running head: female role-models in film 1 · female role-models in film 6 . 2.so what-this passage...

Running head: FEMALE ROLE-MODELS IN FILM 1

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Female Role Models in Film

Stewey B. Sample

ENG 122: English Composition II

Prof. Martha Washington

July 11, 2014

FEMALE ROLE-MODELS IN FILM 2

Female Role Models in Film

I. (1) [Introduction ]

A. Thesis: Female characters have always served as role models in film, and their

constantly changing depictions illustrate how notions of femininity have evolved

over time in the United States.

II. Body Paragraph 1 (2) – Within even the earliest films, depictions of women were [

consciously crafted by directors and writers to convey what they believed were

important aspects of femininity. That said, early feminist film critics did not seem to

agree. ]

A. Supporting Evidence- In the first sentence of her 1972 essay, “The Image of

Women in Film: Some Suggestions for Future Research,” Sharon Smith asserts

that, “women, in any fully human form, have almost completely been left out of

film.” She goes on to say that, “women provide trouble or sexual interludes for

male characters, or are not present at all. Even when a woman is the central

character, she is generally shown as confused or helpless and in danger, or

passive, or as a purely sexual being.” (3) (p. 15) [ ]

1.Explanation-Smith is one of the pioneers of feminist film criticism, and

her discussion here provides one of the earliest interpretations of the role

of women in film. Here she presents the theory that women have served

very little purpose in film other than to be the focus of male characters.

2. So What? - This particular quote is important for two reasons. First of all,

the fact that it was written in the 1970s helps support the timeline


established in my topic sentence. Secondly, it gives me a starting point to

help analyze the early film that I intend to examine.

III. Body Paragraph II-What Smith established in 1972 is, in many ways, an accurate

depiction of women in the films that she was examining; however, even in these early

works, the depiction of women was far more conscious than Smith suggests.

A. (4) [Supporting Evidence- In Fritz Lang’s 1927 science fiction classic, ]

Metropolis, the first female characters from the film are introduced with the line

“Which of you ladies shall have the honor of entertaining Master Freder, Jon

Fredersen’s son.” From here an array of scantily-clad women strut before an

elegantly dressed servant who judges their beauty, and makes improvements

where he sees fit.

1. (5) [Explanation- This scene is very much in keeping with Smith’s ]

general summary. With bare breasts completely visible behind shirts of

sheer lace, the first women in the film are little more than the sexualized

playthings for the film’s male protagonist.

2. So What? – This scene from a popular early film supports the assertions

of Smith as well as the first portion of my topic sentence. It clearly

illustrates that, in this scene at least, women were literally the sexualized

plaything of more important male characters. Finally, it provides an

excellent starting point for me to present my contrasting example.

B. (6) [Supporting Evidence- As the scene of half-nude revelry progresses, a new ]

female character is introduced, Maria. Walking in on party of Freder and his

female playthings, Maria presents a stark contrast to the women seen thus-far. Her


clothes are modest and simple, her demeanor is serious, and she surrounded by

the poor children whom she teaches.

1.Explanation- (7) Everything about Maria’s depiction is important. Her [

clothes suggest modesty, her profession is an extension of motherhood,

and her serious nature shows that she is a person who is not caught up in

the superficial frivolity of the other women. ]

2. (8) So what? –This is an essential character analysis because it allows [ ]

me to begin to refute the generalizations of Smith. I will also highlight the

fact that Maria ends up being the primary love interest of Feder, which

indicates the director’s belief that her qualities are important qualities for a

woman to have. Finally, my analysis of her clothes, demeanor, and

occupation will allow me to transition into my paragraph on how feminist

film criticism has changed over time.

IV. Body Paragraph III- As time progressed, new styles of film critique began to catch

up and understand the conscious way that women are depicted in film, and laid the

groundwork for how these roles would be examined in the future.

A. Supporting Evidence- (9) In her 1981 essay, “Caught and Rebecca: The [

inscription of Femininity as Absence,” Mary Ann Doan explores the way that

women in what she terms “woman films” are consciously designed to appeal to

the woman as spectator. She states, “…addressing themselves to the illusory

female spectator, the ‘women’s films’ are based on the idea of female fantasy

which they themselves anticipate and in some sense construct” (p. 70). ]


1.Explanation- Doan here confirms the way in which female characters,

particularly those meant to create a sort of fantasy for female audiences,

are constructed by writers and directors to do just this.

2.So what? - (10) This paragraph, which I understand will be short, is [

essential to set the stage for my following film examinations. I’ll will be

utilizing some other critical works to support my point, however, I really

need to show that opinion had shifted in the critical realm. ]

V. Body Paragraph IV- Just as the critical focus began to shift regarding female

characters in film, so too did the actual depiction of females themselves.

A. Supporting Evidence- In her 2010 essay “Violent Female Action Characters in

Contemporary American Cinema,” Katy Gilpatric suggests that the character of

Lt. Ripley in the 1979 film Alien (Carroll, Giler, Hill, Shusset & Scott, 1979)

marked “a sea change of filmic representations of female action characters.”

(Gilpatric, 2010, 734) (11) As the essay continues, she proceeds to analyze the [

way in which many of these “violent female action characters” are simply

masquerading behind blood and gore, and in reality are still subordinate to male

leads and beholden to traditional gender roles. (Gilpatric, 2010, p. 276) ]

1.Explanation- (12) While she acknowledges that female action heroes do, [

in some ways, break down the traditional stereotypes that women in film

have been forced into, when viewed in relation male characters and

traditional gender roles (mother, wife, etc.), they seem to have deviated

very little. ]


2.So what-This passage is important because it will lay the interpretive

groundwork for my interpretation of the Lt. Ripley character in Aliens.

