Author: Kelsie Schueneman

Hollywood Prefers Blondes: Analysis of GENTLEMEN PREFER BLONDES and the Cinema of the 1950s

American cinema of the 1950s saw many changes and challenges. On January 1, 1950 the Paramount Decree had gone into effect, making it illegal for studios to control exhibition of their films. Additionally, the rising popularity of television meant that studios now had to compete for viewers and tried numerous methods, including color and widescreen, to draw in audiences. One film from this era that exemplifies the changing climate of cinema is Gentlemen Prefer Blondes. Released in 1953 and directed by Howard Hawks, this film serves as a microcosm of the 1950s. Hawks’ filmmaking career began in the early 1930s with gangster films such as Scarface and The Public Enemy. Hawks was conscious of the changes occurring in the film industry however and shifted the style of films he was making. He “suggested that Hollywood needed to make pictures with imagination that sustain interest because television is taking over the trivia.”[1] By the 1950s, Hawks was making screwball comedies such as Monkey Business and, of course, Gentlemen Prefer Blondes. Examination of the film Gentlemen Prefer …

Kelsie Schueneman is currently a junior at Oakland University from Milford, Michigan. Kelsie is majoring in Cinema Studies and minoring in Creative Writing. She is an editor of Screen Culture. Kelsie is passionate about female representation in film. This essay was written for Prof. Brendan Kredell's "Methods of Cinema Studies" course.

Scene Analysis: Subversion of Gender Roles in THE DOUBLE LIFE OF VERONIQUE

Krzysztof Kieslowski’s The Double Life of Veronique is remarkably unique in the way that it flips the power balance between men and women. This is most notable in the marionette scene. About half an hour into the film Veronique and her students watch a puppet show about a ballerina who breaks her leg the first time she performs. This scene is the first time Veronique sees Alexandre, the puppeteer and children’s book author. Though this sequence is only about three minutes long, the comprising shots reveal quite a bit about male and female roles in the film. By utilizing contrasting closeups and medium shots, Kieslowski reverses the typical roles of men and women in film. In Laura Mulvey’s, “Visual Pleasure and Narrative Cinema” she introduces the concept of the male gaze. This idea suggests that women in film are typically shot in such a way that the males in the film as well as the audience can derive pleasure from looking at them. She argues that narrative cinema is shaped by an inequality between genders …

Kelsie Schueneman is currently a junior at Oakland University from Milford, Michigan. Kelsie is majoring in Cinema Studies and minoring in Creative Writing. She is an editor of Screen Culture. Kelsie is passionate about female representation in film. This essay was written for Prof. Brendan Kredell's "Methods of Cinema Studies" course.