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The Development of the Housewife Over the Decades--Through Culture, the Origins, and Circumstances

The idea of the modern Family has been explored hundreds of times over the last few decades across thousands of cultures around the world. This idea has changed over and over again, with the need to improve our understanding of the world we live in. Additionally, gender roles have been an up-and-center situation to this day, and are constantly questioned, theorized, acknowledged: why do girls have to light pink? Why are men supposed to have short hair? What are the responsibilities of a father to the family? What should the wife do? and so forth. Moreover, the media has been reflecting back the values of our society and has been for a very long time. From the start of short fifteen-minute films to a three-hour long million-dollar blockbuster movies, cinema is one of the most prominent forms of media that reflects the impact of gender roles. One way gender roles have recurred in media is through films and TV series that regard the modern family. The idea of the modern family has been reflected back in America countless times, and is still a prominent idea in our media as evident by multiple films and TV series revolving around family life (Full House, Modern Family, Phineas and Ferb, Raven’s Home, Married With Children, and so on). But not in just America, but through other cultures in Europe and Asia is where these ideas continue to be prominent as well. Family life typically shows the role of the husband, the wife, and the children; however, representation of each job of the family member varies based on what the plot is centered around as well as the gender of each family member. 

However, the real question remains: How have these stereotypes of the modern family--more specifically, the definition of a perfect wife--been raised across cultures through the cinema?

My project explores different media across the decades, comparing European, Asian, and American stereotypes of the housewife based off of circumstances. 

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Mary Poppins Mary Poppins (1964)

Mary Poppins had just arrived at the Banks home for her interview. She is the first (and currently, only Nanny at the doorstep as the wind previously blew away all other Nannies) to be interviewed by Mr. Banks. He asks for references, but she does not believe in them. She pulls out a torn-up piece of paper of qualities of a good Nanny written by Mr. Banks’ son, George Banks. Mr. Banks is stunned.  Character blocking: Mary Poppins is presented as a very confident character. She is in a relaxed position, and faces Mr. Banks. She answers all of his questions and speaks regardless of what Mr. Banks commands. 

Costume: Mary Poppins is dressed in a red scarf, hat with daises on them, a jacket, dress, and white gloves. She is clearly in the typical attire of a Nanny. The daises suggest some sort of fun to her, and compared to the other nannies that were previously at the door, she is more distinct for her character. 

Props:

Mary’s Bag: Her bag is used throughout the film and is full of items that are her own. Women are not completely allowed to own property at this time, so her bag enables her to be able to do so. This supports the idea that Marry Poppins--as an unmarried woman--is capable of owning property. Walt Disney studios clearly wanted to show Mary Poppins that she is what represents a capable woman. 

George Banks’ Paper: Lists the qualities of a good Nanny. She didn’t reference Mr. Banks’ qualities, but rather his own. Mr. Banks represents the typical man-of-the-house with power over his property, and Mary Poppins doesn’t abide to his rules. George’s qualities enable her to be herself while Mr. Banks asked something that was more restricted and stiff. Furthermore, now that the paper is put back together, this shows that the idea of a woman not being required to marry is not a bad idea because they are just as capable as a man to handle themselves. 

Camera shots:

Photo 1: Over-the shoulder shot from Mr. Banks’ point of view. Mary Poppins is completely in picture. Suggests she shares power too. 

Photos 2,3&4: Despite being seated, there are no high or low angles. Their power is shared in the room. An unmarried woman versus a man, seen equally. Something that isn’t seen in films in the 1960s. 

Photo 5: Closeup of Mary Poppins’ hand holding the paper (glove changed color??). Mr. Banks is confused and trying to get a clear view of the paper. He is stunned by the idea: an unmarried woman abiding to her own ideas, independent and completely capable on her own. 

Photos 6,7,8: Tracking shot of Mr. Banks walking around Mary Poppins. She isn’t bothered by him at all. Mr. Banks’ curiosity and surprise is expected because the idea at the time wasn’t normalized. He looks at the paper, stunned and appalled that she is here with his son’s ideas. However, this is more like a man looking at the ideas of an independent woman and wondering how they live like this. 

Photos 9&10: Medium shot. After he checks in the chimney where he tore up the paper, she asks him if he is ill. This question is more likely asking, “What’s bothering you about a woman being independent?”

