Using one case study film assess the relationship between the industrial context and the representation

The representation of grammatical sex activity in the British aim manufacture throughout the 1960s can be seen in a word form of voices and can be seen as indicative of a general displacement in cultural attitudes. In this assignment, we shall(a) be concerning ourselves with the film Goldfinger in particular. Goldfinger was do in 1964 by the British film company (SPHP, 1964). What is of particular elicit in this film is the iconic portrayal of the womanly character that spawned something of a customs duty for depictions of idealised femininity.We will pay particular interest to the importee of her role in relation to the rest of the characters in the film. However, we shall first digest a number of industrial and cultural changes that were occurring throughout the 60s in the British film industry. The British film industry of the 1960s saw a degree of significant changes that reflected the cultural mood of this period throughout greater western culture (Coates & Topham 1 968).For example, the notion of popular culture was proper exceedingly marketable at this time and the subsequent move away from WWII was turn something of an artistic focus (Laing, 1986). Essentially, Hollywood was promoting a new liberalisation that structured cozy imagery as a counter to traditional gender roles based upon social utility (Ewen & Ewen, 1982, p. 37). Although this was embraced throughout the film world, it affected the British film industry in twain notable ways. This is given by Curtis who states that,What was striking to us an audience of artists, writers, journalists and filmmakers was the assumption evident in all these films, that making cinema could be a first-person-singular affair, and that film language could be as complex and highly individual. In contrast, The films supported by the superstar source of public funding at the time, the British Film Institutes experimental Film Fund, were very definitely cinema picayunes, stepping-stones to cine ma features. (Laing, 1992, p. 258)This use of short film techniques in which quick iconic symbolisation was used in relation to characters made for a mutual embrace of the film techniques universe produced by Hollywood. This incorporated sexual and iconic symbolism at its onward (Nuttal, 1968). This was a distinct detraction from the emerging realist depictions found in the dickens-like portrayals familiar to the kitchen sink drama or the playfulness of slap stick that had asleep(p) before (Hebdige, 1988). However, it is perhaps unwise to think of the industry as becoming entirely divorced of its British artistic tradition.Rather, Thompson states that, We must remember the underground of the lay singer and the fairground which handed on traditions to the nineteenth century for in these ways the inarticulate conserve certain values a spontaneity and capacity for merriment and mutual loyalties despite the inhibiting pressures of magistrates, mill-owners, and Methodists. (Thom pson, 1963, p. 63) It is with this notion of Hollywood driven sexual symbolism and the British tradition of mutual loyalties that we will now turn to the example of Goldfinger and the depiction of gender.Goldfinger was cast in the genre of the international spy film indicative of the archetypical male hero James bond certificate (Cohan & Hark, 1993). It features Bond as the main protagonist and Goldfinger as the main antagonist. However, it also involves the depiction of strong and sexualised young-bearing(prenominal) characters in crucial roles. In this, we see that although the females atomic number 18 highly sexualised objects and in many ways used by the two main protagonists, they are not subordinate or peripheral to the speckle (Hebdige, 1988).This sexualised empowerment is articulated by their being made indicative to the general consequence of the film. The leading lady is an dexterous and very beautiful womanhood caught between the loyalties of the two opposing chara cters. She is modelled on the former depictions of beauty founded in the 40s and 50s as seen in Marlin Monroe (Nixon, 2003). However, unlike Marilyn Monroe who was portrayed as a sexually exploitative and superficially unintelligent female figure, she is given as an intelligent woman caught in an ethical dilemma.This clearly highlights the implementation of the depiction of the female in line with Hollywood at this time (Murphy, 2004). However, with the character traits of watchword and up front honesty and naivety, this is perhaps indicative of the British tradition and the mutual loyalties that drive the spontaneity of the plot. Unintentionally playing upon Bonds sympathies, she is taken away from Goldfinger and given the approval of the Bond character. However, in her stopping point scene we see the significance of her betrayal.Essentially, she is cast in Gold, which is indicative of the title, and left-hand(a) to die. However, this form of martyrdom is not a moral consequence of her minx between characters, but rather an idealisation of the power of iconic female sex (Mort, 2004). Furthermore, it evokes a worldwide reference by symbolising the Egyptian sexual princess Cleopatra. In doing so, this reflects a strong use iconic sexuality to superficially relate to the international, cosmopolitan domain (Green, 1998).In summary, it would appear from the depiction of gender of the film Goldfinger, that British film was moving to incorporate a cosmopolitan portrayal in relation to the changes in culture of the time. It would appear that in the depiction of gender, sexuality was an explicit ingredient as was the case in Hollywood films. However, rather abandoning all sense of British tradition, the use of sexual symbolism was employed through a plot involving mixed loyalties and unseen conditional forces. BibliographyCoates K Topham A (1968) Industrial Democracy in massive Britain a book of readings and witnesses for workers control capital of the United Kingdom MacGibbon and Kee (ed. ) Cohan, S. , & Hark, I, R. , (1993) Screening the Male current York Routledge Ewen, S. , & Ewen, E. , (1982) Channels of Desire Minnesota University of Minnesota Goldfinger, Sony Pictures Home Entertainment, (1964) Green, P. , (1998) Cracks in the sales booth Massachusetts University of Massachusetts Press Hebdige, D. , (1988) Hiding in the Light London Comedia Laing, S., (1986) Representations of working(a) Class Life 1951-1964 London Macmillan Mort, F. , (1996) Cultures of Consumption Masculinities and Social outer space in late twentieth-century Britain. London Routledge. Murphy, P. F. (2004) Introduction, in Murphy, P. F. (ed. ) Feminism and Masculinities, pp. 1-21. Oxford Oxford University Press. Nixon, S. , (2003) advertizement Cultures Gender, Commerce, Creativity. London SAGE. Nuttal, J. , (1968) Bomb Culture London MacGibbon and Kee Thompson, E, P. , (1968) The Making of the English Working Class Harmondsworth Penguin