论文代写：《捉鬼敢死队》中的女权主义。作为这项研究的一个重要主题，2016年的《捉鬼敢死队反映了一个很好的观点，即它是一部女权主义电影，或者人们是否准备好了一个全女性的故事情节。事实上，它并没有把主角描绘成迷人的、热辣的或性感的它的出现反映了强大的电影英雄。这篇文章的重点是反思《捉鬼敢死队2016》作为一部电影的女权主义做法。作为一种媒介文本，分析的进行将是有趣的，电影反映了它的故事和呈现。接下来的部分论文代写专家将会对论文的意义进行分析。

至于这部全是女性角色的电影，它提出了一个很好的问题:人们是否准备好了看一部全是女性角色的电影。在不久的将来，人们可能会喜欢这样一部电影的概念:四个女人成为最大的文化引爆点。在“宣传”方面,它是一个放大的电影女或女权运动的方法。在男性主导的社会中，英雄电影是由男性角色表现英勇和正义的行为来反映的(Dorer & Hipfl, 2013)。只有像《神奇女侠》(Wonder Woman)这样的少数角色能够作为女性超级英雄获得重视。然而，《捉鬼敢死队2016》在把所有主角都变成女性之前走了一段路。克里斯汀·韦格、梅丽莎·麦卡锡、莱斯利·琼斯和凯特·麦金农在电影中扮演捉鬼的女主角。此外，他们的男秘书是克里斯·海姆斯沃斯。因此，导演Paul Feig掷骰子创造了反宣传，女性是女主角和救世主(Mendes, 2012)。正如菲格主任所说，他希望有新的动力提供证据来创造一种新的方法来处理传统观念。

在电影中，女性被一次又一次地反映为性的对象或战利品。例如，当英雄拯救了一天，他得到了最好的女孩。在这样的背景下，男权社会教会我们，只有男性更优越、更强壮，才能成为理想的英雄。比如说超人或者蝙蝠侠(《2014)。这些英雄反映了一个男性主导的超级英雄社会的缩影。事实上，作为一种性别，男性被认为是优越的，而女性只是低于男性，是男性的责任。

媒体的宣传经常使人产生男性优越的想法。男性被定义为“蠢货”、“坏蛋”、“帅哥”、“讨女人喜欢的男人”，而女性则被定义为“小猫”、“贱人”、“妓女”等等。说到理想的体型类型——六块腹肌、轮廓分明的男性身材，肌肉是健康体格的缩影(Radner & Stringer, 2012)。作为二元对立的一方，男性处于支配地位，而女性只是对立的一方。很少有女性能够克服她们被动、软弱、有教养的形象，成为电影的主角。然而，后女性主义观察到了打破刻板形象的女性的出现(Kingston Mann, 2014)。有像《律政俏佳人》这样的电影。根据罗莎琳德·吉尔的说法，后女权主义已经能够从性别偏见似乎与媒体的代表性进行竞争的女权主义向前发展，而媒体本身往往忽视了这一点。

As for the movie with all female characters, it poses a good question of whether the people are ready for an all-female movie. It might happen in the near future that people might like the concept of a movie where four women becoming the biggest cultural flashpoints. In terms of ‘propaganda’, it is a movie which amplifies female or feministic approach. In the male-dominated society, movies with heroes are reflected with male characters performing acts of valour and righteousness (Dorer & Hipfl, 2013). Only a few characters like ‘Wonder Woman’ have been able to gain importance as a female superhero. However, Ghostbusters 2016 walked a mile before it transformed all its lead characters into females. Kristin Wiig, Melissa McCarthy, Leslie Jones, and Kate McKinnon became ghost catching heroines in the movie. Furthermore, their male secretary was Chris Hemsworth. Hence, director Paul Feig had thrown the dice to create anti-propaganda where female are the heroines and saviour (Mendes, 2012). As director Feig said he wanted to have new dynamics provides the evidence of creating a new approach to conventional beliefs.
In movies, women have been again and again reflected as objects of sex or trophies. For example, when the hero saves the day, he gets the best girl. In this context, patriarchal society has taught that it is the male sex who is superior, stronger to become an ideal hero. Take the example of Superman or Batman (Modleski, 2014). These heroes reflect the epitome of a male-dominated society of superheroes. In fact, as a gender male are identified as the superior whereas the women are only inferior to men and are the responsibility of men.

Media propaganda had constantly inflicted the thought of male superiority. Male are designated as studs, badass, hunk, ladies’ man, whereas women were designated as a kitten, bitch, whore etc. When it comes to an ideal body type a chiselled male body with six packs, muscles are the epitome of healthy physique (Radner & Stringer, 2012). As a binary opposition Male are dominant and the women are only oppositional. There are rare instances where women have overcame their passive, weak, nurturing image and emerged as the main protagonist of a movie. However, the post-feminismhas observed the emergence of women breaking through the stereotypical image (Kingston Mann, 2014). There have been movies like Legally Blonde. According to Rosalind Gill, post-feminism has been able to move ahead from feminism where gender biases seemed to be contested with the representation of media which often is disregarded by media itself.

以上内容就是《捉鬼敢死队》中的女权主义的分析。英国论文代写专家指导学生起草无懈可击的论文，多年来，我们一直在提供论文代写帮助。同学们还可以享受以下服务：

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