Compare and contrast Mrs. Banks to Mary Poppins. What does both characters represent? What does this tell us about how times are changing? What is the historical context?

Mary Poppins embodies what women in the womens suffrage movement want. They do not want to have to be forced to marry in order to live, and they also want to independently get a job and not be discriminated against for their gender. They want to make their own decisions, share their own ideas, just as Mary Poppins does. 

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Winifred Banks  Mary Poppins (1964)

After their Nanny had quit & the lost children were found, Mr. Banks rants to Mrs. Banks about what they must do to get a nanny that will last. He takes the job on himself and commands her to write down a list of qualities he looks for in a nanny. The kids interrupt with their own list of qualities, but Mr. Banks doesn’t see their contributions useful. 

Character blocking: Mrs. Banks starts off still, listening to Mr. Banks rant about how the past few nannies have been uncomfortable. She doesn’t make eye contact in the beginning, but does when he says he will take the responsibility himself. In fact, she does get excited when he says he will take the responsibility himself. Right when he commands her to write down the qualities, she obeys without question. As Mr. Banks lists them out, the attention is on him, not her. When the children come, he decides to listen to Mrs. Banks when she tells him to give them a chance. This could be because she is the mother, the balance for Mr. Banks to be more patient and faithful for his children. Mrs. Banks is attentive, calmly facing the children. She clearly cares about what they think more than Mr. Banks. 

Props: 

Mr. Banks’ list: They’re his ideas of a good nanny, not hers. She is the scribe, not him. Like a servant she obeys him. He is the master of the house, and everything is obeyed without question. 

Camera Shots:

Photos 1-4: Tracking shot of Mr. Banks pacing back and forth by Mrs. Banks ranting about how they’ve been through so many nannies in the past 4 months. 

Photo 5: Mr. Banks, ordering Mrs. Banks to write down the qualities of a good nanny. He wants to take the responsibility for himself because his wife had chosen the last couple of nannies and they all left.  

Photo 6: Mrs. Banks telling him that she got every word, that the qualities were wonderful. 

Photo 7: The children enter and offer their help to their father, writing their own list of qualities they look for in a nanny. Mr. Banks at first doesn’t want to hear it, but Mrs. Banks thinks otherwise. 

Compared to Mrs. Poppins, what is Mrs. Banks’ role? How is her job as the wife compare to the role as the Nanny?

Mrs. Banks is almost like another servant in the Banks household. She is able to go out and protest for women's rights yet she doesn’t do that in front of her husband. Deep down she clearly wants to be seen as equal yet she continues to submit. Compared to Mary Poppins, she represents the woman who is still married if no change is put into action. She is constantly thinking about what Mr. Banks would think, which means he has complete power over her thoughts.

Housewife:

(if they have servants) can command servants to different tasks

always obey the master i.e the man of the house

womens rights!! but not really!!

Nanny:

independent decisions

is not affected by the male-female power dynamic

interacts with the children more as that is their primary job

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US Suffrage Movement Timeline, 1895 to 1966

1895 Elizabeth Cady Stanton publishes The Woman’s Bible, a critical examination of the Bible’s teaching about women. The NAWSA censures the work.

1900 Anthony resigns as president of the NAWSA and is succeeded by Carrie Chapman Catt.

1902 October 26: Elizabeth Cady Stanton dies. Women of Australia are enfranchised.

1903 Carrie Chapman Catt resigns as president of the NAWSA and Anna Howard Shaw becomes president.

1906 March 13: Susan B. Anthony dies. Women of Finland are enfranchised.

1907 Harriet Stanton Blatch, daughter of Elizabeth Cady Stanton, founds the Equality League of Self-Supporting Women, later called the Women’s Political Union.

1908 March 8: International Women’s Day is celebrated for the first time.

1910 The Women’s Political Union holds its first suffrage parade in New York City.

1911 National Association Opposed to Woman Suffrage is founded.

1912 Suffrage referendums are passed in Arizona, Kansas, and Oregon.

1913 Alice Paul organizes a suffrage parade in Washington, DC, the day of Woodrow Wilson’s inauguration.

1914 Montana and Nevada grant voting rights to women. Alice Paul and Lucy Burns organize the Congressional Union for Woman Suffrage. It merges in 1917 with the Woman’s Party to become the National Woman’s Party.

