Core Post 1- Madeline Virga

This week we had three different readings, but the one that stood out to me the most was the Laplace article, "Producing and Consuming the Women's Film." Laplace's historical context to this feminist theory allows analysis for many of the films we have watched thus far, such as Now, Voyager (1942), and Stagecoach (1939).
Laplace begins the article stating the importance of the female viewer and how they influenced the "woman's film." Which is characterized by the female protagonist, their point of view, but with a narrative that often revolves around the traditional realms for females: the domestic, family, and romance (139). With a 21st perspective, these films, to me, would not be considered feminist nor in anyway promote a healthy female perspective. Laplace agrees that these films were not in service to give females a voice but instead is a veiled attempt to push the patriarchy onto women. According to Laplace, this is done through consumerism, stars and the use of women's fiction. To be frank, this is still often the case of how Hollywood markets and attempts to attract female viewers. For example, the franchises of Fifty Shades of Grey is based on a female novel that focused on romance and a female in the context of the family. The only improvement is that she works--sort of.
Now, Voyager is similar as it to was based off a popular novel, which also appears in the film. Other than being based on a book, this "women's film" is not as feminist as it may have been advertised. Watching the film and reading Laplace, helped me realize the clear beauty standards and etiquette that the film projects women need to meet. In the beginning, Charlotte is seen as ugly and suppressed, and the only way she finds happiness and love is when she "cleans herself up." Laplace also brings up the scene in which Jerry tells Charlotte that he loves her. Here, Laplace states that Charlotte cannot gain her sanity without male approval (145). Nor can she truly be considered a woman unless she meets a standard of beauty and thus desirability.
In Stagecoach there are two different types of women--the upstanding woman who is married to a soldier, Ms. Mallory, and the prostitute, Dallas. Throughout the film, these women are treated differently because of their class standing and lifestyles. Ms. Mallory believes she is above Dallas for a majority of the film and when Dallas is invited to sit at the table, she becomes unnerved. Aside from women being pitted against each other, Dallas is shammed for her background till she gains the approval of Ringo Kid. Fulfilling the trope that you need a man to be seen as a respectable woman, and accepted by society.
Laplace articulates an apparent issue with women films of the past but does little to put her argument in a more contemporary context. Also, she raises many issues but offers very little to no solutions. What would be solutions or improvements to make films more feminist?