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Female Protagonists in Contemporary Hollywood Films

Feminist issues continue to pervade society in the home, in politics, and within the media.
The feminist agenda in communications and media studies is quite broad as it takes on vast
approaches and methods to achieve its goals. As feminist analysis increases and feminist goals
continue to be a concern, there becomes a growing importance for feminist analysis and critique
in studying communications and media.
This essay contributes to the dialogue through a critical study of films The Proposal and
The Devil Wears Prada, illustrating the hegemonic processes at work in Hollywood film-
discourse about women. As society looks to progress feminist ideals in media and pop culture,
these Hollywood films, in disguise, stunt the advancement of feminist progression (Scala 37).
Audiences wish to see empowered female protagonists portrayed equally with men. While
various research, reviews and blog posts claim these two films offer pro-feminist characters, this
essay shows how the use of hegemonic devices and use of matriarchal figures work to sustain
dominant patriarchal society.
This essay discusses the place of feminist analysis in popular culture and films
specifically in the romantic-comedy genre. It gives a brief overview and background of female
protagonists in recent rom-com films exposing the problems with these characters. Moreover,
this essay discusses the hegemonic devices and effects used to disguise these films as
progressively feminist and how the use of matriarch ideology, or motherly figures, supports the
claim. These concepts will be illustrated through an analysis of The Proposal and The Devil
Wears Prada (DWP) as examples of films that respond to the feminist desire for more
independent, hard-working female characters. Finally, this analysis discusses further implications
and offers a solution to the poor portrayal of female protagonists.
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Feminism and Hegemony in Hollywood Rom-Coms
It remains important to recognize the hegemonic process and use of radical and
oppositional ideology to prevent social change. Subversive ideology, or ideology that works to
break down standing ideas or institutions, can work to break apart and find leaks in the
hegemonic system. Similar to racial reconciliation, realizing that romantic comedies do not
progress as society thinks remains essential to reforming and changing characters and stories that
stand more fulfilling and enriching to women.
Dows work (1990) on television and hegemony in Hegemony, Feminist Criticism and
The Mary Tyler Moore Show provides a gripping and persuasive account of televisions
integration of social change and oppositional ideology. According to Dow, hegemony or
hegemonic processes refer to the various means through which those who support the dominant
ideology in a culture are able continually to reproduce that ideology in cultural institutions and
products while gaining the tacit approval of those whom the ideology oppresses (262). This idea
uses small amounts of radical and oppositional ideology to enforce hegemony and prevent the
dominant ideology from changing. Popular media absorbs societys desire for social change in a
way that does not disrupt the core, dominant structure already in play. This essay outlines the
career women in The Proposal and The Devil Wears Prada demonstrating that hegemony works
to maintain the idea that men work better in the workplace.
As Dubrofsky outlines in his work Jewishness, Whiteness, and Blackness on Glee:
Singing to the Tune of Postracism, mainstream media attempts to feature more ethnic minorities
in important character roles to create the illusion that U.S society has conquered racism (83).
Dubrofksy declares Glee a successful show winning numerous awards and having millions of
viewers. As the show represents various ethnic and sexual minorities, audience members tend to
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buy into the illusion that racism has been solved as the characters get along and all contribute to
funny, racist remarks. However, the situations and characters implicitly work to contain the
radical aspects. Jewish culture becomes equivalent to the white norm, and black character,
Mercedes, must become more white to gain respect and authority. People satisfied that their
demands for racial reform demonstrate a significant impact on television fail to see that those
who created the program have only made cosmetic changes and still create characters and
situations that portray blackness as inferior.
