خلاصة:
Prior to the 1980s, numerous charges of discrimination were noteworthy among women in Hollywood. In those years, women were in uncertain situations, so they seemed aimless and vulnerable. In the period that this article focuses on, the female characters are or have become intelligent and therefore open-minded and potentially independent. Although, they are still vulnerable and unsure of themselves in the new environment created by feminism. The main question this paper seeks to answer is how the change of women’s roles in America was depicted and how it can be explained through feminism. Through the use of cultural and media studies, it would be concluded that the Hollywood descriptions of the women of 1980s are the women who have been highlighted out of their previously uncertain situations. A number of movies for that specific decade have been studied and the results have been used to prove the claims.
ملخص الجهاز:
"Finally, it is also worth mentioning that in her article Hollywood: Doesn't Threaten Family Values, Sternheimer (2008) discussing the American society of 1970s and the position of women and family in that era, has mentioned that in spite of the fact that divorce rates started their climb shortly after World War II, movies and television programs mostly retreated from the topic.
On the other hand, possibly the most visible critical discourse on women actors appears in the variety of attitudes known as cultural and media studies, within which we can include television studies, film studies, gender International Journal of Women’s Research Vol. 3 , No. 2 , Autumn & Winter 2014-15 studies and those not working within such formal limitations.
The problem, to put it directly, is that despite their many values, cultural and media studies do not seem particularly well adjusted to questions of the production of representations of women, preferring to focus on the way that representations of women in film and television are used in the cinema and the living room (Dean & Jones, 2003, pp.
Using innovative devices (such as deep focus) and a psychoanalytic perspective, noirs and woman’s films describe characters always in the grip of their unconscious desire; at the same time, more advanced technologies visually underline the new centrality of the human body in the processes of sense production, with the emergence of an ‘embodied subjectivity’ quite removed from the typical characters of 1930s movies, who were functional to the development of action in the plot (Bono & Buonauro, 2010, pp."
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