Relevant bibliographies by topics / Gender roles in Hollywood movies

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Gender roles in Hollywood movies'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Gender roles in Hollywood movies"

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Powers, Stephen P., David J. Rothman, and Stanley Rothman. "Transformation of gender roles in hollywood movies: 1946–1990." Political Communication 10, no. 3 (1993): 259–83. http://dx.doi.org/10.1080/10584609.1993.9962983.

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Hoang Thi, Nga. "A GENDER STEREOTYPES FROM AMERICAN AND VIETNAMESE WAR FILMS – A CASE STUDY OF VIETNAMESE WOMEN’S REPRESENTATION." Journal of Science Social Science 65, no. 11 (2020): 14–23. http://dx.doi.org/10.18173/2354-1067.2020-0067.

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In the media, the movies have a strong impact on the perception of gender and gender roles, including the image and role of women. The question is: Are there any hidden gender stereotypes contained in images, words, and plot in a movie? Therefore, this report refers to the image and portrait of Vietnamese women described in the Vietnam War films under a comparative perspective from both the US and Vietnam. From these different views, the filmmakers in Hollywood and Vietnam presented their different perceptions, even their opposing views to the Vietnamese women and their role in the war. Even m
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Amalina, Benita. "FIGHTING FOR WOMEN EXISTENCE IN POPULAR ESPIONAGE MOVIES SALT (2010) AND ZERO DARK THIRTY (2012)." Rubikon : Journal of Transnational American Studies 3, no. 1 (2019): 28. http://dx.doi.org/10.22146/rubikon.v3i1.47824.

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American spy movies have been considered one of the most profitable genre in Hollywood. These spy movies frequently create an assumption that this genre is exclusively masculine, as women have been made oblivious and restricted to either supporting roles or non-spy roles. In 2010 and 2012, portrayal of women in spy movies was finally changed after the release of Salt and Zero Dark Thirty, in which women became the leading spy protagonists. Through the post-nationalist American Studies perspective, this study discusses the importance of both movies in reinventing women’s identity representation
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Dehchenari, Maryam Abdali, Mardziah Hayati Abdullah, and Wong Bee Eng. "Critical and Semiotic Analysis of the Shift in Women’s Erotic and Romantic Roles in Action Movies and Movie Posters across Three Eras of Hollywood." International Journal for Innovation Education and Research 2, no. 6 (2014): 25–39. http://dx.doi.org/10.31686/ijier.vol2.iss6.192.

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Adopting CDA and social semiotic analytical frameworks, the research investigated 30 action movies and accompanying posters from 1930 to 2012, with the following objectives: (1) to examine verbal and non-verbal elements in women’s representation, and (2) to trace significant changes in the romantic and erotic roles of female characters across three eras of Hollywood. Lovers showed their emotions in the most appealing and polite manner during the classical era, but they were more multifaceted during the last two eras. The new Hollywood era turned a blind eye to skin color by including indigenou
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Sheikh, Adnan Rashid, Faisal Rashid Sheikh, Shaukat Khan, and Athar Rashid. "Discursive Construction of New Female Identity in Latest Hollywood Blockbuster Movies." International Journal of English Linguistics 10, no. 1 (2019): 265. http://dx.doi.org/10.5539/ijel.v10n1p265.

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This study analyses the emergence of female portrayal in latest Hollywood superhero movies, after the #MeToo global movement about awareness of sexual harassment. This research adopts a qualitative approach in analysing the constructs of doing and undoing gender in blockbuster movies by Marvel and DC comics. This study seeks to explore the shift towards discursive and screen empowerment of female lead and supporting characters. Such movies serve as a barometer of the cultural and social milieu and hence project how women can display range of capabilities, independence and emotional strength on
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Noureen, Abida, and Sajjad Ahmad Paracha. "Muslims and Islam: Freeze Framed Discourses in Hollywood during 1978-2013." Global Regional Review IV, no. IV (2019): 37–43. http://dx.doi.org/10.31703/grr.2019(iv-iv).05.

