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From Spencer to Licorice Pizza; Why do women suddenly run in movies?

In Spencer's film, which's a miserable portrayal of Pablo Laraine From Diana's weekend Princess Wells (played by Kristen Stewart) in Sandringham, there is a sequence in which Prince Charles "Jack Farting" tells his wife, "You have to be able to force your body to do things you hate. "For the good of the country." Diana grabs the edge of the billiard table, which is a picture of her wanting to gather herself and dominate herself. With those white fingers, silk clothes and beautiful hair, she wants to boil the pristine and untouched rage.
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Diana's struggle to stop herself and remain formal like a magnificent statue, It causes him to always be afraid that his patience bowl will be full. When that crystal bowl finally overflows, he does not listen to Charles's advice. Instead, he runs as if his life is tied to him. In a surreal montage of her past and present, Laraine depicts 12-year-old Diana running in the meadow looking for her friends, and then at the age of seventeen, fluttering her wings in her school dress, and at the age of twenty, she walks around in her wedding dress, but regardless. All of this hits the bar. She is rebellious, unrestrained, brilliant and free, and this sequence is one of the liveliest and most moving moments in the film, a sequence that shows Diana deciding to live as she pleases, not at the will of the royal family.

BingMag.com <b>From</b> <b>Spencer</b> to <b>Licorice</b> <b>Pizza;</b> Why do <b>women</b> <b>suddenly</b> <b>run</b> in movies?

A view of Diana running in Spencer (2021), a run that is like getting rid of The bondage is captivity

The turmoil of a movement like this acts as a declaration of freedom From the beginning of the film. Over the past few months, however, a number of new films have clearly placed a lot of emphasis on a particular type of movement, with scenes in which women are running. Ever since Paul Thomas Anderson's "Sweet Pizza" was released, social networks have been filled with gifs in which the star of the movie, Alana Haim, is running in Los Angeles, arms moving back and forth, hair flying and Alana having He laughs across his face, and of course he jokes and jokes that there is a lot on the stage. In the highly anticipated Norwegian drama "The Worst Person in the World", directed by Joachim Trier, the protagonist Julie (played by Renate Rinsfe) in one of the scenes, which also happens to be used as a movie poster, rejoices. It runs in the middle of the street. Haim and Rinsfe, both in the cinema, are almost novices, and the beauty of their acting is the cocoonlessness you feel, and especially their running (unlike other movements such as dancing) adds to this unaccounted for feeling. It 's more about giving up than looking good. But as Richard Dyer wrote in 1994 about the action film Speed, freedom to move and pass through space unconditionally includes a privilege that is encoded like a man (and normal, white), something that all human beings They need it (which we should add people without disabilities to his list). He points out that the pattern of arousing the audience with emotional gestures was common in films that honored the power of men or masculinity and therefore considered physical freedom as an accessible thing.

For female actors, gestures and The liveliness of the stage is usually limited, and is often labeled obedient or obedient, or slow-motion sequences depicting provocative and sensual scenes. In his 1975 article on visual pleasure and narrator's cinema, film theorist Laura Malloy writes that in a world governed by gender inequality, pleasure is divided between a man or an active species and a woman or a passive species. This division has a physical aspect, the need for a woman's beauty to be in front of the camera, perhaps interfering with any possibility of fast or free movement. Lea Seido, for example, spends most of her time naked in Wes Anderson, taking a figure for a portrait that transforms her into impossible shapes one after the other, ending up on top of hot radiators or on the wall. A toilet is hanging and he is constantly trying to keep himself steady. While Anderson's film arrogantly acknowledges this, the desire for stillness has for centuries become an inseparable part of visual culture, or, as John Berger wrote 50 years ago: "Men play and women stand out."

However, most of the time, women eventually began to play more active roles (literally) in movies. The shift to women who move is a major turning point in the culture of imagery that normalizes, affirms, and directs ideas about gender, especially those that usually confine women's bodies to a mere ornament. Have. women are now the pioneering superheroes of films such as The Amazing Woman and Birds of Prey, and are even helping James Bond, who needs support, in No Time to Die. Watching women's limbs in battle, whether they run, fight or fly, has a refining effect. However, these movements tend to be more spectacular than real; A body product that is difficult to train and beautiful. To reduce empowerment to moments of violence and war, and in the context of films that say very little about gender or feminism more broadly, is like going back to the problems that Dyer talked about, in other words, embodying Physical strength without gratitude for politics or respect for the capacity for total authority you have. If women now have more freedom to move on the screen, what are they likely to go for?

BingMag.com <b>From</b> <b>Spencer</b> to <b>Licorice</b> <b>Pizza;</b> Why do <b>women</b> <b>suddenly</b> <b>run</b> in movies?

The female spy in the movie There is no time to die (2021) who helps the male spy in the story

In the semi-autobiographical sequence of Joanna Hague, the second part of the movie" Souvenir ", Young filmmaker Julie (played by Anne Swinton Byrne) tries to complete her dissertation film, but suffers From a mental wound From her previous relationship, creative doubts and masters who are unable to understand her vision. When we finally see him complete his project, he takes us on a surreal and bizarre journey to grief and heartbreak that successfully becomes life, as he runs across the ground and taps to pick up the Super 8 camera. Stands. While Julie was cautious about moving forward, she is now running for what she wants, which is to make a film; The way he wants it.

Spencer's final part is like a marathon, full of scenes after that lively sequence of running. Diana's physical transformation, under the strict supervision of those who take care of her and wrap her in glamorous clothes and jewelry, to the man who wears and runs a heater, is to renounce the obedient role of wealth and extravagance that he has. It has to be shown to the world and it is also a symbolic escape From one's marriage. In new films like this, the female protagonists do not just run through the tried and tested paths, they make a difference or even create a separate path for themselves. In the narrations caused. If running means the importance of freedom, it also means that freedom is achieved through the narrow ways in which gender is portrayed on the screen and other forced expectations that keep women From standing still in the form of a statue. Or following normative and boring texts. At the end of Hogg's film, Julie's friend Patrick (played by Richard Iwadi) advises her: "Go ahead. "This is my path." He later points to the street, but instead of following her, Julie stands up and says, "(perhaps for the first time in the film)" My way this way. " "It's a good decision," Patrick says. They part ways, and Julie walks in her own way.


Source: Guardian

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