Individuals around the world devour Hollywood media, especially movies, every day. Such films play a significant role in our lives and help shape our thoughts regarding social, social, political and financial issues. Movies are full of messages that reach groups of people far and wide. These words heighten our impression of the world and, in relation to this examination, our recognition of women. Women have made impressive walks in all aspects of life, yet their on-screen representation has been complied with male-centric generalizations and regularizing belief systems that do not reflect reality. Hollywood's use of classifying films supported such delineations. Through time-tested recipes and fixed traditions, good films tell original stories to large gatherings of people. Furthermore, some hypotheses reveal to us that these methods have been preserved in light of the public's propensity towards such films and Hollywood's desire to make huge revenues. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Since the development of women's freedom in the 1960s, their role in social, social, political and financial life has radically improved and advanced, seemingly giving women a balance equal to that of men in many aspects of life. Be that as it may, the male dominance of the film industry, as well as other businesses far and wide, is still clear in the 21st century. Although women have made enormous strides, how many of these movements have been converted into mainstream culture and the media we usually consume? «Radio, television, cinema and other results of media culture provide materials with which we build our exceptional personalities, our feeling of individuality; our thoughts of being male or female…' Said Douglas Kellner (Flew 85). It is these elements that can convey thoughts that convey quick stories and illuminate gatherings of people. Given this significant aspect, we should understand what messages these elements convey to women. Do they renounce the substances of the world or necessarily advance regulative belief systems? Images, and especially filmic images, influence our perspective and are organized in a way that affects us (Alcolea-Banegas 262). Incredibly, or perhaps seemingly, representations of women in post-freedom Hollywood films cling to male-centric structures, but over time, they have hidden these messages beneath the façade of female empowerment and autonomy. Now, like never before, women in Hollywood films are subjected to unattainable statures of excellence, intelligence, physicality and conduct, among other things. Basically, women have to have it all, at least the one on screen. Numerous social developments, social standards, dreams and narrated moments are conveyed and understood through films, so how they speak to women is crucial. Be that as it may, how do films with somewhat unreasonable messages continue to thrive? Scholar Thomas Schatz, in The New Hollywood, stated, “The path to Hollywood's survival and what contributed to its postwar change was the enduring rise of blockbuster films” (Collins 44). Successful films tend to follow a set equation and end up being a hit before they are even released. It is intriguing and honestly not surprising to see that the most successful films of the last three years, the “blockbusters” – The Justice Fighters, Harry Potter, Creepy Honor Section 2 and Toy Story 3. Are in thecomplex, studio-based, establishment films that capture large groups of people and fit into extremely distinctive cinematic categories. The “type” of a film is essential to our understanding of sexual representation. “To put it succinctly, a typical film – be it a western or a melody, a screwball drama or a crime film – includes well-known, fundamentally one-dimensional characters who showcase an anticipated story.” drawing within a natural setting ' (Schatz 47). This recognition, as a rule, results in stable representations, which incorporate female representations. The lady in a western movie was commonly linked to the troubled maid. Be that as it may, does it still exist today? With all the mechanical, social, political, and financial advancements occurring on the planet today, this investigation explores the ways in which women in film are talked about in the twenty-first century. It's essential to understand what's happening now so we can separate out outdated myths about women, if necessary, and assemble more sensible representations of women later. The implications of this investigation may help encourage academic research into current films that are known films instead of depending on outdated examinations from decades ago. The media, as a framework for understanding and a message in contemporary society, can play a fundamental role in promoting or otherwise discouraging communication about sexual orientation, both in the workplace and in the representation of women and men. Women and men are routinely stereotyped and unevenly portrayed in the media. Women and girls find themselves in unfortunate circumstances, for example in natural, domesticated environments, while men and young people are depicted as more possessive in their occupations and more likely to prosper. According to Ferguson, the most