Essay Prompt: A feminist Study Comparing/Contrasting the Way a Reading or Viewing Audience: “The Social Network” Film
Even though pundits’ applauded on how the film “The Social Network” by David Fincher boomed over the media, unexpectedly, it could not stifle the casual women’s activist objection that was taking place on the social. Web journals jumped up across the internet as women destructively protested on the base that the film was not gendered sensitive (Lohan 893). Nonetheless, regarding the formal analysis by Lohan, there are individuals such as staff from the elite foundation who benefited from the setting of the film. To emphasize the same, Lohan, on Femininity readings, proclaims the film on the male perspective. Further study by Leggatt (2006) on the survey to steer for equity among men and women demonstrated the explanation through Lady Macbeth in Shakespeare’s novel, presenting the notion of the feminine role in society. It was to show hopelessness to women, portraying them as “crazy, dread moving wenches or vacuous, sexualized objects” (Lohan 912). Unlike in the social network film where the audience claims of misrepresentation, throughout Shakespeare’s novel audience can see the fact by which women are highly represented. For instance, we can see the sharing of roles among women where Macbeth proceeds with the feminine character as Lady Macbeth takes the male character (Leggatt 58). From this, we can attest that novel presents gender-stereotypical reading through these two characters.
Additionally, the opposition cries captured serious audience, evoking a wired conciliatory sentiment as well as guard against Aaron Sorkin, who was the scriptwriter. Sorkin acknowledged that, “it is easy to see how brilliant women horrified by the content in the film.” in connection he added that, “yet female need to comprehend the fact that, it was the quite certain notion I was expounding on . . . I was expounding on an outraged and profoundly misanthropic group of individuals” (Barr 54). Accordingly, Sorkin diverts women’s activist analysis, guiding it from his authoritative motivation and to the subgroup investigated in the film (Sorkin 23). Consequently, Sorkin confesses to the “masculine perspective,” however, strengthens its purposeful development as the focal point of the movie, catching not the mentalities of the makers, yet the male-centric viewpoint of this specific network of men. On the contrary, Shakespeare presents women as the central power in the novel and demonstrates the fact by which men should learn to hand over power with equality. In this, we see Lady Macbeth learning about Macbeth’s promotion, as he realized he would be the next in line for Kinship (Leggatt 59).
Although Sorkin recognizes this gathering as “extremely irritated and profoundly misanthropic,” David Fincher, uncovers their male-controlled society to be tied down in and extraordinarily finished by the mechanical domain. By demonstrating how to shot a movie, Fincher explains that it reached to the extent of throwing Justin in the Lake. On the contrary, Shakespeare’s novel plan is different in the fact that the author presents gender-stereotypical in the notion that power is shared based on gender-specific. Additionally, it is clear that all through the fluctuation of gender roles as well as stereotypes, it is well shared among Macbeth and Lady Macbeth (Leggatt 76). Further, it was contended that it makes no sense of who Parker is since the audience appreciated a lot while in that state (Bertoni 16). He must consider him to be the person who has it reinforced. Parker’s mechanical achievement is could, therefore, be demonstrated by enhancing the video. Basically, from this state, the encapsulation of the little influx of innovative business visionaries escalating and governing millenary humanity (Bertoni 3). As Mark speaks to those yearning to seal the fantastic place, the film audience turns into the programmer number’s forecast of the real world, hence Parker’s feature is formed from repeating Mark’s mental picture.
Nevertheless, by contending that “Facebook was conceived during a night of unimaginable sexism,” and pulling together women’s activist analysis on the network of mechanical males, Sorkin grapples the sexism or Facebook’s origination in this specific manly perspective. Likewise, Sorkin unexpectedly resonances socio-technical convention of Feminist Machinery Educations that planning innovation is a standard procedure with societal results (Lohan 896). Indeed, these researchers guarantee, “the individuals who structure new advancements are, by a similar stroke, planning humanity (Lohan 896).” So, they guarantee that innovation and sexual orientation are produced” and cannot be isolated. By proclaiming the sexist setting of Face-book introduction to the world, Sorkin suggests a foreboding coproduction of sex alongside Facebook’s innovation. Thinking about the women’s activist shock over this male-centric point of view, the gendered setting, and film of developing Facebook warrants a logical social look (Faulkner 114). While on the other hand, Shakespeare’s novel presents and shares gender roles with equality (Leggatt 53). In this manner, however, “The Social Network” is a film concerning Facebook ascent, it at the same time works as an account about the rise of new thoughts of sexual orientation explicitly manliness in millennial society. Nevertheless, in comparison, both the social network film and Shakespeare’s novel, the notion remains the same in the sense that both demonstrates the progression of gender stereotypes and how power is shared among different sectors in the society.
Works Cited
Barr, Jason. “Aaron Sorkin Responds to Claims of Misogyny in The Social Network.” Collider.com. N.p., 12 Oct. 2010. Web. 1 Dec. 2012.
Bertoni, Steven. “Sean Parker: Agent of Disruption.” Forbes 10 Oct. 2010: 1-4. Web. 5 Dec. 2012.
Faulkner, Wendy. “The Power and the Pleasure? A Research Agenda for ‘Making Gender Stick’ to Engineers.” Science, Technology, and Human Values 25.1 (2007): 87-119. JSTOR. Web. 17 Nov. 2012.
Leggatt, Alexander, ed. William Shakespeare’s Macbeth: a sourcebook. Taylor & Francis, 2006.
Lohan Maria. “Constructive Tensions in Feminist Technology Studies.” Social Studies of Science 30.6 (2006): 895-916. JSTOR. Web. 18 Nov. 2012.
Sorkin, Aaron. The Social Network. Film Script. 2010. Sonypictures.com 20 Jan. 2013.