Professional Documents
Culture Documents
SinceRidleyScottsAlien(1979)therehasbeenasteadytrendtoward
moviesfeaturingwomenusingfirepower.Thesefilmshavebeen,forthemostpart, shunnedbythecriticalcommunity.Theyareregularlycalledsexistand/or unsophisticated.Iarguethatthesecriticismsoftenignorethebasicmechanismsat workwithinthesefilmsandhowtheyeffectivelycommunicatepositive representationsofwomen.ThroughanalysesofAlien,Terminator2:JudgmentDay (1991),BarbWire(1996),SuckerPunch(2011),KickAss(2010),andLaFemme Nikita(1990),Iarguethat,whilethesefilmsincludeproblematicelements(e.g., ideologicallymalewomen,sexualization,andwomenwhosemotivationrelieson oneormoremales),theyarealsooftenmisunderstood.Withinthecontextofafilm, thesetabooscanbeusedtocriticizesocietysunderstandingofestablishedgender norms.Therefore,thegirlswithgunssubgenreshouldnotbeseenasnecessarily regressive.
GirlsWithGuns: UnderstandingGenderandViolenceinContemporaryActionCinema by DavidE.Roark,B.A. AThesis ApprovedbytheDepartmentofCommunicationStudies ___________________________________ DavidW.Schlueter,Ph.D.,Chairperson SubmittedtotheGraduateFacultyof BaylorUniversityinPartialFulfillmentofthe RequirementsfortheDegree of MasterofArts ApprovedbytheThesisCommittee ___________________________________ JamesKendrick,Ph.D.,Chairperson ___________________________________ MichaelF.Korpi,Ph.D. ___________________________________ RobertF.DardenIII,M.J. AcceptedbytheGraduateSchool December2011 ___________________________________ J.LarryLyon,Ph.D.,Dean
TABLEOFCONTENTS Acknowledgments...............................................................v Chapter1 Introduction AGirlandaGun.................................................. 1 GirlswithGunsForemothers......................................2 TheThreeMajorIssues...........................................5 Chapter2 PhallicWomen TheDeathofFreud?..............................................11 Girls,GunsandCastrationAnxiety................................ 13 Terminator2:Goodmorning,Dr.Silverman.Howstheknee?....17 TheMatrix:DodgeThis.........................................22 TheDifference...................................................25 Chapter3 TheActionChickFetish TheFetishizedFemaleKiller...................................... 27 TheLook.........................................................29 BarbWire:Dontcallmebabe...................................31 SuckerPunch:Youhavealltheweaponsyouneed............... 36 FailedFetishCriticism............................................41 Chapter4 RestrainingHerMotives DefusingCastrationAnxiety.......................................42 TheMotherArchetype:Alien......................................44 TheMotherArchetype:Terminator2..............................48 TheDaughterArchetype:LaFemmeNikita........................52 TheDaughterArchetype:KickAss.................................56 WhereTheyWentRight..........................................60 Chapter5 Conclusion TheStatusQuo....................................................62 WhyHereandNow?..............................................62 ReceivingThemWithOpenArms.................................64 ThePhallicWoman...............................................66 iii
iv
ACKNOWLEDGMENTS Iwouldliketothankallofthededicatedpeoplewhohelpedmewritethis
attributedtothefamousFrenchNewWavefilmmakerJeanLucGodard.Whilethere isnoconcreteknowledgeaboutwherehesaidit,thestatement,whetheritwas Godardornot,essentiallydistillstheessenceofwhatisappealingaboutmovies.To Godard,cinemaisawindowthroughwhichhumanityshouldviewthingsthey wouldotherwisebeunabletoexperience.Inthiscase,girlsandgunscombineto makewhatGodardbelievesisaworthwhilemovie. WhatGodarddoesnotexplicitlystateisequallyimportantindetermining whyandhowthesecomponentsworktogether.Ifagirlandagunprovidethe necessarymeanstocreateamovie,itisimportanttounderstandwhatGodardis actuallysaying.First,hedidnotimplythatitisnecessaryforallmoviestohavea girlandagun.Rather,thesecriteriahappentomakeacompellingcombination.Itis alsoimportanttonotethathedoesnotstatethatthegirlmustwieldthegun.Itis merelyrelatedthatbothmustbepresent.Infact,withinhisbodyofwork,itisjust aslikely,ifnotmoreso,thatonewillfindaguninamanshand. However,alookatsomerecentboxofficehitssuggeststhatmodern audiencesfindgirlswithgunsparticularlycompelling:Salt(2010),ResidentEvil: Afterlife(2010),andKnightandDay(2010)areonlyafewoftherecenthits
beginningofmotionpicturehistory,filmreliedontheaudiencesinterestinthe realisticreplicationofmotion,aswellasthemediumsabilitytoshowitsaudience 2
stagnantgenderroles.JudithMaynenotesthatclassicalcinemahadanobsession withsexualhierarchy,andthatitiseasytoamassevidenceofwomansexclusion andvictimization(Mayne86).Evenintherarecasesofearlywesterns(which wereconsideredakidsgenre),suchasCalamityJane(1953),womenremained uncomplicatedandpowerless.Ofcourse,thereareplentyofexampleswhere womentakegunsintotheirownhandsandmakesomeofthemostmemorable momentsinfilmhistory.InFredZinnemannsHighNoon(1952),GaryCoopers pacifistwifekillsawouldbemurderertosaveherhusband,andinCasablanca (1942)IngridBergmanthreatensHumphreyBogartwithaguninordertoextort him.Butgenerally,theactionstarswereallmaleintheearlydaysofcinema. Inthe1940s,filmnoirintroducedthefemmefatal.Inhercanonicalbook
Code,aformofselfregulationthatoutlawedexplicitsexandviolence,twosurefire boxofficedraws(HollywoodCensored:TheProductionCode).Becausethemovie industrywasbeingstifledunderthiscode,filmmakerseventuallybeganignoringit. Afteritsfallinthelate1960s,actionmovieswerereadytoexplode.Theywereno longerrestrained,forcedtomakeonlyhollowmoviesthatwouldfitthecodesbill. InHollywoodBloodshed,JamesKendrickstates,violenceinmoviesofthe1960sand 1970sisfrequentlyviewedasakindofformativemomentintheaestheticand ideologicaldevelopmentofscreenbloodshed(ix).Formosttheorists,thisera producedaparticularlyAmericanaestheticdrivenbyProductionCodebacklash. Moviesbecamemoreviolentandsexuallyovertandsawanincreaseineverything thatwasnotpreviouslypermissibleundertheProductionCode.Thisethosgave birthtothemodernactionmovie. The1970sweredominatedbymaleactionpersonaslikeClintEastwoodand CharlesBronson,withveryfewexceptions.EvenwhenactresseslikePamGrier starredinavarietyofactionpackedblaxploitationmovies,suchasCoffy(1973)or
Sheba,Baby(1974),theyremainedoutsideoftheHollywoodmainstreamandwere relativelyisolated.Actionmovieswerewaitingfortheirfemaleheroine.
The1970sproducedmanymoviesinwhichwomenusedfirearms,butthey
werestillnotactionheroesasperourdefinition.Theywere,however,incredibly subservient,andtheirfuturewasgenerallytiedtowhatevermaleactionstarthey weresleepingwith.Forinstance,inTheOmegaMan(1971),Lisa(RosalindCash)is astrongsurvivor.SheleadsagroupofsurvivorsinpostapocalypticLosAngeles, shootsthreateningmutants,anddoesitinstyle.However,whenshemeetsCharlton Heston,shesleepswithhimandmustthenrelyonhimtosaveher.Whileshedoes useviolencetosurvive,Lisascharacteremphasizesthepatriarchalpowerstructure thathassurvivedtheapocalypse. ThisformularemainedthecaseuntilRidleyScottandSigourneyWeaver createdanewkindofactionheroine,Ripley(Weaver),inthegroundbreakingmovie Alien(1979).Throughoutthemovie,theaudiencewatchesRipleydevelopfroma passivetomboytoaguntotingalienhunter.Inthesequel,Aliens(1986),sheisthe takechargeactionheroineaudienceshadbeenwaitingfor.Thesemoviesspawned asubgenreofactionmovieinwhichwomenweretheonesheroicallyperpetrating violence. TheThreeMajorIssues Thebulkoftheliteratureonthistopichasbeenwrittenfromfeminist
perspectives.Whilesometheoristsconsiderthesecharacterstobestrongwomen whocanforcetheiragendaonthemalecharactersaroundthem,manyotherssee
Feministsgenerallyabhorviolenceasdisplaysofpatriarchalpower(McCaughey andKing2).Thus,whenwomenactviolently,theybecomemasculinizedorphallic women,whichraisesquestionsaboutwhetherthesemoviessimplyreproduce maleviolenceinfemaledrag(McCaugheyandKing2).Dotheseactionheroines abandontheirfemininityandthustransformintomen?CharacterslikeTrinity (CarrieAnneMoss)inTheMatrix(1999)orSarahConnor(LindaHamilton)in Terminator2:JudgmentDay(1991)evenphysicallyresemblemen.Inanessay discussingthehorrorfilm,CarolClovermakesanimportantobservationabout genderinfilm.Shestates,whatfilmmakersseemtoknowbetterthanfilmcriticsis thatgenderislessawallthanapermeablemembrane(Clover208).Accordingto Clover,thesewomenhavebothfeminineandmasculinetraits.Whileitisusually importantthatsuchcharactersarecodedfemale,theycanactuallybebothgenders atthesametime.Thisemphasizesthecharactershumanity,ratherthanhergender. Itisnot,however,difficulttounderstandwherethesetheoriescomefrom.
