With the birth of Second Wave feminism in the sixtiess adult females started to inquire the inquiries of what their functions in life are. A coevals of future homemakers wondered that if they continued to maintain making the jobs and giving their undivided attending to their hubbies they would non be populating a life they truly wanted. The Stepford Wives ( Forbes, 1975 ) addresses these concerns with a panicky and glooming expression at the perfect adult female. The Stepford Wives ( Forbes, 1975 ) portrays the “ feminine status in a businessperson, patriarchal society ” ( Boruzkowski, 1987 ) . In the movie, liberated females who are equal to, if non more powerful than their hubbies and keep on to their ain gender are murdered and changed with purportedly superior transcripts who purportedly embody flawlessness. These robotic transcripts have the best figure, do jobs, they are highly maternal, and are willing to fulfill their hubby sexually whenever he wants it. With adult females being forced into going domestic homemakers being dominated by work forces sexually, this essay will textually analyze the concluding 10 proceedingss of the movie in relation to these issues.A
Sex and adult male ‘s desires play an of import portion in the concluding 10 proceedingss of The Stepford Wives ( Forbes, 1975 ) . The scene starts with the character of Joanna seeking for her kids in the Men ‘s Association edifice. After holding a conversation with the robotic married woman Godhead Diz, in which he tries to carry her that conforming to a male subjugation is the right thing to make and she should encompass the male dominated is society, she so flees from him. The darkness does non let the audience to clearly see her actions, but a room with a lifesize female reproduction is seen briefly. Finally she opens a door and is greeted by an exact reproduction of her sleeping room, including Fred the Canis familiaris she thought was dead. The being of him can be read as a metaphor to what the work forces of Stepford want their married womans to be like, adult male ‘s best friend ; to be well-trained, faithful, inactive, and subservient, to desire for nil, and to ever be at that place. The camera easy pans to Joanna ‘s robotic dual brushing her hair in a tripartite mirror. As she turns we see that her eyes are wholly black. This reiterates that this two-base hit is non a existent individual ; she has no life in her eyes.
When Joanna meets her replacing, we see her sitting at her chest of drawers. As the robotic Joanna stands, we notice through her diaphanous apparels that she is n’t an accurate representation of Joanna, but a new-fangled superior version. The two-base hit has clear tegument, absolutely wavy hair, a sham smiling and black robotic eyes. Joanna ‘s daze is revealed and shortly the audience sees why ; the camera reveals a shooting the automaton has perfect and significantly larger chests, a narrower waist and Fuller hips. The camera so pans back up to the human Joanna. Joanna stares in horror as the automaton stands up with a brace of leotardss stretched tightly in her custodies. The camera shows a close-up of a really satisfied Diz, distractingly petting Fred and watching the scene with echt voyeuristic pleasance. The scene ends with a close-up of the leotardss stretched tightly between the automatons custodies and the diaphanous intimate apparel that reveals the perfect abdomen.A This scene clearly demonstrates to the audience that the robotic females are non for any scientific method or anything other than to be used for the pleasance of work forces merely. When Joanna is speaking to Diz he explains this point of view ; “ if the functions were reversed, would n’t you wish some perfect stud waiting on you around the house praising you, serving you, whispering how your drooping flesh was beautiful no affair how you looked ” ( Forbes, 1975 ) .
Desire is a chief focal point for the scene between the existent Joanna and the robotic Joanna created by Diz. Diz ‘s creative activity falls into what MacKinnon would state is typical gender division and inequality. “ Male power takes the societal signifier of what work forces as a gender privation sexually, which centers on power itself, as socially defined “ adult female ” is defined by what male desire requires for rousing and satisfaction ” ( MacKinnon, 1991, p. 131 ) . Diz creates what he believes to be the perfect adult female, to run into his sexual desires and has marketed his merchandise to all the work forces in Stepford. They believe the adult females have become excessively successful, powerful and independent, while the automatons are the wholly opposite to this, missing aspiration and are repressed and submissive. The phantasy that Diz creates is non meant to be “ adult female ” but alternatively “ gender ” . When the automaton is shown the focal point is non on her head or anything instantly beautiful, like the eyes or the smiling, alternatively the focal point is on her chests and her tummy and her female organic structure as a sexualized signifier. The object of desire is the unreal beauty adult male created.
Artificial beauty is a subject that is perennial throughout The Stepford Wives ( Forbes, 1975 ) , concentrating on dolls or other topics that relate to childhood artlessness. The robotic domestic Joanna ‘s blazing gender reveals her entry to male desire. The camera emphasises the object of desire multiple times, lingering on the chests, venters and full organic structure. In the scene between the two Joanna ‘s, the liberated female must decease in order for the domesticated female to be. With adult females ‘s release going more culturally excepted, the figure of adult females who chose to remain at place was diminishing. Womans were get downing to go less submissive to work forces. In the movie this procedure had to be reversed so that in order for adult male ‘s perfect creative activity to be, the menace of adult females ‘s release must die.A
The concluding image in The Stepford Wives ( Forbes, 1975 ) shows the robotic married womans in their best frocks making their shopping and “ speaking ” to each other. The frock that the robotic adult females are have oning fells the gender she possesses. The adult females to be under complete control of the work forces need to be both sexual and in demand of a adult male to be at that place. The robotic females have been programmed to delight their hubbies physically ; they are conceited and self-involved because of this. The robotic married woman has become an “ aˆ¦ stray, glamourous, on show, sexualized belongings ” ( Mulvey, 1975, p. 9 ) . She is weak, hopeless, and unable to protect herself. However as she has been reprogrammed it could be argued she no longer has a ego to protect. The ideal homemaker is an fervent consumer who buys infinitely new things for the place, and additions satisfaction from making so ( Frieden, 1963, p. 206 ) . In The Stepford Wives ( Forbes, 1975 ) , adult females shop consistently and neatly, discuss and consume merchandises with devouring involvement and satisfaction. The robotic married womans are about at one with the supermarket, the adult female are ware available for any adult male, merely like the merchandises available for purchase on the shelves in the aisles and in there streetcars.
In this cartridge holder from The Stepford Wives ( Forbes, 1975 ) we see work forces coercing their laterality by making “ new and improved ” versions of their married womans in the shell of a automaton. The automaton serves as adult male ‘s ultimate phantasy, a beautiful and subservient married woman with the perfect figure and a sex thrust invariably set to “ on. ” The phantasy doll created in Joanna ‘s image kills her rival in an act of gender. The stoping to the movie is really negative. Womans have lost both the conflict of the sexes and a conflict for their lives. What were one time really educated adult females are now “ obedient consumerist zombis ” ( Inness, 2003, p. 38 ) who all think the same, and are nil but sexual objects for their hubbies.
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