The study, carried out in the light of the theory of gender justice, interrogates the blissful ignorance of injustice that prevails in the familial labyrinth and thereby upholds the exigencies of female liberation. Walking away from the kitchen, thereby from the marital home, the literate heroines of both films scaffold female emancipation and resist the deeply entrenched paradigms of patriarchy. Focusing on the mechanisms of female emancipation in Anubhav Sinha's Thappad (2020) and Jeo Baby's The Great Indian Kitchen (2021), this paper analyses how female desires get digressed in the trope of kitchen frames. The subversion of repression essentially questions the existing patriarchal norms and culminates in women's refusal of domestic subjugation.
Female desires most often get inundated with women's mundane and cyclical routine, the confinement that spurns female identity. Family as an institution creates power distinctions and retains hierarchical gender roles through the premeditated transferring of patriarchal precepts from one generation to another. The promotion of the stereotype of an ideal housewife as the focal point of familial happiness repudiates gender justice and female consciousness. We argue that the term ‘hegemonic masculinity’ has multiple meanings and men can adopt different kinds of masculinity when the need arises.įamily as a complex cultural system contributes to gender stratification and reinforces the inexorable subjugation of women. In this chapter we will examine the three main male characters in selected scenes from seasons one to eight, and specifically those which address issues of masculinity and fatherhood. The love-hate relationship between Susan and Mike Delfino explores issues of emphasized femininity and masculinity. Gabrielle Solis’s character offers a contrasting perspective of a reluctant mother, while Carlos, her husband, fills the traditional father role influenced by his religious and ethnic upbringing. Lynette (a contemporary working mother) and Tom (her insecure, multi-career and depressive husband) both struggle with parenting demands and expressions of control, dominance and impotency. Its symbols, including the nuclear (and Caucasian) family in a formal Sunday dress, white picket fences and pies cooling on windowsills, have often been used by conservative politicians urging a return to ‘traditional moral values’ and by extreme right-wingers intent on repainting history in their own image.
For example, Bree (as a 1950s traditional housewife) may be seen to represent the popular image of Norman Rockwell's America, a fictional description of the 1950s. Through the characters in Desperate Housewives, we see a differing feminist perspective on motherhood and portrayal of fatherhood. The characters in the show demonstrate the changing roles of femininity and masculinity and so the roles of ‘mother’ and ‘father’ are contested and critiqued.
#Desperate housewives folge series#
This chapter examines the gendered representations of fatherhood in the American television series Desperate Housewives. Further, female characters were less likely to wear eyeglasses and also appeared more in static scenes, such as indoors. Specifically, female characters showed lower values in emotional diversity, spatial occupancy, and temporal occupancy compared to male characters in commercial films. The result demonstrates that there exists a statistically significant difference in the visual representation of female and male characters.
#Desperate housewives folge movie#
By analyzing the image frames of a movie using the latest image analysis techniques, a total of 40 films were analyzed based on 8 quantitative indices. This study proposes a more comprehensive analysis system that quantifies the degree of bias in the visual representations of female and male characters in commercial films. However, because its analysis is based solely on the script of a film, the Bechdel test is incapable of considering the broad spectrum of bias that films can have as a visual medium. The Bechdel test has been widely used to objectively judge the existence of such bias in films. In film directing, a bias towards the representation of a particular gender can cause the audience to form a distorted stereotype of the gender role.
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