Grossman claims “the construction of a false binary opposition between femmes fa

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Grossman claims “the construction of a false binary opposition between femmes fatales and other women [in film noir] means that the large majority of female characters in noir whose roles are inflected are placed into the category of femme fatale without close attention paid to the complexity of the character” (p. 78) Grossman wants to look at the “hard-boiled reality of female experience,” how they “struggle to assert a power that male protagonists deny” (p. 81). Similarly, Place argues that “in these films, it is the woman who is portrayed benefiting from her dependence on men; in film noir, it is clear that men need to control women’s sexuality in order not to be destroyed by it” (p. 142). The nurturing woman, or redeemer, “offers the possibility of integration for the alienated, lost man into the stable world of secure values, roles and identities. “Self-interest over devotion to a man is often the original sin of the film noir woman and metaphor for the threat her sexuality represents to him” (p. 146).
Discussing two films (Vertigo and The Courier) do the women help reinforce gender inequality, or work against it? Use evidence for or against their statement from the films. Do any women have agency, autonomy, and independence, but are still constrained by their roles? How is patriarchy presented? Do the women act as nurturers or are they self-interested? Do they benefit from this behavior or are they penalized? Are the women more complex ‘hard boiled’ women?

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