significant portion of female characters in broader communications “hold and use private power as spouses, mothers, and accomplices” (Ferguson 85). Likewise, normal sexual relationships and power relations have been significantly masked in the sub-consciousness of daylight through comprehensive communications that limit the advancement of both human identities and social equity. Visual images in particular are orchestrated in a way that can surpass amusement and inspire passionate reactions while having a dramatic effect on our perspective (Alcolaea – Bangas 260). As Berger (1992) pointed out, “Like fish, we “swim” in an ocean of images, and these images help shape our impressions of the world and of ourselves.” A key derivative of visual images are films which are images followed together to create a story that conveys certain philosophies or thoughts and has an effect on the lives of individuals. As Gerald Pole, a film researcher, certified, “There are fewer more compelling social elements in contemporary life than movies.” As a result, these belief systems also shape our normal impression of women. According to Dutt, the portrayal of women in Hollywood films adhered to male-centric structures, but later hid these messages under the façade of female empowerment and freedom (Dutt 76). As much feedback indicates, control is key in a male-centric culture. Foss describes the male-dominated society as "a system of power relations in which men command women with the aim that women's advantages are subordinated to those of men, and they see themselves as second-rate to men" (Foss 42). Representation of women can be found in the way a film is developed. The male characters take on a roledynamic and appear rationally and physically intense. They are the dominant gatekeepers who hope to “watch” women. On the other hand, women are distant, subordinate and need help. Furthermore, a notable response from the point of view of female activists was towards the “male look”. Laura Mulvey used this idea to demonstrate the asymmetry of sexual orientation control in the film. Mulvey claims that women are outsourced in films as straight men are in charge of the camera. In this way man moves towards becoming a predominant power within the realized cinematic dream. The woman is docile to the dynamic gaze of the man. The use of scoptophilia, sexual fulfillment through investigation, to convey includes a component of the "man-centric" structure, and is often seen in "illusory story films" (Mulvey 65). in Hollywood one can follow exceptionally dubious portrayals of women. Film Noir is a term used to portray Hollywood illicit entertainment in the 1940s and 1950s with skeptical moods and sexual inspirations. During this period, the idea of ​​the femme fatale thrived. The prototypical film noir femme fatale uses her sexual allure and callous control to ensnare men with a specific end goal of gaining influence, money, or autonomy, or each of them in between (film noir studies par.1) . Femme fatale rejects the traditional characteristics of devoted wife and distrustful mother that standard society expected for women, and ultimately her disregard for social standards leads to her decimation and demolition of the men who are attracted to her (film noir studies par . 2). Film noir's description of the femme fatale, according to film noir reflections, intends to maintain the real social demand and in particular its sexual parts fully characterized by making the woman intelligent and free, only to punish her. Later between the 70s and 80s, in Hollywood, we had muscle fixation. Hits like Rambo, Eliminator and Leathal Weapon were made where the virility was too much. A prevalent belief system of that time was the masculinist figure of sexual orientation that portrays masculinity over the male warrior with the properties of extraordinary quality, compelling use of power, and military courage as primary articulations. As Susan Bordo explained: '...muscles have symbolized and continue to symbolize virile power as physical intensity, consistently functioning as methods of codifying the inherent nature of sexual contrast. (Edge, n.d.). Lessons to help protect generalizations on the big screen. For example, war, business, spy films are seen as male types of films, while sentimental and satirical films are female classes with a female heroine. However, in the 1990s we saw the emergence of some myths of female activity characterized by a “virility” character. Sigourney Weaver in Outsiders opposed those social standards. She was placed in what Judith Head's servant would call a "sexual execution" in which she was required to play the cliché of "manliness" as a solid and overwhelming warrior. Tasker (1998) defines it “as the establishment of a solid manhood that includes a display of energy and quality on the entertainer's body” (Tasker 57). Nowadays, alluding to Dutt, in a significant portion of films women are forced to bring everything together. They should be extreme and powerful but at the same time excellent and provocative. This is the “busy” woman of the corporate shopping society' (Dutt 53). For example in the movie “Fallen Angel Wears Prada”, women and power are the main themes of 35).