| The Shift in Beauty Standard for Woman in Cinematic Aspect |

 

The concept of "beauty" in cinema, particularly as it applies to women, has undergone a complex and fascinating evolution throughout the history of film. As I had already mentioned in social issues about females where they are usually categorized into some specific model that is somewhat linked to the needs of a man. In "Names of Hearts" we tried to avoid this very lustful trap of models, to do so, we must investigate further how beauty standards in Hollywood have shifted and why such things occur?

I. What is this thing called... "Woman Standard"?

  

For centuries, women have been adorned with an invisible mask – the mask of the "ideal" beauty standard. This standard, constantly shifting and sculpted by societal expectations, cultural ideals, and the male gaze, dictates what we deem beautiful, and consequently, worthy. The impact of this mask on women's lives is profound, shaping self-perception, influencing choices, and even fueling anxieties and insecurities. These perceptions changed so fast that almost in every era that humans used to live in, no beauty standards ever repeated themselves. 

Technically, on the characteristic side the female "perfect model" could called feminine with traits like emotional, collaborative, nurturing, vulnerable, and submissive. In Ancient East Asia, "Three Obediences and Four Virtues" is a ubiquitous standard for a mothers to teach their daughters: A tutorial to become a good wife. Their whole life has been taught to be perfect for men to collect them - women were to obey their fathers, husbands, and sons, and to be modest and moral in their actions and speech. On the other side of Earth, the three K's (Kinder, Küche, Kirche) are well-known as used under the German Empire to describe a woman's role in society. Translate that to English, the answer would be Children, Kitchen, and Church. 

And the funny stuff here is: that they do this to please their husband and the judgemental eyes of society.

Historically, the female beauty standard has been a canvas painted with narrow strokes. Think porcelain skin, symmetrical features, and a slender, hourglass figure. From the alabaster goddesses of classical art to the pin-up girls of the past century, the media and popular culture have relentlessly presented this limited definition of beauty, creating a sense of universal aspiration and, for many, an unattainable ideal.  

The consequences of this narrow portrayal are manifold. Women spend countless hours and resources chasing this elusive ideal, engaging in a never-ending quest for smoother skin, fuller lips, and perfectly proportioned bodies. This pursuit often leads to a distorted self-image, rife with anxieties and insecurities. The pressure to conform to a standard not designed for individual uniqueness can inflict emotional and psychological harm, fueling eating disorders, low self-esteem, and a constant sense of inadequacy. Unacceptable trends from all around the world started from this like the corset in the West, foot binding in China, injecting carbonate for beauty, etc... which cause death and pain for over a million sorrowful souls.

II. In Hollywood Aspect

A | Old Hollywood

From the silent sirens of the 1920s to the glamorous goddesses of the 1940s, Early Hollywood presented a singular vision of female beauty: porcelain skin, impossibly symmetrical features, full lips, and an hourglass figure draped in luxurious fabrics. Actresses like Greta Garbo, Joan Crawford, and Grace Kelly became the living embodiments of this ideal, their carefully sculpted personas radiating an unattainable perfection. This carefully curated image, however, was more than just aesthetics; it was a product of the studio system's tight control, reflecting societal expectations of femininity and serving as a marketable commodity.

You might not know these names, but you can not know of Marilyn Monroe in the Golden Age of Hollywood. Now, recall what roles she has played and you will soon realize that they all share a common: beautiful, foolish woman and weak for man. 

B |  In Romance Movies

Those can be categorized into lists such as the following bullet points:

Appearance: 

- Romance movies often feature women in their early 20s, with smooth, unblemished skin, bright eyes, and a full head of healthy hair. Think Audrey Hepburn in "Breakfast at Tiffany's" or Julia Roberts in "Pretty Woman." 

- Symmetrical features: A classically beautiful face is often portrayed as having balanced proportions, with high cheekbones, a straight nose, and full lips. Think Rachel McAdams in "The Notebook" or Scarlett Johansson in "Lost in Translation." 