generallyfallintothesameboat.CloverremarksthegenderoftheFinalGirlis compromisedfromtheoutsetbyhermasculineinterests,herinevitablesexual reluctance(penetration,itseems,constructsthefemale),herapartnessfromother girls,andsometimeshername(Clover210).Infact,Cloversobservationabout penetrationconstructingthefemaleisadefiningfactor.Womenwhorefusetobe victimsalmostalwaysfacequestionsabouttheirgender.Thisisoftenevidentinthe raperevengesubgenrewhere,veryoutwardly,womenwhohavebeenmadevictims refusetobevictimizedanymoreandtakeontraditionallymasculinetraitsinorder togetrevenge.Ms.45(1981)servesasaperfectexampleofthiswhentheheroine Thana(ZoLund)israpedtwiceinonedayandrespondsbyattractingrapistsand killingthemwithouthesitation.Thanaputsasideherfemininityanddonsthe masculinepersonaofthehunterinordertogetvengeance. Thesecondreasonthatcriticstakeissuewithgirlswithgunsmoviesisthe
dangerofsexualization.InhercanonicalessayVisualPleasureandNarrative Cinema,whichexamineshowthelookworksincinema,LauraMulveyexplainsthat theaudienceisforcedtoidentifywithmaleprotagonists,butmanisreluctantto gazeathisexhibitionistlike(842).Herargumentisthatmaleviewersareforcedto aligntheirlookwiththemaleprotagonistandprefernottolookuponothermales. Thefactthatevenfemalemembersoftheaudienceareencouragedtoidentifywith themaleprotagonistconstructsthemalegazeasauniversalandthefemaleisthen objectifiedasthemanseesher.Agoodexampleofthisisthescarcompetition betweenRiggs(MelGibson)andCole(ReneRusso)inLethalWeapon3(1992).As thetwocharactersshowofftheirscars,clothingbeginspeelingoff.Theaudienceis
charactersmotivationsareoftensubjugated.Bydilutingtheirpotency,film creatorsundercutthecharactersstrength.InheressayActionHeroinesand FemaleViewers:WhatWomenHavetoSay,TiinaVaresinterviewedwomenabout theirresponsestoviolentmovies.OnewomannamedRobynstates,Ithinkthe differencebetweenmaleandfemaleviolenceisthatfewwomenwouldmindlessly useanactionofviolence.Theydoitasalastresorttoanintolerablesituationthat theycantdealwithanyotherway(Vares231).LikeRobyn,manyfemaleviewers appreciatethemotivationsonwhichthesewomenactviolently.Intheinterview transcripts,evensomeofthosewhoareappalledbyviolenceappreciateviolent womenonscreen(Vares229230).CarolM.DolesuggeststhatHollywood deflectedaudiencediscomfortwiththefigureofthelicensedtokillwomanby incorporatingintothefilmsdialoguethequestionofwhyawomanwouldplace herselfinmensturf(81). Forinstance,inDolesanalysisofTheSilenceoftheLambs(1991),shenotes thatClarice(JodieFoster)isnotwillingtobesexualized,issmart,iscapable,and eventuallyusesviolencetosavetheday.However,sheisstillfeminizedviamultiple
fatherfigures.RikkeSchubartseesfeminizationintermsofdifferentfeminine archetypes.InhisbookSuperBitchesandActionBabes:TheFemaleHeroInPopular Cinema,19702006,Schubartreferstothemotherandthedaughterarchetypes. ClariceStarlingisaperfectexampleofadaughterarchetype.SheisaproductiveFBI agentandhuman,butfatherfiguresthroughoutthemoviesubjugateher.Herneed forapprovalfromthesefatherfiguresiswhatultimatelydrivesher. SarahConnor,ontheotherhand,fallsunderthemotherarchetype. ThroughouttheTerminatorseries,sheisportrayedasthemotherofhumanity.Her roleasmotherisrevealedinTheTerminator(1984)whenshefindsoutthatshe willgivebirthtoJohnConnor,thesaviorofhumankind,andispersonifiedin Terminator2:JudgmentDay,asherentiremotivationistoprotectherson.While Connorisobviouslyastrongfemale,hermotivationsaretraditionallyfeminine. Dolearguesthatthesemotivationskeeptheaudiencefrombecominguncomfortable withthecharactersventuringontotraditionallymasculineturf. InhercritiqueofKickAss,CarriePolanskywroteinherblog,Iaminterested
charactersaredebatedanddiscussedintermsoftheirrepresentationof
womanhood.MollyHaskellmentionsthat,intheearly1970s,feministscould rejoiceinthefactthat,ifthenextfewyearsdidntshowamassivesurgeoffeminism infilm,theywouldatleastseeatrickleofstrongfeminineheroes.Instead,she states,womenvirtuallydisappearedfromthescreen,assexobjectsorasanything else,foroveradecade(Haskell375).Whileshedidlistafewnotableexceptions, includingRipleyfromAlien,sheworriedabouthowthemovieindustrystoodwhen sherepublishedthebookin1984.However,despitethefactthatthisdrought continuedthroughoutthe1980s,theexceptionshelpedsparkafemaleaction subgenrethathassinceflourished. Theliteraturesurroundingthissubgenreisplentiful,butacriticaltreatment
10
throughapsychoanalyticlens.However,thisposesaproblemforfilmtheorists,as psychoanalysishasmanycriticswhobelievethatitiswithoutsignificant experimentalorepidemiologicalsupport(Crews55).Infact,DrewWestenmakes aninterestingandentertainingobservationthatProbablynoonesdeathhasbeen heraldedasmanytimes,overasmanyyears,asSigmundFreuds(1061).Freudis sooftenwrittenoffasdeadorirrelevantthatmanypeoplediscounthim completely.ThepsychologycommunityhasallbutdiscardedFreudswork.Astudy doneattheUniversityofMichiganof150highlyrankeduniversitiesshowsthatone ismorelikelytostudypsychoanalysisoutsideofthepsychologydepartmentthan withinit(RedmondandShulman391). However,thereremainsasignificantpresenceofFreudianthoughtwithin
11
diffusedthroughoutoursociety.Whileitiswidelyacceptedthatmuchofhistheory isnotpsychologicallyrelevant,filmmakersandaudiencesarestillbombardedwith hisideasonaregularbasis.Freudisreferencedregularlyinallformsofmedia, fromHollywoodtoliterature.Infact,EdwardBernays,Freudsnephew,isknownas thefatherofpublicrelations(Curtis)anddevelopedourcurrentconceptof advertising.Becausetheseideasaresoprevalentinsociety,filmmakersoftentimes referencethem.WhiletheminddoesnotnecessarilyworkthewaythatFreud theorized,thepsychoanalyticlensprovidesagoodframeworkforinterpretation. BecausesomanyartistsknowFreudstheories,theypurposelyincorporatethem intotheirworks. Thesecondreasonthepsychoanalyticlensisausefultoolforfilmtheoristsis
12
maledominationandsocialformations(Woodxvi).WoodsurmisesthatFreuds perceptionsofthemasculineandthefemininearestillvalidandthatonecanuse themtounderstandhowfemalecharactersareperceivedwithinmedia,especiallyin asubgenredefinedbyitsuseofwomen. Girls,GunsandCastrationAnxiety ThePenis.Thisorganappearsintheformofsharp,penetrating weaponsandtoolssuchasdrillsandswords;toolsandallsortsof complicatedmachineryandapparatusingeneral;tubesthatcan shoot,squirt,orgiveoffsmokesuchasfirearms,cigarettescigars, hoses,Romancandles,fountainpens,andthelike. LawrenceM.Porter InFreudsterms,aweaponisalmostalwaysconsideredaphallicobject.
