerging film theory. In 1972, the Edinburgh Film Festival included a women's section for the first time. Women began to engage in debates about their position in society and the ways women were represented in film, television and advertising. Using film and television as a communication tool to meet and educate women, groups like the London Women's Film Group began working within communities in regional locations.
The arrival in 1982 of Channel 4, with its remit to cater for 'minority audiences', brought some hope to women film and video directors. Although there was no specific remit to support women's work, a number of documentary series by women were commissioned, including the weekly current affairs programmes 20/20 Vision and Broadside, and the magazine show Watch the Woman. The ACTT Workshop Declaration of 1984 offered further opportunities for groups of women filmmakers to break through the barriers that had previously prevented them entering the industry, and became the basis for Channel 4 commisions.
The 1980s brought increased awareness of discrimination against women technicians and pressure on institutions such as the British Film Institute to support women's work. Through the BFI's education department and production fund there was some temporary support for British feminist films and funding for feminist distributors.
During the 1990s, shifts in politics and a transformation of production and exhibition technologies allowed greater accessibility to the media, but the new market economy and a backlash against feminism contributed to a move away from overtly feminist practice.
Today, despite the successes of Sally Potter, Antonia Bird and Lynne Ramsay, there are still relatively few women directing, particularly in feature films; they are more commonly found in production roles. In the areas of documentary and experimental film, however, women have directed a substantial body of work. This suggests that away from the constraints of the commercial film industry, greater opportunities exist to explore the representation of women's lives and their subjective experience.
Emma Hedditch
Tuesday, July 3, 2007
Wednesday, June 27, 2007
Women&Film
Women & Film
My focus group for this assessment will be on Women & Film...although being the most popular amongst the topic areas, i have chosen this as i am particularly interested in this topic. I will be discussing and exmaining the role of women, being portrayed as sex symbols in recent years.
To look separately at the role of women in the fields of film, video and television in Britain is to recognise that the experiences of women in these areas are somehow different to those of men. The work by women in moving image production both reflects and informs the position of women within British society since the 1920s.
In the silent period, Mary Field and sisters Marion and Ruby Grierson took advantage of the camaraderie and pioneering spirit of the time by joining the British documentary movement, where they made opportunities for themselves and other women to enter the system of film production. Their influence and impact on the movement was significant: Field is noted for her work on the Secrets of Nature series (1922-33) and for her inauguration, in 1944, of the children's entertainment division of British Instructional Films.
During the Second World War, women were among many filmmakers employed to make films for the Ministry of Information. Muriel Box, once a continuity girl, began directing short documentaries. In the postwar period, there were great changes for women in society; women demanded more autonomy and the opportunity to fulfil their potential. In contrast, the film industry, unions and work conditions retained a rigid structure, and many women directors were rejected or moved to less influential roles.
By the 1950s, women already played a key role as audience members and consumers of film culture. Understanding female audiences became an important factor in the success or failure of a film. The melodrama genre is designed to appeal to a specifically female audience because of its emotional and sentimental content, and its depiction of femininity. Although great consumers of the film, few women directed during this period, although one notable exception is Wendy Toye.
The British new wave saw a new depiction of women and sexuality, in films like Poor Cow (d. Ken Loach, 1967) and A Taste of Honey (d. Tony Richardson, 1961), which departed from the romantic vision of melodrama. Female characters were seen to break moral codes and defy expectations of how they should behave. But in the hands of male directors, the representation of women in these films tells us more about the position of men and their feelings about women than about the way women feel about themselves.
It was not until the early 1970s that feminism and women's consciousness began to influence the production, exhibition and distribution of film and television, as well as education and the emerging film theory. In 1972, the Edinburgh Film Festival included a women's section for the first time. Women began to engage in debates about their position in society and the ways women were represented in film, television and advertising. Using film and television as a communication tool to meet and educate women, groups like the London Women's Film Group began working within communities in regional locations.
The arrival in 1982 of Channel 4, with its remit to cater for 'minority audiences', brought some hope to women film and video directors. Although there was no specific remit to support women's work, a number of documentary series by women were commissioned, including the weekly current affairs programmes 20/20 Vision and Broadside, and the magazine show Watch the Woman. The ACTT Workshop Declaration of 1984 offered further opportunities for groups of women filmmakers to break through the barriers that had previously prevented them entering the industry, and became the basis for Channel 4 commisions.
The 1980s brought increased awareness of discrimination against women technicians and pressure on institutions such as the British Film Institute to support women's work. Through the BFI's education department and production fund there was some temporary support for British feminist films and funding for feminist distributors.