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Hollywood movies have revealed dramatic and varying status of Islam and Muslims, calling them as magical carpets to mummified leadership and, ultimately global bastion of terrorism. Various researchers consider Hollywood film industry as a reflection to construct public opinion in the cinema industry and, it creates crucial slots that rely on emotive and evocative imagination adjustable to stereotypic approach. Many other researchers believe that such stereotypical conception against Arabs (Muslims) roles in US movies later 11th of September attacks prove damaging depictions, notorious recogni
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Batool, Sumera, Maria Naeem, and Feroza Batool. "Gender Construction And Media Narratives: Representations Of Gender In Animated Movies." Pakistan Journal of Gender Studies 15, no. 1 (2017): 199–212. http://dx.doi.org/10.46568/pjgs.v15i1.135.

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Media, as an important and powerful social institution, contributes in the construction and reinforcement of perceptions and beliefs about gender. The media images of gender have been found stereotypical and discriminated while there have been many debates on the under representation and biased treatment of gender related issues. This research study particularly analyzed how media narratives play a part in the construction of gender identities in animated movies. The study focused to investigate how femininity and masculinity have been build up in movies, which sort of roles have been assigned
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Thomas, Paul. ": Dreaming Identities: Class, Gender and Generation in 1980s Hollywood Movies . Elizabeth G. Traube." Film Quarterly 47, no. 3 (1994): 52–53. http://dx.doi.org/10.1525/fq.1994.47.3.04a00090.

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Manzoor, Seema, Dua-e. Rehma, and Samina Rauf. "Analysis Of Gender Stereotypes In Movies." Pakistan Journal of Applied Social Sciences 4, no. 1 (2016): 95–109. http://dx.doi.org/10.46568/pjass.v4i1.298.

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Structure of the society is the arrangement of various factors on the basis of traditions and ethics, and these values are transferred from generation to generation. The most important thing is that the pattern of the society should be balanced, which is obviously not practical in our society as this trend is seen in all aspects of our life. Media is a very important institution, yet it has not portrayed women in positive manner. If we see film medium, women are represented as sex object and commodity in a stereotypical roles. This under representation of women in movies created imbalance in t
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Hussain, Hafiz Azhar, Muhammad Majid Hamid Nasir, and Muhammad Rawaha Saleem. "US Foreign Policy and Iconization of A Terrorist Through Hollywood Films: A Content Analysis of Afghan and Iraq War in Pre & Post 9/11 Movies (1995 To 2015)." Journal of Peace, Development & Communication me 05, issue 2 (2021): 86–99. http://dx.doi.org/10.36968/jpdc-v05-i02-08.

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The study is about the cinematic representation of war on terror and explores the relationship between Hollywood productions and US foreign policy. It includes 14 Hollywood productions for cinema screen regarding Afghan and Iraq war during the era of 1995 to 2015. Content analysis of selected movies is done to find out how the ‘Other’ characters are presented on screen. The observation concludes that the Hollywood has hand in gloves with Washington to propagate the state agenda throughout the world. The image of enemy on cinematic screen is shaped and reshaped following the patterns which suit
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Dissertations / Theses on the topic "Gender roles in Hollywood movies"

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Carrier, Michael B. "Men and the Movies: Labor, Masculinity, and Shifting Gender Relations in Contemporary Hollywood Cinema." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1430322393.

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Range, Regina Christiane. "Positioning Gina Kaus: a transnational career from Vienna novelist and playwright to Hollywood scriptwriter." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3515.

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This dissertation evaluates the career and work of the underappreciated Austrian-Jewish-American novelist, dramatist, essayist and screen writer Gina Kaus (1894 - 1985). The dissertation's approach is interdisciplinary in nature, drawing from the fields of German, American, exile, literary, feminist, performance, global, cultural as well as film studies. The unusually diverse corpus of Kaus's work in both the literary and filmic medium makes such an interdisciplinary approach indispensable. The dissertation argues that Kaus's specific female and little visible exile experience was shaped and a
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Elayan, Yasmeen. "Stereotypes of Arab and Arab-Americans Presented in Hollywood Movies Released during 1994 to 2000." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etd/1003.