13
countersthistheoryinananalysisofTheQuickandtheDead(1995)byarguingthat Ellens(SharonStone)masculinestatusdoesnotrenderherasexual(something thatStonesimagemightnotallow)(57).WhileEllenispresentedasastrongand powerfulgunfighter,sheisabletodrawonherfemininequalitiestogetwhatshe wants.Taskersobservationthatviolentwomencanbecodedaswomen,despite thefactthattheyoftenactinwaysthataretraditionallyconsideredmasculine,is keytothischapter.TaskernotesthatEllenisnotasexual;thatis,theaudience viewsherasawomanwhohasfemininetraits,butisexpectedtoactinahistorically masculinemanner.Byincorporatingthistypeofcharacter,filmmakersavoid makingmaleaudiencemembersuncomfortablewhilestillsubvertingthe patriarchalpowerstructure.
14
InMen,WomenandChainSaws:GenderintheModernHorrorFilm,Carol
15
tightand/orrevealingclothes,andtheirabilitytotransfixourgazeforlongperiods oftime.Theyare,however,notdirectlysexualized(atleastnotregularly),Similar tohowmenareviewedwithinactionmovies.InhispaperHardBodiesand SidelongLooks,NickyFalkofdiscusseshowtheaudienceviewsclassic80saction starslikeArnoldSchwarzeneggerandSylvesterStallone,arguing: Thesebodieswerenecessarytoinculcatetheneworrevitalized masculineidealbuttheirvisuality,thepresentationofmale physicalityastheobjectoftobelookedatness,wassaddledwitha setofconcurrentideologicalimplicationsandcomplications. (Falkof21) TheproblemthatFalkofilluminatesisthatitisuncomfortableforthe predominantlymaleaudienceoftheseactionmoviestowatchanalmostnakedman onscreen.Theinshapemalebodyisfetishizedimmediately,andbecauseitisan objectofdesire,thedirectormustdisavowsexualdesireinordertocounteractany chargesofhomoeroticism.Falkofnotesthatwhatactioncinemaexplicitlyavoidsis aneroticizationofamalephysiquethatcouldbetooeasilyreadasoneconstructed forvoyeuristicpleasinginviewing(23).Actionmoviesdothisinanumberofways, butthemostcommonisusingviolencetodisassociatethebodyfromhomosexual intent.Bymakingthesecharactershyperviolent,theviewercanwatchthemoviein
16
17
Terminator(1984).LikeAlienbeforeit,TheTerminatorisacomingofagestory aboutSarahConnor.Sarahbeginsthestoryasastrugglingwaitresswhoisinto dating,gettingdressedup,andgoingout.Throughoutthemovie,theaudienceis witnesstohertransformationfromayoungsinglegirltoaruggedsurvivalist.The lastlinethatSarahhasbeforesmashingtheTerminatoris,Youreterminated fucker!thusemphasizingheroverwhelmingdefeatoftheTerminatorandher transformationintoaphallicwoman.AsJamesKendricknotes,becausequips almostalwaysfollowanactofviolenceinwhichtheherodispatchesavillain,they functionalsoasataunt,averbalassaultfollowingthephysicalassaulttofurther degradetheenemyandunderscoretheherosvictoriousstatus(Hollywood Bloodshed:Violencein1980sAmericanCinema102). Shortlyafterthis,CameronwroteanddirectedAliens(1986),thefirstsequel
18
movieintermsoftheheroinescharactergrowth.Thedifferenceisthat,where AliensdevelopsRipleyfromthecharacterweknowfromtheendoftheprevious film,Terminator2skipsyearsofSarahsmetamorphosis.Thelasttimeviewerssaw Sarah,shewasapregnantwomancruisingdowntheroadinherJeeptowardher destiny.AboysaysthenowclichlineAstormscoming,towhichSarahrepliesI know,emphasizingheracknowledgmentofherfate.ThefirsttimeweseeSarahin hermentalhospitalroominT2,shelookspartwarriorandpartwildanimal.Sheis immediatelyfetishized,butinaninterestingwaythatismorethanreminiscentof thewaythatonewouldfetishizeamaleactionstar.Thecamerastartsonacloseup ofherbicepsduringherpullups,emphasizingherwellbuiltbody.Sheisalso extremelysweatyandnotmadeupatall.Whileherbodyisrelishedandlookedat, CameronavoidsanysexualimplicationsbymakingSarahviolentinessence,a malecharacter.Camerondoesnotwantustolookatherandseehowbeautifulshe is.ThatwastheoldSarah.Thiswomanhasbeendoingnothingbutpreparingfor theendoftheworldsincetheconclusionofthefirstmovie.Shelooksatherdoctor andsays,GoodmorningDr.Silverman.Howstheknee?,arathermeanspirited quipaimedatherpsychiatrist,whomshestabbedinthelegwithapenduringa
19
RikkeSchubartnotesthatRipleyistheprototypeafterwhichlatermother heroesSarahinTerminator2:JudgmentDayarefashioned(169).Ripleyhas fewtonofemininetraitsinthemovie,buttheviewerstillassumesfromthestart thatRipleyisfemininebecausesheisawomangenetically.Howeverone consciouslyorunconsciouslyrealizesthatsheisnotfittingintothegenderrolesthat arenormallyassignedtowomen.LikeRipleybeforeher,SarahConnoristoughas nailsandhasnofeminizingcharacteristicsexceptforhermotherhood.InT2, CamerondistillsRipleyinordertomakeSarah.Hermotherhood,theonefeminine traitthatisemphasizedinthemovie,isbiological(unlikeRipley,whoisarguably onlyamothersymbolicallythroughouttheentireseries)andmorebroadbecause
20
Terminator(ArnoldSchwarzenegger)maketheirwaytoMexicotoseeanoldfriend. Here,itisrevealedthatSarahhasbeenstockpilingweaponsforyears.Whereas RipleyhadonephallicflamethrowerinAlienandaseriesofmachinegunsinAliens, Sarahisgivenanentirebunkerofgiantgunswithwhichtotakedownthebadguys. Whilerevealingthebunker,Johnsays,Onethingaboutmymom,shealwaysplans ahead.BeingpreparedinthecontextofSarahsmotherhoodiswarped.Rather thanrememberingdiapersorsavingforcollege,Sarahsmotherlyinstinctistobring extraguns.Sheisaviolentmother,onewhowieldsabunkersworthofmasculine powersymbols. WatchingSarahbrandishgiantfirearmsandassaultmenispotentially
21
herpredecessors,butinamuchmoreconcentratedmanner.Sinceitsreleasein 1991,hercharacterhasbeenreproducedinnumerousmoviesandevenaspinoff televisionshow,Terminator:TheSarahConnorChronicles(20082009).Sarah representsonemeansbywhichviolentfemalecharacterscanbesuccessfully incorporatedintoactionmovies.Manyhavearguedthatsheis,atleastideologically, aman.ThecontrastbetweenSarahsbiologicalfemininityandhermasculineacts andlookscreatesatensioninwhichgenderrolesarechallengedandevenreversed. Sarahisastrongwomanfightingherwaythroughamansworld(and,infact,a mansgenre).Eightyearslater,anotherphallicwomanwouldarriveonthescene andforeverchangetheactionlandscape. TheMatrix:Dodgethis. InthedocumentaryReturntotheSource:PhilosophyandTheMatrix(2004),
betweenamanandawoman.Asthetensionbuilds,wecuttoapoliceraidin 22
progress.Thepolicebreakdownthedoortoahotelroomtofindafigureinachair facingthewall.KimEdwardsnotesthatthecharacterissuggestivelymale:from behindweseesquareshoulders,boycuthairandleatherjacket,andthismiseen scenecoupledwiththeswifttransitionsincethevoiceoverimpliesweareaboutto meetthemalespeakerfromthephonecall(K.Edwards117).Thecharacteris,of course,notamanatall.Trinityjumpsoutofherchairandpromptlydispatchesall ofthepoliceintheroominaparticularlystylizedfashion(thisisthefirstuseofthe nowoftencopiedbullettime).LikeJamesCamerondidwithSarahatthe beginningofTerminator2,theWachowskiBrothersmakeaclearstatementabout howTrinityscharacterisgoingtowork.Thedirectorsgivetheaudienceanimage thatcontrastswithitself;CarrieAnneMosshasshort,manlikehairandisdressedin awaythatsuggestsmasculinity,evenasherskintightclothesexploitherclassical beauty,thusmuddyingthedichotomybetweenmasculinityandfemininity.Trinitys contrastingcharacteristicsareusedinthesamewaythatSarahsareinTerminator 2. Edwardslaternotesthatthefreedomsofcrossdressingandsexual
23
