Representation of Women in Action Movies

If a humanity enkindle fight, hes a hero. If a woman can fight, shes a b**ch Representation of wo custody in action burgeon forths The movie industry never seems to lack action films and there always kitty for the market to choose from however how many of those put one over wo custody in a leading role? A handful. There argonnt that many films that sport wo workforce in lead roles within action films. But the question is wherefore? Why havent a majority of these wo custody been given a chance? Are actresses like Uma Thurman and Angelina Jolie one-woman-wonders or have they bonny been given a lucky introduce?Ill be exploring the representation of wo hands in action films through a semiotic analysis. David Gauntlett argues that in modern society, gender roles argon more complex and the media reflects this. The fe masculine roles today be often glamorous as well as successful in a way that they were previously not. Much of this is due to the rise of fe virile child power in the media, through identities constructed by music artists and contemporary actresses, for example, who are demanding less passive voice roles which explains how films like Charlies Angels have made it to the forefront.Unfortunately, women have repeatedly suffered from a narrow set of representations in the media. They are on a regular basis linked to the domestic situation i. e. ho officewives, or as awakeual objects delineate to entertain men. Furthermore, the number of roles for leading women is far below that of men. Charlies Angels amply Throttle is the film Ive chosen explore and there several(prenominal) reasons target this. Ive chosen this text because it portrays women within dominant roles. Furthermore, the excogitation idler it breaks the exist norm of women cosmos the sexual object that entertains the manly hero/spy.This isnt the case in this film, theyre heroes fighting hatred and saving the day. Not only are they stunning and beautiful nevertheless they similarly possess skills that crush and ch on the wholeenge real stereotypes ab step up women which is simply why I chose this film. Charlies Angels Full Throttle is an action harlequinade film that was released on the 27 June 2003. The film was directed by mcg and produced on a budget of $120 million. It was the sequel to the 2000s Charlies Angels and it was number one at the box office for its fountain spend and produced a worldwide gross of $259. 2 million. The film was a success.It stars an tout ensemble cast including Cameron Diaz, Drew Barrymore and Lucy Liu. It also features notable actors and actresses such as Demi Moore, Shia LaBeouf and matted LeBlanc. Diaz, Barrymore and Liu or the Angels, are three extremely talented, strong, sexy women who work as private investigators for unseen millionaire named Charlie. Prior to this film, they had starred in more passive roles in the romantic comedy genre. In most action films, men were more likely to be adventurous, active and vicarious, whereas women were more frequently certifyn as weak, ineffectual, victimised, supportive, laughable or merely token fe anthropoids (Gunter, 1995).A film such as this every last(predicate)owed their fans to view them in a more dominant, powerful light. This immediately ch wholeenges the pre-existing stereotype of women because they are illustrated as superior to their male counterpart. The angels are fencesitter women who arent tied down or held back by men. On-the-other-hand, the accompaniment that they work for a male, wealthy character who controls their every move is wry because in reality, many women are in similar situations and living in a patriarchal society. The opening scene of the film is a burnished example of the female representation shown end-to-end the plot.Its set in a filthy, hostile bar in the Himalayas in Mongolia. The bar is jam-packed with lots of men drinking and jeering. The use of an establishing long shot works well to familiarise the audience with the initial setting and gentle wind. I turn over the director did this in high society to show the contrast between all of the men and the Angels. A dolly shot is utilise to track twain men carrying a box so the audience become intrigued to take care the contents as they descend into the basement. To the surprise of the audience, Alex Munday (Lucy Liu) was inside the box contortioned and cheeseparing in away.A high angle shot is used and the camera tilts in order to display the actresses flexibility. As she rises out of the box the camera zooms into a close up of Liu as she does a symbolic swipe of her long, glooming copper an iconic move for any female superpower. Shes dressed in a black leather ensemble which connotes mystery and obscurity. Perhaps out of the three angels, Liu is the dark horse. As she stands against the wall, a medium shot is used cleverly because not only can we see Liu against the wall goodly we can also see the hostage and his capture rs in the room behind the actress.The connotation is accurate as she then saves the hostage by winning out the guards with some impressive combat. Her character is almost portrayed to be a female equivalent to Jet Li she appears to be unbeatable and fierce. As she drags the hostage up the stairs, the fervour changes dramatically. The basement was very dark and low-key lighting was used which made the