![]() ![]() Black women are more likely to be nominated for individual acting awards for films that embody this version of the trope. This balance can mean a thin line between the character slipping into becoming the Angry Black Woman or Sassy Black Woman or the Sapphire, depending on if this strength advocates for herself or others (especially if they are white).įilms that employ these tropes include “Ghost” (1990), “The Help” (2011) and “The Color Purple” (1985). To subvert these tropes, the Strong Black Woman became one that combined all of the other women under the guise of empowerment. This trope began to combat the common negative stereotypes that trapped Black women into roles like the Mammy, the Jezebel and the Magical Negro. She is often asexual, even if she is a mother. This character usually has a strong moral compass, a natural nurturer, talented and endures hardships. When this is applied to someone because they are not a cis-white, middle-class man, it limits how others imagine the character. The bottom line is that no one is genuinely like other people because everyone is different. Women of color rarely portray these characters because they are inherently othered and different because they are not white. This trope has its own set of subgenres like the “prostitute with a heart of gold” and “ funny fat woman ” who is surprisingly horny.” These variants relay the same message as the central trope: people like you are not expected to be this way, and you subvert it. That cannot be said for every version of the “I’m not like other girls” women. In the latter two films, while this trope is a core element of the three protagonists, each addresses this internalized misogyny as a part of their character’s journey. The difference between showing less represented portrayals of womanhood like Mia from “The Princess Diaries” (2001) and Katniss from “The Hunger Games” (2012) the film explicitly celebrating this trope like Gracie from “Miss Congeniality” (2000) and Andy from “The Devil Wears Prada” (2006). “Gone Girl” (2014) explicitly subverts this trope when “cool girl” Amy rips into her perceived identity. The women in these films are constructed for the male fantasy because they are effortlessly beautiful and have “inherently masculine” traits while still remaining unthreatening. The “cool girl” is similar to the “I’m not like other girls” woman like in the films “There’s Something About Mary” (1998), “Transformers” (2007) and “Deadpool” (2016). Films in the 90s and 00s modernized this trope. An independent woman will have more masculine qualities because independence is a male-dominated trait. The rise of this trope in the media began when women became a more significant part of public life in the United States, and society divided women into dependent or independent categories. This trope turns internalized misogyny into a character and pits women against one another. Inherently feminine means whatever that culture defines as feminine, like an interest in make-up, wearing heels, watching reality TV or enjoying pop music. The “I’m not like other girls” stereotype trope implies that women are inferior unless they shed “inherently feminine” attributes. ![]()
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