feminism in legally blonde annotated bibliography

In the Legally Blonde Movie Duo Heresy, Eleanor. “Love and Microphones: Romantic Comedy Heroines as Public Speakers. ” Journal of Popular Film & Television 34. 4 (2007): 146-59. Academic Search Premier. Web. 16 Par. 2011. Heresy article focuses on the heroines’ public speaking in Bridget Joneses Diary, Never Been Kissed, Miss Congeniality, The Princess Diaries, and Legally Blonde. Heresy addresses the feminist debate about whether or not romantic comedies like these are empowering to women or supporting the status quo.

This article points out the trend change in the final scenes of romantic comedies: there are more public speaking scenes and less final kiss scenes. Heresy explains how public speaking is directly related to the heroines’ professional success, which is often played out in the sequels of the movies. Ell Wood’s graduation speech in Legally Blonde shows that her professional life Is the most Important to her. Lee, Felicia R.. And Susan King. “Feminist Icon or Just Blonde? ” The Age – Business, World & Breaking News I Melbourne, Australia. 3 Septet. 2003. Web. 17 Par. 2011.

This article discusses the debate on whether Ell Woods is a feminist character, a post-feminist character, or a feminist character at all. It includes the opinions of experts on feminism and film, and also those of Reese Weatherperson, who plays Ell Woods in the film. It discusses other movies and actresses who have played roles similar to Ell Woods?seemingly “dumb blondes” who are actually smart and successful. Marsh, Kelly A. “Dead Husbands and Other “Girls’ Stuff: The Trifles In Legally Blonde. ” Literature Film Quarterly 33. 3 (2005): 201-06. Academic Search Premier. Web. 16 Par. 2011.

This article discusses the similarities and differences in Legally Blonde and Susan Scalpel’s play Trifles. Marsh says that both of these works emphasize sisterhood, the need of options for disadvantaged women, and the harm in the devaluation of women and “feminine matters” by men. In both works, “friendly matters” that the Blonde portray different kinds of feminism. Ell Woods is the type of feminist who acts independently and fights for her equality, but still embraces her sexuality. O’Leary, Gillis. “Legally Blonde 2: Dumb, or Just Blonde? ” Off Our Backs 33. 9/10 (2003): 56-57. Academic search premier. B. 16 Par. 2011. O’Leary article argues that Legally Blonde 2 promotes the feminist ideals of activism, independence, and sisterhood. Pairing a light hearted and comedic plot with an entertaining and ultra-feminine main character, O’Leary says this movie appeals to and motivates young feminists. When Ell Woods decides to go to Washington, D. C. And promote a bill to stop the use of animals for the testing of cosmetic products, she takes the highest road possible. She gets the bill passed without using her sexuality or lobbying. Instead, she uses her brain, morals, and strong female support system.

Razz, Omar. “Ell Woods: On the Other Side of Oppression. ” Achy Magazine. 1 July 2010. Web. 24 Par. 2011. In this article, Razz discusses the debate of Ell Woods as a post-feminist or anti- feminist character. Razz emphasizes the “sense of self,” which includes a feminine sense of self in both men and women. Both sexes are susceptible to the systematic devaluation of femininity in society. He argues that a person can embrace their femininity and still fight oppression and not be considered weak. Ell Woods is ultra- feminine, but proves to be a strong and professional woman.

Because this movie operates femininity from its associations of weakness, it has post-feminist ideals. Slicked, Richard. “Ladies Who Lunge. ” Time 7 July 2003: 96. Academic Search Elite. Slicker’s motion picture review discusses Legally Blonde 2 and Charlie’s Angels Full Throttle. Both movies appear to be about women’s empowerment, but Sickle says Charlie’s Angels Full Throttle focuses more on the sex appeal of its actresses than their crime fighting. Legally Blonde 2, on the other hand, centers on a woman who goes to Washington D. C. , virtually a man’s world, to promote a bill preventing vivisection for the testing of cosmetics.

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