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Stereotypes routinely appear within Hollywood films. This study focuses on films released from 1994-2000 that feature Arab/Arab-American characters. A literature analysis reviewed the use of stereotypes in other portrayals of Arab/Arab-American characters. A qualitative analysis of six movies examined specific characteristics that were displayed by Arab/Arab-American characters. These characteristics included speaking with an accent, traditional/native attire, acts of hostility and aggression, affiliation with terrorism, and whether they were depicted as victimizers or victims. These films wer
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Ottosson, Therese, and Xin Cheng. "The representation of gender roles in the media : an analysis of gender discourse in Sex and the City movies." Thesis, Högskolan Väst, Avd för juridik, ekonomi, statistik och politik, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-4373.

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Media is a big part of people’s everyday lives. It influences both how we see ourselves and the world to some extent. There are many different types of media, for example: television shows, movies, the radio, news papers, advertisements which are placed in random places and the internet. In these different forms of media, there are images of men and women, which are represented in different ways and with different characteristics. Research has been made on a lot of movies and television shows and this thesis will be adding to this vast amount of research by analyzing gender representation in t
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Wagenheim, Christopher Paul Ph D. "Male Bodies On-Screen: Spectacle, Affect, and the Most Popular Action Adventure Films in the 1980s." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1479480931551239.

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Yao, Yu-Chieh, and 姚羽倢. "A Research on the Female’s Roles of Military Movies — The Case of Hollywood Movie." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/krrdcm.

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碩士<br>國防大學政治作戰學院<br>新聞碩士班<br>102<br>Traditionally, the military has define as a masculine unit; those of females who want to become part of it will face many challenges and psychological pressure such as less change for promotion, being a mocking object in the movies and being ignored by others. This study is going to explore how Hollywood military moves shape female’s image and transform female’s role in the past three decades using approaches of both content and narrative analysis during the period 1980 to 2010. The military movies are divided into three periods: first period 1980-1990; seco
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Books on the topic "Gender roles in Hollywood movies"

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Dreaming identities: Class, gender, and generation in 1980s Hollywood movies. Westview Press, 1992.

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Konstan, David. Comedy and the Athenian Ideal. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198748472.003.0006.

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New Comedy was a Panhellenic phenomenon. It may be that a performance in Athens was still the acme of a comic playwright’s career, but Athens was no longer the exclusive venue of the genre. Yet Athens, or an idealized version of Athens, remained the setting or backdrop for New Comedy, whatever its provenance or intended audience. New Comedy was thus an important vehicle for the dissemination of the Athenian polis model throughout the Hellenistic world, and it was a factor in what has been termed ‘the great convergence’. The role of New Comedy in projecting an idealized image of the city-state
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Borelli, Melissa Blanco, ed. The Oxford Handbook of Dance and the Popular Screen. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.001.0001.

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This anthology offers contemporary perspectives on dance in the context of the popular screen. It analyzes the role played by the dancing body in popular culture and its multi-layered meanings in film, television, music videos, video games, commercials, and Internet sites such as YouTube. It explores how dance and choreography function within the filmic apparatus, and how the narrative, dancing bodies, and/or dance style set in motion multiple choreographies of identity such as race, gender, sexuality, class, and nation. It also considers the types of bodies that are associated with specific d
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Atkins, Joseph B. Harry Dean Stanton. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813180106.001.0001.

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Harry Dean Stanton (1926--2017) got his start in Hollywood in TV productions such as Zane Grey Theater and Gunsmoke. After a series of minor parts in forgettable westerns, he gradually began to get film roles that showcased his laid-back acting style, appearing in Cool Hand Luke (1967), Kelly's Heroes (1970), The Godfather: Part II (1974), and Alien (1979). He became a headliner in the eighties -- starring in Wim Wenders's moving Paris, Texas (1984) and Alex Cox's Repo Man (1984) -- but it was his extraordinary skill as a character actor that established him as a revered cult figure and kept h
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Kane-Meddock, Derek. Trash Comes Home. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036613.003.0015.