While many Hollywood films now try to portray women as self-sufficient, independent,
and hard working (compared to the classic house-wife role women usually portray), the
underlying gender stereotypes still remain present in the female protagonist. While these
characters demonstrate having stable, successful jobs, their social and/or home lives represent
emptiness and purposelessness. Feminists seem to be happier with the portrayal of women in
Hollywood because of their independence. Ehrlich supports that DWP protagonists journalism
aspirations progresses towards feminist goals (1), and Spiker believes the antagonist character in
DWP functions as the voice of Power Feminism in society (19). However, this portrayal works
only as a hegemonic device that inhibits feminist goals. Women still portray flawed people
unable to balance successful careers and relationships, and remain in desperate need of romance
(Doherty 25). This portrayal reinforces male dominance in the career world and puts women
back where they belong thus reinforcing dominant patriarchal ideology.
There, indeed, has been a shift in the general lifestyle of the female protagonists in
romantic comedies. In earlier films, the female protagonists were portrayed as women who only
cared about finding a husband and settling down (Doherty 26). This topic was often discussed
with their friends, families, and in their own thoughts. Women were often highly feminine and
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had either a part-time job or no job at all, and in many situations, the female protagonist needs
some sort of rescue from slavery, poor living conditions, poverty, desperation, or loneliness as
seen in Cinderella or Pretty Woman.
Now, in more recent films, female protagonists mention little to no interest in romantic
relationship as they are hard working, independent women. They have successful careers and so
have little time to entertain the idea of romance. These women also do not seem to have any
major problems in their lives; their lives seem perfect on the outside often seen smiling or
enjoying their day.
As Hollywood writers still portray women in a stereotypical light (Scala 1999), many
feminists get tricked by the characters independence and disinterest for romance and think the
problem of stereotypical, sexist females has been fixed. Whether their problems deal with home
life, family, or work issues, the protagonists discover that the root of their unhappiness stands on
the lack of romantic, intimate relationship. In contrast, the men in these films seem to have no
problem balancing a successful career, friends, family, and love interest. While these female
characters demonstrate having stable, respectable jobs that they enjoy, their social and/or home
lives still represent emptiness and purposelessness. By the time the credits roll, anxiety and
loneliness vanished in result of the protagonist finding her happiness and identity in her newly
found significant other. Whatever problems these characters seem to have, Hollywood offers
only one solutionfind your husband. While films such as The Proposal and DWP portray
women as strong and independent workers, romantic comedies still seem to put women in their
place in a male-dominated society communicating that women do not belong in the workplace.
The Devil Wears Prada
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Academy Award Winners Meryl Streep and Anne Hathaway star in the popular flick, The
Devil Wears Prada (released in 2006). The film spotlights a young graduate who moves to New
York to become a journalist. She instead scores a job working as an assistant to one of the cities
biggest magazine editors. Through her intense and stressful job, the protagonist tries to balance
her home and work life. This essay will first look at how the film portrays the protagonist as
stereotypical and conforming to patriarchal society. Next, the essay looks at how the use of the
matriarchal figure (the antagonist, in this case) works to sustain the idea that men inhabit better
authority figures.
Role of Protagonist
Anne Hathaway stars as recent graduate from Northwestern, Andy Sachs, who moves to
New York to become a journalist. As the opening credits appear, KT Tunstalls hit, Suddenly I
Seea song about wanting to be a beautiful and power womanplays as Andy gets ready for
her day compared to unknown, obviously more fashion savvy women also getting ready. From
the first few minutes of the film, the audience already has a sense of Andys humble and sweet
character as she smiles, ignores her hair, gets dressed and does her makeup as she walks. As she
enters into the fashion world at Runway Magazine, people do not take Andy seriously as she
does not seem to be a good fit for Runway. Andy wants to be considered for a job as the editor-
in-chiefs assistant but clearly shows no knowledge or interest in fashion or the magazine.
Though Andy may show no knowledge of the industry, the audience likes Andy because she
clearly shows ambition and determination in her goals. When Miranda Priestly, editor-in-chief,
questions her qualifications, Andy responds, youre right, I dont fit in here. Im not skinny or
glamorous, but Im smart. I learn fast and I will work very hard (The Devil Wears Prada 2006).
