1) The media guardian 100 is a list of the 100 most powerful people in television, radio, newspapers, advertising etc. The panellist is Trevor Phillips, Jane Martinson, Janine Gibsonn, Chris Powell, Brent Hoberman, Sioban Kenny, Andrew Neil, Tessa Jowell, Peter Baron, and Peter Bennett Jones.
2)18 women are in the top 100.
3)The companies these women work for and the jobs they do are things like Radio 4 controller, Directors, Chief executives, Chairmen, Actors, Co-founder.
4) 18%
5) Taking into consideration the amount of women on the list and the jobs that they have, it still seems that men are still dominant with women trying to make a living in a patriarcle society. With this. women are still being viewed as subordinate, making the representation of them inferior.
Tuesday, 28 September 2010
Sunday, 26 September 2010
Femme Fatales: Contemporary:
Catherine Tramell: Basic Instinct 1992:
Sharon Stonne plays femme fatale Catherine Tramell in this movie. From this trailer we see many things to suggest her femme fatale role e.g. phallic symbols such as cigarette, sitting posture, dress sense etc. From this we can see that she is portrayed as a stereotypical femme fatale.
Suzanne Stone: To Die For 1995:
In this movie Nicole Kidman plays Suzanne Stone, a womeen willing to do anything to get to the top. In the trailer she is seen as a "temptress" which is anchored by shots of her having sex with men and dancing seductivly. Being portrayed as a negative character using others, she is automatically cast under the light of being a femme fatale.
Sharon Stonne plays femme fatale Catherine Tramell in this movie. From this trailer we see many things to suggest her femme fatale role e.g. phallic symbols such as cigarette, sitting posture, dress sense etc. From this we can see that she is portrayed as a stereotypical femme fatale.
Suzanne Stone: To Die For 1995:
In this movie Nicole Kidman plays Suzanne Stone, a womeen willing to do anything to get to the top. In the trailer she is seen as a "temptress" which is anchored by shots of her having sex with men and dancing seductivly. Being portrayed as a negative character using others, she is automatically cast under the light of being a femme fatale.
Femme Fatales: 1940s:
Gilda: 1946
This scene highlights a stereotypical femme fatale as she is both seductive and dominant at the same time. She dances, ensuring that the men in the rooom are staring at her and through this she is the object of attention and sexual desire. The mise-en-scene connotes a sense of independancy as her dress sense is glamourous yet she wants no man to dance with her.
Elsa:The Lady From Shanghai 1948:
In this scene, we see a phallic symbol e.g. cigarette which is usually a manly trait. As she is singing we see that the male characters are enticed with her singing which connotes that she is dominant in this scene as she controls it.
This scene highlights a stereotypical femme fatale as she is both seductive and dominant at the same time. She dances, ensuring that the men in the rooom are staring at her and through this she is the object of attention and sexual desire. The mise-en-scene connotes a sense of independancy as her dress sense is glamourous yet she wants no man to dance with her.
Elsa:The Lady From Shanghai 1948:
In this scene, we see a phallic symbol e.g. cigarette which is usually a manly trait. As she is singing we see that the male characters are enticed with her singing which connotes that she is dominant in this scene as she controls it.
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