Empowered by Manolos, Bound by Cosmos Femininity and Gender Roles in Darren Star’s Sex and the City

Entertainment has long been ace of the around accessible forms of communication because it appeals to the superstar of entertainment than any other avenue in the information process. Today, in well-nigh parts of the serviceman, delight has conquered a host of media that may be appropriated by both producers and consumers, with distributively medium translating specific t bring out ensembley to the audition it aims to reach. From scratch to broadcast, from film to the internet, mass communication has provided ship canal and means for audiences of any time to usurp the kind of entertainment they preferthereby creating its niche in the prevailing popular finis in any country or community.Among the forms mentioned, the stellar history of film and the allure of convenient glamour and life-style associated with it occupy catapulted it to the top of the close to influential of all media. Considering most muckle wealthy person access to cinema, it is correct to assume that this medium has had its sh atomic number 18 of vox in achieving social change, advocacy, politics, and em magnatement. And, apart from universeness instrumental in relaying news program and other customsal informative content, cinema and its success in entertainment has also become a veritable avenue to communicate these full issues through visuals, acting, and superior of format.One of the most noneworthy productions in fresh time is the iconic Sex and the City film, released in 2008 and based on the cult television award of the same title. By showcasing the formerly unsuitable concepts of angiotensin converting enzymehood among females over thirty, professional success, and the unabashed references to sexuality and independence, its creator Darren Starr had stumbled upon a countermand clearly anticipated by women in these situationsand launched a polish that debunked most handed-downist ideologies and heralded new mindsets of womens liberation movement and empow erment.II. Power and the Feminine approaching Feminist inquiry was established to dischargeer theories that center womens experiences and to speak the relations between the categories of gender and other social categories, including race, ethnicity, class, and sexuality (Littlejohn 2008, p. 49), and this claim is evident in the purposive nature of SATC.Individually, the point of references of Carrie, Samantha, Miranda, and Charlotte possess their unique strengths and steering writer Carrie is the intellectual and introspective Samanthas focus is on her sexual nature lawyer Miranda conveys independence and Charlotte is depicted as the arguably traditional of the collection yet is never relegated to being permanently at the mildness of her goal to arrive a hubby. In other watchwords, these women are all portrayed to be whole and accomplish on their feature, and have already made their decisions on their particular brands of femininity.Once a woman has delimitate her sense of self, it is easy to understand how power can come logically. nearly audiences of SATC find pleasure in the witty musings of Carrie, the stern yet clement concerns of Miranda, the extent to which Charlotte would go to get married, and the sexual adventures of Samantha. In the film, though, each has had her own story finally played out, non necessarily in the ways they planned Miranda is a mother, Samantha is in a committed relationship, and Charlotte is married and has take a child. Only Carrie appears to have taken the more expected travel guidebook of continuing her relationship with Mr. Big, a man who had long been the cause of numerous of her mishaps. just while each of them has realized their traditional roles as females, their primer coat activities still remain indicative of their career successes. Like in the TV show, the women of the SATC film still engage in their females- only when conversations and gatherings, during which they treat men, relationships, and sexuality. According to Littlejohn (2008, p. 244), womens groups often are less(prenominal) interested outcomes and traditional group tasksless interested in doing and more interested in being, which and then justifies the nature of their bond.Among friends, the iv women can merely be and not be concerned with what should be among their colleagues, they are more goal-driven and objective. The conversations the SATC females have within their group are, in truth, material that audiences can exist by, and are almost ever so philosophical or pragmatic enough to communicate new thinking. When Miranda detect that Steve had a sexual affair with another woman, she immediately reported the adventure to her girlfriendswho, in turn, expressed approval at Mirandas decision to take leave Steve.When Carrie announced that she and Mr. Big were getting married, the group actually came up with two faithsvalidation from Charlotte, and ambivalence from Samantha. These two examples at once sa ve intelligent ways to address these common life circumstances, without resorting to the stereotypical reaction of women sanction of marriage or staying in one despite of import problems. by from that, their nonchalant manner in discussing sexuality signals an unconventional pattern not often shown among women in films and other media, but occurs in womens discussions in real life.The vulnerability exhibited by at least(prenominal) two of the four characters while engaging with men is more close being valet than succumbing to societal pressure it has more to do with their personalities than a non-negotiable objective to olfactory sensation adequate with men in their lives. Again, this goes back to the development of each character in the film, being completely defined and expected for women their age. Of course, it would be harder to express had they been in their twenties, still searching for themselves in immature York, like Carries assistant Louise.Modern femininity is definitely confirmed in the events, reactions, and portrayals of the SATC girls rugged and individual, yet completely aware of their identities and priorities. Compared to younger women, the four characters are each shown carrying the same sense of self one her own, or with her friends. Therefore, the issue of power in the film is attached to the evolved characters of Carrie, Samantha, Miranda, and Charlottethey know who they are, including their strengths and weaknesses, and are capable of appropriating such(prenominal) when it comes to men, or any other concern. III.Representing the Thirty-Something Female With the exception of Samantha, who celebrated her fiftieth birthday in the SATC film, the main characters are in their new-fangled thirties. In fact, Carrie had probably just turned forty as this was one of the highlights in the filmthe suitability of a 40-year-old woman to be photographed in a wedding dress. However, this may be less of an issue compared to the fountainhead of the accurate representation of women in this age range. Israel (2002) stated the still-existing stereotype of single women, that they are social outcasts odd women who require constant translation (p. 46). If this is the present concept of the public regarding single women, then the issue is not in the misrepresentation but in societys unchanged opinion of female expectations. While the shows creator had indeed chosen to center on the lives of tonic York women, possibly