Foreign Films
Metropolis (1927) German Film
In Metropolis, Gustav Fröhlich plays Master Freder, the son of Joh Frederson who is the founder and master of the utopian city Metropolis, set in the year 2026. One day, Freder sees a woman, Maria (Brigitte Helm) surrounded by children and immediately is captured by her beauty. She disappears with the children behind a set of gates, which lead to the underground city of frustrated and defeated workers who power the privileged city above. These workers are led by Maria who encourages them to peacefully revolt against Joh. Upon, discovery, a resentful Joh plans to sabotage their plan: he uses his colleague’s robot invention, Machine-Man, giving it the likeness of Maria, but programming it with evil intentions, to trick the workers into thinking it’s her. Machine-Man is switched with Maria and preaches of a violent revolt to the workers who follow through and destroy the underground city. They continue to revolt in the city above, leaving it up to Freder and Maria to save Metropolis and all of its people, above ground and below.
Even though Maria plays a strong and positive role, there is evidence of women being treated as sexual objects within this film. This can be seen early on in Metropolis, as man working for Joh organizes a group of women in the Eternal Gardens to determine who will have the honor of entertaining Freder for the day. Each of the women is dressed and primped in a manner to tempt Freder, some wearing only a sheer cloth to cover their breasts. This depiction of the women of Metropolis was very much in sync with what was happening in Germany’s society during the Weimar Republic era; prostitution was decriminalized in 1927, which opened up a world of scantily clad women and altered men’s view of them, making women seem more like a sexual piece of property (1). This was further portrayed in the movie, when Joh invites Machine-Man to a party to dance for the men of the upper city. She enters the stage, wiggling her body and kicking up her legs, dressed in a revealing, tasseled skirt and sparkling pasties as the men look on, lusting after her with an animalistic gaze in their eyes.
Despite this sultry portrayal of Machine-Man, women's roles, in reality, were not only as sexual objects in Germany during this period. Following WWI, many women retained positions of leadership and power in society and the workforce. After women got the right to vote, the early 1920's offered many women the opportunity to obtain positions in parliament as well as jobs such as drivers, factory workers, and even positions in mines - all of which had previously been male-only jobs (2)(3). In Metropolis, all of the workers as well as leaders are male, which does not fairly represent the actual German female population of the late 1920’s or what women's roles could be in the future. The only females with significant positions in this film are a nurse, who cares for Freder when he is ill, and Maria. While the nurse mainly stays in the background of the scene she plays in, Maria is the most positive and significant female role. She is able to become an accepted, peaceful leader of a large group of men, encouraging them to ask for fair treatment with the help of a mediator, and is also able to help save all of the workers' children as their city floods.
Even though Maria plays a strong and positive role, there is evidence of women being treated as sexual objects within this film. This can be seen early on in Metropolis, as man working for Joh organizes a group of women in the Eternal Gardens to determine who will have the honor of entertaining Freder for the day. Each of the women is dressed and primped in a manner to tempt Freder, some wearing only a sheer cloth to cover their breasts. This depiction of the women of Metropolis was very much in sync with what was happening in Germany’s society during the Weimar Republic era; prostitution was decriminalized in 1927, which opened up a world of scantily clad women and altered men’s view of them, making women seem more like a sexual piece of property (1). This was further portrayed in the movie, when Joh invites Machine-Man to a party to dance for the men of the upper city. She enters the stage, wiggling her body and kicking up her legs, dressed in a revealing, tasseled skirt and sparkling pasties as the men look on, lusting after her with an animalistic gaze in their eyes.
Despite this sultry portrayal of Machine-Man, women's roles, in reality, were not only as sexual objects in Germany during this period. Following WWI, many women retained positions of leadership and power in society and the workforce. After women got the right to vote, the early 1920's offered many women the opportunity to obtain positions in parliament as well as jobs such as drivers, factory workers, and even positions in mines - all of which had previously been male-only jobs (2)(3). In Metropolis, all of the workers as well as leaders are male, which does not fairly represent the actual German female population of the late 1920’s or what women's roles could be in the future. The only females with significant positions in this film are a nurse, who cares for Freder when he is ill, and Maria. While the nurse mainly stays in the background of the scene she plays in, Maria is the most positive and significant female role. She is able to become an accepted, peaceful leader of a large group of men, encouraging them to ask for fair treatment with the help of a mediator, and is also able to help save all of the workers' children as their city floods.
