WMGT Exam 2

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  1. True or False: The concept of the Male Gaze was introduced by Laura Mulvey.
  2. The Male Gaze has the following components:
    • 1.Camera as male eye
    • 2.Male desire is in control
    • 3.Female is objectified, especially the body parts
  3. Shary- Character Types and Conflicts
    • Nerds Seek transformation
    • DelinquentsExpress anger
    • RebelsResist conformity
    • Popular seek notoriety
    • AthletesShow sensitivity
  4. the Phallic Woman has the following three characteristics:
    • 1. she has a phallic symbol
    • 2. she possesses male characteristics
    • 3. she threatens male power
  5. Kelly, the author of "The Female Gaze" is:
    a straight woman, more or less, but loves looking at other women's bodies- and not in the spirit of competition.
  6. The female gaze is not _________
  7. Kelly, the author, sees the bodies of her middle aged friends:
    • 1.as mythic
    • 2.as sexy
    • 3.as strong
  8. True or False: Kelly, the author, feels that womens' bodies tell a story about their lives- provide information.
  9. True or False: Kelly finds the bodies of young women sexier because women who have birthed and nursed babies lose their youthful beauty.
  10. True or False:DiBattista argues that the most important feature of the fast talking dame is that she is a beautiful woman
  11. True or False: DiBattista argues that talky comedies posed particular challenges to men because these films depended on fast talking-- in contrast to the "quiet man" type popularized in Westerns.
  12. DiBattista argues that the fast talking dame is physically agile because sexual tension is diffused by
  13. On page 7, DiBattista states, "The dames of American comedy possessed lovely, sleek bodies and knew how to show them off to their best advantage, but they captivate us less by how shapely they are below the neck as how sharp they are above it."  This quote implies that the allure of the dame is....
    Her quick wit and intelligence
  14. True or False: "Dames... tend to ignore, when they do not openly mock, traditional notions of respectable femininity."
  15. Complete the quote: DiBattista, p. 26, “Unnerving for men, who must share the world, at least the ________ world, with equals; unnerving for women, because independence may jeopardize their social future—they must face the possibility that being so independent-minded might scare away mates.”
  16. True or False: 97% of high school students say that they hear homophobic remarks on a regular basis
  17. What percentage of Massachusetts gay, lesbian or bisexual teens had tried to commit suicide?
  18. True or False: In Massachusetts, gay, lesbian or bisexual teens were MORE likely to be threatened or injured with a weapon at school than straight students.
  19. True or False: Director of "But I'm a Cheerleader" Jamie Babbit feels that the movie is about creating false gender identities.
  20. The production design for the film "But I'm a Cheerleader" was inspired by which artificial feminine archetype?
  21. Actress Natasha Lyonne who plays Megan in "But I'm a Cheerleader" says that by rating the movie R, it keeps what taboo?
  22. Anna's mother showing her c-section scar in "Real Women Have Curves"
    female gaze
  23. Amanda (Katherine Hepburn) in "Adam's Rib"
    the fast talking dame
  24. Cheerleaders jumping/cheering in "But I'm a Cheerleader"
    male gaze
  25. Colonel Klebb in "From Russia With Love"
    the phallic woman
  26. Brian Johnson in "Breakfast Club"
    the nerd
  27. Nancy Callahan (Jessica Alba) dancing in "Sin City" clip
    male gaze
  28. Megan's conflicted desire in "But I'm a Cheerleader"
    convention of romantic comedy
  29. Claire in "Breakfast Club
    the popular student
  30. Motivated by a desire to protect children
  31. Starts out masculine and remains masculine
  32. Starts out masculine but shifts to feminine
    feisty heroine
  33. Threatens male power
    phallic woman
  34. well-endowed and curvy
    porn/comic book fantasy figure
  35. True or False: In developing roles for women as fighters, action and crime movies have made use of stereotypes and images...
  36. According to the text:  images, not characters, such as the masculinised or the fetishised female body in action, evolve from and engage with an iconography of female independence derived from or developed within sources including:  (Choose 2).
    • 1. advertising
    • 2. soft pornography
  37. Ture or False: While sole female protagonists remain relatively rare, central male/female partnerships are increasingly common in American action films.