leader,Morpheus(LaurenceFishburne),Trinityuseshersenioritytothwartthe malepowerstructure.Shenotesthatsheistheseniorofficeronboardandthatif Neodoesntlikeit,hecangotohell.Herunderminingofthetraditionalpower structureiscomplimentedbyheruseofgunsforthenextfiveminutes.Infact, duringashootoutinthelobbyofthebuildingofinterest,sheripsaguardsshotgun awayfromhimandshootshiminthestomach.Inthiscase,Trinityismetaphorically castratingamaninapositionofpower.Thesecurityguardrepresentslawsand rulesandTrinitystripshimofhispoweranddestroyshimwithit.However,the filmmakersavoidanyfeelingsofanxietybecauseTrinityhasyettostepintoher femininerole(beingNeosloveandsupport). Duringtheclimaxofthemovie,TrinitydeclaresherloveforNeo.Thisisa
24
hershapeandremainreminiscentofayoungman.Forthemajorityofthemovie, heractionsarequitemasculine,butherbigmomentoffemininityattheendserves 25
26
CHAPTERTHREE TheActionChickFetish TheFetishizedKillerFemale Inshort,mendonothavetolookgoodinordertobeheroes.Itis differentwithwomen.Thefirststeptoqualifyasafemaleheroina mansworldistobeyoungandbeautiful.Ifnotyoung,thenshemust bebotoxedtolookyoung.Ifnotbeautiful,thenshemusthavesilicone breasts,beaidedbyplasticsurgery,wigs,makeupandneverevera wrinkleonherprettyface. RikkeSchubart Schubartsobservationhighlightsthedifferencebetweenthefemaleandthe
27
ThemoviesthatIdiscussinthischapterareonesthatexploitfemale
DavidHogansBarbWire(1996),isconstructedaroundthecharacterBarbaraWire (PamelaAnderson).ThismovieisaninterestingcasebecauseBarbsobjectified appearancehasledtocompletedismissalbyfeministcritics(M.Edwards40).In themovie,shemarchesaroundwearingalmostnothingandrelyingonAndersons pornstarpersona.Themovie,however,attemptstocriticizetheviewingaudience forobjectifyingher.ThesecondmovieIwilldiscuss,ZachSnydersSuckerPunch (2011),isstructuredaroundfouryounggirlsactingouttheirfateinaninsane asylumandtwodifferentlevelsoftheimagination(inneitherofwhicharetheyvery wellclothed).ThecharacterBabyDoll(EmilyBrowning)imaginesthatsheisforced intobeingastripper/prostitute,countingdownthedayuntilsheisessentiallysold intosexualslavery.Bothmoviesrelyheavilyontheactressestheycastandtheir willingnesstoshowskin,butbothalsouseinterestingmechanismstocritiquethe veryfetishizationtheyengender.
28
Thesemoviesareinterestingasobjectsofanalysisbecauseofthese
women,whobecomeobjectsofthegaze(15).Becausethemanholdsthepowerof thegaze,thewomanisobjectified.Sheispowerlessandhelplessandisthus subjugatedtotheman.MarkJancovichnotesthatThegazeisassociatedwith activityandcontrol,andwomenarethereforeeitherrefusedtheactivegazeor punishedforexercisingit(57).Forinstance,inBillyWildersclassicSunset Boulevard(1950),forgottenHollywoodsilentfilmlegendNormaDesmond(Gloria Swanson)controlstheprotagonistJoeGillis(WilliamHolden).Shespiesonhim, forceshimtostayinherhouse,andtriestomakehimfallinlovewithher.Atthe endofthefilm,whenGillismakesitclearthathewillnolongerliveunderher thumb,shetakesherrevolverandshootshim.Inthiscase,aswithmostfemme fatals,Desmondispunishedforherpower.Nomatterhowmuchinfluenceshe 29
30
31
ThemoviesopeningcreditsequencefeaturesBarbonatrapeze,bathedin
flashingbluelight,wearingatinyblackleatherdressandapairofstilettos.Atfirst, theaudienceisnotawarethatsheisinastripclub;justthatsheisdoingastrip teaseandbeingsprayedwithwater.Aboutoneminuteintothedance,weseethe audienceforthefirsttime.Thescenecomestowhattheaudiencemightassume wouldbethenaturalendingpoint,butthedancecontinues.Asthefilmsaudience becomesmoreandmoreawareofthecompanywithwhomtheyarebeingforcedto identify(themeninthestripclub),thepotentialfordiscomfortincreases.Themen sprayingBarbwiththewaterarewearingponchos,whichgivetheappearanceof giantprophylactics,constitutinggiantsquirtingphalluses.Afteranuncomfortable fourminutes,Barbreachesdown,removesoneofherheels,andshieldshereyes fromthelightstoseeamanwhoiscatcallingher.Whenthemusicends,she throwshershoeandhitsthemanbetweentheeyes.Shethensaysinvoiceover,If onemorepersoncallsmebabe Thesceneisstraightforwardintermsofstyleandidentification.Thefirst
32
33
Infact,thereisonlyonetimeinwhichBarbdemonstratesunchecked
femininity.AxelappearsinBarbsbarlookingforhelp.Whenheapproachesher, Barbreactsviolently,punchinghimandreferringtosomethingthathappenedin Seattle.Later,abouthalfwaythroughthemovie,theaudienceistreatedtoa flashbackthatexplainswhyBarbissoangry.Sheisstandingonthetreadofa helicopter,readytoescapeawarzone.Themanstandingbehindhertellsherthat theyhavetogo,andBarbrepliessimply,No,hellbehere.Anothersoldier appearsoutofthesmokeandtellsBarbthatthemansheiswaitingforwillnotbe coming,andthehelicoptertakesoffandfliestosafety.Thesceneseemsextremely passiveforthecharacterandessentiallyunderminesBarbbymakingheravictim. Inanyotherpartofthemovie,shewouldhaveusedviolencetotakecontrolofthe situation.WhileonecouldarguethatthesceneisaflashbackinwhichBarbisa lesserversionofthewomanpresentedinthefilmpresent,itrunscontrarytothe essenceofhercharacterbyestablishingthatBarbsmotivationisherscornovera man.Sheisnolongersexuallyoremotionallyindependent. Themovieneverdoesanythingtocorrectthisrelationship.Barbisnever
34
Inthefinalscene,thelastthingAxeldoesduringhisandBarbsgoodbyeisto
objectifyBarb.Hoganprovidestheaudiencewithaseriesofrepulsivemalefigures withwhomtheyaretoidentifyforverybriefperiodsoftime.Theconflictbetween identifyingwiththosewhogazeonBarbandidentifyingandsympathizingwith Barbsimultaneouslycreatesatensionthatpunishestheviewer.Themovie, however,ultimatelyfailsbecausethismechanismisnullifiedbyherrelationship withAxel.Inmanyfilmsthatfeatureactionherowomen,thechallengesshe presentsareminimized(tosomeextent)byeitherdesexualizinghertounderplay herfemininityorbycontainingthatsexualityanddomesticatingher/itina traditionalheterosexual,maternal,and/orfatherdaughterrelationship(M. Edwards41).Inthiscase,thechallengesareminimizedbecausesheisactingfor Axel.Itisalsoimportanttonotethat,whilethemovietriestoportrayBarbas powerfulbecauseofhersexuality,sheisinfact,subjugatedbyitthroughher relationshipwithAxel.Thus,eventhoughthemoviefallsshortofitsgoals,itisable toraiseaninterestingquestion:Arethesesexualizedandobjectifiedwomen
35
ratingofonly22%(RottenTomatoes).OnereviewerstatedthatZackSnyders SuckerPunchunfoldslikeavideogameaddledadolescentboyswetdream wrappedinpseudofeministfitsofgirlpower(Kendrick,SuckerPunch);another saidasisoftenpointedout,simplygivingfemalecharactersweaponsandfishnets andthensendingthemonamissiontoblowupsomebadguysdoesnotexactly createempoweredandselfactualizedfemalecharacters(Walber).Itisclearfrom itsreceptionthatratherthanempoweringwomen,themoviemakesamockeryof progressivefilmmaking.Whileclever,Snydersdeviceforcreatingthemetaphorof sexasviolencefailsbecauseitisweakatitscore.Ratherthanempoweringthem, SuckerPunchfurtherobjectifiesitsfemalecharacters. 36
Themovieopenswitha10minutedialoguelesssequencethatrevealsthe