Maria is not only a leader in Metropolis, but she shows a strong will to defend herself when in unescapable and dangerous positions. When the inventor of Machine-Man, Rotwang, tries to kidnap Maria, she runs from him and attempts to physically overcome him when he grabs her. And although he imprisons her, when he tries to take her to transfer her qualities to Machine-Man she manages to block herself using a table. Once he gets to her, she shoves and hit him in the face as she attempts to escape once again. It is at this point, unlike many other contemporary female characters in early American films, that Maria puts up an even greater fight before losing consciousness and is taken away.
Finally, Maria also symbolized the motherly instinct that was very much celebrated during this time in Germany. Although many women did not leave their jobs immediately after men came back from the war, they were encouraged to, so the men’s morale could be rebuilt from the great loss they endured. However, it was not until women got married that they left these jobs to fully immerse themselves in their roles as wives and mothers (4). Maria and many of the women of Metropolis play mother figures who stay within their homes except to join in the revolt. Although Maria is not a mother or a wife, these characteristics can be seen in the ways she cares for the children who constantly reach for her touch throughout the film. Her role within this movie is progressive, showing that even though women are more the caretakers of children, they are also able to have power, intelligence, and a voice of reason when things go awry or are unfair.
Finally, Maria also symbolized the motherly instinct that was very much celebrated during this time in Germany. Although many women did not leave their jobs immediately after men came back from the war, they were encouraged to, so the men’s morale could be rebuilt from the great loss they endured. However, it was not until women got married that they left these jobs to fully immerse themselves in their roles as wives and mothers (4). Maria and many of the women of Metropolis play mother figures who stay within their homes except to join in the revolt. Although Maria is not a mother or a wife, these characteristics can be seen in the ways she cares for the children who constantly reach for her touch throughout the film. Her role within this movie is progressive, showing that even though women are more the caretakers of children, they are also able to have power, intelligence, and a voice of reason when things go awry or are unfair.
Highly Dangerous (1950) British Film
Margaret Lockwood plays an undercover agent as well as a esteemed entomologist, Dr. Frances Gray, in this 1950 British film. She is persuaded by British intelligence to travel to a Balkan country to investigate the possible development of a biological weapon. She does not have much luck escaping the suspicions of the country, and is eventually captured. With the help of an American journalist, Bill Casey, played by Dane Clark, she is able to infiltrate into the secret laboratories and obtain a few bugs and return to England.
As seen in the American films from the era, she is an expert in her profession, but is not tied to any family or has any romantic involvement, though she admits during the film that she had past trouble in a relationship, indicating that she is interested. She is reluctant to give up her holiday vacation to pursue the mission, but is eventually convinced. When she meets the American journalist, he sees rather quickly through her disguise, complimenting her on her publications as a researcher. He definitely appears to regard her as very respectable and intelligent, and is eager to help her on the mission in order to write a great story.
When the two encounter dangerous scenarios, they both appear to contribute. Together they cut electrical wires, sneak into buildings, and obtain the specimens. Dr. Gray is very proactive, formulating the original plan and is frequently observed giving instructions to Bill, however, as the film proceeds, Bill faces more violent confrontations and must protect Dr. Gray as she becomes weaker to exhaustion and malnutrition. They share several romantic moments, but nothing physical.
In the end of the movie, after a hassle in customs, they make it safely back to the country. Bill appears dismayed that he cannot publish this story given its top secret nature, and Dr. Gray seeks to comfort him. They share a very passionate kiss, reflecting the overarching theme of the American movies that in order to satisfy the audience, the influential, woman lead will eventually succumb to a love interest, and she will ultimately feel the most satisfied with the love of a man in her life.
As seen in the American films from the era, she is an expert in her profession, but is not tied to any family or has any romantic involvement, though she admits during the film that she had past trouble in a relationship, indicating that she is interested. She is reluctant to give up her holiday vacation to pursue the mission, but is eventually convinced. When she meets the American journalist, he sees rather quickly through her disguise, complimenting her on her publications as a researcher. He definitely appears to regard her as very respectable and intelligent, and is eager to help her on the mission in order to write a great story.
When the two encounter dangerous scenarios, they both appear to contribute. Together they cut electrical wires, sneak into buildings, and obtain the specimens. Dr. Gray is very proactive, formulating the original plan and is frequently observed giving instructions to Bill, however, as the film proceeds, Bill faces more violent confrontations and must protect Dr. Gray as she becomes weaker to exhaustion and malnutrition. They share several romantic moments, but nothing physical.