1915 Suffrage referendum in New York State is defeated. Carrie Chapman Catt is elected president of the NAWSA. Women of Denmark are enfranchised.

1916 Jeannette Rankin, a Republican from Montana, is elected to the House of Representatives and becomes the first woman to serve in Congress. President Woodrow Wilson addresses the NAWSA.

1917 Members of the National Woman’s Party picket the White House. Alice Paul and ninety-six other suffragists are arrested and jailed for “obstructing traffic.” When they go on a hunger strike to protest their arrest and treatment, they are force-fed. Women win the right to vote in North Dakota, Ohio, Indiana, Rhode Island, Nebraska, Michigan, New York, and Arkansas.

1918 Women of Austria, Canada, Czechoslovakia, Germany, Hungary, Ireland, Poland, Scotland, and Wales are enfranchised. House of Representatives passes a resolution in favor of a woman suffrage amendment. The resolution is defeated by the Senate.

1919 Women of Azerbaijan Republic, Belgium, British East Africa, Holland, Iceland, Luxembourg, Rhodesia, and Sweden are enfranchised. The Nineteenth Amendment to the Constitution granting women the vote is adopted by a joint resolution of Congress and sent to the states for ratification. July 2: Anna Howard Shaw dies. New York and twenty-one other states ratify the Nineteenth Amendment.

1920 Henry Burn casts the deciding vote that makes Tennessee the thirty-sixth, and final state, to ratify the Nineteenth Amendment. August 26: The Nineteenth Amendment is adopted and the women of the United States are finally enfranchised.

1923 At the 75th anniversary of the Seneca Falls convention, Alice Paul proposes an Equal Rights Amendment to remedy inequalities not addressed in the 19th Amendment.

Late 1920s Many states continue to bar women from jury duty and public office. Widows succeed their husbands as governors of Texas and Wyoming. Middle-class women attend college and enter labor force. Anticipated “women’s vote” fails to materialize by end of decade.

1933 Frances Perkins is appointed by President Franklin D. Roosevelt as first female Secretary of Labor. In the New Deal years, at urging of First Lady Eleanor Roosevelt and Democratic women’s leader Molly Dewson, many women gain positions in federal social service bureaus, including Mary McLeod Bethune, director of the Negro Affairs Division of the National Youth Administration.

1936 Federal court rules birth control legal for its own sake, rather than solely for prevention of disease.

1941 United States enters World War II. Millions of women are recruited for defense industry jobs in war years and become significant parts of labor force. WAC and WAVE are established as first women’s military corps.

1947 Percentage of women in the labor force declines as women leave jobs to get married and to make way for returning soldiers. By end of decade, numbers of workingwomen are again on the increase.

1952 Democratic and Republican parties eliminate women’s divisions.

1955 Civil Rights movement escalates in the South; Septima Clark and others lead sit-ins and demonstrations, providing models for future protest strategies.

1960 FDA approves birth control pills.

1961 President’s Commission on the Status of Women is established, headed by Eleanor Roosevelt. Commission successfully pushes for passage in 1963 of Equal Pay Act, first federal law to require equal compensation for men and women in federal jobs.

1963 Betty Friedan’s The Feminine Mystique articulates dissatisfaction about limits on women.

1964 Civil Rights Act prohibits job discrimination on the basis of race or sex and establishes Equal Employment Opportunity Commission to address discrimination claims.

1966 National Organization for Women, founded by Betty Friedan and associates, promotes child care for working mothers, abortion rights, the Equal Rights Amendment, and “full participation in the mainstream of American society now.”

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The Stigma of Being a Housewife by Katrin Bennhold (Conclusion)

“Some measures, like the home care allowance Sweden and Norway pay stay-at-home parents who opt out of the day care system, have often only reinforced the stigma attached to housewives: concerns that this allowance, popular with working-class and immigrant families, hampers social mobility by keeping children of poor and foreign backgrounds out of socializing day care have made it controversial.A cheaper and possibly more effective way might be to finally and formally recognize the contribution housewives make to the economy, said Hélène Périvier, an economist at the Institut d’Études Politiques in Paris.” This article--while addressing the issue in Sweden--shows how even in the modern day the stereotype is addressed. But the issue is that in the modern day, the stereotype is not to be spoken of. While what I studied was about cinema and how it portrayed that development of voice from 1900s-1960s, I was curious about what the stereotype was like in the modern day. In fact the term is more derogatory because it is associated this idea of being only capable of housework and nothing more. It’s the stigma of being valued as property than a human being like it was decades ago. The tables really have turned. But is this a good thing? Yes, and no. While it gives equal rights to women, it has a negative connotation on the role if its still existing to some families. Circumstances like money and health could bring upon this stereotype, but now it’s more shameful because of its old stigma. 