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As Andy continues her job at Runway, she gets consistently scolded and reprimanded for
not meeting the demands or not living up to the expectations of her job description. Andys
attitude continues to get in the way as she makes sly and sarcastic remarks about the industry and
Mirandas extreme demands. It is not until her coworker, Nigel, tells her to wake up and quit
whining that Andy decides to take her job seriously no matter how ridiculous or challenging it
may get. Andy then goes through a total transformation over night as Nigel helps her with her
look and as she anticipates Mirandas demands before she demands them. Miranda smirks as
she Andys progress and dress pleases her, and her coworker, Emily, stunned and jealous that
Andy has now posed herself as a threat. As the film progresses, Andy learns what it means to
work hard but realizes her drive for success threatens the wellbeing of her home life. Her
relationships with her family, friends, and boyfriend significantly suffer because she lives unable
to keep promises and prioritize quality time. Because Andy seems to put her career before her
relationships, her friends and family act unsupportive of her success and career decisions.
Andys life continues to spiral downward and out of control as she continues to advance her
career.
When Miranda chooses to advance her own career instead of promoting Nigel, Andy,
knowing how badly Nigel wanted the promotion, realizes how despicable Miranda behaves and
tries to make Miranda feel guilty for it. However, Miranda reminds Andy that she, too, chose the
same path of career advancement and self-preservation when she decided to compete against
Emily and go to Paris. Miranda tells Andy to grow up and realize that to be successful, you must
put yourself first. This conversation in the car exemplifies this message in the movie (The Devil
Wears Prada 2006):
Miranda: Any of the other choices would have found that job impossible and the
magazine would have suffered, especially because of the list. The list of
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designers, photographers, editors, writers, models; all of whom were found by
me, nurtured by me, and have promised me they would follow me whenever
and if ever I choose to leave Runway. [laugh] So he reconsidered. But I was
very, very impressed by how intently you tried to warn me. I never thought I
would say this Andrea, but I really...see a great deal of myself in you. You can
see beyond what people want, what they need and you can choose for yourself.
Andrea: I dont think Im like that. I couldnt do what you did to Nigel, Miranda. I
couldnt do something like that.
Miranda: You already did. To Emily.
Andrea: That was different. I didnt have a choice.
Miranda: Oh no, you chose. You chose to get ahead. You want this life. Those choices
are necessary.
Andrea: But what if this isnt what I want? What if I dont want to live the way you
live?
Miranda: Oh, dont be ridiculous, Andrea. Everybody wants this. Everybody wants to be
us.

In that moment, Andy realized that Miranda was right and that she was following
Mirandas path of reckless advancement. Andy quits her job right after that conversation and
begins the process of rebuilding her life. She makes amends with her coworker, Emily, by giving
her all the clothes she received in Paris. Andy interviews for a journalist position at a local
newspapera job that the audience and Andy feels better suits her. Andy also works to repair
the broken relationship with her boyfriend, Nate. They meet for coffee, and Andy apologizes for
her behavior while working under Miranda. She tells Nate that he was right about everything and
apologizes for putting her work before him. Andy then congratulates Nate for his new position as
a chef at an out-of-state restaurant.
Andy conforms to societys expectations. Andy gets back into her studenty clothes and
makes up with her boyfriend before being interviewed by a paternal boss in a drab office
(Spencer 50). She leaves the world of fashion and the world of a powerful and evil woman for
the world of dowdy clothes and the world of working under a male bosspatriarchal societys
way of showing women that men are better keepers of power. As Andy observed Miranda and
falls into the workaholic trend, the audience sees how out of control and bitchy women get
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when they have or desire power. Society tells the Andreas of the world that women really
should not have too much power because if you do you will be portrayed as a Miranda (Spiker
20). Had the film ended with Andy applying for a job under another female boss, the audience
would be left with an uneasy feeling that the same unfortunate events would reoccur. Because
Andy applies for a position working under a man, the audience knows that the competitive,
workaholic Andy remains no more and that her new boss probably has a stable home life. At her
new job, there presents no sense that Andy compromises her relationships because she obtains
not much power or status that makes balancing work and home life difficult. Andy adopts a more
suitable female role in patriarchal society as passive and supportive as she even congratulates
Nate for his new position even though he accepted the position without consulting Andy or
thinking about what the new out-of-state job might do to their relationship. Andy returns to
societys desire for women to be supportive and have less power. As a contrast to Andys
character, the audience sees how the role of the matriarch furthers hegemonic feminism.