In the end of the movie, after a hassle in customs, they make it safely back to the country. Bill appears dismayed that he cannot publish this story given its top secret nature, and Dr. Gray seeks to comfort him. They share a very passionate kiss, reflecting the overarching theme of the American movies that in order to satisfy the audience, the influential, woman lead will eventually succumb to a love interest, and she will ultimately feel the most satisfied with the love of a man in her life.
Konga (1961) British Film
In 1961 in England, a movie called Konga came out. This movie was about a British scientist Charles Decker. He is a botanist and a professor at Essex College in London; Decker spends a year in Africa and discovers the value of carnivorous plants. Decker returns to London and brings with him many specimens of carnivorous plants as well as a baby chimpanzee, which he names Konga. Charles Decker comes home and begins to set up his experiment with the help of his assistant, Margret. He uses the roots and seeds of the plants he brought from the jungles of Uganda and creates a serum. Decker injects the serum into the baby chimp, Konga. Konga miraculously grows larger, to the size of an adult, within a matter of seconds. Decker believes he has found a new evolutionary link between plants and animals.
Decker is teaching a botany class at the college with a focus on his new research. He takes a special interest in a student named Sandra. Decker wants Sandra to work closely with him on his research. As the movie progresses Charles becomes more and more obsessed with his work; he wants to be the first person to publish his findings and change science. However, some people begin to get in the way of his work and so he gives Konga even more serum and makes him grow to the size of a gorilla. He forces Konga to do his bidding and kill three people. Margret is upset by these killings and so Dr. Decker tries to find a new assistant. He invites Sandra over and proceeds to try and compel her to become his assistant and wife. Margret watches this and becomes terribly upset. She runs to laboratory and gives Konga even more growth serum and causes him to grow too large. He demolishes the house and kills Margret. Sandra also dies; she is eaten by one of Decker's carnivorous plants. Konga grabs Charles Decker and begins to rampage through London. In the end Konga throws Decker, killing him, and the army shoots Konga and kills him as well. The last seen is a shot of Konga dead, and he has changed back into the baby chimpanzee he once was.
This movie much like the American movies has mixed messages about women’s roles in science. Margret is Charles’s “assistant, secretary, and house-keeper”. She loves Charles, but he only uses her. Margret kept up all his experiments while he was gone in Africa. She is a capable scientist; she observes and records a lot of data and is a great help to Decker. Although Margret is shown as a capable scientist she still craves marriage above all else. She wants to marry Decker and believes that will make her truly happy, and solve all her problems. This depiction seems to match the older view that women must find a husband and be a domestic. Although Margret is a scientist she also gets ordered around by Decker and is subservient to him.
In contrast to Margret the college student Sandra represents a new woman in science, “In the 1960's, “the image of the single, liberated young woman rapidly became a mainstay of cinema” (6). She is a student in Dr. Decker’s class and she is eager to pursue chemistry and physics after she takes the botany class. She says that her studies are more important than boys. Sandra also insists that she is not ready for love, and that she still has so much to learn. She refuses Decker’s offer as an assistant because she wants to continue studying. The idea that she will put her education and career before everything else in her life is a more modern way of thinking about women’s roles. She has no care to be a wife and knows that what she really wants is to be a scientist. These two contrasting roles of women in science in the British film seem to be similar to what was seen in American film. The old and the new ideas about women are mixing and both sides are being shown.
In contrast to Margret the college student Sandra represents a new woman in science, “In the 1960's, “the image of the single, liberated young woman rapidly became a mainstay of cinema” (6). She is a student in Dr. Decker’s class and she is eager to pursue chemistry and physics after she takes the botany class. She says that her studies are more important than boys. Sandra also insists that she is not ready for love, and that she still has so much to learn. She refuses Decker’s offer as an assistant because she wants to continue studying. The idea that she will put her education and career before everything else in her life is a more modern way of thinking about women’s roles. She has no care to be a wife and knows that what she really wants is to be a scientist. These two contrasting roles of women in science in the British film seem to be similar to what was seen in American film. The old and the new ideas about women are mixing and both sides are being shown.
Four Weddings and a Funeral (1994) British Film
During the year of 1994 in United Kingdom, Four Weddings and a Funeral was released. The movie is a comedy starring Hugh Grant who plays a british bachelor named Charlie. He was the best man at one of his friend's wedding where he met an American girl, Carrie, and fell in love at once. They spent the night together but she had to go back to America the next day so nothing more came out of it. But a few months later, at another one of their friend's wedding, they met up again. At this point, Charlie learned that Carrie was engaged to another man. As fate would have it, they were not supposed to be together. He was upset and didn't want to be at the wedding anymore so he went up to a hotel room and saw Carrie and her fiancé leave the wedding. But a couple hours later Carrie had found herself back with Charlie and spent another night with him. A month later, Charlie received a wedding invitation to Carrie's wedding. At the wedding reception, one of the friends, Gareth, dies of a heart attack which is where the funeral comes in.