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What have we learned?

In terms of the development of the housewife, we learned:

- Divorce strips the wife of her options. A woman without a man is nothing, unless if you are rich that is the only way to survive - The housewife balances the husband in terms of house work, and have turned into more of a sidekick than a trophy to show around (especially in the 1950s).  - Innocence and reliance on the husband was an idea across all cultures, as proven by Nosferatu & Princess Iron Fan - being the wife is like a duty to serve their husband forever - the housewife began to have more of a voice into the 40′s and 50′s. they were more than just property now but also as some sort of high-ranked servant in the family - a woman’s reputation is debunked if the husband’s reputation is in jeopardy - Mary Poppins embodies what women in the womens suffrage movement want. They do not want to have to be forced to marry in order to live, and they also want to independently get a job and not be discriminated against for their gender. They want to make their own decisions, share their own ideas, just as Mary Poppins does. i.e Poppins was created to fight stereotypes, which means the 60′s was a strong time in the womens rights movement The most important thing I learned was that as the decades went by, the housewife--along with women in general--had been able to develop more of a voice. The cinema had reflected back the womens rights movement and showed its progression in strength over the years. 

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Yuwen Spring in a Small Town (1941)

The film opens with Yuwen, wife of Liyan, walking alone along the ruins of the city wall. Each day she goes to the market to buy medicine for her ill husband as well as groceries. Liyan’s patriarch had collapsed during the war, and as he is ill he wallows in the miserable reality of his family's loss. Liyan and Yuwen rarely speak to each other, until one day Liyan approaches her. Liyan tells her that he doesn’t want her to live this life anymore, for she has done so much for him and that he has no way to give back for what she’s done. Yuwen only sees it as her duty, and doesn’t see it the way Liyan does. 

Character Blocking: A bit stiff. Anything she thinks about duty, such as the moment where she says he must recover her health, she places her hand in hand and her elbows bend out like she's a servant. Every time he keeps pressing to her that he wants to talk, she falls out of this position and tries to leave. 

Costume: Very simple, long-sleeved dress. Her hair is styled in a proper and clean way. 

Prop: 

Liyan’s medicine - when Liyan throws the medicine on the ground to get Yuwen’s attention, it is symbolic as it represents him wanting Yuwen to question this lifestyle. He demands of her that life essentially shouldn’t be made up of duty but have something more even if he doesn’t explicitly say it. Liyan wants Yuwen to not get lost in duty and to think for herself, as Liyan thinks of himself only a burden. 

Camera shots: A long two shot of their convo. The camera does pan to follow Yuwen as she tries to leave. The story is really focused on Yuwen’s experience serving her husband. 

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Princess Iron Fan 鐵扇公主 (1941)

Three travelers needing to pass through a fiery mountain seek the magical fan of a princess, but she does not wish to part with it. Princess Iron Fan tricks them into taking a fake fan, and therefore she gets to keep her own. Here, she is celebrating with her husband for her trickery. P.S This is an incredible Chinese animation!!! 

Character blocking: The princess is eloquent, smooth, and fluid in her dance moves. She dances around her husband as he feasts. Her fluid motions indicate delicacy and innocence. 

Costume (aka character design): The princess wears traditional gowns, and sleeves that cover her arms. Her hair is perfectly styled in a traditional Chinese hairstyle (I do not know the name of it), and her gown allows fluidity to her motion. Her face is small and perfectly proportioned compared to her husband who has facial features that are big and bulky. This emphasizes her delicacy. 

Camera shots: There aren’t any official camera shots except tracking the motion of her dance. This makes the viewer focus their attention of her dancing and her singing. They leave us admiring her beauty and eloquence in both her looks and her dancing. 

