Custom «"Stereotype" of Women» Essay Paper

Women have been subjected to various stereotypes in the modern society. Aired shows in movies and television have continuously suggested that most women are air-heads. Feminine stereotypes within the media have a propensity of underestimation of the female gender as a whole. Their role is also reduced to being objects of sexual pleasure and submissive individuals. According to estimates in the research, around thirty eight percent of female characters, created in video games, are mostly dressed in revealing clothes and twenty three percent are exposing their cleavages (Benson 23).

The Women

In this film that is a screened version of the novel, was produced as well as directed by Diane English that is also an updated version of the 1939 film by George Cukor. It was mostly surprising that the whole film was cast by women with the exception of a baby at the very end of the film. Even if there were no men in the movie, most of the dialogues were concerning them. The story is about impossibility of divorce, since it was based on the real life conditions and divorce during the 1930’s was very difficult to get in New York (Kenneth par.2).

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Unlike the1939 film, where most of the characters are seen to be socialites from Manhattan, the 2008 version shows that the characters are people working in various fields like publishing and fashion design. Another difference was that character of Alex Fisher is explicitly a lesbian.

The Plot

A fashion designer, Mary Haines, resides in a stunning uptown in the Connecticut house with her rich financier spouse, Steven, as well as their daughter Molly who is eleven years old. Sylvie Fowler, who has been her greatest friend from the time when they were in college, is the editor of a well-known magazine of fashion, and publishes the most recent news in style and taste for urban fashionistas in New York. As soon as Sylvie learns that Steven is having an affair with Crystal Allen, a salesgirl working in the perfumes store at Saks Fifth Avenue, from Tanya a talkative manicurist, she tells this to the always-pregnant Edie Cohen. However, she hesitates to inform Mary, who also finds out the rumors herself from Tanya as she is also getting a manicure. Being indifferent to her mother, Catherine’s advice to refrain from not talking about the affair and go away on holiday, Mary first deals with Crystal and after that Steven just before she asks him for an annulment (Kenneth par.4).

Edie, Sylvie and writer Alex Fisher unite together in support of their disrespected buddy, but a tricky situation arises when Sylvie, who has just lost her employment, plots with a local hearsay writer Bailey Smith by authenticating Mary's matrimonial afflictions in substitution for Bailey having a word in the icon report to the publication. Mary is bewildered by the betrayal of Sylvie and she immediately brings the friendship to an end. Molly, Mary's daughter, begins skipping school and she does not confide in her mother who has been distracted by the confusions of her one time pleasant life. Instead, she becomes more distant.

On being fired from her workplace, Mary opens her personal fashion design company with several financial supports from Catherine. In the process of organizing her life, she builds an attempt to connect with her daughter who discloses that her father’s affair with Crystal has been separating, and comes together with her long-term friend Sylvie who has given up her work. Having this knowledge, Mary decides to fix her broken marriage at the same time as she gets ready to expose her latest line of female wear during a fashion show that is attended by those owning boutiques as well as the purchaser from Saks (Kenneth par.6). Sylvie informs Mary of a guy that she has met and is contemplating of offering him her telephone contacts. In the closing scene, Edie's is blessed with a baby boy.

In this film, English possesses an impressive and extra complex thing in mind. This edition reveals itself to be a manifesto and a farce, an exaltation of female friendship as well as merriment of women's call for self-realization. According to critics Diane English brings a rather confusing picture about the female gender.

Adam’s Ribs

This film is directed by George Cukor plus with a screenplay by Garson Kanin and Ruth Ford. It is among the happiest films that these stars did jointly. The contention among Amanda and her husband Adam Bonner begins as the two get caught up in an illegal case. Adam, who is an Assistant District Attorney, is dispensed to the case. Amanda, like a triumphant trial legal representative, comes to a decision to get involved in that case since she believes that Doris Attinger operated in an instance of insanity. This movie was in front of its point for the reason that Amanda inquires on the woman’s right to be reviewed equivalently to that of a man, a thing that the punitive system appeared to pay no attention to. Doris Attinger is a lady who has had to put up with the unfaithful husband who is not in love with her anymore. Warren Attinger is not concerned with the person he upsets, not until Doris makes a decision to deal with the matter in her own way. Katherine Hepburn (Amanda) illustrates a faultless release as Amanda Bonner. She possesses an internal attractiveness that stands out and makes her radiate. Ms. Hepburn having been at the peak of her profession then showed it. Spencer Tracy can be said to be Ms. Hepburn's equivalent as the District Attorney bringing the case to court, Mr. Tracy is pleased to observe in their scenes jointly. He possesses such a naughty character, that it endears him to the viewers in whatever thing he takes part in. The eye-opener in this movie was Judy Holliday (Doris). The indicted woman, Doris, shows ability ahead of thoughts (Kanin et al., par.2).

 Amanda has a foundation on her case on the fact that men and women are equivalent. In addition to that, she states that Doris had been obligated into the circumstances via her husband's ill conduct. Adam, on the other hand, feels that she is presenting disrespect for the law since by no means there ought to be a justification for these actions (Kanin et al., par. 3). Anxiety more and more builds up in their house as the husband and wife fight with each other in the court. The situation worsens at the time when Amanda disgraces Adam in the course of the trial, by having her woman eyewitness lift him up, and Adam afterwards leaves their home. As soon as the decision for the trial draws closer, Amanda makes a plea to the jury to make a judgment in this case as it would in the case that the gender was reversed. This attempt was successful, in addition to Doris not being found guilty.

