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The first decade of the 21st century offers a complicated set of contradictions for analyzing representations of women in the media. These tensions come from changing ideas in feminist inquiry. Newer ideas accept and even celebrate displays of femininity, sexuality, and beauty through revealing clothes, styled hair, and makeup as forms of empowerment. Older ideas disregard the personal choices behind these displays as just reinforcing oppressions through dominant media. These tensions do not reduce readings of a representation but instead encourage negotiated ones. These multiple readings allow reconsiderations and appropriations of old stereotypes and revisions of them.

Mainstream films of the early part of the 21st century in some ways reify traditional stereotypes and roles, while at the same time adjusting to allow the feminine a degree of power. With the current industry releases dominated by blockbusters, action films, and the science fiction and fantasy genres, women appear to have few heroic places within those narratives.

Women's Film Roles

Women more often serve as love interests or damsels in distress, such as Mary Jane Watson in the Spider-Man franchise (2002, 2004, 2007) and Pepper Potts in the Ironman franchise (2008, 2010). Other women hold token places in male-dominated science fiction and fantasy worlds, such as in the Harry Potter series (2001–09), with Hermione; the X-Men series (2005, 2007); the Fantastic Four series (2000, 2003, 2006); and Watchmen (2009).

Woman-centered action films, however, cast women in strong lead roles. These women wield weapons, engage in hand-to-hand combat, and defy death through series of challenges, all while wearing tight clothing that accentuates both musculature and curves. In Tomb Raider (2001, 2003), Angelina Jolie wore a padded bra one cup size smaller than her character's cup size in the original video game. Close-up shots emphasize the tight clothing and the exposed skin on Jolie's body. The prostitutes in Frank Miller's Sin City (2005) also show this contradiction: Although they dress for attracting men, these women also use machine guns to stop an attack in their territory. Uma Thurman's Bride character in the Kill Bill series (2003, 2004) manages to slay an entire room of martial experts with a sword and other weaponry. Michelle Yeoh also demonstrates martial arts skills in Crouching Tiger, Hidden Dragon (2000). Other examples of these characters include Charlize Theron in Aeon Flux (2006) and Milla Jovovich in the Resident Evil (2002, 2004, 2007) series. In general, these representations show women adopting traditionally male violence and methods to defend and assert themselves.

“Chick flicks” represent a popular genre wherein women also obtain lead roles. In these films, the main character is often an intelligent woman with a career, her own life, and supportive friends, but who desires someone to love and someone to love her. These women often embody and even enjoy traditional ideas of consumer-based femininity, such as through expensive clothing, jewelry, and salon visits, often with their friends. The narrative arcs of these films focus on the female lead finding, losing, and finding love again, usually ending with some kind of marriage or other coupling. Examples of chick flicks include Bridget Jones's Diary (2001), Legally Blonde (2001), The Devil Wears Prada (2006), and Sex and the City (2008, 2010). The latter film features four fashion-conscious friends pursuing love and new shoes along with their careers in New York City. All four celebrate different aspects of femininity, from home decorating to shopping, along with their independence, but the men in their lives often play important roles in their careers and other decisions.

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