Women In Film Noir
In film noir, there are two archetypal portrayals of women; the whore and the Madonna. The whore is exposed as the dark, sexual and active spider woman out to seduce every man she meets, while the Madonna is a loving, caring virgin who posses no threat. As explained by Janey Place in Women in Film Noir, film noir is a male's fantasy where the sexual power and strength of women are visually expressed in film, both through the iconography of the image and through the visual style. From the emergence of film noir in the 1940s, the dark, strong femme fatale is one of the main characters that is often longing for independence from men. Her world is seen as claustrophobic and hopeless, fashioned by strong contrasts in light and dark, off-skewed camera angels and atypical f
raming. A strong illustration of the classic spider women is Pris (Daryl Hannah) in Blade Runner. Unlike the male androids that use their strength as protection, Pris uses her sexuality to get what she wants. Through out the movie, she is fighting for her own freedom against the humans while being dominated by the male android, Roy. In one scene, she is seen dressed up a doll, paint covering her face and a chain around her neck. Disturbingly, she is portrayed as a sexual object subjected by, as well as a threat to males. The hero in film noir is almost always fatally attracted to the spider women, who manipulates and betrays him through the use of her sexuality. Much like Kim Basinger's, Eve (Eva Marie Saint) in North by Northwest seduces Roger (Cary Grant), only to
Some common words found in the essay are:
Runner Unlike, Film Noir, Marlene Dietrich, Veronica Lake, , Lynn Eve, film noir, Bracken Barbie-doll, Bud White, North Northwest, Blonde Venus, spider women, femme fatale,
Approximate Word count = 520
Approximate Pages = 2 (250 words per page double spaced)
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