Ten months later, the fourth wedding is Charles's. After years of not being with the girl he loved, he decided he could be content marrying his ex-girlfriend, Henrietta. But minutes before the ceremony, Carrie comes in telling Charles her and her husband are not together anymore. At the alter, it was brought up and Charles admitted that he did indeed love someone else and Henrietta punched him in the face. Thus, ending the wedding. In the end, Charles and Carrie never got married but agreed to be happy without getting married.
Four Weddings and a Funeral portrays the main female character, Carrie, as a very independent, successful young woman. She has a steady job at Vogue and gives off the sense that she does not rely on men for anything. During the sex scene, it is Carrie who initiates it and plays the more assertive and dominant role in bed. With this portrayal, Britain is ahead of American when including more independent, out of the norm women roles. Instead of a shy woman that is looking for a husband, they chose to go with the opposite. Thus showing how Britain is further along in the new roles of women in society during this time. In the beginning when Charlie and Carrie first meet, it is Charlie who goes out of his way to get her attention. This sort of "male trying to impress female" action is similar to the American movie at this time. While the producers of the movie want to try and modernize the role of women, they also do a good job at keeping some of the norms of the time.
Along with that, the film include all of Charlie's ex-girlfriends to be high maintenance and emotional girls who are still in love with him and upset about how things ended. Although, there are a lot of relationships where it is the male who is heartbroken and attached, they chose to portray the cliché emotional girl. Also, one of Charlie's good friends admitted her long love she has had for him and he did not reciprocate it. Thus once again, presenting that women are the emotional ones. So even though Britain film industry seems to be more progressive with the role of women they too, include some of the stereotypes that used to and still may be present during that time era.
In each of the weddings, the father walked to brides down the isle. It was nice to see that although times are changing and roles are changing, traditions continue to be upheld.
Two of the friends in the friend group were a gay couple. The nineties was a sort of transition time period. In the seventies and eighties it would be extremely hard to find a popular movie that represented the different types of relationships that can exist. After the turn of the century, it has become a lot easier to see such types of relationships in popular media. Because Britain began including this in their films early on, shows that in a sense, they were ahead of American when it came to busting stereotypical roles.
In the end, Carrie and Charlie did not get married but they had a child together. In previous decades, showing this sort of non-traditional living would have been very uncommon. But it shows how there is more than one way to live and raise a family. Overall, with this aspect, the role of women in both America and Britain are seemingly similar but it would come across after studying both American and European films, that Europe was ahead and more progressed with America following right behind them.
Ten months later, the fourth wedding is Charles's. After years of not being with the girl he loved, he decided he could be content marrying his ex-girlfriend, Henrietta. But minutes before the ceremony, Carrie comes in telling Charles her and her husband are not together anymore. At the alter, it was brought up and Charles admitted that he did indeed love someone else and Henrietta punched him in the face. Thus, ending the wedding. In the end, Charles and Carrie never got married but agreed to be happy without getting married.
Four Weddings and a Funeral portrays the main female character, Carrie, as a very independent, successful young woman. She has a steady job at Vogue and gives off the sense that she does not rely on men for anything. During the sex scene, it is Carrie who initiates it and plays the more assertive and dominant role in bed. With this portrayal, Britain is ahead of American when including more independent, out of the norm women roles. Instead of a shy woman that is looking for a husband, they chose to go with the opposite. Thus showing how Britain is further along in the new roles of women in society during this time. In the beginning when Charlie and Carrie first meet, it is Charlie who goes out of his way to get her attention. This sort of "male trying to impress female" action is similar to the American movie at this time. While the producers of the movie want to try and modernize the role of women, they also do a good job at keeping some of the norms of the time.
Along with that, the film include all of Charlie's ex-girlfriends to be high maintenance and emotional girls who are still in love with him and upset about how things ended. Although, there are a lot of relationships where it is the male who is heartbroken and attached, they chose to portray the cliché emotional girl. Also, one of Charlie's good friends admitted her long love she has had for him and he did not reciprocate it. Thus once again, presenting that women are the emotional ones. So even though Britain film industry seems to be more progressive with the role of women they too, include some of the stereotypes that used to and still may be present during that time era.