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Alice Guy: The Consequences of Feminism (1906) Les Résultats du féminisme

This film, while incredibly short, had a clear anti-feminist message. It critiques the idea of feminism and displays this message that if the world was reversed, it wouldn’t make any difference. It was a way of saying that the feminist movement is for nothing, and what they’re fighting for will just happen all over again. 

Character blocking: the roles are reversed. Men do what women would do, as women do what men do. The men who are working seem busy, hardworking, as the woman was lazy, propping her feet up in the chair (image 4). When they are gathered around the table for drinks, they all ponder at the only man in the room (images 1&2). The man on the sidewalk is smothered by the woman sitting beside him, as he looks uncomfortable and displays a more unsteady disposition. (image 3)

Costumes: The costumes are aligned with the time zone of 1906. The major difference I noticed is that the women are now carrying briefcases, but other than that it’s pretty much the same. 

Props:

The suitcase- I would argue that any man-like object is the sense of power. The suitcase, representative of the ability to do things, is carried by the woman (image 3). Even with the suitcase in the woman’s hand, them gaining control won’t change their effects for equality. 

Camera shots: At this time, camera angles and shots aren’t completely developed. However, they are able to capture all of the actions clearly of each character. 

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Nina/Ellen Movie: Nosferatu (1922)

Hutter is about to leave for a business trip to visit a new client named Count Orlok who plans to buy a house in Wisborg. Hutter entrusts his wife Ellen (Nina) to his good friend Harding and Harding's sister Annie before embarking on his journey.

Character blocking: Waiting by the window could represent a form of helplessness. It suggests she is reliant on him, that she cannot function without him. Nina is often times in a somewhat huddled, crouched position. When she hugs him, that is the only time Nina is relaxed and feels secure. Other than that, Nina is found holding her hands, fiddling with them nervously. Eyes are widened with panic and worry for her husband. She begs and cries for him, doesn’t want him to leave. 

Costume: Wrapped in blankets in the first scene with her and her husband. She’s always in a dress, with her hair in little ringlets. At one point, she is wearing a hat outside. It looks as if she was dressed to go with him, even though he is going by himself. 

Props:

Nina’s blanket - While there is only a few minutes of screentime of Nina’s blanket wrapped around her, it is something that Hutter uses while holding her nervously fiddling hands to tell her the news. It’s used as a part of that comfort that Hutter places on her, as he knows that Nina would worry about him. 

Camera shots:

Photo 1: Medium-shot. Nina stands alone. Looks almost like she isn’t doing anything. She continues to wait. 

Photos 2&3: Two-shot. Kind of looks like a proposal. We know he is telling her the news about his job, and maybe he was showing some sort of excitement for her. Her standing while he is kneeling presents less power, like he isn’t trying to do something to use his power against her. The third photo is a continuation. The second photo is a little closer so we can see more Nina’s stunned reaction. 

Photo 5: Two-shot. Nina looks comfortable in his arms. She clearly is reliant on him. 

Photos 7&9: Master shot. Establishes the transition to Hutter leaving Nina with his friends. She keeps pleading him not to go. This could further suggest that the housewife sees her husband as a part of her. And with that further implies that she is nothing without him. 

Photo 10: Closeup. We get a better look of Nina’s worry and fear for him leaving. Her hands are clutched nervously together, her eyes widened, and Hutter’s friends are comforting her. She really is presented as someone who sees herself as nothing without him. He is her entire world. 

What can early European films tell us about the transfer of the ideals of a housewife over to American films?

It seems that ideas of the role of a housewife is identical. While there may be some changes over the decades such as becoming more vocal about their rights, Europe had really set the stage for American cinema to present women as inferior. In fact, we knew that across cultures women were inferior, so it completely makes sense. In conclusion, European ideals of presenting the housewife in cinema had set the mold for Americans to change with their own ideas of the American housewife. 

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Suzanne Alexander Kane Movie: Citizen Kane (1941)

Suzanne starts off on the floor, yelling at Kane about how much she hates singing. She is tired of everything being about his reputation. Then, a letter comes in the mail personally given to Kane at the front door. He reads it, and she continues to yell. Then, Kane gets angry and raises his voice. He argues that everything he does is for her, and approaches her slowly. Kane tells her that she will continue singing and that is final. 