  38. True or False: The Western genre has acquired and retained a reputation as a gendered male space, yet women have had a long and sigificant role in the genre.
  39. The division between gendered spaces of business, sexual performance and sex as a business is often explored through the geography of the saloon.  In the Western, women 'upstairs' in a saloon are typically?
  40. True or False: The fillm "Bad Girls" introduces the stereotype of the independent woman and the themes associated with her, the struggle to be financially independent from men, into the Western setting.
  41. On page 56, Tasker discusses the roles of the women in the fillm "Bad Girls" and how their roles shift from bad girls (prostitutes) to outlaws.  Finish the following quote:"The film...forgrounds and pursues themes of status, property and justice in order to establish the inevitability(and the legitimacy) of their outlaw status...The move from barely sanctioned role of 'bad girl' (prostitute) to outlaw evolves through the women's reliance on each other and themselves, rather than either of the 'communities' associated with 1.----- encountered in the film" (56).
  42. True or False: "The 'masculine' Western heroine, as tomboy, gunslinger, or cowgirl, is a recurrent figure in the genre...'Male' attire serves to further underline her strength and independence" (58).
  43. The Tomboy types of Western heroines often have masculine qualities that stem from a childhood in which she had to rely on herself.  This is often illustrated in film through:
    • 1.identification with the father
    • 2.the loss of the mother
  44. "Though tomboy types are often 'explained' in terms of their relationship to men/fathers, they are also iconographically 1.----- figures" (59).
  45. True or False: According to Day, the vampire in stories has transformed from a monster into a vampire protagonist embodying aspirations to freedom, self-acceptance, self expression, and community.
  46. The Vampire Protagonist still remains an outlaw and outsider, a fugitive with a dark secret.
  47. Which vampires are usually punished and rendered powerless through ridicule or death?
    female vampires
  48. Treu or False: The female vampire follows conventional ideals of beauty and femininity through her body size, appearance, and smooth and suggestive movements.
  49. True or False: Male AND female vampires are heavily sexualized.
  50. Forry uses the example of Akasha in the 2001 film "Queen of the Damned" to illustrate that female vampires still conform to ideals of femininity when they kill because the killing is
  51. The 1.----- Code, according to Kimmel, is "the collection of attitudes, values, and traits that together composes what it means to be a man" (45).
  52. In 1967, social psychologist, Robert Brannon summarized basic rules for masculinity.  These include:
    • 1.Be a Big Wheel
    • 2.No Sissy Stuff
    • 3.Be a Sturdy Oak
    • 4.Give 'em Hell
  53. Being a man means not being a sissy, not being perceived as weak, effeminate, or gay.  Masculinity is the relentless repudiation of the feminine.
    "No Sissy Stuff"
  54. This rule refers to the centrality of success and power in the definition of masculinity.  Masculinity is measured more by wealth, power, and status than by any particular body part.
    "Be a Big Wheel"
  55. What makes a man is that he is reliable in a crisis.
    "Be a Sturdy Oak"
  56. Exude an aura of daring and aggression.  Live out on the edge.  Take risks.  Go for it.  Pay no attention to what others think
    "Give 'em Hell"
  57. True or False: Clover states that slasher films present a world where males and females are at desperate odds, but at the same time masculinity and femininity are more states of mind than body.
  58. Horror and pornography are the only two genres devoted to what?
    The arousal of bodily stimulation
  59. In slasher films we often experience scenes that consist of the killer in pursuit of the victim; the camera is hand-held producing a jerky image, and the frame includes in-and-out-of-focus foreground objects behind which the killer is lurking…all accompanied by the sound of heartbeats and heavy breathing. This form of shooting a film is called:
  60. True or False: Clover says that the audience for slasher films consists predominantly of young males.
  61. True or False:
    Clover says that identification along gender lines authorizes impulses toward sexual violence in males and encourages impulses toward victimization in females.
  62. The Final Girl has traits that include:
    intelligence and masculinity
  63. True or False: Clover says that male victims always die slowly, whereas female victims have quick deaths.
  64. “They are emphatic misfits and emphatic outsiders.”
  65. “The penetration scene is commonly the film’s pivot moment; if the victim has up to now simply fled, she has at this point no choice but to fight back.”
    terrible place
  66. “…realization that all that lies between the visible, knowable outside of the body and its secret insides in one thin membrane, protected only by a collective taboo against its violation.”