Role of Matriarch
Meryl Streeps character, Miranda Priestly, functions as the negative role model and
matriarchal figure for Andy Sachs. Without her speaking a word, the audience understands
Mirandas character as a powerful woman that should be feared. Employee, Emily, enlightens
Andy about Miranda being the legendary editor-in-chief of Runwaywork a year for her and
you can get a job at any magazine you want. A million girls would kill for this job (The Devil
Wears Prada 2006). Her character emerges as Emily receives a text informing her that Miranda
Priestly will be arriving earlier than planned. Employee, Nigel, announces, alright everyone,
gird your loins (DWP 2006), and the entire office goes into a frantic disarray as everyone runs,
cleans their desks, and changes into their more appropriate shoes. The audience understands that
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Miranda is highly respected when a woman apologizes and leaves the elevator Miranda walks
into. Miranda clearly frightens all of her employees; they are afraid of being insulted or getting
fired as Miranda recently fired two assistants and insults Emily calling her incompetent.
Mirandas character exudes power by her every line, facial expression and mannerism. Her long
history and experience in the fashion industry revealed in the movie shows how intelligent and
knowledgeable Miranda inhabits making her a very credible employer. Miranda clearly shows no
fear in her career and understands that being nice proves not what makes a person successful.
Miranda represents the devil in this movie because she shows no mercy or sensitivity
for other people and encourages others to also follow in her path. As the audience gets a look at
Meryl Streeps character, they notice how unbelievably successful she is in her career while
having wrecked relationships as a consequence. Miranda is divorced and does not take the
opportunity to spend time with her twin girls. She does not prioritize relationships over her work
as seen through her decision to further her own career instead of promoting an employee, Nigel,
that has worked for her for several years and clearly deserves the promotion. Miranda presents as
a strong, independent woman with a great career, but she is unable to also have valuable
relationships and encourages Andy to also follow in that path. The audience hates Miranda
Priestly as she manipulates and destroys Andy.
While Mirandas character seems to be the voice of the power feminism society
(Spiker 2012), her nasty disposition and lonely home life seem far from representing an
empowered female. Spiker believes that Miranda functions as a positive role model for women
as she shows women that it is okay for them to effectively have and use power and put
themselves first. While Mirandas character does advocate that message, the film portrays that
idea as being problematic. Miranda put herself before others and did not play nice to advance
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her career. As a consequence of her power hunger, Miranda divorces and has no healthy
relationships with her daughters or coworkers. As the audience sees Andys life crumble under
Mirandas outrageous demands, the audience learns that it remains important to prioritize home
life and relationships over a career. Miranda does not serve as a role model for women but as an
example that women with high status jobs cannot simultaneously balance work and home life.
While this film seems to portray strong, independent women, what it still seems to say is that
women are not able to have healthy relationships and have a successful career.
The Proposal
Sandra Bullock and Ryan Reynolds star in the film, The Proposal, released in 2009. The
female protagonist works hard to keep her high status editor position in New York but the
government threatens her with unemployment and deportation when her Visa gets denied. She
forces her assistant to marry her in order for her to keep her job and remain in the country. This
essay first looks at the role of the protagonist and how she upholds the workaholic, perfectionist,
and stereotypical woman. Next, this essay shows how the role of the matriarch works to bring
peace back to the protagonists life and sustain male dominance in society.