action stealthy and hostile. Whereas, the lighting used in the bar is high-key very bright and there are few shadows.This is symbolic because its as if Alex has taken the hostage from madhouse (dark, unpleasant) and to heaven (bright, hope) which is essentially the purpose of an angel both contexts. Meanwhile upstairs, the atmosphere is volatile as a new character emerges dressed in a red, sleek kimono. Her costume connotes love, passion and warmth however in this scenario it connotes danger, sin and aggression. This is the 2nd angel Dylan Saunders. The camera tilts over her shoulde r and shows the male opponent smirking at her and then it pans around the table to eventually show her face.As she throws back a shot of alcohol, she comes across as the mediocre angel, the bad girl of the trio. The use of red with Dylan in this scene is symbolic because it displays a wide contrast between her and Alex. Shes more masculine in her body language but the director has tried to mask this behind the sexy outfit and red lipstick. As she walks away she clasps one of the guards by the waist, grabs his keys and tucks them away subtly. The focus then turns to the doors of the bar and the audience anticipates the worst. As the doors transmit open, a medium shot shows a tanned, petite and blonde fresh woman.This is the third and final angel, Natalie Cook. Shes dressed in a white, puberulent coat and a disclosure white mini skirt. This connotes purity, happiness and reality which would be fitting for a normal angel. However, Natalie is no ordinary angel. As she stands at th e door, she looks lost and dazed and a close-up of her face supports this further. As the men stare at her beauty in awe, she jeers at them and they erupt with excitement. The men are so amazed they form a guard of observe for Natalie as she walks over to the mechanical bull.Whereas, when Dylan wanted to move through the men they simply didnt move and didnt even know she was there. The use of white dumbs the men and amplifies Natalies angelic nature. Furthermore, her body language also plays a part in stunning the men. She giggles excessively and winks at a few of the men. Also, Diaz flicks her pigtails every two seconds and is also chewing gum. She hardly challenges the existing stereotype of blonde women but adds fuel to the fire. This is supported further by the fact that her skirt is so short, the audience can see all the way underneath it.Perhaps Natalie is the bimbo of the group. The director has clearly added to the stereotype of blondes being stupid through Natalies charac ter however this could be challenged throughout the plot. I believe this opening scene and in fact the entire plot supports Mulveys Male Gaze theory. It states that media texts are created through the eyeball of a heterosexual male and that women are viewed for the pleasure of men. (Smith, 2009) She also claimed that women are turned into sex objects through how they are shot in the media (Cinematography). (Smith, 2009) Charlies Angels Full Throttle demonstrates this. The plot should challenge the norm and allow women to break free however the body language and costumes used throughout diverges the male audience from the plot and to the women being sexualised. In a review by the BBC, Nev Pierce argued some call it girl power, others demeaning. Furthermore, When female protagonists, for example, have to part as law enforcers and confront criminal behaviour both associated with male authority and action gendered conflict inevitably follows. (Hall, 1997, p. 364)However, this fil m could mislead women into view they have to become successful and independent by wearing tight, revealing clothes and caking up their faces with make-up but of course this isnt true. It really makes me more and more angry. The aim is to rake in money, loads of money and people try to do that by all means of all these things sex, beautiful people, wealth and you always have people who fall for it. (Ang, 1997, p. 347) This opening scene shows three very different women with different talents however what they all have in common is their characters have been onstructed to appeal to different types of men but collectively appeal to all men. Although this action film had 3 women in lead roles, it failed to truly challenge the existing stereotypes of women having to be objects and requiring sex appeal to become successful. In reality, a woman cannot be herself in the society of the present day, which is an exclusively masculine society, with laws framed by men and with a judicial syst em that judges feminine conduct from a masculine point of view. References Websites Charlies Angels Full Throttle blog (non-official) http//c-angels. blogspot. co. uk/ Pierce, Nev. (2003). BBC film review. http//www. bbc. co. uk/films/2003/06/27/charlies_angels_full_throttle_2003_review. shtml Smith, Mr (2009). Representation Theory http//www. slideshare. gelt/fleckneymike/representation-theory-2458490 Smcmediastudies, (2011). The Representation of Women in the Media http//www. slideshare. net/smcmediastudies/the-representation-of-women-in-the-media Books Ang, Ien. (2006). Representation Cultural Representations and Signifying Practices, in association with Sage. Ang, I. (1985) Watching Dallas soap opera house and the melodramatic imagination, New York, Methuen. Ibsen, Henrik (1917). Ibsens Workshop.