Violent Female Action Characters in Contemporary American Cinema

Gilpatric, Katy

doi:10.1007/s11199-010-9757-7

Cited by 27 publications

(12 citation statements)

References 38 publications

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“…In fact, except for a brief dialogue with her daughter at the beginning of the film, the character played by Natalie Portman is the only female role that speaks in the entire film, and even she remains strongly defined by her role as mother, lover and housewife. This agrees with the study by Gilpatric (2010), which showed how the presence of Violent Female Action Characters (VFAC), although it could be a sign of equality, only reinforces gender stereotypes when they are submissive and defined by their romantic relationship with a man. Therefore, we can also affirm that in this film femininity is not necessarily a barrier to leading the narration, but masculinity helps to gain presence and active roles.…”

Section: Discussionsupporting

confidence: 92%

New forms of masculinity in Western films: The end of the Marlboro Man?

Blanco‐Herrero

Rodríguez-Contreras

Miguel

2021

Communication & Society

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Westerns are one of the most masculine and stereotypical of film genres. In a social and film context where gender equality is increasingly important, it is worth looking at the evolution of the genre in recent years. Especially because, as André Bazin said, the Western is “cinema par excellence” (1966) and its analysis allows a reflection on cinema itself. Taking the figure of the Marlboro Man as a prototype, this study carries out an analysis of three selected case studies: Brokeback Mountain, Jane Got a Gun and Godless, two films and a miniseries with main characters that do not follow heteronormative masculinity. Ang Lee’s work broke new ground not only in Westerns but also in industrial cinema by making homosexuality visible, while Gavin O’Connor’s showed the possibility of a woman playing the leading role in a classic Western. The miniseries produced by Netflix combines both by giving leading roles to female characters, some of them gay, while reflecting on homosexuality. It was noted that the portrayal of masculinity in Western films remains valid in all three cases, but it allows women and homosexuals to access leading roles, often by acquiring typically masculine attributes.

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Section: Discussionsupporting

confidence: 92%

New forms of masculinity in Western films: The end of the Marlboro Man?

Blanco‐Herrero

Rodríguez-Contreras

Miguel

2021

Communication & Society

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“…In particular, women are typically portrayed in a sexualized manner [11][12][13][14]. Despite the emergence of violent female action characters in more recent films (e.g., Lara Croft), violent portrayals in movies are overwhelmingly by male characters and/or are characterized by masculine stereotypes, such as aggressiveness [15,16]. Furthermore, although movies are a major source of youth exposure to media content [17][18][19] and are equally attended by young men and women [18], it is well documented that women are underrepresented in films (as well as other media) [12].…”

mentioning

confidence: 99%

Trends of Sexual and Violent Content by Gender in Top-Grossing U.S. Films, 1950–2006

Bleakley

Jamieson

Römer

2012

Journal of Adolescent Health

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“…Content forms include news, music videos, interactive video games, health storylines, violent entertainment, children’s entertainment, child-directed advertising, and adult-directed advertising. In six papers (Finger et al 2010 ; Gilpatric 2010 ; Mager and Helgeson 2010 ; Neuendorf et al 2010 ; Smith et al 2010 ; Welsh 2010 ), scholars compared content across as many as 50 years.…”

Section: Discussionmentioning

confidence: 99%

Contributions to the Content Analysis of Gender Roles: An Introduction to a Special Issue

2011

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This special issue on gender-related content analysis is the second of two parts (see Rudy et al. 2010b). The current special issue is more diverse than was the first in the number of countries that are represented and in the variety of media genres and content types that are included. The primary aim of this paper is to outline some of the contributions of the individual papers in this second special issue. Some of these advancements and innovations include (a) examining underresearched measures, countries, time spans, sexual orientations, and individual media programs; (b) addressing both international and intranational differences in gender-role portrayals; (c) comparing multiple content formats within the same media unit; (d) updating past findings to take into consideration the current media landscape; (e) employing established measures in novel ways and novel contexts; (f) uncovering limitations in established intercultural measures and media-effects theories; (g) suggesting variables that could predict additional differences in gender-role portrayals; (h) adopting virtually identical methods and measures across distinct content categories in order to facilitate comparisons; (i) conducting multiple tests of a given hypothesis; (j) examining, from multiple perspectives, the implications of racial differences in gender portrayals; and (k) examining the implications of underrepresentation of women and the perspectives that women hold. In addition to the original content-analytical research presented in this special issue, two reviews, one methodological and the other analytical, offer recommendations of procedures and perspectives to be implemented in future research.

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Violent Female Action Characters in Contemporary American Cinema

Cited by 27 publications

References 38 publications

New forms of masculinity in Western films: The end of the Marlboro Man?

New forms of masculinity in Western films: The end of the Marlboro Man?

Trends of Sexual and Violent Content by Gender in Top-Grossing U.S. Films, 1950–2006

Contributions to the Content Analysis of Gender Roles: An Introduction to a Special Issue

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