Attitudes and contextual values ​​regarding gender and class in Pretty Woman (1990), directed by Garry Marshall, and Pygmalion (1913), written by George Bernard Shaw, are mostly retained in both texts, although minor adaptations were made to preserve contextual relativity. Power inequality in relation to gender is clearly present in both texts, while first- and third-wave feminisms influenced individual storylines differently. Class mobility proved more challenging during the Victorian period; however, the critical evaluation of class stratification remained a sustained concept throughout the novel and play. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay In Pretty Woman and Pygmalion, traditional gender hierarchies are maintained. Both explore the transformation of a poor, lower-class woman through the help of a rich, upper-class man. In Pretty Woman, Vivian relies on Edward for her income and her lavish new lifestyle. In the scene where Vivian calls Kit and reveals the offer she has accepted, the cross-cut between Vivian in the hotel suite and Kit in their apartment visually shows the change Vivian has already undergone through her bond with Edward. The staging in Kit's room consists of empty cans and takeout boxes strewn throughout the small, cluttered space. In comparison, Vivian finds herself in a perfectly clean hotel suite, showing the difference between her undesirable past and her favorable present made possible thanks to Edward. Similarly, in Pygmalion, Professor Higgins and Pickering serve as a means for Eliza to advance in society and break away from the cycle of poverty into which she was born. Higgins states that "Pickering could set you up in one: he's got a lot of money." ' when you talk to Eliza about opening a flower shop. Men are richer and therefore have supremacy over the most important decisions and opportunities. Women are shown to live within patriarchal societies where they depend on powerful men to improve their lifestyle. However, various waves of feminism have characterized the female protagonist differently in Pretty Woman and Pygmalion. Sexual stereotypes of women are represented through the introduction of Vivian in Pretty Woman, supported by editing and costume decisions. The camera shot presents her as a series of fragmented body parts clad only in lace lingerie, while simultaneously depriving the viewer of a shot of her face. Combined with the soundtrack of "The Wild One", the framing and music are intended to dehumanize her character and portray her as a sexual figure. Throughout the film, Vivian's sincere and childlike character is made evident by shots in which she jumps on the bed and sits cross-legged on the chair, illustrating her candid nature. Her unbridled portrayal is re-established to reinforce how her carnal profession misunderstands her genuine character, reflecting on the ideologies of third wave feminism where there was a strong focus on injustices found related to sexual stereotypes of women in the media and incorporated into the company. In contrast, Pygmalion explores the loosening of Victorian rigidity of the early 19th century as women began to gain more independence from their male counterparts. Eliza's refusal to stay and marry Higgins is a representation of Shaw's feminist beliefs as she expresses how women have no.