Character blocking: Suzanne is on the floor the whole time. In photo 1, her shoulders are scrunched, expressing her stress that opera singing has caused her. In photo 4 her shoulders are no longer scrunched, and her body is slightly tilted. It is as if she is beginning to cower from Kane’s yelling. In the rest of the photos she continues to stay in the same position, and then at photo 6 she sits back down lower instead of kneeling. This indicates that she is submitting to him. 

Costume: She is wearing what looks like a valore dress that shows her chest. There is fur around the sides of it, and her hair is perfectly curled. She is casual, but a more dressy-casual despite being on the floor. Suzanne is dressed the way he wants her, yet she is angry with all that he’s done. 

Props: 

Newspapers - represent Suzanne’s reputation. They all share headlines of her bad opera singing, and for Kane to walk on them shows he does not care. 

Shot Types:

Photo 1: High Angle. Shows subordination of Suzanne to Kane. 

Photo 2: Low Angle. In contrast to Suzanne, Kane holds a position of power as he reads the mail to Suzanne. 

Photo 3: Low Angle. After Suzanne yelled that she no longer wanted to sing for his reputation, Kane is offended. Kane is still in a position of power. 

Photo 4: Point-of-view shot from Kane. Suzanne is smaller than Kane in scale. She is crouched on the floor, and he is much larger than she is. His arms and hands take up the frame. This suggests that he has power to control things with his hands (i.e the world is in his hands)

Photos 5&6: A low angle shot. A shadow being casted over Suzanne’s face is similar to the same shadow that casted over Emily’s face. It is being used to represent how women didn’t have choice in the marriage, supporting Joslin’s argument about female subordination. 

Photo 7: Low angle/over the shoulder. She sits back down, part of her face still in his shadow. This is her way of giving into his power. The shadow is still present, showing that she still does not have control. 

What can this tell us about the housewife who is in a celebrity relationship that is unhealthy?

No matter what, she cannot do anything. She is limited on options, and the man still has power over others.

Women seem to have grown more vocal about things, and perhaps less emotional.

Suzanne, despite angry and emotional, isn’t crying about how miserable she is, but is rather taking it out in anger. But we also learn that a man’s reputation--literally everything--is more important especially if you are a celebrity like Kane. In conclusion,

the housewife is more readily to express themselves even if in the end they are forced to submit. 

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Mrs. Anderson TV Series: Father Knows Best (1954)

In episode 1 of the show, the plot centers around teaching Bud Anderson how to dance. There is a school dance he is going to with a girl named Marsha, and his family decides to step in and help despite his resistance. 

Character Blocking: Mrs. Anderson is the one who gains control over the children when Mr. Anderson looses control. She is the balance, despite him having most of the ideas for helping Bud learn how to dance. As a part of convincing him, she squishes his cheeks as a motherly tease. Notice how its Mrs. Anderson, not Mr. Anderson, squishing his cheeks. 

Costume: Mrs. Anderson wears a sweater, a dress, pearl earrings, and has her hair brushed and styled. She has a clean and simple look, or otherwise known as a preppy feeling. 

Props: There aren’t any physical objects that Mrs. Anderson uses. 

Camera Shots: All are one single shot of breaking up the fight between Kathy and Bud. It’s all one long tracking shot of the action. 

Mr. Anderson is the one doing all of the advising. Mrs. Anderson just supports his decisions. She represents the calm, motherly, feminine type-aura that Bud needs to be comfortable learning to dance from his family. Mr. Anderson is the order of the household, the one who knows best, as his wife is the balance in the family. 

What can this tell us about the married wife?

She is the sidekick to the husband. She is his backbone to handling family life, as that is her only use in the show. Everything external, from managing how to dance to solving other outside issues is up to the father. In conclusion, we can find that her power is restricted to the home and that

she is the balance of the father’s hardworking, firm attitude. 

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Emily Norton Movie: Citizen Kane (1941)

The first wife of Kane. In this scene, she had just found out about the affair between Kane and Susan. (Screenshots are in order of the scene). 

Character Blocking: Emily still has the same position. Her elbows are slightly bent, holding her small purse. She does this throughout the entirety of the scene. It is almost doll-like. Movement is only in her neck to turn her head to face everyone else while she is talking. Emily has a stiff presence, which suggests that her limited movement represents her lack of options when she finds out that Kane no longer wants to be with her. Her blocking also shows the lack of emotion, for she had known something like this was bound to happen. They had grown apart over the years and they both lost their love for each other. 