catalystfortherestofthefilm.BabyDoll(EmilyBrowning)accidentlykillsher youngersisterwhoisabouttoberapedbytheirstepfather(GerardPlunkett).He thenhasBabyDollcommittedtoaninsaneasylumbyclaimingthatshehasgone crazyafterthedeathofhermother(thushurtingherdaughter).Hepaysoffan orderlytoforgesomepapersandhaveherlobotomizedinaweek.Thisisthe conflictfortherestofthemovie,anditpresentsthefirstproblemwithinthemovies ideology.Snyderproposestoempowerwomenbyequatingsexualitywithviolence. Whilethemotivationofthecrimeisgreed(thestepfatherhasbeenleftoutofhis deadwifeswill),thenatureofthecrimebeingcommittedissexual.Then,when BabyDolltriestouseviolencetoovercomeherenemy,sheispunished.Thefirst timeawomanssexualityiscalledintoquestion,BabyDollandhersisterare punished.Theconflictofthemovieisaconsequenceofherattractivenessandher useofviolence. Onceintheinsaneasylum,BabyDollentersanimaginaryworldwhereshe
37
BabyDollspowercomesfromherbeinggazedupon.Generally,thelooker maintainspoweroverthesituationbecauseheknowswhatishappeningandthe onebeinglookeduponisunaware.Inthiscase,themenwholookuponBabyDoll aremesmerizedandoblivioustotheirsituation.Thisis,however,contradictedby theactualactthatBabyDollmustperform.Becauseofherpower,BabyDoll becomesBluesfavoritegirlandisboughtandsoldashepleases.Thisis emphasizedbyhername.Babyreferstoherinfantlikestateandthefactthatshe hasnopoweroverhersituationandnoabilitytomakedecisionsregardingherown wellbeing.EvenmoredebilitatingisthewordDoll.Sheispresentedasalifeless massthatshouldbeusedtoamuseherowner.Herpowerovermenliterally objectifiesher(evenmorethantherestofthegirls).Snydermayalsobealludingto EliaKazansfilmBabyDoll(1956),inwhichthetitlecharacter,ateenagegirlwhois wedtoasleazyoldermanwhopromisestowaituntilher20thbirthdaybefore havingsexwithher.Bothcharactersareoverdeterminedfemaleobjectsofmale desire.
38
ThesecondissuewiththisdeviceisthatSnyderunderminesthegirlswithin
39
SnyderbringstheviolencebackintothebordellowhenBluekillsallofthegirls exceptBabyDollandSweetPea(AbbieCornish).BabyDollstabsBluewithastolen knife,andsheandSweetPeaproceedtoleavethehospital.Anissueariseswhen theygetoutofthehospitalandthereisagroupofmenwaitinginthecourtyard.In ordertosaveSweetPea,BabyDollsubmitsherselftothemenasadistraction. UltimatelythismeansthatBabyDolldoesnotescapeandisinsteadlobotomized. LikeClarissainthepreviousexample,BabyDollbecomesanemptyvessel.The audience,andthosewithinthestory,makeherintosomethingtheycanown. Essentially,BabyDollsviolentactsofrebellionculminateinallofherpowerbeing takenawayfromher.Theempoweredwomaninthefilmispunishedforabusing thegazeandusurpingmasculinepowerinthenameoffemininity. DanielWalbernotesthiswholemethodofportrayingwomenasstrong,
violentandbadasssuperherotypesisproblematicatitscore,anditcompletelytrips upanypositiverepresentationSuckerPunchmighthavegivenus(Walber).Thus,
40
isaperceivedgenderbinarywherecertaintraitsaremaleandothersarefemale. Thus,withinthisstrictbinarycodetheactionheroine,whofightsandkillsonapar withthemen,confusestheboundariesandisseenbysomecriticsasagender transvestite(Brown,GenderandtheActionHeroine53).Thewomeninsuch filmsarespecificallycodedfemale,andthuscomewithaseriesofexpectations. Violatingtheseexpectationshasthepotentialtomakethemaleviewer uncomfortable.Inordertomaintainaudienceenjoyment,filmmakersmustsubvert anysenseofcastrationanxietyoranyotherpotentialdiscomfort.CarolM.Dole notesthatfilmscandeflectdiscomfortbysubvertingthecharacterspower(87). Thiscanbedoneinmanydifferentways(physically,sexually,etc),butoneofthe mostprolificisbyfeminizingthewomanthroughherfamilyties.
42
Thischapterdiscussestwoarchetypes,whichRikkeSchubartdefinesasthe
motherarchetypeandthedaughterarchetype(Schubart).Byreconstructingviolent womenwithinthecontextoftheirfemininerelationshipswithothercharacters(i.e., mother,daughter,wife,etc)thefilmmakerdefusesanythreattheymayholdover theaudiencebyfeminizingthem.Iwilldiscusstwocharacterswhofallunderthe motherarchetype:Ripley(SigourneyWeaver)fromtheAlienseriesandSarah Connor(LindaHamilton)fromTheTerminator(1984)andTerminator2:Judgment Day(1991).Theybothserveasprimeexamplesofextraordinarilyviolentwomen whosemotivationisframedbytheirmaternalcharacteristics.Iwillalsodiscuss Nikita(AnneParillaud)fromLucBessonsLaFemmeNikita(1990)andHitGirl (ChloMoretz)fromMatthewVaughnsKickAss(2010),astheyaregoodexamples ofhowdaughterlynesscanundercutacharacterssenseofagency.Withinmy discussionofeacharchetypeIwillalsoaddressamovieinwhichtherelationshipis biologicalandoneinwhichtherelationshipissymbolic.Inbothcases,the archetypefunctionsinmuchthesameway. Thesecharacterslackofagencyisconsideredtobeanissuebymany
43
CaptainDallas,Kane(JohnHurt),andLambert.Theyfindanalienspaceshipwitha largemummifiedalienbodyonboard.Astheydigfurtherintothedepthsofthe craft,theyfindaroomfullofhundredsofsmallpods.Kane,whoissenttocheckout thehulloftheship,leansovertocheckoutoneofthepods.Atthispoint,thepod opensandejectsasmallcreaturethroughhishelmet.Thisfacegrabberisthefirst introductiontotheconflictofthemovie.Kaneisrushedbacktothelandingcraft wherethelandingpartymeetsresistancefromRipley,whowillnotopentheairlock untila24hourquarantineisover.Ash(IanHolm),thescienceofficer,opensthe hatch,directlydisobeyingRipleyandthelaw. Whenthefacegrabber,whichhasproventobeimpossibletopulloffKane,
45
46
distinctabsenceoffemalegendertraitsineitherofthefemalecharacters.They workintraditionallymalejobs(sailors,truckers,explorerswhoventurepastthe finalfrontier)andbehaveliketheirmalecounterparts.Dohertynotesthatthe genericreversalofthespacebimbomotifinthepersonofRipley,thethen unfamiliarSigourneyWeaver,wasthemostaudaciousnarrativetwistinAlien:in thisfutureworld,thenaturalorderofthingsreallywasupsidedown(194).Dallas, thequintessentialheroicscifiprotagonist,isdefinitelyselfconfident,eventhough heconsistentlymakesthewrongdecisions.Meanwhile,Ripleyiskeenlyawareof thedangerthecrewfacesandisignoredateveryturn.WhenDallasiskilled,she takeschargeofthecrew,picksupheroversizedphallicweapon,andultimately dispatcheshermonster.Fromthenon,sheis,essentially,male. Feministcriticismofthismoviehasbeenstrong.Manycriticsbelievethat
47
character,motherhoodisanoverridingmotifwithinthefilm.Throughoutthemovie therearereferencestomotherhoodandbirth.Thealienburstsforthinabloody messfromKaneschest.Thisact,inaveryelementarymanner,represents childbirth,andwhenoneconsidersthehorrificnatureofthebirth,itisobviously portrayedasanightmare.Later,Ripleyendearsherselftothecatdespitebeingin mortaldanger,andSchubartnotesthatthealienspaceshipwhichDallas,Lamber, andKanefindonLV426wasdesignedorganicallyintheformofahorseshoewith twoprotrudinglegsbetweenwhichwerevaginashapedopenings(Schubart171). Thesesymbolsofmotherhoodobscuretheobviousabsenceoffemaletraitswithin thecharacters.MotherhoodservesasacontrasttothemasculineRipley.Whenshe compromiseshermaletraitsandembracesmotherhooditchangesthewayher characterisperceived.Becausemenarediscomfortedwhenwomentakeonroles thatarenottraditionallytheirs(i.e.,pickingupbigguns),theymustbecontained. BymetaphoricallymakingRipleyamotherthatfeariscontained.Mothersare allowedtodefendtheiryoung;RipleyisallowedtodefendJonsie.Hermotherliness thuscompromiseshermasculinity. TheMotherArchetype:Terminator2 SarahConnorisperhapsthemostruggedandmotherlycharacterinaction
48
AsdiscussedinChapter2,Sarahisconsistentlymasculinized.Inherroomin