  67. “Other filmmaker figured that the only thing better than one beautiful woman being gruesomely murdered was a whole series of beautiful women being gruesomely murdered.”
  68. “Like her generic sisters, then, Lila is the spunky inquirer into the Terrible Place—the one whole first grasps, however dimly, the past and present danger, the one who looks death in the face, and one who survives the murderer’s last stab.”
    final girl
  69. “The horror resides less in the actual images than in their summary implication.”
  70. True or False: According to Maio, Disney appears to have made changes with their heroines, but the reality is females still identify with male authority instead of seeking their own empowerment, so that in the end a good looking boyfriend is still the truest measure of feminine happiness and success.
  71. In Disney films portray, 1.----- women are the enemy, especially if they seek power.
  72. turns the little mermaid into human form
    the seawitch
  73. sacrifice hair to the seawitch to help save the little mermaid from death.
    the little mermaid's sisters
  74. is wise, regal, and shares the secret of obtaining a soul.
    the grandmother
  75. True or False: Mermaids do not have immortal souls and turn into sea foam when they die.
  76. The sea witch agrees to turn the little mermaid into human form based on the following conditions:
    • 1. If the prince marries another woman, the mermaid will die.
    • 2.every step the mermaid takes will feel as if she is walking on sharp knives
    • 3.for payment, the seawitch takes the mermaid's tongue
  77. At the end of the fairy tale, the little mermaid becomes
    a daughter of the air
  78. "In a world ordered by sexual imbalance, pleasure in looking has been split active/male and passive/female" (Mulvey).
    male gaze
  79. "The image of the distressed female most likely to linger in memory is the image of the one who did not die; the survivor" (Clover).
    final girl
  80. "tend to ignore, when they do not openly mock, traditional notions of respectable femininity" (DiBattista).
    fast talking dame
  81. "They are by classification outsiders, if not outlaws and fugitives, so the story...is typically a story of the struggle to find an elusive freedom, self acceptance, and community" (Day).
    vampire protagonists
  82. "the motivating characteristic is to protect the child" (Tasker).
    the mother action heroine
  83. "The female possesses the gaze or does the looking; women enjoy/control their own bodies and/or sexuality and; bodies are not just for looks- they emphasize maternal function, strength, and power."
    female gaze
  84. "she moves between masculine and feminine roles; is often the love interest of the hero"(Tasker).
    fiesty heroine
  85. “Often a male in gender distress; the concept of sex may be confusing or enraging ; the urge to kill usually stems from childhood experience; Usually large, sometimes overweight, often masked…recognizably human, but only marginally so; Superhuman, virtually indestructible" (Clover).
    the killer
  86. "these heroines still identify with male authority instead of seeking their own empowerment, so that in the end a good looking boyfriend is still the truest measure of feminine happiness and success. "
    Disney heroine
  87. Phallic Woman 1 The phallic woman possesses (1) a phallic symbol, (2) male characteristics, and (3) threatens 1.-----.
    male power
  88. True or False: The author feels “Magic Mike” is ‘old sexism wrapped in a new package’ because it reinforces the prevailing notions of masculinity where white men are in control, both economically and sexually, and women are secondary characters to be exploited for money and passed around for male sexual pleasure.
  89. True or False: The author feels that the film “Magic Mike” does NOT prioritize female sexual pleasure because the simulated sex acts the male dancers perform in their interactions with the female audience members service the male stripper’s pleasure, not hers.
  90. The author feels that “Magic Mike” is NOT a film about female sexual pleasure or empowerment.  She raises the following concerns with the film in relation to women and empowerment
    • 1.It's women engaging in the same objectification that harms us [women].
    • 2.The men being objectified are degrading women and prioritizing their own sexual pleasure and we [women] eroticize this behavior.
    • 3.Women eroticize sexual acts that don’t involve the clitoris/orgasm.
  91. Gender Identity
  92. whether one considers oneself male, female, or a mixture (transgender and transsexual) There is a spectrum of gender expressions between masculine and feminine
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WMGT Exam 2
2012-12-06 05:34:33
WMST Final Exam

Final exam.
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