Studies into sex-ratio thus conclude that, whenever there is an oversupply of women, women are more likely to adopt socio-sexual strategies that cater to men’s greater desire for casual sex
so studies have proven that women are more likely to manipulate and strategize in efforts to find a partner.
During the middle of the twentieth century, in both USA and France, that structural power was naturally undermined, but it occurred for different reasons. Two periods of large-scale war (WWI and WWII) within a single generation had struck both populations, but women’s accession to economic roles outside the home was repressed much more successfully in France precisely because French women had far less structural power in the first place than did American women
It was harder for women in France to be independent because they had less structural power before the wars compared to the Americans, who had already gained the right to vote in 1919 or something
Both French and American men experienced a crisis of masculinity after WWII, and both cinemas produced the figure of the duplicitous seductress on whom frustrations about masculine power could be projected.
men, who ran Hollywood at the time, were super insecure after the war, so they projected their insecurities into the film noir genre and vilified women.
Here the major threat posed by Woman involved sexual infidelity, often more perceived than real, equated to betrayal of the nation: not simply sleeping around but sleeping with the triumphant occupying enemy
so the major threat for the French at the time was women sleeping with Germans, who were the nation's enemies
French women’s priorities following the Liberation, after years of physical deprivation and danger, were centered precisely on rebuilding the family rather than on escaping it: “Men returned to work, women retired to the home to have children” (Gildea 2002: 145). And for those women who had acquired a measure of autonomy during the war years and desired to hold on to it, their hopes were often frustrated by the weight of French conservatism
So while American women were fighting for their independence post war, French women were returning to their families to rebuild them. Even if French women tried, they couldn't gain independence the same way American women could.
the occupation of France did not produce the sudden, spectacular gains in independence and economic status experienced by American women.
the two countries experienced WWII very differently and this effects the way they created the femme fatale trope.
almost always an amoureuse, a woman in love, whosebasic aim is to get and/or keep her man. Her lover is, almost without exception, the ultimate object of desire; he is not merely a tool to be used, abused, and discarded in the quest for power and independence.
so the french version is motivated by love and is generally created as a victim while the american one is motivated by her own ambitions and is villified more.
what most often sets her apart from the American figure is her overriding and unshakeable emotional attachment to a male protagonist.
She's loyal to her man.
However, very rarely does this French fatale consciously plotthe man’s demise.2 In this sense, she is more a fatalitaire, the unwitting and tragic instrument of doom,
So the french version is more of a victim than an active conspirator against the man.
may possess all the seductive qualities and powerful agency of her American sister, becoming, either directly or indirectly, the cause of the male protagonist’s fall (and often her own)
so it isn't as common but it does exist.
almost always minor characters, lacking the magnificent power, visual dominance, andnarrative agency of the deadly American fatale.
so compared to the American version of the femme fatale, the french versions are generally lesser characters even though both the american and french versions are characterized as female villains.
during this time “the number of married women workers skyrocketed”—setting the stage for the vilification of the ambitious woman in American film.
so the war is over, the movies need a new villain, and since men are struggling because of women's newfound independence, they freak out and villify them in the media.
On their return, American men, already emotionally scarred by the direct experience of war, suddenly found themselves having to compete in the workforce with those whose roles had previously been limited to those of sweethearts, wives, and mothers.
so these men went out thinking that their wives would keep the home together, and then they experienced a war where they longed for normalcy, but when they got back they returned to a world where women weren't dependent on them anymore.
However, despite her visual and narrative power, in the classical period, patriarchal order is finally restored through the fatale’s death or imprisonment.
So this woman is always the villain, and the movie can't end with her being good, since that would counteract the misogyny. Instead, she's confined to either being arrested or dead to restore patriarchal order.
combines physical seductiveness with lethal ambition: a drive for personal independence within which the man is no longer a romantic object of desire. As Janey Place argues, “what she’s after is not the man. He’s another tool. What she’s after is something for herself”
very independent, thinks of life as a zero sum game
usually set against an ingénue who lacks her prowess so that the power of resourceful, modern woman can be exposed for its villainy and the submission of the misunderstood, good-bad girl can be substituted for it
So the femme fatale is usually like the "missing piece" to the ingenue, but is also supposed to represent the misogynistic view that women who are resourceful and independent are somehow evil.
These studies offer compelling ecological and psycho-sexual reasons for viewing low sex-ratios as a significant contributor to the diverse cinematic representations of feminine sexuality in American and French variants of the femme fatale.
So the main thesis is that the femme fatale trope is a product of the aftermath of WWII because that was when women were starting to be seen as independent due to low sex ratio.
goes hand in hand with lower levels of knowledge about major current events and politics.
does it? or maybe these people don't want to follow news all the time for the sake of their mental health
Americans who rely on social media are less likely to be following the biggest storyline of the year thus far – the coronavirus outbreak.
why?
The number of U.S. adults in each survey ranges from 8,914 to 12,043 U.S. adults.
so this is a very small sample in comparison to the population of the US.
People were sitting, singing, chanting and eating pizza. At around 10:30, the dozen or police officers who had been monitoring the demonstrators from behind a barricade were joined by around 20 reinforcements wearing riot gear.
they were literally just sitting in front of the building and the police were grasping at straws to find a way to punish them with the riot gear
Mr. Prude began spitting, and the officers responded by pulling a mesh hood over his head,
okay yes he spit but it was in self defense! he was probably even more freaked out once the police arrived
psychotic episode
why would you try to suffocate someone who's having a psychotic episode it only escalates the situation
it was not until early September before the confrontation became public, arousing anger from his family and protesters
SEPTEMBER?! HE WAS DEAD FOR FIVE MONTHS AND NO ONE SAID ANYTHING?!
cadre
definition:a small group of people specially trained for a particular purpose or profession.
nascent
what does that mean? definition: just coming into existence and beginning to display signs of future potential.