During the 1990s, shifts in politics and a transformation of production and exhibition technologies allowed greater accessibility to the media, but the new market economy and a backlash against feminism contributed to a move away from overtly feminist practice.
Today, despite the successes of Sally Potter, Antonia Bird and Lynne Ramsay, there are still relatively few women directing, particularly in feature films; they are more commonly found in production roles. In the areas of documentary and experimental film, however, women have directed a substantial body of work. This suggests that away from the constraints of the commercial film industry, greater opportunities exist to explore the representation of women's lives and their subjective experience.
My focus group for this assessment will be on Women & Film...although being the most popular amongst the topic areas, i have chosen this as i am particularly interested in this topic. I will be discussing and exmaining the role of women, being portrayed as sex symbols in recent years.
To look separately at the role of women in the fields of film, video and television in Britain is to recognise that the experiences of women in these areas are somehow different to those of men. The work by women in moving image production both reflects and informs the position of women within British society since the 1920s.
In the silent period, Mary Field and sisters Marion and Ruby Grierson took advantage of the camaraderie and pioneering spirit of the time by joining the British documentary movement, where they made opportunities for themselves and other women to enter the system of film production. Their influence and impact on the movement was significant: Field is noted for her work on the Secrets of Nature series (1922-33) and for her inauguration, in 1944, of the children's entertainment division of British Instructional Films.
During the Second World War, women were among many filmmakers employed to make films for the Ministry of Information. Muriel Box, once a continuity girl, began directing short documentaries. In the postwar period, there were great changes for women in society; women demanded more autonomy and the opportunity to fulfil their potential. In contrast, the film industry, unions and work conditions retained a rigid structure, and many women directors were rejected or moved to less influential roles.
By the 1950s, women already played a key role as audience members and consumers of film culture. Understanding female audiences became an important factor in the success or failure of a film. The melodrama genre is designed to appeal to a specifically female audience because of its emotional and sentimental content, and its depiction of femininity. Although great consumers of the film, few women directed during this period, although one notable exception is Wendy Toye.
The British new wave saw a new depiction of women and sexuality, in films like Poor Cow (d. Ken Loach, 1967) and A Taste of Honey (d. Tony Richardson, 1961), which departed from the romantic vision of melodrama. Female characters were seen to break moral codes and defy expectations of how they should behave. But in the hands of male directors, the representation of women in these films tells us more about the position of men and their feelings about women than about the way women feel about themselves.
It was not until the early 1970s that feminism and women's consciousness began to influence the production, exhibition and distribution of film and television, as well as education and the emerging film theory. In 1972, the Edinburgh Film Festival included a women's section for the first time. Women began to engage in debates about their position in society and the ways women were represented in film, television and advertising. Using film and television as a communication tool to meet and educate women, groups like the London Women's Film Group began working within communities in regional locations.
The arrival in 1982 of Channel 4, with its remit to cater for 'minority audiences', brought some hope to women film and video directors. Although there was no specific remit to support women's work, a number of documentary series by women were commissioned, including the weekly current affairs programmes 20/20 Vision and Broadside, and the magazine show Watch the Woman. The ACTT Workshop Declaration of 1984 offered further opportunities for groups of women filmmakers to break through the barriers that had previously prevented them entering the industry, and became the basis for Channel 4 commisions.
The 1980s brought increased awareness of discrimination against women technicians and pressure on institutions such as the British Film Institute to support women's work. Through the BFI's education department and production fund there was some temporary support for British feminist films and funding for feminist distributors.
During the 1990s, shifts in politics and a transformation of production and exhibition technologies allowed greater accessibility to the media, but the new market economy and a backlash against feminism contributed to a move away from overtly feminist practice.
Today, despite the successes of Sally Potter, Antonia Bird and Lynne Ramsay, there are still relatively few women directing, particularly in feature films; they are more commonly found in production roles. In the areas of documentary and experimental film, however, women have directed a substantial body of work. This suggests that away from the constraints of the commercial film industry, greater opportunities exist to explore the representation of women's lives and their subjective experience.
- Women as sex symbol -
The Role of Women in film:
Women are portrayed as sex symbols, throughtout the world of cinema. This can be seen through various films in recent and past years.
My main focus films will be based on Women as "Sex Symbols", both the hollywood and bollywood industry.
Women are portrayed as sex symbols, throughtout the world of cinema. This can be seen through various films in recent and past years.
My main focus films will be based on Women as "Sex Symbols", both the hollywood and bollywood industry.
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