figure.Inavoiceover,Sarahsays: WatchingJohnwiththemachine,itwassuddenlysoclear.The Terminatorwouldneverstop.Itwouldneverleavehim.Anditwould neverhurthim.Nevershoutathim,orgetdrunkandhithim,orsayit wastoobusytospendtimewithhim.Itwouldalwaysbethere.Andit woulddietoprotecthim.Ofallthewouldbefathersthatcameand wentthroughtheyears,thisthing,thismachinewastheonlyonewho measuredup.Inaninsaneworld,itwasthesanestchoice. DespiteSarahshatredforthemachines,sherealizestheirpotential.The Terminatoristhere,inessence,toserveJohn.Thiscrystallizesthefranchises 1Thisscenewasnotintheoriginaltheatricalversionofthefilm.Itwas releasedintheDirectorsCut. 49
definitionofparenthood.Themachinemechanicallylooksaftertheboysinterests withoutanyregardforitsown.Again,thisfatherfiguremotivatesSarah.Although she,John,andthemachinecouldwaitouttheimpendingwarinMexicoandprepare Johnforhisdestinyaspostapocalypticleaderofthehumanresistance,shedecides shewantsmoreforhim,evenatherownexpense.LikeKyle,sheiswillingtogive herlifethathersonmaylivehis.Thisinstinctleadshertojumpbackintothefray andtrytokillthemanwhowouldultimatelybuildSkynet.Attheendofthemovie, theTerminatorcarriesoutthesametaskwhenhedestroyshimselftoadjustJohns fateonceandforall(orsotheybelieveuntilTerminator3,4andtheTVseries). UnlikeRipley,Sarahiskeenlyawareofhermotherhoodandacknowledgesit
inmanyplaces.SherevealsthatherfurywithSkynethasitsrootsinmotherhood whenshesaystoDyson,Youthinkyouresocreative.Youdontknowwhatitslike toreallycreatesomething.Tocreatealife.Tofeelitgrowinginsideyou.Allyou knowisdeathanddestruction.Ratherthanbeingbornandraisedinlove,Skynet wouldbebuiltandeventuallyachieveconsciousnessasaweapon.Sarahis motivatedbyherloveforhersonandthehumanrace(hermetaphoricalchild).She is,withoutquestion,aviolentwoman,butHollywoodgenerallyundercut(s)its armedwomenwithnarrativedevicesthatreducetheheroespower(Dole80). Thisissuehasbeenrepeatedlyreintroducedthroughoutthisgenre.CouldSarahbe aviableandprofitablecharacterwithouthermotherhood?Whilemanyfeminists mayarguethatviolenceispatriarchalandoppressive,theyoftenenjoywatching womenactviolentlyagainsttheirmaleoppressors(McCaugheyandKing2).The factthatSarahischaracterizedasamotherisnotnecessarilyregressive.
50
Themotherarchetypeisausefultoolwhenestablishingastrongfemalerole
model.Anoverlysimplisticandpopularanalysisisthatrelegatingthesewomen intotraditionallyfemininerolesisantifeminist.Ifapersonwhoiscodedfemale cannotactviolentlywithoutbeingcharacterizedasafemale,howcoulditpossibly beprogressive?Inthebigpicture,ratherthanbeingthefeministnightmare,Ripley andSarahscharactersembodyCloverspermeablemembrane(Clover,HerBody, Himself208).Thefactthatthesephallicwomentakeontraitsthatareboth masculineandfemininechallengestheideathatmasculineandfemininetraits shouldbeclassifiedasfundamentallyoppositional.DionFarquharputsitinthese terms:thereisarangeofstrategicresponsestosubjectionsincludingthe multiplicationofresistances,thescramblingofmastercodes,andthenurturingof newandhybridforms(Farquhar213).Thesehybridformsareaprogressiveway tolookatgenderstereotypes.Thesecharacters,whichembodybothmaleand femaletraits,disassociatethesetraitsfromgender.Thesewomenare,ideologically, withoutgenderandsoarethetraitsassociatedwiththem. Themotherarchetypeis,aboveall,untamable.Thesewomenalwaysact
TheDaughterArchetype:LaFemmeNikita Thedaughterarchetypeismuchlikethemotherarchetype.Eachisbasedon
LaFemmeNikitaopenswithadrugstorerobberygonebad.Aneuroticand
52
waysheis?Thisimpliesthatthereissomethingwrongwithher;somethingnot feminine.Forinstance,Nikitaisaviolentcriminal.Theeducationphaseseeksto controland/oreradicatethemasculineandreeducateher.Shemustlearnhowto bemorefeminine.Theentirefirsthalfofthemovieisdedicatedtothisact.Nikitais enrolledineverythingfromfirearmandhandtohandcombattrainingtocomputer classes.Whilethesemayseemlikemasculineendeavors,theybothfocusand controlherrawviolencefromthebeginningofthemovie.Atfirstshestruggles. Nikitarefusestocooperatewithanyofherinstructorsandgenerallyrunsamuck.It isnotuntilthemanagementthreatensherlifeandBobisforcedtogiveheran ultimatumthatNikitabeginstoshowsignificantprogress. Thesecondphaseofthedaughterarchetypeisthemasquerade.In1929,the
avoidseemingmasculineorencroachingonmasculineterritory.Atthebeginningof
53
thefilm,Nikitadoesnotrespecttheseboundaries.ThenshewalksintoAmandes (JeanneMoreau)office.AmandesroleistoteachNikitaabouthermasquerade. Nikitalearnshowtopickoutclothes,dohermakeupandhair,andtrickpeopleinto believingthatsheisalady.Amandesays,Smilewhenyoudontknowanything. Youwontbeanysmarter,butitsniceforthosewholookatyou.Thewomanis teachingNikitahowtomaskhermasculineself.Ratherthanlookinglikeakiller,it isimportantforNikitatocomeoffasaninnocentgirl.Amandeachievesthislookby physicallymaskingNikitasimperfectionsaswellasgivingherpersonalityaveneer thatappearssophisticatedandfragile(twothingswhichNikitaisnot). Thefinalthemeofthedaughterarchetypeisprostitution.Thenatureofthe
54
toitasthethirdself(Schubart216).Thefirstselfisthecharacteraswemeether, thesecondisthecharacterwithinhermasquerade,andthethirdselfisherpersonal self.ThesecondhalfofLaFemmeNikitashowstheactualizationofthatself.While NikitalivesinBobscompoundduringthefirsthalfofthemovie,herentireselfis basedonwhatBobwantshertobe.Thesecondhalfisspentoutsideofthetraining facility,whereNikitahasachancetodevelopapersonallife.Bothherfianc,Marco (JeanHuguesAnglade)andherapartment,representthisthirdself.Nikitatakesher educationandbecomesthepersonshewantstobe.Themasqueradeisalwaysin conflictwiththethirdself.Forinstance,Nikitastrugglesdesperatelytomaintain herrelationshipwithMarco,butfindsitimpossibleaslongassheisworkingforthe governmentagency.Nikitachoosestotakeherchancesonherown.Ratherthan stayunderherfatherfiguresthumb,sheescapeshercaptors(thepatriarchy)by leavingherlifeandeverythinginit,usingtheskillsthatshewastaughtinthe agency. Attheendofthemovies,thesecharactersareleftwithachoice:cutandrun,
TheDaughterArchetype:KickAss In2010,directorMatthewVaugnintroducedtheworldtoHitGirlinthe
movieKickAss.Thereinterpretationofapopulargraphicnovelisaboutahigh schoolageboywhodecidestobecomeasuperheronamedKickAss(Aaron Johnson).Hemeetsarealfatherdaughterteamofsuperheroes,oneofwhomis playedby11yearoldChloMoretz.Shebehavesinmanywaysonewouldnot expecttoseesuchayounggirl.Sheisakiller,trainedinmartialarts.Sheis proficientwithfirearms.Shealsodressesupinapurpleandblackjumpsuitand purplewiginordertofightcrimeonanightlybasis.Butwhatreallycatches audiencesattentionisherage.Indiscussingthemovie,RogerEbertbringsupan interestingpoint.Hestates,Amoviecameramakesarecordofwhateverisplaced infrontofit,andinthiscase,itshowsdeadlycarnagedishedoutbyan11yearold girl,afterwhichanadultmanbrutallyhammershertowithinaninchofherlife. Bloodeverywhere.Nowtellmeallaboutthecontext(Ebert).Moretzbringstothe screenanewwaytointerpretviolence.Heramazingabilities,herfoulmouth,and herrelationshipwithherfatherallcomplicateanypreviousunderstandingsof genderinactionheroines. ThefirsttimeHitGirlisintroduced,herroleasdaughterisalreadythefocus.
