Film 152G Contemporary american cinema Essay Example | Topics and Well Written Essays - 1750 words

Film 152G Contemporary american cinema - Essay ExampleScott had chosen that tv camera position to feature Ms Weavers derriere because, after all, Ripley had been throughout much of the movie its protagonist and some resourceful character - as supplying in the story a role usually portrayed by a man - and the directors (or editors) selection of this take was intended to reveal a softer, more(prenominal) feminine aspect of her. If that were so, however, its effectual to ask why and how showing the crack in that ass above the panty-line would feminize Ripley.with the advent of Sexual Liberation, womens roles in pictorial matters became more complex and less sexist than in the Hollywood movies of the 1930s and 40s. What has happened, in fact, is much the opposite. In films such as Taxi Driver, Pulp Fiction and Sex, Lies and Videotape, contemporary Hollywood depicts women in ways more stereotypic, less nonparasitic and unique, than it did in that so-called Classic era of American mov ies.Released by Paramount in 1941, Sullivans Travels defies neat categorization. With its assortment of drama, sentiment and comedy, it could be considered black humor, a trademark of its writer/director, Preston Sturges. One of the films more remarkable aspects is its depiction of The girlfriend contend by Veronica Lake.Though she is given no name, The fille is attractive and sexual, but she is more than the sum of those attributes. While Lakes trademark blond tresses frame her face alluringly, she is never an object of stereotypic sexuality. Her character has severity in the sense that she is herself though an out of work actress, she does not play the sex card with the long-familiar director, Sullivan. To the contrary, throughout the story she contradicts and bullies him while also sharing his travels as an equal. When they first meet in the buffet car and Sullivan has no money on him, The Girl, though out of work and her apartment, offers to buy him breakfast. Sullivan refu ses and Lake says, Dont be a sucker. (to the counterman) devolve him some ham and eggs. After she and the director jump from a moving train and she lands on pinch of him, The Girl asks, Did I hurt ya any But it is more taunt than clichd, submissive concern (Sullivans repartee is worth quoting Well, you didnt do me any good.).Sullivan may be a successful director but it is The Girl who is more tenacious of life and the stronger character. She dominates their scenes together the way Rosalind Russell as Hildy Parks did Cary Grant in His Girl Friday, or as Kate Hepburn and Bette Davis dominated - or were equal to - their co-stars in just close to any film they made. Even Mae West (sex incarnate) portrayed gutsy, self-secure and unique women indeed, she gloried in her over-ripe sexuality with relentless and less-than-subtle double entendres. It is well-known that Olivia deHavilland groused about her insipid roles opposite Errol Flynn for Warner Bros., but she proved a