In the post-feminist romantic comedy, female characters transition from being non-existent objects, into existing, as subjects, in the course of love. … In ‘Trainwreck,’ Amy begins the film as a subject, but ends as an object. Amy’s opposition becomes submission to male desires, for a man, which erases her. In ‘Legally Blonde,’ Elle begins as object, but ends the film as subject. Initially, the gaze of the camera and the characters objectify Elle’s body. But eventually, Elle demonstrates her worth and success outside of male desires and ultimately finds love.
Check out all of the posts for our Movie Soundtracks Theme Week here.
My attachment wasn’t about Elle Woods or embracing hallmarks of traditional femininity that get belittled by western mainstream society (that would come later). I was all about lyrics like, “That’s not the way/ Nice girls behave/ Oh yeah I know/ You told me/ It’s not your choice/ I have a voice/ I guess you just don’t hear me.” It spoke to me on a spiritual level.
Backlash: The Undeclared War Against American Women, the 15th Anniversary Edition, by Susan Faludi Below is an excerpt from Susan Faludi’s famous Backlash: The Undeclared War Against American Women. It comes from her chapter, “Fatal and Fetal Visions: The Backlash in the Movies.” Hollywood joined the backlash a few years later than the media; movie […]