In each of the weddings, the father walked to brides down the isle. It was nice to see that although times are changing and roles are changing, traditions continue to be upheld.
Two of the friends in the friend group were a gay couple. The nineties was a sort of transition time period. In the seventies and eighties it would be extremely hard to find a popular movie that represented the different types of relationships that can exist. After the turn of the century, it has become a lot easier to see such types of relationships in popular media. Because Britain began including this in their films early on, shows that in a sense, they were ahead of American when it came to busting stereotypical roles.
In the end, Carrie and Charlie did not get married but they had a child together. In previous decades, showing this sort of non-traditional living would have been very uncommon. But it shows how there is more than one way to live and raise a family. Overall, with this aspect, the role of women in both America and Britain are seemingly similar but it would come across after studying both American and European films, that Europe was ahead and more progressed with America following right behind them.
Gravity (2013) British Film
In the British film, Gravity, Sandra Bullock and George Clooney star as astronauts. The progression of the film finds them stranded in space after the mid-orbit destruction of their space shuttle. Bullock, a main character, plays Dr. Ryan Stone, a biomedical engineer. She is aboard the NASA space shuttle Explorer with astronaut Matt Kowalski (Clooney). Stone is on her first space mission and Kowalski is a veteran astronaut. During the journey, the ship is warned about a Russian missile strike that has created a chain reaction of debris in space. Mission control orders that the mission be aborted and the shuttle return to earth. Contact with earth is lost, and debris unfortunately strikes the ship. Stone is detached from the shuttle and left floating through space. Kowalski is able to save her and they return to the ship. The discover that most of the crew is dead from the impact and are able to reach the International Space Station. They determine that they have approximatley 90 minutes before the debris comes back through orbit towards them.
During their journey to the ISS, their talk turns personal. The two are feeling very sad and as if they will not make it back home. We learn that Ryan is not married but that she lost her young daughter due to a head injury. Of course, loss affects everyone differently, but she showed her motherly instincts in her reaction to discussing the death of her daughter.
As Ryan and Kowarlski approach the ISS, they are both running very low on oxygen supply. In this particular scene we see the 'frantic, hysteric' representation of the female character.
Ryan states "I'm redlining, my O2 tank pressure is low" Kowarlski responds "Your tank is out of oxygen but you still have it in your suit, you have to
sip, not gulp" to which Ryan responds with a few frantic nods, but still very obviously hysterical and emotional (9).
Upon trying to land on the ISS, they see that the crew has evacuated to one of the two Soyuz models. The parachute for the remaining capsule has deployed and it is useless for return to earth. The pair decides to try to use it to travel to a nearby Chinese space station. As they try to grab onto the ISS as they are floating aimlessly in space, Stone's leg gets caught in the parachute and she grabs onto Kowarlski's suit. Kowarlski ends up detaching himself from the tether to save her from drifting away. He is left to float out into space towards certain death (despite Stone's protests). They stay in contact until he is out of communications reach.
Stone enters the ISS and has to quickly rush to the Soyuz. She runs into trouble with the machine getting caught up in the tangled parachute. She finally detaches herself to discover that she has no fuel.
After failed attempts at communication with earth, Stone turns down the cabin's oxygen to commit suicide. As she nears death, Kowalski enters her capsule and advises her how to save herself. We discover that Kowalski was in fact a figment of Stone's imagination, but it was all she needed to survive.
Stone is able to make it to the space station and re-enter the atmosphere. Her capsule lands in a lake and she swims to shore which concludes the film.
As mentioned, this film does portray Bullock's character as frantic and hysterical several times throughout the film. It is also portrayed that she needs Clooney's character (a male) to survive. Without her vision of him, she would have surely perished in the capsule. To balance her character and still have a strong female lead, Dr. Stone is able to get herself safely back to earth, even after encountering several obstacles.
With consideration that this film was released in 2013, it is surprising that such qualities of hysteria are still associated with the female character. In addition, the fact that this film was foreign did not seem to make an impact in the female representation throughout the movie. There was still a strong female role that coincided directly with American films of this time period, as well as the American societal norms of this decade.
During their journey to the ISS, their talk turns personal. The two are feeling very sad and as if they will not make it back home. We learn that Ryan is not married but that she lost her young daughter due to a head injury. Of course, loss affects everyone differently, but she showed her motherly instincts in her reaction to discussing the death of her daughter.
