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There have been many articles written on the portrayal of women in Woody Allen's films. In Steven Vineberg's article "Woody Allen's Misogyny: Recent Potshots and Humiliations" written in 1998, Vineberg brings to light a number of misogynist portrayals. Vineberg claims that in Manhattan, Allen makes a camera angle about a male lead when it should have been on the female lead as it was her scene: " [Allen's] self-adoration is slightly nauseating, especially when the film ends on a close-up of Allen rather than of Hemingway, even though the logical dramatic focus of the scene is her character and not his: She's the one who has to choose between spending a year abroad and continuing her romance with him." Vineberg claims that in Allen’s film Husbands and Wives, additional misogyny is showed: “The streak of misogyny that tainted even a film as early as Manhattan takes over in Husbands and Wives (1992), released just after Allen's breakup with Farrow. He shows not an ounce of compassion for any of the female characters, while, typically, presenting Gabe ("Woody") as the only person on screen who behaves reasonably.” Vineberg goes on to add that another Allen film, Mighty Aphrodite, displays the characters smart wife to be dull while the whore of the movie to be indicting: ”. . . in which Lenny/"Woody"'s chilly professional wife (Helena Bonham Carter) comes across as a nightmare version of Farrow, while the good-hearted whore (Mira Sorvino) -- whom we're obviously meant to find infinitely preferable -- is a fluff-head whose uneducated bad taste is the butt of much of the film's humor.” Vineberg also claims that in Woody’s Might Aphrodite, Woody makes a connection between physically beauty and moral conduct: “ (Woody) makes a whore in pink hot pants (Hazelle Goodman) the most appealing woman on screen -- practically the only one, in fact, whose conduct isn't reprehensible or irrational.”

In Brianne Jeweet Brenneman’s article “Play It Again, Diane”, Brenneman claims that Woody “… undermines the second-wave feminist movement by writing women as prominent characters but made subservient to his male leads by through stereotypical characterization.” Brenneman explains a number of female film stereotypes and how they appear in Woody Allen’s film. A common trend among those stereotypes is that the female character needs the male character in some way. Brenneman shows the “Mrs Uptight trope” in Allen’s film Play It Again, Sam: “At the beginning of the film, Mrs Uptight appears composed and strong with a good job and handsome husband, but is quickly shown to be insecure and unhappy. The leading man, who discloses to her that she needs to relax, is the only person who really pays attention to her and makes her happy.” Brenneman claims this undermines the second-wave feminist movement because they “fought for more dynamic representations of women who had interests outside of the men in their lives.” Brenneman asserts that Allen displays the next use of a female stereotype, “the Sexual Women”, in his film Love and Death. Brenneman describes the stereotype: “This stereotype displays the male lead’s morality because he ‘tames’ a sexually deviant woman. “ Brenneman then goes on to explain how this stereotype appears in the film: “Keaton’s sexually promiscuous character has no interest in Allen’s character throughout most of the film. However, by the end, Keaton ends up married to Allen, and her attitude is change as she tells Allen that he was her ‘one great love’.” Brenneman explains that this is problematic for the second wave feminist movement because “the Sexual Woman becomes domesticated and settles down for a life of monogamy by the end of the film, modelling that settling  for  one partner is the solution.” Second wave feminism wanted to show that women could be more than simple housewives, but ultimately the female lead ends up being that despite her sexual promiscuity.

In Peter Bailey’s book “A Companion to Woody Allen”, Bailey discusses in broad terms how women are portrayed in the average Woody Allen film. Bailey writes that: The women strive to acquire information from their relationships and to evolve as individuals. Women are usually Allen’s append-ages and are perceived via male eyes. Women’s inventive means appears to entail motherhood.” Later on, Bailey also writes that the men in Allen films are interested in certain types of women: “Men appear to be interested in kinds of art and women in relationships. In Hannah and Her Sisters, the women aim for their purpose via their relationships and via having children.”

In Graham Fuller’s Article “No City for Old Men", Fuller critises the difference in age between Allen’s male leads and female leads. Fuller saids that: “Woody Allen has been mocked for his films’ depictions of women young enough to be his daughters or granddaughters." In the film Whatever works, Fuller points out the age difference between the main and female lead: “[Allen’s] choice of Evan Rachel Wood, 21, and Larry David, 61, to play a couple in the upcoming Whatever Works is sure to ratchet up the scorn. Unimpressed members of the audience may be tempted to suggest he curb his enthusiasm.” Fullers also points out that the older men in these films are verbally aggressive toward their younger counter parts: “If there is an explicitly tasteless aspect to Allen’s unequal parings, it is the tendency of the men to condescend to or even sneer at their girlfriends’ intellectual or cultural callowness, as In the case of Allen’s Isacc in Manhattan (1979) and Sydney Pollack’s Jack in Husbands and Wives (1992).” Fuller claims that Allen also attempts to portray women on what they want: “ Allen’s focus is what women want, or think they want, and it turns out it’s not a Spanish bull – not even one with a paintbrush and a private plane.