Thursday, October 14, 2010
SP High Noon/Little Jo
The portrayal of women in both High Noon and The Ballad of Little Jo is evidence that the status of women has advanced from women’s earlier roles in classic Western films. They have evolved more depth than they have ever had, gaining a significantly larger amount of lines in the movies and having more effect on the plot. Amy Kane in High Noon asserts her power by making her husband give up his badge, walking away from him and choosing to be alone rather than be worried about him, and running to save Marshal Kane when she hears he needs help. Amy disproves Tompkins’s theory that “women are inferior beings because, in submitting, they open themselves up,” by refusing to submit to her husband (Tompkins, 56). Instead, Amy maintains control by “remaining ‘hermetic’ [and] ‘closed up’” by disregarding the feelings she has for Kane, clearly known since they have just married, and choosing to walk away from him. Similarly, Helen Ramirez holds back her emotions because she wants to keep control, as scene in many, if not all, the scenes she is in. Tompkins claims that “it is by putting words to an emotion that it becomes feminized,” therefore Helen holds back her true emotions to strengthen herself (Tompkins, 56). Likewise, Jo of The Ballad of Little Jo lives almost her entire adult life under the façade of the male character she created for herself. As a woman, she was not capable of having as much power since people treated her differently – considering her a sexual object, not giving her the same level of respect – and she therefore had to take on the qualities of a man, literally the image of a man, to gain the rights that would make her happy in life. The fact that both Amy and Helen also had to take on the characteristics of men shows that women’s statuses can only advance as they emulate characteristics of men, and even more so in the case of Jo who had to live her life as a man.
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The women in both High Noon and The Ballad of Little Jo are strong evidence that disprove Tompkins’s claim that women are insignificant in the Western genre and show the progress that women in American society have made in improving their social status. In High Noon, Amy Kane asserts her power in her relationship with Marshal Kane by making her husband give up his badge, walking away from him and choosing to be alone rather than in a state of anxiety for his wellbeing, and having the ability to help him in the final shootout scene. While Tompkins claimed that “Westerns either push women out of the picture completely or assign them roles in which they exist only to serve the needs of men,” Amy shows that this is not always true, for she plays a significant part and shows a desire to serve her own needs, not her husband’s (Tompkins 39-40). Helen Ramirez also contradicts Tompkins’s statement, for she shows that she serves only her needs by possessing ownership of a business and living independent of men. Amy also disproves Tompkins’s theory that “women are inferior beings because, in submitting, they open themselves up,” by refusing to submit to her husband (Tompkins 56). Instead, Amy maintains control by “remaining ‘hermetic’ [and] ‘closed up’” by disregarding the feelings she has for Kane, clearly known since they have just married, and choosing to walk away from him. Similarly, Helen Ramirez holds back her emotions because she wants to keep control, as seen in many, if not all, the scenes she is in. Even Helen’s position as a businesswoman reflects how much power she has attained, coinciding with women in American society transcending their roles as mere housewives and becoming active participants in society. Overall, both Amy and Helen exemplify a new type of woman arising from the 1950s, the time during which this film was produced, who is more confident in asserting her desires and has a stronger influence on the society around her.
ReplyDeleteLittle Jo in The Ballad of Little Jo challenges Tompkins’s claim the most that women have no significance in Westerns. As a woman, she succeeds in establishing herself as an alpha male cowboy and possesses all the same rights that a man would have, that as a woman, she was unable to have. Despite her having to disguise herself as a man, Little Jo shows that in the Western film genre, women are able to have a significant amount of influence. During the 1990s when this film was made, the feminist movement had a strong start. Therefore, in the film, Little Jo embodies a woman who is fundamentally equal to men and is capable of achieving the same things, but is only prevented from doing so because of her female exterior. The character of Little Jo proves that women are treated unequally, and if given the opportunity, then in society they could achieve the same things as men, such as performing the same jobs for equal pay, working outside of the home, and participating in traditionally male activities, such as sports, the military, and leadership positions in the workforce.
