Love Objects

Post-Feminist Rom-Coms and the Existing Female in ‘Trainwreck’ and ‘Legally Blonde’

Legally Blonde and Trainwreck

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.

The Masculine Adventure in ‘The Secret Life of Walter Mitty’

Walter Mitty Poster

My question is: why? Why can’t women be part of his quest instead of the cookie at the end of the road? The message is that women can’t have quests or journeys or adventures for themselves. The Secret Life of Walter Mitty depicts women as love objects (romantic or familial) with their place at home, not on the road.