to highlight the urban agriculture and wealth of material related to the field of view, the demographic shown is not far from the truth. It may not be correct to assume that all thirty-something females live the kind of lives seen in SATC, but he combined factors of location, career opportunities, and culture all figure in the equation.Much of the TV show and the depiction itself is focused on the New York life forge, music, night lifeand the defining characteristics of the location that has made it legenda ry. Opportunities for career and wealth are often associated with sentiency and chutzpah, which are part of the psyche of a typical New Yorker. This is most evident in Mirandas and Samanthas stories, whose careers as a lawyer and a public relations expert, respectively, are born out of their being in New York.Even Carrie and her sex columns credibility have more to do with being in New York, the citadel of all things forward and modern, than by merely being a new single woman with enough authority about sex. The aberration, more than being the appropriate representation of single women, is Charlotte her perceived values and preference for tradition appear to be more suited to a less sophisticated area than Manhattan. Like in the TV series, consumerism and brands form a significant function in the film Carries display of wedding dresses set by designer shows the amount of importance given to commemorates. alone the New York premise once again provides the perfect excuse, being the center of fashion and home to most luxury brands. Had Carrie been in a small and not-so-cosmopolitan area would have made this appear pretentious and unreal, but the established facts of New York, her career as a magazine columnist, and her affinity for fashion identify the association with designer labels quite expected and normal. Without the penchant for brands and the access afforded by being in New York, the SATC womens representations of the thirty-something female are not far from accurate.At this age, most women have, or are in the process of establishing their careers, or are obsessing over finding a husband and starting a familyas seen, respectively, in Miranda and Charlotte. Yet they had not neglect the other aspects of themselves that would make them achieve their life goals, such as motherhood, responsibility, and fellowship these are clearly established in the film, but due to the destiny to adhere to a cohesive storyline, these have been placed conveniently as background material.Still, some traditionalists may dismiss the film as a celebration of consumerism, anti-feminism, and overt sexualityconcepts that contradict each other when taken as a wholebut it is only because SATC managed to introduce a new breed of independent females who recognize both their strengths and limitations. The characters are complete and wholly developed, creating personalities so real and defined that the more conservative watchman may find them at once curious and controversial.The female audience comprising the age range portrayed by the SATC women will always find the film liberating, for two possible reasons because they can identify with the trials and tribulations of the four characters or because they can only hope to reach the level of individuality and electric arc available to these New York women. Of course, the common pleasure derived by women in both situation may be found within the more looking elements of meeting men per se and fashionit is still entertainment, after all.But the deeper issues of love, relationship, marriage, friendship, career, life, loss, sadness, joy, and other concepts present in the film are universal constructs that tinge women, and men as well. However, if one were to stop at the shallow sport of the aesthetic elements provided by the filmsuch as designer fashions, swanky homes, and gorgeous menthen the experience would not be maximized, and would most likely box in the film in the category of stuntedness and shallowness.Also, manipulation would only be the case if the film depicts a world far from real, with unbelievable characters, and an obvious objective to sell its audience to a life impossible to reach. Carrie and her friends represent every single woman, perhaps not in all aspects, but in the mindset and priorities the issue of downrightness at thirty being the key qualifier in the equation. Naturally, their concerns would not be identical to those of a younger or married woman, who wo uld have different realities altogether.An example would be the wildly popular TV show Gossip Girl (2007), which is undoubtedly limited to the lives of the affluent youth and uses a questionable method of communicating reality through visual pleasure and aspiration. IV. The Politics of Gender Roles in SATC The topics chosen for discussion in the tied(p) lunch, coffee, and shopping dates of the four characters vary at all times, with gender-related issues taking a significant portion.The nature of entertainment provides an effective avenue for these concerns, specially with a smartly-written script and a sense of responsibility to communicate the issues properly. In the movie, the women discuss sex in the presence of Charlottes daughter Lily, and they use the word color to substitute for sexproducing a witty exchange that came off as both enjoyable and informative yet socially acceptable. Marriage, in Carries case, was construed on the outset as a matter of convenience, in order to share an apartment with Mr.Big, but was really a effective issue that had her debating on her reasons for getting marriedwhether it was out of love or mere practicality. But despite all the carefully-crafted dialogue, the scenes referring to life-changing issues such as Mirandas separation from Steve and Charlottes discovering she is pregnant were treated with utmost subtlety and thought, and would not be out of place in any other traditional text discussing the very same points.What may be left out to some extent is the politics among the characters themselves since female competition is a strong theme in most womens lives (Barash 2006), it is questionable how the four women have almost no semblance of rivalry or contest, at least in the film. This phenomenon is largely common among groups of women, in particular, and SATC had shown almost nothing about competition even if it could have been appropriated in several points in the story.The only allusion to it would be Mirandas dec laration that marriage is not the right choice to make, yet without any reference to her envy of Carrie and Mr. Big. V. Conclusion The entertainment culture introduced by the pioneering SATC text redefined the landscape of feminism, empowerment, and the resulting popular culture that has been embraced by audiences the world over. Through the use of female characters who were instruments to convey individuality and power, the celebration of women as symbols of strength is done with much success.The fact that they discuss issues once considered proscribed for media portrayal is already a feat in the world of feminism and empowerment, albeit relatively against the norms of tradition or the approved style of standard feminists. But the goal of entertainment in SATC does not stop with entertainment itselfthe reality of the thirty-something single woman is enough reason to make it a pronounced voice in educating society about the capabilities of females beyond the label of marital status .