- Slender figure: The "ideal" romantic heroine typically has a slim build, with an hourglass figure that emphasizes femininity. The perfect illustration would be Marilyn Monroe in "Gentlemen Prefer Blondes" or Jennifer Aniston in "The Break-Up." 

Sum up: This was analyzed by Laura Mulvey, the characteristics of female characters match what she claims is the male gaze.  

 

Fashion and style:

- Feminine attire: Romance movies often dress their female leads in traditionally feminine clothing, such as flowing dresses, skirts, and heels. Think Kate Winslet in "Titanic" or Keira Knightley in "Pride & Prejudice." 

- Polished appearance: The leading lady's hair and makeup are usually flawless, even in casual settings. Like Reese Witherspoon in "Legally Blonde" or Emma Stone in "La La Land." 

Personality traits: 

- Kindness and compassion: Romance movie heroines are often portrayed as caring and empathetic, putting the needs of others before their own. Such as Sandra Bullock in "While You Were Sleeping" or Meg Ryan in "When Harry Met Sally." 

- Vulnerability and strength: The ideal romantic heroine is not afraid to show her emotions, but she also possesses inner strength and resilience. For example, Jennifer Lawrence in "Silver Linings Playbook" or Emma Watson in "Beauty and the Beast." 

- Whimsy and charm: Romance movies often portray their female leads as having a quirky or endearing personality that draws the male lead in. Like Zooey Deschanel in "(500) Days of Summer" or Kristen Stewart in "Twilight."

 Sum up: This was demonstrated in the research of Van Zoonen who discusses the problem of female personalities lacking their own agency. They would merely follow the male characters. 

II. How Things Change

Imagine being told how to be a "good girl." Be pretty, smile sweetly, keep the peace, and put others first. Sound familiar? These are all parts of what it means to be "feminine" in many people's eyes. But what happens when these expectations become like a heavy dress, dragging us down and making breathing hard? That's where things can get messy. 

Sure, being kind, caring, and supportive are awesome qualities. But when society tells us these are the only things that make us good women, it can be a real trap. It can make us feel like we have to shrink ourselves, tiptoe around, and bottle up our true selves just to fit the mold. This pressure to be perfect "ladies" can have some nasty side effects. We might start judging other girls, competing for attention, or even putting our own needs on hold to please everyone else. It's like playing a never-ending game of dress-up, except the costume feels itchy and uncomfortable. And guess what? This pressure doesn't just hurt us. It can also hurt the guys in our lives who are told they have to be tough, emotionless, and in control all the time. It can make it hard for everyone to be real, open, and honest with each other. 

I am somewhat independent and can not stand such rules being applied to me - luckily, many women on film already tried to challenge this and become successful. "Crazy Rich Asians" features a confident and successful Asian-American woman as the lead. "Set It Up" stars two women of color who are not traditionally considered "Hollywood beautiful." "Palm Springs" celebrates the beauty of aging and unconventional relationships - those films are certainly the biggest support for us to turn Emma into the opposite of what a good wife would be. She will be strong, she will be rich, she will be independent, and absolutely never rely on a man to save her from misery. This is the approach I would like to bring in our female character. 

IV. Resources

https://www.rcseng.ac.uk/library-and-publications/library/blog/effects-of-the-corset/

https://www.washingtonpost.com/archive/lifestyle/wellness/1987/01/27/beauty-through-history/301f7256-0f6b-403e-abec-f36c0a3ec313/

https://www.scienceofpeople.com/beauty-standards/

https://www.voicesofyouth.org/blog/masculinity-and-femininity

https://www.fahasa.com/the-good-wife-guide-19-rules-for-keeping-a-happy-husband.html

Laura Mulvey 'Visual Pleasure and Narrative Cinema' 1975 [https://academic.oup.com/screen/article-abstract/16/3/6/1603296] 

Van Zoonen, L. (1994). Feminist media studies.

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