The women in both High Noon and The Ballad of Little Jo are strong evidence that disprove Tompkins’s claim that women are insignificant in the Western genre and show the progress that women in American society have made in improving their social status. In High Noon, Amy Kane asserts her power in her relationship with Marshal Kane by making her husband give up his badge, walking away from him and choosing to be alone rather than in a state of anxiety for his wellbeing, and having the ability to help him in the final shootout scene. While Tompkins claimed that “Westerns either push women out of the picture completely or assign them roles in which they exist only to serve the needs of men,” Amy shows that this is not always true, for she plays a significant part and shows a desire to serve her own needs, not her husband’s (Tompkins 39-40). Helen Ramirez also contradicts Tompkins’s statement, for she shows that she serves only her needs by possessing ownership of a business and living independent of men. Amy also disproves Tompkins’s theory that “women are inferior beings because, in submitting, they open themselves up,” by refusing to submit to her husband (Tompkins 56). Instead, Amy maintains control by “remaining ‘hermetic’ [and] ‘closed up’” by disregarding the feelings she has for Kane, clearly known since they have just married, and choosing to walk away from him. Similarly, Helen Ramirez holds back her emotions because she wants to keep control, as seen in many, if not all, the scenes she is in. Even Helen’s position as a businesswoman reflects how much power she has attained, coinciding with women in American society transcending their roles as mere housewives and becoming active participants in society. Overall, both Amy and Helen exemplify a new type of woman arising from the 1950s, the time during which this film was produced, who is more confident in asserting her desires and has a stronger influence on the society around her.
ReplyDeleteLittle Jo in The Ballad of Little Jo challenges Tompkins’s claim the most that women have no significance in Westerns. As a woman, she succeeds in establishing herself as an alpha male cowboy and possesses all the same rights that a man would have, that as a woman, she was unable to have. Despite her having to disguise herself as a man, Little Jo shows that in the Western film genre, women are able to have a significant amount of influence. During the 1990s when this film was made, the feminist movement had a strong start. Therefore, in the film, Little Jo embodies a woman who is fundamentally equal to men and is capable of achieving the same things, but is only prevented from doing so because of her female exterior. The character of Little Jo proves that women are treated unequally, and if given the opportunity, then in society they could achieve the same things as men, such as performing the same jobs for equal pay, working outside of the home, and participating in traditionally male activities, such as sports, the military, and leadership positions in the workforce.
The women in both High Noon and The Ballad of Little Jo are strong evidence that disprove Tompkins’s claim that women are insignificant in the Western genre and show the progress that women in American society have made in improving their social status. In High Noon, Amy Kane asserts her power in her relationship with Marshal Kane by making her husband give up his badge, walking away from him and choosing to be alone rather than in a state of anxiety for his wellbeing, and having the ability to help him in the final shootout scene. While Tompkins claimed that “Westerns either push women out of the picture completely or assign them roles in which they exist only to serve the needs of men,” Amy shows that this is not always true, for she plays a significant part and shows a desire to serve her own needs, not her husband’s (Tompkins 39-40). Helen Ramirez also contradicts Tompkins’s statement, for she shows that she serves only her needs by possessing ownership of a business and living independent of men. Amy also disproves Tompkins’s theory that “women are inferior beings because, in submitting, they open themselves up,” by refusing to submit to her husband (Tompkins 56). Instead, Amy maintains control by “remaining ‘hermetic’ [and] ‘closed up’” by disregarding the feelings she has for Kane, clearly known since they have just married, and choosing to walk away from him. Similarly, Helen Ramirez holds back her emotions because she wants to keep control, as seen in many, if not all, the scenes she is in. Even Helen’s position as a businesswoman reflects how much power she has attained, coinciding with women in American society transcending their roles as mere housewives and becoming active participants in society. Overall, both Amy and Helen exemplify a new type of woman arising from the 1950s, the time during which this film was produced, who is more confident in asserting her desires and has a stronger influence on the society around her.
ReplyDeleteLittle Jo in The Ballad of Little Jo challenges Tompkins’s claim the most that women have no significance in Westerns. As a woman, she succeeds in establishing herself as an alpha male cowboy and possesses all the same rights that a man would have, that as a woman, she was unable to have. Despite her having to disguise herself as a man, Little Jo shows that in the Western film genre, women are able to have a significant amount of influence. During the 1990s when this film was made, the feminist movement had a strong start. Therefore, in the film, Little Jo embodies a woman who is fundamentally equal to men and is capable of achieving the same things, but is only prevented from doing so because of her female exterior. The character of Little Jo proves that women are treated unequally, and if given the opportunity, then in society they could achieve the same things as men, such as performing the same jobs for equal pay, working outside of the home, and participating in traditionally male activities, such as sports, the military, and leadership positions in the workforce.