Marilyn Monroe Essay
Simply irresistible – that is how many film buffs around the world would describe this blonde bombshell who with her impish charm, set many men’s hearts on fire and stole thunder from her contemporaries.
Marilyn Monroe’s life has been plastered all over the world with little or no variation. She was a product manufactured by the press and movie industry who went overboard after her tragic death in 1962. Mercenaries have either torn her to shreds, or catapulted her to dizzying heights, all with a view to the acquisition of gain. What remains to day is a lucrative growing industry trading on her memory or the myth that was supposedly Monroe – an iconic sign of the 20th century.
Marilyn Monroe’s life has been plastered all over the world with little or no variation. She was a product manufactured by the press and movie industry who went overboard after her tragic death in 1962. Mercenaries have either torn her to shreds, or catapulted her to dizzying heights, all with a view to the acquisition of gain. What remains to day is a lucrative growing industry trading on her memory or the myth that was supposedly Monroe – an iconic sign of the 20th century.
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In semiotics, a sign is the marriage between the signifier and the signified, and the image of Monroe, is a quintessential example of this relationship. She was the representation of the female body in classic Hollywood cinema. The sexual pose in this image, her extreme whiteness and make-up, and her peroxide blond hair bear witness to a new born fetish for woman. It connoted her and her myths, which are encoded in her image. Her image as the signifier carries the whole meaning and concept of herself, a meaning that was simply Monroe. But her cosmetic, artificial character also holds an element of masquerade. Her image creates a marvel that captures the eye and distracts it from what was hidden underneath, bolstering her image (stereotyped) as the luscious, undulating brainless female.
Monroe is also considered to be an icon of modernity, femininity and death. She signified whiteness in contrast with other screen goddesses and icons of sexuality who had a similar non-coded iconographic message, unleashing the racialisation of sexuality and visual pleasure of the 1950’s.
Born on June 1st, 1926, she had a tragic childhood – her father bludgeoned to death and her mother admitted to a metal institution made her a ward of the Los Angeles County. Monroe looked at movies as a great source of education and escape for her as a teenager. Out of work and hungry, she posed nude for a calendar in 1949, launching her image as a sex symbol, a key signifier. Both her dreams and desperation can be connoted from this image – her childishly innocent blank expression and her sexual appeal that could unhitch the suspenders of even the most obdurate men.
The film, Niagara (1953) boosted Monroe’s popularity. In the film, she was described as sensational. The film accentuated the sensual undertone, so long apparent in her personality, and capitalised heavily on her sex appeal, enticed with a red low cut dress. She gave the kind of serpentine performance that made the audience hate her while admiring her, a message that can be directly identified from her image – She was the envy of many women but also the hate of many others. She continued to specialise in the genre in which people liked her best; double entendre comedy as what she represented in this image - the seductive naive blonde.
Monroe was persona non grata with producers, directors and co-stars. During productions she was either ill, very late, or absent. She was unreasonably un-cooperative, and even the simplest scene had to be done over 30 times to get it right. Despite her limitations as an actress, her sex-appeal was so potent it transcended her shortcomings. The Seven Year Itch (1954) was famous only for the subway grating sequence in which Monroe’s skirt blows up in a gust of wind. In 1959, she made Some Like It Hot. In this film too, she was the epitome of the dumb blonde, a stereotype myth that has lasted till today.
Like this image shown, it can be connoted that was that she was a woman’s beauty with a child’s mind. Success went to her head, thus damaging her judgment. The mistakes that she soon plunged into pulled her into the abyss of despair, booze, drugs and men. She could see no way out of her morass of disaster and with her double personality; she was the architect of her own doom. A drug overdose took her life shortly after Fox fired her from the production of Something’s Got To Give.
The inexorable myth of Marilyn Monroe leaps into every new year making her images a greatest symbol of femininity, a consensus that is still generally conceded to this day. Even though the public rarely dwells on the plaudits of yesteryear, her name and image remains undiminished, turning her unprecedented life, into an everlasting legend.
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