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This chapter demonstrates the structural link between gender and genre in John Waters' work by examining three of the director's films: Pink Flamingos (1972), representing his early career; Polyester (1981), which marks his transition to Hollywood; and Serial Mom (1994), a movie from what has been called Waters' “safe and formulaic” period. Despite their stylistic and thematic differences, these three movies each expose the inconsistencies inherent in gendered and generic representation. The theory of disidentification offers an explanatory link between the director's resistance to the rules o
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George-Graves, Nadine. Identity Politics and Political Will. Edited by Rebekah J. Kowal, Gerald Siegmund, and Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.47.

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The career of acclaimed tap dancer Jeni LeGon is remarkable not only for her style but also for the ways in which she navigated the racial politics of the 1930s Hollywood film industry. This chapter examines how identity politics affected LeGon’s movements on and off both stage and screen. Hollywood lacked the political will to commit to LeGon, but she countered with a black will to maintain control and subjectivity. As a light-complexioned African American woman cast in a variety of ethnic roles she demonstrates the fungibility of black and brown bodies. When she presented as both cutesy and
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Segal, Adam. It’s a Mann’s World? University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036613.003.0009.

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This chapter shows how there can be no easily assumed relationship between genres and gendered audiences, for as socially circulating gender assumptions change, they bring with them consequent shifts in audience address. It analyzes Hollywood masculinity in the early to mid-1990s and how this is reflected in the film, Heat (1995). Heat is a unique entry in the police procedural/crime genre in that it attempts to illuminate for its viewers the emotional toll that crime work takes on the police and thieves while also revealing the toll it takes on the spouses and loved ones who are left at home
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Townsend, Sylvia. Bumpy Road. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496804143.001.0001.

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In meticulous detail, the book describes the filming, release, and influence of the 1971 film Two-Lane Blacktop. In 1970 the urbane producer Michael Laughlin asked the hippy filmmaker Monte Hellman to direct a script called Two-Lane Blacktop. The cult author Rudy Wurlitzer rewrote the script, the story of two scruffy hot rodders who pick up a girl hitchhiker and race their classic ’55 Chevy against a rich guy’s “factory –made hot rod,” a ’70 GTO Judge. In three of the four lead roles Hellman cast nonactors – the rock stars James Taylor and Dennis Wilson, and the director’s girlfriend, Laurie B
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Roberts, Robin. Subversive Spirits. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496815569.001.0001.

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The supernatural remains extraordinarily popular in literature, television, and film. But one figure has remained in the shadow, the female ghost. Inherently liminal, often literally invisible, the female ghost has nevertheless appeared in all genres. Subversive Spirits presents a history of the figure in the United States and the United Kingdom from the 1920s to the present, focusing on the female ghost in heritage sites, theatre, Hollywood film, literature, and television in the United States and the United Kingdom. What holds these disparate female ghosts together is their uncanny ability t
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Book chapters on the topic "Gender roles in Hollywood movies"

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Conde, Maite. "Film and Fandom in Cinearte Magazine." In Foundational Films. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520290983.003.0005.

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This chapter examines discourses and elaborations of a Hollywood-inflected stardom that emerged in 1920s Brazil in the country’s first fanzine, Cinearte. It looks at how these discourses zoomed in on questions of gender, discussing Brazilian women’s cinematic reception and also their role as actresses in movies. The chapter explores the ways in which the development of female stars was inextricably and complexly related to a modern urban mass culture that emerged in early twentieth century Brazil, in which women were central. In doing so, it highlights stardom’s dialogue with the figure of the melindrosa, Brazil’s own New Woman, looking at how this figure carefully negotiated concerns regarding the mass form of the movies and its threats to traditional mores and moralities.
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Erish, Andrew A. "1914–1918." In Vitagraph. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813181196.003.0005.

