In order to grasp an understanding of how she could be deemed a mid-Victorian femme fatale, it is crucial to attempt to define it. The femme fatale exists through centuries of art, poetry and literature, for instance Shakespeare’s Cleopatra, but is most prominent in the mid to late nineteenth century literature. The mid- Victorian femme fatale is difficult to define or stereotype, she is a lot more complex and has many different sides to her than the vampires
1. What is the role of the “femme fatale” in Film Noir? What could be some of the reasons why this image of women emerged during the 1940s and 1950s? Femme Fatale is the role played by women in Film Noir films. It is basically the direct opposite character played by women in traditional films. It is the image of empowerment not seen in other genres. There is a strong sexual attractiveness, power, strength and also attractiveness shown by women in this genre. The movie that I liked that displayed
In the films; The Big Sleep (1946) and Charade (1963), each portray the influences of the genre “Film Noir”, with each containing a femme fatale, a hard boiled detective, and a strong moral theme, and the movie Sunset Boulevard (1950) is also in this genre because it also contains each of these traits. Femme fatale’s are characters that are seductive, evil, and in many cases, trying to cover up their misdeeds by lying. In The Big Sleep, Howard Hawks utilizes this character type through the character
The book, Dangerous Women, Warriors, Grannies and Geisha’s of the Ming, written by Victoria Cass, investigates the architypes of women who challenged societal boundaries during the Ming Dynasty. Using a plethora of sources, among them art journals, religious document and literature, the book presents the reader with a more detailed picture of the lives of these women living in the late Imperial Ming period. The book uses a plethora of sources, among art, journals, religious documents and literature
The portrayal of women and children is essential to many classic novels, film and poetry. Presenting women and children in a particular light can have a profound effect upon a text, completely altering a reader’s interpretation. Within both literature and film, women tend to be conveyed as either a victim, saviour and more commonly than not, a predator. The first mirrors fragility, vulnerability and innocence. The second reflects the good, usually the character the reader perceives as their safety
Woman: God’s second mistake? Friedrich Nietzsche, a German philosopher, who regarded ‘thirst for power’ as the sole driving force of all human actions, has many a one-liners to his credit. ‘Woman was God’s second mistake’, he declared. Unmindful of the reactionary scathing criticism and shrill abuses he invited for himself, especially from the ever-irritable feminist brigade. The fact and belief that God never ever commits a mistake, brings Nietzsche’s proclamation dashingly down into the dust bin