who was married‚ then divorced after WWI. Brett’s character can easily be related to many of the women in the present time. Hemmingway portrays women as manipulative‚ objects of lust‚ promiscuous and elusive. Brett is the perfect example of a femme fatale which Hemmingway is trying to portray women as‚ as well. Near the beginning of The Sun Also Rises‚ we are introduced to the character of Lady Ashley who is portrayed as manipulative from the start. In most cases‚ Brett has a kind of power over
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1. In Jeanine Basinger’s ”The Genre”‚ she describes 3 purposes. The third of which outlines the role of providing a temporary release from normality for the viewer. Mildred Pierce is a direct example of this purpose because it shows the choice that a female character has to make. There is a choice that Mildred makes when she decides to pursue a financially secure future‚ which breaks the mold from that love is a woman’s job and nothing else (Basinger‚ 19). Mildred challenges tradition and
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named Frank (John Garfield) and his restless female conspirator‚ Cora (Lana Turner). Garnett’s crime drama is crafted with the stylish devices usually characteristic of the film noir genre—low-key lighting; a flawed‚ inept hero; and an archetypal femme fatale. Certain thematic codes are also persistent: psychological conflict‚ paranoia‚ fate‚ and moral ambiguity. Three telling scenes communicate the noir stylistics effectively—where nearly all of the devices converge simultaneously: (1) Frank’s
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Bibliography: Allen‚ V. (1983) The Femme Fatale: Erotic Icon. New York: The Whitson. Baudelaire‚ C. (1968) Oeuvres completes. Paris: Editions de Seuil. Dijkstra‚ B. (1986) Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Siècle Culture. Oxford. Fumagalli‚ V. (1990) Solitudo Carnis.
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The Czernin case is categorized as a failure by Austrian Counterintelligence to detect and halt a “femme fatale” operation implemented by the Gestapo and foreign office of Nazi Germany with the goal of targeting the Austrian chancellor in pursuit of documents that would have dealt a fatal blow to the Third Reich and Hitler himself (Koehler‚ 1940). There were many reasons for the failure of Austrian CI‚ however‚ the primary reasons can be chalked up to capabilities and failure to recognize indications
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appraising‚ judging the audience from a throne‚ however her physical features and small face denote a sense of innocence and immaturity which has been corrupted. The 1934 film Cleopatra starring Claudette Colbert is not the aggressive and domineering femme fatale like Bara’s Cleopatra; instead she seems breathlessly emotional. In this film the struggle for political power in Egypt is disregarded. Cleopatra’s only object seems to be finding love‚ being passively caught between two great men. Her role as
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The word “archetype” today means a stereotype; a definition of something that comes to us naturally and that is plugged into our consciousness. So where did we get these archetypes from? What society began the main traits that our characters have followed ever since? Our society has followed behind Greek influences since the beginning‚ probably because Greece is one of the oldest known civilizations to humans. Literature as well‚ has been followed up to today. Homers’ epic poem‚ The Odyssey‚ presents
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The movie Out of the Past directed by Jacques Tourneur fits within the traditions of film noir because it has some similar themes associated with it‚ such as doomed love. Robert Mitchum plays the doomed‚ double-crossed ‚ ex-private eye as Jeff Markham. The femme fatale is played by Jane Greer as Kathie Moffat‚ who is trying to escape her future. Kirk Douglas as Whit Sterling plays the ruthless gangster czar in the film. The formal cinematic elements in the movie are used to vividly describe the movie
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Pin-Up or Pin-Down? Pin-Up Grrrls: Feminism‚ Sexuality‚ Popular Culture is a book written by Maria Elena Buszek that explains how third-wave feminists are taking back pin-up culture. This new pin-up culture is shown developing through a 150 year time span. Buszek examines old and new female sex symbols as well as the beginnings of this new revival of the pin-up genre. This book illustrates how women are often publicly depicted and the representation of our sexualities since the early 1860’s. Buszek
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When presented with the challenge of identifying gender and sexuality in science fiction we must first agree that women and men are inherently of equal worth‚ as many writers of feminist science fiction use the genre’s position to discuss issues of change‚ injustice‚ and social partitions (Calvin). The motif of gender and sexuality in science fiction is not restricted to just one subgenre of science fiction but shows up in nearly all varieties‚ creating hybrids in the science fiction world. The
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