B. Supporting Evidence- At the end of Aliens¸ the sequel to Alien, Lt. Ripley stands

before the xenomorph queen clad in a suit of mechanical armor that amplifies her

strength to the level that she can engage in hand-to-hand combat with the vicious

alien creature. In the corner of the room, trapped behind the Alien queen, is Newt,

the little girl for whom Lt. Ripley has become a surrogate mother. With the battle

cry, “Get away from her you bitch!” Lt. Ripley charges the beast and engages in

an ultimately successful battle to free Newt. (Carol, Giler, Hill & Cameron, 1986)

1.Explanation- (13) This scene depicts Gilpatric’s point perfectly. While [

she is literally clad in a suit of armor like a futuristic Arthurian knight, Lt.

Ripley’s fight is actually one of a surrogate mother figure trying to protect

her child. More interestingly, the whole fight is actually a fight between

two mothers, each of them fighting to preserve the lives of those in their

charge. ]

2. So what? - (14) This bit of analysis will corroborate Gilpatric’s analysis [

while at the same time allowing me to highlight the degree to which

female characters actually have changed. Moreover, it will once again set

up the next wave of arguments that I will make. ]

VI. Body Paragraph V- (15) One perfect example of the way that female film [

characters depict evolving notions of femininity is Jennifer Lawrence’s portrayal of

Katniss Everdeen in the 2012 film The Hunger Games. ]


A. Textual Support- Rather than dealing in the easy to digest female stereotypes

that dominated earlier films, Lawrence’s depiction of Katniss Everdeen is at once

powerful and vulnerable, ruthless and understanding. She does not fit into any one

particular mold. In one notable scene, Katniss, who has befriended another young

competitor named Rue, leaves her young friend in order to execute a plan to help

win the Hunger Games. While she is gone, Rue is killed by a roaming band of

other competitors. Katniss comes back in time to witness Rue’s murder and, all

within one scene; she kills Rue’s murderers and wreathes Rue’s body in flowers.

(Bissell, Collins, & Rosner, 2012)

1. Explanation- (16) This scene is particularly important because it [

demonstrates the way that Katniss fits no particular mold. Like Lt. ]

Ripley, Katniss can be hard to her core, deadly and efficient. At the same

time she can show tenderness. Interestingly, the tenderness of this scene is

not born of maternal instinct. Rather, it is born simply from the desire to

show respect for a fallen friend and comrade.

2.So what? – This final film analysis is hugely important. (17) It is going [

to be the bookend that demonstrates how far female characters have

come. I will also reference the popularity of this film and the book series ]

to illustrate the role-model status of Katniss Everdeen.


References

(18) Bissell, R., Collins, S., Rosner, L. (producers) & Ross, G. (director). (2012). The [

Hunger Games [Motion Picture] United States: Lionsgate Films. ]

Carroll, G., Giler, D., Hill, W., (producers), & Cameron, J. (Director). (1986). Aliens [motion

picture]. United States: Twentieth Century Fox Film Corporation.

(19) Gilpatric, K. (2010). “Violent Female Action Characters in Contemporary American [ ]

Cinema.” Sex Roles, 62(11/12), 734-46. doi: 10.1007/s11199-010-9757-7.

Thornham, S. (Ed.). (1999). Feminist Film Theory: A Reader. Edinburgh, UK: Edinburgh

University Press.

Pommer, E. (producer), & Lang, F. (director). (1927). Metropolis [motion picture]. Germany:

Universum Films.

Comments

(1) Notice the alphanumeric formatting of this outline. The student has begun with main ideas, and then breaks those ideas down into subtopics that cover claims, evidence, and analysis. He has chosen a format that works best for him. Return

(2) The student has already written a strong topic sentence for this paragraph. The topic sentence will guide him through his eventual paragraph development. Return

(3) This student has already incorporated proper APA citation for this quote. This will help him avoid unintentional plagiarism when he uses this quote in his paper. Return

(4) “Supporting Evidence” is a subtopic of the Body Paragraph so it is formatted in the next level of the outline. Return

(5) “Explanation” is a subtopic of the Supporting Evidence so it is formatted in the next level of the outline. Return


(6) The student has found more than one piece of supporting evidence for this section of the paper and has included it in the outline. Notice that it reverts back to the second level of the outline! Return

(7) Assignment is properly formatted as a complete-sentence outline. Return

(8) “So what?” is also a subtopic of the Supporting Evidence so it is formatted in the next level of the outline. Return

(9) Notice how this quotation is already properly introduced. From here, the author can begin explaining the significance of this quotation. Return

(10) “So what?” is properly used to discuss the significance and importance of the ideas in this paragraph. Return

(11) Notice how the author has taken smaller pieces of a larger quotation and interlaced those pieces into his own thoughts and words. This will help him weave supporting evidence into his essay rough draft. Return

(12) Here the author anticipates what will be said on both sides of the argument. Return

(13) The explanation is properly developed in 2-4 sentences. Return

(14) This sentence shows readers how all this information connects back to the thesis statement. Return

(15) This topic sentence will help the author write a more detailed analysis of his subject. Return

(16) “Explanation” explains how this evidence supports the author’s topic sentence. Return

(17) Here the author discusses the importance of the topic sentences, evidence and explanation. Return

(18) Hanging indentations are properly formatted. All of the lines after the first line of each entry in the reference list are indented one-half inch from the left margin. Return

(19) Reference list entries are alphabetized by the last name of the first author of each work. Return

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