On that same night, Amanda is seen by her husband Adam with their next door neighbor Kip (David Wayne), who apparently has revealed an obvious attention to Amanda, as they are together through the windowpane. He smashes into the house, with a gun pointed at the two. Amanda becomes shocked, and speaks to Adam "You do not have the right to do what you want to, no one does!" which pleases Adam since he believes that  he has demonstrated his position about the unfairness of Amanda's defense. He, at that moment, places the pistol inside his mouth, when Kip and Amanda shout, except Adam simply nibbles on it since it was made out of liquorice. Amanda becomes angry with this trick, and a fight continues (Kanin et al., par. 5).

In the case of this movie, it is heartbreaking to know that this incredible actress did not survive to make it and become a successful actress in the movie industry. She was viewed as a gifted actress who is a delight to look at in this movie. Fortunate are the viewers to observe her most excellent effort conserved for posterity.

In this movie the lady, Amanda, has been depicted to mind her fellow female by being willing to bend the law and justifying the actions of Doris, even if she herself does not believe in that (Kanin et al., par.6). This is clearly indicated when she tells her husband that no one has a right to take another person’s life regardless of what the person has done to them.

The Color Purple

This is a 1985 American era play film that was directed by Steven Spielberg, founded on the Pulitzer award-winning book with the similar title by Alice Walker (Corliss par. 2). This became Spielberg's 8^th film that he directed, and it became a transformation from the summer best-sellers for which he was recognized. Having been filmed in Union and Anson districts in North Carolina, the movie brings out the tale of a young girl who was African American by the name of Celie. In addition to showing the tribulations that African American female gender encountered all through the early nineteen hundreds, including sexism, poverty and racism. Celie becomes a transformed woman as she discovers her self-worth via the assistance of two other tough female friends (Corliss par. 2).

The Plot

The movie happens in the South of the U.S. during early nineteen hundreds to mid nineteen thirties. It describes the days of an unfortunate African American female by the name of Celie Harris (Whoopi Goldberg), whose mistreatment starts during her young stages of life. By the time she is fourteen years old, the young girl has two children through her father (Leonard Jackson). He gets the children from her during birth and against her own free will marries her off to a neighborhood widower, Albert Johnson, well-known to her simply as "Mister" (Danny Glover) and he in turn exposes her to treatments of that of a slave. Albert forces her to tidy his disorderly house and look after his uncontrollable kids. Albert hits her frequently, threatening Celie to submit and close to stillness. Celie's sibling, Nettie, (Akosua Busia) arrives to reside with them. There is a short time of joy as the two sisters have some time together along with Nettie teaching Celie how to read. This, however, happens for a very short time following Nettie refusal to Albert’s greedy friendliness on various occasions too frequently, he throws her out. Ahead of being dashed off by Albert, Nettie gives her word to write to Celie (Benson par.6).

Albert's previous girlfriend, Shug Avery (Margaret Avery), who is a jazz singer for whom he has had some admiration for, arrives to reside with Albert and Celie. Agitated with illness, Shug at first looks upon Celie, who was putting on a face mask, as unattractive on their initial meeting. Not withstanding this, the two eventually became close associates and Shug assists Celie lift up her self-esteem.  Celie and Shug in addition had an affair (further distinct in the novel, but merely implied at in the movie (Russel, par.5) .Celie as well gets strength from Sofia (Oprah Winfrey), who gets married to the son of Albert known as  Harpo (Willard E. Pugh). Sofia too undergoes cruelty from the guys in her family, except that nothing like Celie, she declines to bear it (Benson par.7). The high-spiritedness possessed by Sophia however becomes her demise, as an impolite comment to the wife of the town’s mayor and a castigatory blow towards the mayor concludes with her being beaten and imprisoned.

Nettie, in the meantime, is living with disciples in Africa and writes to Celie frequently. Unknown to Nettie, Albert confiscates her mails, assuring Celie that she would by no means hear from Nettie again. Through a stopover from Shug with her latest spouse, Grady, Shug and Celie find out lots of years' significance of Nettie's letters. By reconnecting with her sibling and the guarantee that she is not dead, gives Celie the courage to face Albert. She nearly cuts his gullet as she shaves him, except that she is discontinued by Shug. Throughout a family dinner, we view a hastily aged and eternally disfigured Sofia because of the ruthless whippings she got in jail, in addition to being dispirited into a nearly catatonic status. At some point in time, Celie at last speak out herself, criticizing her father and Albert. Shug tells Albert that she and her husband are leaving, in addition to Harpo's girlfriend, Squeak (Rae Dawn Chong), and Celie accompanying them. Regardless of Albert's efforts to vocally insult Celie to submit to him, she faces him by stating that he separated Nettie  from her, and she was the only single person who actually appreciated her. Ahead leaving him lastingly, she informs him that everything he does shall always go wrong until the day he decides to do the right thing. After seeing Celie stand up for herself, Sofia goes back to her usual character, laughing uncontrollably at an astonished and humiliated Albert. She as well persuades Celie in not following in her personal path, as Celie clutches a dagger to Albert's gullet.

 Upon her father’s death, Celie learns that the man she knew was her father, in reality, was her stepfather, as well as the fact that she inherited a home and store from her actual father. In the meantime, Albert is sentimental about Celie's words. His home and fields suffer into nearly nothingness as he slithers into alcohol, spending the major part of his life at Harpo's speakeasy. In an unexpected act of compassion mysterious to her, Albert obtains the entire cash he has put aside, sets out to the immigration headquarters, and organizes a family get-together with Nettie for Celie. Her kids, Olivia and Adam, having been raised in Africa, are too brought back together with her. Albert glances on from a far place and Shug beams at him since he at last did the correct thing (Benson par. 9).

This film was an appeal to value African American women given that it was an extremely strong position opposing the manners in which black guys treat black women. Mean is even a kind way of describing their actions (Siskel, par. 4) The major black male in this film make use of their women, both daughters and wives as sexual objects.