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Object Of Desire: Women As A Pleasurable Endeavor

933 words - 4 pages

James Cameron’s motion picture Titanic blew the crowds away when it was first released in 1997, and its success has echoed into contemporary film society. Due to this movie actress Kate Winslet got her huge breakthrough, which allowed her to become one of the most celebrated film stars of our time. Winslets character, Rose DeWitt Bukater, a beautiful upper-class girl who is unimpressed with the luxuries she is surrounded with, becomes the love interest of the penniless Jack Dawson during the maiden voyage of the Titanic. Among the many plotlines of Titanic, it is their impossible love story that is the most central, a conflict that is based on her being of higher social stature. This essay focuses on examining how the way women are portrayed as being unattainable may reinforce their objectification and further fuel a desire to possess them. The sequence I have chosen is that when the audience is first acquainted with Rose, as, while it is aligned with a classical presentation of a female character, it also demonstrates her role as an unachievable standard.
The first step of the introduction is building up anticipation for what is to come. The harbor is swarmed with people bustling around, and through this crowd the spectators’ attention is immediately drawn to a shining white car with golden linings as its honking break through the masses. The audience is invited to follow the line of sight of a little girl, who gasps at the sight of the beautiful vehicle. Already, we are aware that whoever or whatever is contained in that car is of importance to the story as well as the society built in this cinematography. The little girl also serves as a vessel to share her awe and some cases, for female spectators to relate to her personal desire to embody the same luxuries being displayed in this sequence. The car itself speaks volumes of the owner’s social stature and the polished colors of white and gold makes it look almost like a heavenly chariot. The spectator can rightly assume that the owner of the vehicle is indeed wealthy and most likely upper class, dividing whoever is inside it from the lower classes.
There is non-diegetic music resembling an angelic choir, enticing the audience as the car is put in close-up. The door opens and the camera switches to a high angle, as if God was looking down, revealing only a gloved hand but it can be safely assumed to belong to a woman. When the final uncover of Rose is made, in shape of a traditional close-up, the angelic choir bursts into a crescendo accompanied by chimes, almost as if decreeing the descent of an angel. In addition to the gold and white chariot, the God-perspective the music illustrates the final touch of depicting Rose as...

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