56
selectedbyherfathersimplybecauseoftheirpreexistingrelationship.Atthe openingofthemovie,sheisalreadythoroughlyintohereducationphase. Immediatelyaftertheshooting,Mindyandherfathergotothebowlingalleyto celebrateheroutstandingperformance.Mindyrevealsthatshewantsapuppyanda dollforherbirthday,andDamonisvisiblydistraught.Muchtohisrelief,sheisonly jokingwithhim,andoffersherrealdesire:aBenchmadeModel42butterflyknife. Thedynamicrevealedherecontradictstheclassicdaughterarchetype.Ratherthan beingtaughthowtobemorefeminine,BigDaddyhasreeducatedhisdaughterinto aclassicallyhypermasculinestate.HitGirlisnotpunishedforencroachingon masculineterritory;sheiscelebrated. Thisparodyrepresentsthepostmodernphaseofthedaughterarchetype.At
57
her.Ratherthanresortingtofemininitywhenencroachingonmasculineterritory, HitGirlresortstooverthetopviolenceandprofanityinordertosquelchanysortof femininity.WheneverKickAsstreatsHitGirlaccordingtoherageorgender,she respondswithabitingremark.Whentheguncrazybellhoptriestohelpthe helplesslittlegirlfindhermommy,shesticksasilencedpistolinhismouthand shootssomebodyelsethroughhischeek.Theintentionhereistocriticizethe tendencyformentofeminize,sexualize,andcondescendtowomen.HitGirlsage andhergenderworkintandeminjuxtapositiontoherviolence.Becausesheis11 yearsold,wedonotexpecthertoactviolently,andbecausesheisalittlegirl,wedo notexpecthertoactmasculine.Everycharacterwhofeminizes,sexualizes,or condescendstowardheristreatedtoapunishmentrangingfromthecwordtoa bullettothehead(withtheexceptionofherfather). Inanarticlediscussingtherecentwaveofpetitekillerwomeninpopular
relationshipisextremelycomplex.Thefatherdaughterrelationshipisboth charmingandshocking:Theirbondisbasedonlove,yettheendresultofall Damonsteaching,planningandplottingissupremelybrutal(Wallace).Damons loveforhisdaughterisleftwithoutanyquestion,buthisintentionstowardherare suspect.HishatredfortheevilFrankDAmico(MarkStrong)issoobsessivethat Damoniswillingtoputhisdaughterslifeonthelineinordertokillhim.AndHit Girldoesitwillingly.Damonpaysherwithelaboratepresents,hotchocolate,and compliments,andMindygivesupherchildhoodandrisksherlife.Infact,Mindyis sodedicatedtoherfatherthatattheconclusionofthemovieshecommitstothe suicidalactofstormingtheDAmicopenthouse.Andtomakemattersworse,she putsherfaithinthehandsoftheineptKickAss. Ineverycaseinwhichthedaughterarchetypeisdeployed,thedaughter
59
ThoughMindyneverrefusesherfatherswill,attheendofthemovieshe
61
proliferationandwidespreadacceptancewhilecriticscontinuetosuggestthatthese moviesareregressive?Onepossibilityisthatthesemoviesaremadebecause audienceslikethem,andfilmmakersrespondtotheirsuccessbycreatingmorefilms inthesamevein.GenretheoristThomasSchatzobserves: Thereisasense,then,inwhichafilmgenreisbothastaticand dynamicsystem.Ontheonehand,itisafamiliarformulaof interrelatednarrativeandcinematiccomponentsthatservesto continuallyreexaminesomebasicculturalconflictOntheother hand,changesinculturalattitudes,newinfluentialgenrefilms,the economicsoftheindustry,andsoforth,continuallyrefineanyfilm genre.(691) Schatzsobservationrecognizesthefactthatmoviesreflectourculture,and cultureischangedbythemovies.Inthissamevein,Woodstates,agenres evolutionisstronglyinfluencedbyculturalpoliticalevolutionatleastas muchasbythegenresinternalevolution(xiii).Afilmgenre,orinthiscase subgenre,continuallyrefinesitself.Moviesareaffectedbyeconomicand culturalfactors,aswellthemoviesthatprecedethem.Inresponsetothe culturalimpactthatthesefilmshaveandthevastandquicklygrowinglibrary
63
perfectheroines,thefilmsredeemingfactoristhattheyareaboutescaping, howeverfantastically,theagonizingconstraintsofgender,class,time,andplace 64
some.Theyviolatemanyofoursocietysestablishednorms.But,thisis,broadly speaking,whatfeministcultureseeks.Byattributingmasculinetraitstothese charactersandthenfeminizingthem,filmmakersare,ineffect,feminizing,oratleast neutralizing,thosetraits.Forinstance,whenHitGirlusesthewordcunt,critics argueditwasdistastefulanddisgusting.Infact,shewas,inaway,criticizingthe patriarchaluseofbadlanguage.Thiswordhastakenonatabooequaltomany racialslurs.CatharineMacKinnonsaysthatthiswordreduceswomentoabody part(MacKinnon199),thusreflectingwhatmenthinkofwomen.Theyaregood onlyforsex.HitGirl,an11yearold,usesthewordcomicallyagainstmen.When shesaysitsheisinnowayasexualobject,nordoesheruseofthewordsexualize meninanyway.Shedeploysthewordinanefforttoneutralizeit.Likethegenre triestodowithviolence,HitGirltakessomethingthatwouldnormallybedirected towardherbythepatriarchyandthrowsitrightbackatthem. Inthiscase,asinmanyothers,thecharacterisdeployedasatool.Theyoung
arecriticizedwithouttakingintoaccounttheeffectofthatcharacter.Inmanycases,
65
66
Thesewomenoftenchallengetheideaoffemaletraits.Ifafilmmakercan
70
ofthegirlswithgunssubgenre.Whilethemoviesonthislistareallimportant,this doesnotrepresenttheentirecollectionofgirlswithgunsmovies: DawnoftheDead(1978)GeorgeA.Romero Aliens(1979)RidleyScott Mrs.45(1981)AbelFerrara DayoftheDead(1984)GeorgeA.Romero TheTerminator(1984)JamesCameron Aliens(1986)JamesCameron BlueSteel(1989)KathrynBigelow LicensetoKill(1989)JohnGlen LaFemmeNikita(1989)LucBesson NightoftheLivingDead(1990)TomSavini TheSilenceoftheLambs(19(1991)JonathanDemme Terminator2:JudgmentDay(1991)JamesCameron ThelmaandLouise(1991)RidleyScott Alien3(1992)DavidFincher GunCrazy(1992)TamraDavis LethalWeaponIII(1992)RichardDonner TheRiverWild(1994)CurtisHanson Copycat(1995)JonAmiel TheQuickandtheDead(1995)SamRaimi TankGirl(1995)RachelTalalay BarbWire(1996)DavidHogan CourageUnderFire(1996)EdwardZwick Fargo(1996)TheCoenBrothers TheLongKissGoodnight(1996)RennyHarlin G.I.Jane(1997)RidleyScott TheMatrix(1999)TheWachowskiBrothers CharliesAngels(2000)McG TombRaider(2001)SimonWest ResidentEvil(2002)PaulW.S.Anderson KillBill(2003)QuentinTarantino TombRaiderCradleofLife(2003)JandeBont Underworld(2003)LenWiseman 71
TheMatrixReloaded(2003)TheWachowskiBrothers TheMatrixRevolutions(2003)TheWachowskiBrothers Terminator3:RiseoftheMachines(2003)JonathanMostow Blade:Trinity(2004)DavidS.Goyer DawnoftheDead(2004)ZackSnyder ResidentEvil:Apocalypse(2004)AlexanderWitt AeonFlux(2005)KarynKusama Mr.andMrs.Smith(2005)DougLiman Serenity(2005)JossWhedon UnderworldEvolution(2006)LenWiseman TheBraveOne(2007)NeilJordan TheKingdom(2007)PeterBerg PlanetTerror(2007)RobertRodriguez ResidentEvil:Extinction(2007)RussellMulcahy WallE(2008)AndrewStanton TerminatorSalvation(2009)McG WhiteOut(2009)DominicSena KnightandDay(2010)JamesMangold ResidentEvil:Afterlife(2010) SuckerPunch(2010)ZackSnyder KickAss(2010)MatthewVaughn Hanna(2011)JoeWright