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This chapter encompasses the World War I years. Special attention is given to the company's role in the development of the feature film and creation of a distribution network to handle such longer productions, the relocation of Vitagraph's Los Angeles studio to Hollywood, the War's adverse impact on European profit and the company's consequent expansion of international sales to Latin America and Asia, and Vitagraph's lead in combating racial and gender prejudice through its movies. Blackton's controversial production, The Battle Cry of Peace, is profiled, conceived as propaganda in support of the Preparedness Movement that enjoyed the cooperation of top government leaders and the US military. The short-lived hostile takeover of Vitagraph by outside interests is explored in depth, as is the subsequent defection of Blackton to Paramount. The chapter concludes with Vitagraph's legal battle with fledgling producer Louis B. Mayer, which had long-term consequences for contract players.
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Wilkins, Heidi. "Subversive Sound: Gender, Technology and the Science Fiction Blockbuster." In Talkies, Road Movies and Chick Flicks. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474406895.003.0006.

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This chapter considers the representation of gender in the late 1970s and 1980s in the so-called blockbuster era, focusing specifically on the science fiction genre. The aural dimension of these types of films immediately conjures up ideas of space, technology and other worlds and thus potentially appear as acoustically distinct from the experimental or avant-garde nature of New Hollywood or the loud, pervasive sounds of weaponry, shouting and male camaraderie in war films, which, as previously discussed, explored alternative representations of masculinity in mainstream US cinema. Financially, the most successful American films to emerge in the post-New Hollywood era were Hollywood blockbusters. These films, which were popular from the late 1970s onwards, saw a return to classical movie formulas and genres which, according to some scholars, also saw the re-emergence of strong male heroes and passive female characters and thus a noticeable return to binary representations of gender.
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Smith, Frances. "Making Over: Gender and Class at the High School Prom." In Rethinking the Hollywood Teen Movie. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474413091.003.0004.

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The high school is one of the most recognisable features of the Hollywood teen movie, one whose setting itself usually guarantees a focus on its teenage inhabitants rather than on the adults that attend to them. However, prior to the mid- 1980s, the genre largely focused on its protagonists’ activities outside of the school, in youth-oriented spaces such as the drive-in cinema and, latterly, the mall. Even Grease, ostensibly set at Rydell High, has one of its narrative’s key junctures – the final reunion between Danny and Sandy – occur at the carnival, an event staged to celebrate the conclusion of the characters’ schooling. That teenagers are now more often portrayed within high school can largely be attributed to the work of John Hughes, who wrote, directed and produced a significant number of teen movies in the 1980s. Chief among these was The Breakfast Club, which established a set of archetypal figures that have remained largely intact to this day.
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Wilkins, Heidi. "The Alienated Male: Silence and the Soundtrack in New Hollywood." In Talkies, Road Movies and Chick Flicks. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474406895.003.0004.

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In this chapter, I explore the audible link between masculinity, silence and soundtrack by focusing on a selection of silent, alienated male characters from renowned New Hollywood films. In this discussion, the ‘type’ of silence I often refer to is that described by Paul Théberge as ‘a kind of silence that is produced when, for example, music is allowed to dominate the soundtrack while dialogue and sound effects – the primary sonic modes of the diegetic world – are muted’. I explore the specific use of silence in these texts as well as the ways in which non diegetic music and diegetic sound are used to express meanings not divulged by the male characters, due to their limited dialogue. I argue that this acoustic construction contributes to a projected sense of alienation of male characters and that it can also be linked to the blurring of gender boundaries often accounted for by the counter-culture movements taking place in America throughout the 1960s and 1970s.
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Glancy, Mark. "The ‘Awful Truth’ about Cary Grant." In Hollywood and the Great Depression. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748699926.003.0008.