Costume: Emily is dressed up in a satin dress, with jewels and a fluffy boa. She has a purse and a matching pair of earrings and a necklace. This suggests that the housewife demands a mold that is simple, but shows off aspects of beauty. 

Props: Emily’s purse is in her hand the entire time. She only holds it, and keeps the same position. A purse or handbag often carries your means of getting about in the world and being effective. It also may contain personal things you would not want anyone else to see. This indicates that Emily is containing her emotions. 

Shot Types:

Photo 1: Medium shot. Emily is positioned higher in the room than everyone else. She is currently telling Kane that he should come with her and leave Suzanne behind. Kane is in the background, the shadow placed on him. He is smaller, less than everyone else, as he listens to them tell him what his choice should be. Emily is still in a stiff position. 

Photo 2: Two-shot. Kane suddenly says that he can only do what he wants to do and is essentially thinking for himself. Emily standing stunned, and the man next to her looks surprised. A slight shadow starts to fall on the top of Emily’s head. 

Photo 3: Low Angle. Kane is taller than Suzanne, meaning he has power over her, yet no power over the man next to her because he has the power to ruin Kane’s reputation and take everything away from him (by publishing the affair in the papers). The shadow is off of Kane, as he feels he is capable of getting control over the situation. 

Photo 4: Over the shoulder shot. The shadow is on Kane, the side of his head taking up the right of the frame. He seems bigger, larger than the rest of them. Emily still maintains a stiff position. 

Photo 5: Over the shoulder shot. Kane is larger than both Emily and the man next to her. The shadow returns over Emily’s head, indicating her loss in power again. 

Photo 6: Over the shoulder shot. As Emily leaves, the shadow is nearly over her face. She is still in a stiff position. The shadow is also over Kane which suggests that the divorce with Emily also took a part of him emotionally as well.

What can this tell us about the development of the housewife, in terms of a divorce?

Divorce strips the wife of her options. She does not have ownership of what she has, meaning that it’s likely she ended up homeless (however, because she is the president’s niece it’s unlikely but if she wasn’t she would be). Of course, this was the last scene where we see her so we don’t know what happens next. However, the divorce allowed her to ruin his reputation. This was the only instance where she was able to take power over something. In conclusion, the housewife of America in the 1940s is more likely to have power over love than any other material object. 

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The Social Standing of a Housewife

According to an article by Linda Burzotta Nilson, “Since 1900, an increasing proportion of married women have entered the labor force. Today, about 44 percent of wives in the intact American families, over 21 million, are gainfully fully employed” (1978). 

Nilson’s study is about deriving a predictive equation of a housewife’s social standing as a function of her husband’s occupation. In this study, Nilson found that both men and older raters evaluate it higher, while working women and younger raters evaluate it lower. In addition, the social standing of a housewife is found to vary greatly according to her husband's occupation. Conclusively, this study had found that a housewife in the 1970s has higher prestige than all but blue collar jobs and are considered equally skilled in clerical jobs (which is what millions of women are employed). 

In terms of my project, this proves that there was change in schemas for the ideal housewife.

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Sources

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Gucchan, Wan, director. Princess Iron Fan. Cinema Epoch. 1941 Guy, Alice, director. Les Résultats du féminisme. 1906 Mu, Fei, director. Spring in a Small Town. 1948 Murnau, F.W., director. Nosferatu. Prana Film. 1922.

Nilson, Linda Burzotta. “The Social Standing of a Housewife.” Journal of Marriage and Family, vol. 40, no. 3, 1978, pp. 541–548. JSTOR, www.jstor.org/stable/350934. Accessed 11 Dec. 2020.

Stevenson, Robert, director. Mary Poppins. Walt Disney Productions. 1964.  Tewksbury, Peter, director. Father Knows Best. Rodney-Young Productions, 1954. 

“US Suffrage Movement Timeline, 1869 to Present: The Susan B. Anthony Center.” The Susan B Anthony Center, www.rochester.edu/sba/suffrage-history/us-suffrage-movement-timeline-1792-to-present/. 

Welles, Orson, director. Citizen Kane. Mercury Productions. 1941.