Dominatrix trope

Dominatrix trope. Dominatrix trope. Crimes of Passion (USA 1984), directed by Ken Russell, written by Barry Sandler, distributed by New World Pictures.

Body of Evidence (USA 1993), directed by Uli Edel, written by Brad Mirman, distributed by Metro-Goldwyn-Mayer.

Short Bus (USA 2006), directed by John Cameron Mitchell, written by John Cameron Mitchell, distributed by THINKFilm.

Secretary (USA 2002), directed by Steven Shainberg, written by Erin Cressida Wilson (screenplay), distributed by Lions Gate Films.

9 1/2 Weeks (USA 1986), directed by Adrian Lyne, written by Patricia Louisianna Knop (screenplay), distributed by Metro-Goldwyn-Mayer films

Exit to Eden (USA 1994), directed by Garry Marshall, written by Deborah Amelon and Bob Brunner, based on the novel by Anne Rice, distributed by Savoy Pictures.

One Night at McCool’s (USA 2001) directed by Harald Zwart, written by Stan Seidel, distributed by USA Films.

Preaching to the Perverted (UK 1997, USA 1998), directed by Stuart Urban, written by Stuart Urban, distributed by Entertainment (UK), Indie Rights (USA).

Pay attention to how the white male character will manage ways to dominate the Dominatrix, with her always falling back into heteronormativity.

Thesis question: Why does the white male always end up on top in the films? Why is the dominatrix trope portrayed as unstable and needing a man in her life, throwing her back into masculine hegemony ( Foucault)?
Is this an artifact or remnant of the dying white male privilege?

Please examine the dying white male privilege in the US and include scholarly sources in the literature review concerning this matter. Argue that the white male dominance portrayed through the films containing the dominatrix trope (a naturally dominant character) is a production of culture industry (Adorno). See if there is progression in the films over time where less white male privilege is demonstrated in correlation with the dying out of the white male privilege in the US. Use statistics examining the lessening gender gap in the US, but also examine the statistics on women in leading positions, such as CEO’s. If there is no progression seen is the lessening of the white male privilege in the USA, contend that the discourse in these films can be viewed as a cultural industry, which is desperately trying to keep the old norms of white male privilege alive in popular culture.

Please include a literature review containing these texts along with many other scholarly sources numbering 33 in total:

Khan, U. (2009). Putting a Dominatrix in Her Place: The Representation and Regulation of Female Dom/Male Sub Sexuality. Canadian Journal Of Women & The Law, 21(1), 143-175.

Barrett, J. (2007) ‘You’ve Made Mistress Very, Very Angry: Displeasure and Pleasure in Media Representations of BDSM,’ Participations, Vol. 4, No. 1, online article (ISSN:1749-8716).

Barrett, J. (2008) ‘Another Masquerade? The Temporary Dominatrix and the Erotic,’ online article.

Jackson, Charles. “The Negative Portrayal of Dominant and Submissive Roles in BDSM Relationships.” New Views on Gender 17 (2016): 53-67.

Performative Acts and Gender Constitution: An Essay in Phenomenology and
Feminist Theory Judith Butler Theatre Journal, Vol. 40, No. 4. (Dec., 1988), pp. 519-531.

Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, 2006. Print.

Transparencies on Film. Theodor W. Adorno and Thomas Y. Levin
New German Critique. No. 24/25, Special Double Issue on New German Cinema (Autumn, 1981 – Winter, 1982), pp. 199-205.


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Dominatrix trope

Dominatrix trope

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