72
BIBLIOGRAPHY Box Office Mojo. Web. 14 Mar. 2011. Bronfen, Elisabeth. Over her dead body: death, femininity and the aesthetic. Manchester University Press, 1992. Print. Brown, Jeffrey A. Gender and the Action Heroine: Hardbodies and the Point of No Return. Cinema Journal 35.3 (1996): 5271. Web. 19 Apr. 2011. ---. If Looks Could Kill: Power, Revenge, and Stripper Movies. Reel Knockouts: Violent Women in the Movies. 1st ed. Austin: University of, 2001. Print. Clover, Carol J. Her Body, Himself: Gender in the Slasher Film. Representations 20 (1987): 187228. Print. ---. Men, Women, and Chain Saws: Gender in the Modern Horror Film. Princeton University Press, 1993. Print. Cohen, Patricia. Freud Is Widely Taught at Universities, Except in the Psychology Department. The New York Times 25 Nov. 2007. Web. 28 Feb. 2011. Crews, Frederick. The Unknown Freud. The New York Review of Books (1993): 5567. Print. Curtis, Adam. The Engineering of Consent. Vol. 2. 4 vols. London, England: British Broadcasting Corperation: BBC, 2002. Film. The Century of the Self. Doherty, Thomas. Genre, Gender, and the Aliens Trilogy. The Dread of Difference: Gender and the Horror Film. Vol. 5. Austin, TX: University of Texas Press, 1996. 181199. Print. Dole, Carol M. The Gun and the Badge: Hollywood and the Female Lawman. Reel Knockouts: Violent Women in the Movies. 1st ed. Austin, TX: University of Texas Press, 2001. 78-105. Print. Douglas, Susan Jeanne. Where the girls are: growing up female with the mass media. Random House Digital, Inc., 1995. Print. Ebert, Roger. Kick-Ass. Chicago Sun-Times 14 Apr. 2010. Web. 2 Sept. 2011. Edwards, Kim. DEFYING ANDROGYNY AND BENDING GENDER: THE MATRIX. Screen Education 50 (2008): 117122. Print. 73
Edwards, Marlo. The Blonde with the Guns. Journal of Popular Film & Television 32.1 (2004): 3947. Print. Falkof, Nicky. Hard Bodies and Sidelong Looks: Spectacle and Fetish in 1980s Action Cinema. Excursions 1.1 (2010): 1735. Print. Farquhar, Dion. (M)other Discourses. The Gendered Cyborg: A Reader. New York, NY: Routledge in association with The Open University, 2000. Print. Hale, Mike. She Walks in Beauty, and Brings Along a Bazooka. The New York Times 25 Aug. 2011. Web. 16 Sept. 2011. Haskell, Molly. From Reverence to Rape: The Treatment of Women in the Movies. 1st ed. University Of Chicago Press, 1987. Print. Hollywood Censored: The Production Code. Culture Shock: The TV Series and Beyond. Web. 9 Oct. 2011. Jancovich, Mark. Horror, The Film Reader. 7th ed. New York, NY, USA: Routledge, 2001. Print. Janusonis, Michael. A Role with Muscle for Linda Hamilton. The Providence Journal (1991): E-05. Print. Kaplan, E. Ann. Women & Film. New edition. Routledge, 1990. Print. Kendrick, James. Hollywood Bloodshed: Violence in 1980s American Cinema. 1st ed. Carbondale: Southern Illinoise University Press, 2009. Print. ---. Sucker Punch. QNetwork Entertainment Portal. Movie Review. 31 Mar. 2011. Web. 31 Mar. 2011. Lauzirika, Charles de. The Beast Within: The Making of Alien. 2003. Film. Lipsitz, Raina. Thelma & Louise: The Last Great Film About Women. The Atlantic. 31 Aug. 2011. Web. 16 Sept. 2011. MacKinnon, Catherine A. Feminism Unmodified: Discourses on Life and Law. Harvard University Press, 1988. Print. Maslin, Janet. Nikita (1990): A Bad Girl Who Turns into a True Femme Fatale. The New York Times 8 Mar. 1991 : n. pag. Print. ---. Terminator 2: Judgment Day - Review/Film; In New Terminator, The Forces of Good Seek Peace, Violently. The New York Times 3 July 1991. Web. 3 Feb. 2011.
74
Mayne, Judith. Feminist Film Theory and Criticism. Signs 11.1 (1985): 81-100. Print. McCaughey, Martha, and Neal King. Reel Knockouts: Violent Women in the Movies. 1st ed. Austin TX: University of Texas Press, 2001. Print. Mulvey, Laura. Visual Pleasure and Narrative Cinema. Film Theory and Criticism. 6th ed. New York: Oxford University Press, 2004. 837848. Print. Oreck, Josh. Return to Source: Philosophy & The Matrix. Warner Bros. Entertainment, 2004. DVD. Polansky, Carrie. Girls and Guns: Understanding the Gender Politics of Kick-Ass. Gender Across Borders. Blog. 20 Apr. 2010. Web. 22 Nov. 2010. Porter, Lawrence M. The Interpretation of Dreams: Freuds Theories Revisited. 1st ed. Twayne Publishers, 1987. Print. Redmond, Jonathan, and Michael Shulman. Access To Psychoanalytic Ideas in American Undergraduate Institutions. Journal of the American Psychoanalytic Association 56.2 (2008): 391408. Web. 28 Feb. 2011. Rennett, Michael. A Tribute to Dede Allen. Art/Cinema/Life: An Academic Film & Media Blog. 20 Apr. 2010. Web. 4 Oct. 2011. Ricapito, Maria. The New Power of Petite Women. The New York Times 25 June 2010. Web. 22 Nov. 2010. Riviere, Joan. Womanliness as a Masquerade. Formation of Fantasy. London,: Methuen, 1986. 37. Print. Schatz, Thomas. Film Genre and the Genre Film. Film Theory and Criticism. 6th ed. New York: Oxford University Press, 2004. 691702. Print. Schubart, Rikke. Super Bitches and Action Babes: The Female Hero in Popular Cinema, 19702006. Jefferson, NC: McFarland & Company, 2007. Print. Sucker Punch Movie Reviews. Rotten Tomatoes. Web. 20 Apr. 2011. Tasker, Yvonne. Spectacular Bodies: Gender, Genre and the Action Cinema. 1st ed. Routledge, 1993. Print. ---. Working Girls: Gender and Sexuality in Popular Cinema. New York, NY: Routledge, 1998. Print.
75
Vares, Tiina. Action Heroines and Female Viewers: What Women Have to Say. Reel Knockouts: Violent Women in the Movies. 1st ed. Austin, TX: University of Texas Press, 2001. 219243. Print. Walber, Daniel. Sucker Punch: The Failed Feminism of Zack Snyder. Spout. Blog Network. 25 Mar. 2011. Web. 1 Apr. 2011. Wallace, Lewis. Hit Girls Revenge: The Kick-Ass Kids Are All Right. Wired 16 Apr. 2010. Web. 3 Feb. 2011. Westen, Drew. The Scientific Status of Unconscious Processes: Is Freud Really Dead? Journal of the American Psychoanalytic Association 47.4 (1999): 10611106. Web. 28 Feb. 2011. Willis, Sharon. High Contrast: Race and Gender in Contemporary Hollywood Films. Duke University Press Books, 1997. Print. Wood, Robin. Horror Film and Psychoanalysis: Freuds Worst Nightmare. Reissue. Ed. Steven Jay Schneider. Cambridge University Press, 2009. Print.
76