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This chapter considers the creation of Cary Grant’s star persona – the combination of image, the characters he played, and the publicity that came to form his screen identity – between his early 1930s movies and his breakthrough roles in two 1937 films, Topper, (MGM) and The Awful Truth (Columbia). Grant was neither convincing and comfortable in the ‘likeable rough guy’ roles, in which Paramount (his original studio) cast him in the early Depression years, notably in the 1933 Mae West vehicle, She Done Him Wrong. Going freelance in 1937 led to a change of fortune and a new identity in screwball comedy. By now, the worst of the Depression was over, even if full recovery was elusive. Grant epitomised a newly confident American male, a consumer who cares about fashion and appearance, a leisurely figure who enjoys urban life, and a husband worthy of an attractive wife, but one who was not perfect and often in danger of losing his dignity – thereby suggesting the strengths and weaknesses of American democracy.
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Siomopoulos, Anna. "Embodying the State: Federal Architecture and Masculine Transformation in Hollywood Films of the New Deal Era." In Hollywood and the Great Depression. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748699926.003.0011.

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This chapter analyses how Hollywood focused on recognizable and venerable architectural representations of federal institutions to symbolise the new relationship that had developed between the citizenry and the national government under the aegis of the New Deal. Through case studies of three films respectively featuring the executive, legislative and judicial edifices of the national state – Gabriel over the White House (1933), Mr Smith Goes to Washington (1939), and The Talk of the Town (1942) – become sites of masculine transformations, as the three male protagonists each experience private revelations that help them take on new roles as president, senator and Supreme Court Justice respectively. Though each contains a romantic sub-plot, none of the movies ends with the expected scene of romantic coupling whose trajectory was established in the early scenes. Accordingly the male leads become defined less by private heterosexuality than by public involvement in the Roosveltian state.
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Helford, Elyce Rae. "Ethnic Assimilation and 1950s Hollywood." In What Price Hollywood? University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813179292.003.0010.

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The final chapter turns to the subject of gender and ethnic assimilation in Cukor’s films of the 1950s, the last years in which the director would find regular work. Within a communist-baiting era heading into the long Cold War, Hollywood films of the 1950s suppressed but nonetheless (or necessarily) addressed familiar fears in new ways, from attention to a postwar version of melting-pot politics to modernized versions of gender roles for “ethnic” women. Cukor’s most successful films of the decade reveal similar concerns, despite enormous differences in focus and style. Born Yesterday (1950) and It Should Happen to You (1952) are urban romantic comedies; Bhowani Junction (1956) is an Indian epic; and Wild is the Wind (1957) is an Italian immigrant melodrama in a rustic setting.
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Margolis, Tina L., Julie Lauren Rones, and Ariela Algaze. "Chapter 9 Mortality Salience, Terror Management, and Hollywood Film: Theorizing on the Absence of Anorexia as a Subject in US Mainstream Movies." In Advances in Gender Research. Emerald Publishing Limited, 2018. http://dx.doi.org/10.1108/s1529-212620180000026011.

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Lindberg, Julianne. "Pal Joey Goes to Hollywood." In Pal Joey. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051204.003.0009.

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The 1957 screen adaptation of Pal Joey—starring Frank Sinatra as Joey, Rita Hayworth as Vera, and Kim Novak as Linda—redeems Joey. Now a singer rather than a dancer, Joey genuinely falls in love with Linda. In the end Joey gets the girl. The film promotes a set of emerging gender archetypes that defy middle-class, suburban constructions of masculinity and femininity. Joey’s stage-to-screen evolution—from heel to swinging bachelor—is mirrored by Linda’s transformation from stenographer to sex kitten. Both of these archetypes are responses to what cultural theorists have called the postwar “crisis” in masculinity. The character Vera too is altered. As played by Rita Hayworth, she is tamed by Joey. The anxiety over contested gender roles is reflected in the alteration of the original score, which is reworked, repurposed, and in some cases eviscerated in order to promote the ethos of the film.
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