Role of Protagonist
Sandra Bullock plays the role of Canadian editor, Margaret Tate, who portrays similarly
to Meryl Streeps character in DWP. The audience encounters Margaret as she works out on a
stationary bike early in the morning while reading manuscripts. She gets ready for work and talks
on the phone with a client walking to her publication office. Margaret already exudes authority,
organization, and perfection within the first two minutes of the film in contrast to Ryan
Reynolds character, Andrew Paxton, exuding inferiority, disorganization, and imperfection as
he is late for work and spills coffee over himself. Margarets character inflicts fear upon her
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employees as the audiences observes them cowering in her presence and announcing through
instant messenger, ITS HERE and THE WITCH IS ON HER BROOM when Margaret
arrives (The Proposal 2009). Employees run to their desks disrupting their conversations, fix
their ties, and try to appear as though they have been hard at work.
Margaret shows insensitivity as she insults Andrew and other coworkers and
nonchalantly fires an employee that she feels did not meet expectations of his position. In anger,
the fired employee, Bob, screams at Margaret revealing that she shows no compassion or
evidence of having a home or social life outside of the office. He tells her that he feels sorry for
her because she does not have anything or anyone outside of the office. Margaret smiles
arrogantly at Bobs comments and dismisses him reinforcing the audience that Bobs comments
are, indeed, true. Margaret cares not for other people as she refuses to greet others, continues to
insult inferiors and decides to ruin the life of her assistance, Andrew, so she can keep her high-
status career.
As Margaret reveals the death of her parents and lack of any other family ties, Margaret
fails to understand the depth of family dynamics and the importance of relationships. She
threatens Andrew with unemployment if he does not meet her demands of marriage and divorce.
With only her immigration status and high editor position on her mind, Margaret takes no time to
think about the consequences of her decisions or how Andrew might be affected.
While Margaret is thin and gorgeous, the audience dislikes her character and senses
something off because of her lack of femininity. While writers in Hollywood make Margaret a
successful woman in the career world, they uphold the female stereotype by making Margarets
central problem her excessive work ethic and aggressive demeanor; she insults people and has no
close relationships because of her career hunger. Margaret portrays very similar to how the
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media portrays men: aggressive, hard working, serious, intelligent and uninvolved in
relationships. However, because she is a woman, society sees these traits as problematic. Though
laziness, disorganization, and incompetence are legitimate and valid reasons for a male employer
to fire an employee, somehow, a female employer shows insensitivity and maliciousness for
firing an employee for the same reasons; any boss would fire Bob for his failure to do his job and
his lying about completing his job.
The audience grows uncomfortable with Andrew, a man, working beneath a woman as an
assistant or secretary (a common position for a woman). Various characters, including Andrews
father, all make a surprised or snide comment about the unnaturalness of men working under
women. Margaret cannot balance a healthy work and home life and so also requires Andrew to
follow the same path. Andrew does not keep close contact with his friends or family because of
his career. The difference that the audience sees between Andy Sachs and Andrew Paxton is that
Andrew appears oppressed while Andy makes choices. Andrew cannot move forward in his
career because his female boss stands in the way. Andy cannot move forward in her career
because she feels that she continues to neglect relationships. While Andrew also neglects his
family and friends, the audience understands that Andrew should follow his dreams and pursue
his career path.
Margaret learns over the weekend at Andrews house what it means to truly care for
others and put another person before herself. Margaret feels touched by the friendliness and
generosity of Andrews mother and grandmother and gets a taste of what life with relationships
looks like. They go shopping, swap stories, lend jewelry, and even do an ancient tribal dance.
Margaret, like Andy, also realizes that she lives her life recklessly and hurts those around her. By
the end of the film, decides to tell the truth to everyone and flies back home to New York to pack
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her life away and move back to Canada. She realizes her choices to advance her career were
selfish and ruined the lives of people she grew to love. Andrew flies back to stop her from
moving and yells at her in front of all her coworkers. The audience smiles and feels content as
they see Andrew take control and authority over Margaret in the workplace in a romantic way.