As Ryan and Kowarlski approach the ISS, they are both running very low on oxygen supply. In this particular scene we see the 'frantic, hysteric' representation of the female character.
Ryan states "I'm redlining, my O2 tank pressure is low" Kowarlski responds "Your tank is out of oxygen but you still have it in your suit, you have to
sip, not gulp" to which Ryan responds with a few frantic nods, but still very obviously hysterical and emotional (9).
Upon trying to land on the ISS, they see that the crew has evacuated to one of the two Soyuz models. The parachute for the remaining capsule has deployed and it is useless for return to earth. The pair decides to try to use it to travel to a nearby Chinese space station. As they try to grab onto the ISS as they are floating aimlessly in space, Stone's leg gets caught in the parachute and she grabs onto Kowarlski's suit. Kowarlski ends up detaching himself from the tether to save her from drifting away. He is left to float out into space towards certain death (despite Stone's protests). They stay in contact until he is out of communications reach.
Stone enters the ISS and has to quickly rush to the Soyuz. She runs into trouble with the machine getting caught up in the tangled parachute. She finally detaches herself to discover that she has no fuel.
After failed attempts at communication with earth, Stone turns down the cabin's oxygen to commit suicide. As she nears death, Kowalski enters her capsule and advises her how to save herself. We discover that Kowalski was in fact a figment of Stone's imagination, but it was all she needed to survive.
Stone is able to make it to the space station and re-enter the atmosphere. Her capsule lands in a lake and she swims to shore which concludes the film.
As mentioned, this film does portray Bullock's character as frantic and hysterical several times throughout the film. It is also portrayed that she needs Clooney's character (a male) to survive. Without her vision of him, she would have surely perished in the capsule. To balance her character and still have a strong female lead, Dr. Stone is able to get herself safely back to earth, even after encountering several obstacles.
With consideration that this film was released in 2013, it is surprising that such qualities of hysteria are still associated with the female character. In addition, the fact that this film was foreign did not seem to make an impact in the female representation throughout the movie. There was still a strong female role that coincided directly with American films of this time period, as well as the American societal norms of this decade.
Refrences
1. "Worrying Parallels Between the Weimar Republic and Modern Western Society." Worrying Parallels Between the Weimar Republic and Modern Western Society. Accessed December 8, 2014. http://www.ukapologetics.net/weimar.html.
2. Ibid.
3. Maher, Tori. "The Roles and Representations of Women in the Weimar Republic." Makinghistoryatmacquarie. November 20, 2012. Accessed December 8, 2014. https://makinghistoryatmacquarie.wordpress.com/2012/11/20/the-roles-and-representations-of-women-in-the-weimar-republic/.
4. Ibid.
5. Metropolis. Germany: Paramount Pictures, 1927. Film.
6. Melanie Bell, "Young, SIngle, Disillusioned: The Screen Heroine in 1960s British Cinema." The Yearbook of English Studies 42(2012):84
7. Konga. UK: Merton Park Studios, 1961. Film.
8. Four Weddings and a Funeral. UK: Gramercy Pictures Rank Film Distributors, 1994, Film.
9. Gravity. Dir. Alfonso Cuaron. Perf. Sandra Bullock and George Clooney. Warner Bros. Pictures, 2013. DVD.
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1. "Worrying Parallels Between the Weimar Republic and Modern Western Society." Worrying Parallels Between the Weimar Republic and Modern Western Society. Accessed December 8, 2014. http://www.ukapologetics.net/weimar.html.
2. Ibid.
3. Maher, Tori. "The Roles and Representations of Women in the Weimar Republic." Makinghistoryatmacquarie. November 20, 2012. Accessed December 8, 2014. https://makinghistoryatmacquarie.wordpress.com/2012/11/20/the-roles-and-representations-of-women-in-the-weimar-republic/.
4. Ibid.
5. Metropolis. Germany: Paramount Pictures, 1927. Film.
6. Melanie Bell, "Young, SIngle, Disillusioned: The Screen Heroine in 1960s British Cinema." The Yearbook of English Studies 42(2012):84
7. Konga. UK: Merton Park Studios, 1961. Film.
8. Four Weddings and a Funeral. UK: Gramercy Pictures Rank Film Distributors, 1994, Film.
9. Gravity. Dir. Alfonso Cuaron. Perf. Sandra Bullock and George Clooney. Warner Bros. Pictures, 2013. DVD.
Banner: http://cdn.shopify.com/s/files/1/0071/5032/products/World_Maps_International_20mil_1.jpg?v=141361911