In the mid nineteenth century, women were no longer always portrayed as passive. They were more and more depicted as a great mystery: a secret (Os, 2009a). They were seen as femme fatale. In Victorian England, Pre-Raphaelite art arose as a counterpart of the art that was appreciated by the royal academy. While the standard was that women were portrayed as ideal vulnerable mothers, women arose in Pre-Raphaelite art as a dangerous sexual persona. Art historians speak of the Pre Raphaelite Brotherhood
Femme fatal of film noir is the depiction of women that is seen in which women use their deceitful and devious ways to gather some form of supremacy; whether it is money, power or overall independence. The women who play this role definitely go against social
it falls to pieces after they murder her husband. This paper will mainly explore the gender politics concerning the film more specifically how Cora Smith develops into the unsuspecting femme fatale. To help with this complex topic, I will go into detail over techniques used like voice-over, flashback (or memory image), characters and their expectations, the idea of male crisis of identity (or masculinity), females as a sexual object of desire, cinematography, style, and historical context and how
The Ultimate Femme Fatale: Gilda One of the most influential movies for women following World War II is the classic film noir Gilda. The 1940’s was a defining decade for women in the United States of America. After the end of World War II, the women who had previously replaced men in factories did not know if they would be treated as equals, or as housewives like before. Women in motion pictures decided to take matters into their own hands and the femme fatale sub category of film noir reached new
The Gothic is the study of the otherness; the unseen. It disturbs us as it is associated with anxiety, chaos, darkness, the grotesque and evokes images of death, destruction and decay. (Steele, 1997)According to Catherine Spooner in ‘Contemporary Gothic’ 2006, “The Gothic lurks in all sorts of unexpected corners.” It is incredibly broad - superstitions, the uncanny, the monstrous, the forgotten past, the Gothic feminine - to name but a few are all elements which combine to form this theme. The Gothic
The film noir movement was a brief period of post-WWII disillusionment where film style changed dramatically to take on the unstable, lost feeling of people at the time. By examining films of the period, such as Mildred Pierce (Michael Curtiz, 1945) and Double Indemnity (Billy Wilder, 1944), the distinct, dark and dramatic visual style of film noir can be observed. These films not only exemplify the standard conventions of film noir, but Mildred Pierce also deviates enough from the narrative elements
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
The movie is also categorized as a Film Noir, having Lupino be the femme fatale, or the "other woman" to an already married man. Although the performances were top-of-the-line, the film, as Dixon (1996) suggests has a, "lack of visceral energy" (p. 14-22). The Bigamist was the last film Lupino made for five years, having
Since her glorious return to music with Circus in 2008, Britney Spears has served up three strong albums filled with hits that were simply made for radio play. Some of them such as Britney’s feminist anthem “Womanizer,” her cutting edge “Hold It Against Me,” which introduced dubstep to popular radio (Britney Spears, innovator extraordinaire), and her most recent dance cut “Work Bitch” have received the attention that they so desperately deserved. Britney’s kept fans dancing til the world ends,
Offers quite a dark picture of how women treat one of among their own gender. From the early pages, it was clearly stated that Trojan women hated Helen for causing their pain and suffering and being the femme Fatale, a rather seductive woman with evil. Although Trojan women should not be blamed for hating Helen, after all she was the cause for their destruction. The question that present it is why those women were punished by the gods. None of the gods stood