Andrew speaking authoritatively to Margaret in the workplace demonstrates his natural authority
in that space (Coon 236). Margaret then submits to Andrew in front of everyone and the room
applauds. Margaret undergoes a major personality change and finally fits her female role. By
the end, Margaret learns to be compassionate and sensitive like Andrews mother and
grandmother. She learns to be more nurturing and submissive to those around her and to be less
stern and opinionated. The audience is now able to like Margarets character because she
behaves less like a man and more like a woman. As a contrast to Margarets character, the
audience sees how the role of the matriarch furthers hegemonic feminism.
Role of Matriarch
Betty Whites character, Grandma Annie (or Gammy), functions as the positive role
model and matriarchal figure for Margaret Tate. Margaret and Andrew come to Alaska not only
to inform Andrews family of their secret engagement, but also to celebrate Gammys ninetieth
birthday. Gammys character works to uphold strong family ties and pleasant family dynamics.
Hundreds of people gather from near and far distances to celebrate Gammy. She works as the
glue to the family relationships and her opinions are viewed as very important among the
audience and other characters. Gammy nurtures and makes sure everyone in the family remains
happy and gets along well. Gammy also shows wisdom as Margaret exclaims, Grammy was
right! when her phone gets snatched by an eagle (The Proposal 2009).
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Gammy welcomes Margaret into the family and wants to include her in family activities
and bonding time. Gammy and Andrews mother invite Margaret out for sightseeing and
shopping. As Margaret shows no interest in any bonding or wedding activities, Gammys
character functions as Margarets coach or mentor to enter into the family. Gammy encourages
Margaret to loosen up and give thanks for life and her relationship with Andrew as they chant in
the forest. As Margaret stays with Andrews family, she becomes more in tune with her sensitive
and loving side as she spends more time with Andrews mother and grandmother. Andrews
grandmother strongly promotes family ties and teaches Margaret the importance of family and
relationships. By the end, Gammys feminine and nurturing guidance teaches Margaret
compassion and love. Margaret learns to love others and therefore adopts more feminine
characteristics to make her more likeable.
Conclusion
Through hegemonic processes and use of the matriarchal figure, Hollywood writers still
work to sustain a patriarchal dominant society that disguises as progressive feminism. By
creating female characters that work hard and achieve independence, society feels that the media
now portrays women in a positive light as they hold high status jobs. However, hard working,
female protagonists still cannot balance a healthy social and career life. In attempts to further
their career path, womens relationships suffer significantly. As a result of medias
representation of women, society understands that men belong having high paying jobs rather
than women. In response to feminist critiques of female representation in recent Pixar movies,
Pixar instead switches to male protagonists (Gillam 3). However, this switch did not fix the
problem of female stereotyping but instead moved to male stereotyping.
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What needs to happen in media and the film industry is the creation of female characters
that do not lack character flaws. For female protagonists, character flaws stand in the way from
achieving goals; personality changes must occur for the protagonist to have a happy ending. In
contrast, male protagonist films feature characters that only need a specific set of circumstances
to have their happy ending. Male protagonists show little to no personality changes throughout
the course of the film as their problems occur externally and circumstantially. For example,
Vince Vaughn stars in the film, Dodgeball, as a lonely bachelor that owns a gym. His problem
occurs when Ben Stillers character threatens to close his gym. By the end of the film, Vince
Vaughns character achieves his goals and gains a new love interest without compromising his
character. Hollywood writers need to write good stories without making the female protagonist
flawed. Women might have other external blockades keeping them from achieving their goals
instead of internal character flaws.
Writers should realize their faults when creating female characters and become aware of
their language in writing. In Martins feminist critique of biology textbooks, she writes, one
clear feminist challenge is to wake up sleeping metaphors in scienceby becoming aware of
when we are projecting cultural imagery onto what we study, we will improve ability to
investigate and understand nature (501). DWP and The Proposal both portray women
negatively in the workplace showing their incompetence and maliciousness. Media depicts
women with careers being mean and insensitive while neglecting relationships. Portraying
women as unable to handle the career world while have a relationship inhibits feminist goals.
Films should also not infer that love fixes problems or character flaws. As Hersey sees it, the
direction of romantic comedies is the balancing act of romance and success for the female
character (158).
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