Battle Royale – Bitch Flicks

Dystopias: The Roundup

Check out all of the posts from our Dystopias Theme Week here.

Terminator Genisys: Not My Sarah Connor by Liz LaBrocca

Sarah meets Reese (Jai Courtney) knowing that she will need to have sex with this man, regardless of how she feels, to save the human race. It’s an awkward problem that’s dealt with in Schwarzenegger one-liners about mating and a weak attempt at a narrative theme of free will versus destiny.

Failed Revolutions in Imaginary Cities by Olga Tchepikova

How do you solve a problem like dystopian science fiction? It’s been around for about as long as the film industry and yet, politics and society still won’t stop producing warning signs for the decay of humanity, providing directors, writers, and “artists” with almost inexhaustible opportunities for critiquing the current state of the world community, or showing what the present state of things might turn into if not handled consciously and carefully.

Killing Time: The Luxury of Denial in Dawn of the Dead by Jennifer Krukowski

While the men are shopping, Francine is left alone to fend off a zombie with no means of self-defence. As she attempts to escape onto the roof, the others return to save her from the zombie and bring her back inside. She is dismayed to realize that they intend to stay there indefinitely. While the men enthusiastically describe the mall as a “kingdom” and a “goldmine,” Francine describes it as a “prison.”

Advantageous: Feminist Science Fiction At Its Best by Holly Derr

Though this happens in a future in which cosmetic surgery has become much more than a matter of lift and tuck, Koh’s struggle with whether and how to change her body for the sake of her daughter and her career, combined with the behind-the-scenes machinations of the corporation, casts a complicated light on the present struggles of women trying to succeed in both career and motherhood while facing the social pressure to stay young and be perfect.

Death and Dating: Love, Hope, and Millenials in Warm Bodies by Emily Katseanes

R and Julie have opted out of the capitalist conveyor belt that turns humans into braindead zombies and or war-mongering huddled masses. While it could also be read as a fundamental laziness to even stand up for themselves, the two succeed by not fighting.

Learn from the Future: Battle Royale by Belle Artiquez

Can a Dystopian Society Be Redeemed? Lessons from Mad Max: Fury Road by Gabrielle Amato

And, although The Citadel is ruled by powerful men with disabilities, we understand it to be a fundamentally ableist society. Immortan Joe is questing for a “perfect” son and has clearly chosen The Wives for their beautiful, unblemished, able bodies in an attempt to breed one. We understand that this is a patriarchy in its most extreme form where women have no personhood at all.

Advantageous: The Future Is Now by Leigh Kolb

“Are women really going backwards going forward?”

Mockingjay — Part One: On YA Dystopias, Trauma, and the Smokescreen of the “Serious Movie” by Charlotte Orzel

Though we get a sense of District Thirteen’s manipulations in the novel, Katniss savvily negotiates with them, resists their orders, and remains distrustful of their motivations, in contrast to her comparatively slight unease in the film. While these changes leave most of the major plot elements intact, they undermine our sense of Katniss as an intelligent political actor who is connected to and moved by the revolution itself, rather than just her personal stake in the events.

Reflecting on True Detective‘s First Season by Lisa Shininger

But, at the end of the day—at the end of a lot of days—I’m tired of watching these shows and seeing women as props and symbols used to push the hero along his way. I’m tired of watching these shows and seeing the massive chasms between what they present, what they claim to represent, and what their fans insist they represent.

The Margins of Dystopia: Darren Aronofsky’s Noah by Rebecca Willoughby

It certainly isn’t a feminist world she lives in, but she does her level best to undermine her husband in an enclosed space. As Noah himself veers away from his family tradition of life-supporting environmental husbandry, Naameh continues to practice what he (used to) preach, preserving her daughter-in-law, the animals, and the land once they find it again.

The Burden of Carrying On: The Currency of Women in Dystopian Films by BJ Colangelo

I can’t keep count of the number of times the fact that women menstruate has been used as a reason to render us incapable of doing something. However, the fact women can have children (while cis-men cannot) is arguably our greatest power in a time of crisis.

When Skies Fall, Bodies Fail: Gender and Performativity on a Dystopian Earth by Sean Weaver

In rejecting Lexi, Anne perpetuates the false solidarity and universal acceptance Butler points out in the above passage. Anne sees Lexi as failing to perform the necessary gender of her body. Lexi is the very symbol of a failed body, the failed universal woman Anne has expected of her daughter.

Totally Radical Girls and the Bitchin’ Burden of Civilization by ThoughtPusher

I mean, she doesn’t wrap her arms around some guy’s waist to hold on for the ride of her life or even jump onto a Vespa or something weak. Nope, she’s a zombie-fightin’ shoulder-padded biker who escapes danger on her own and looks just as feathery-haired good when she gets to her destination as when she put down her attacker in the alley (although this was the early 80s while CFCs were being phased out, so big hair treated with a half-bottle of AquaNet always had some hold).

Dystopia Within Neon Genesis Evangelion by CG

What helps ‘Evangelion’ continue to grow its popularity is not the focus on religious or sci-fi elements, but its commitment to showcasing the fragility of humanity through its flawed and destructive characters tasked with saving the world and themselves. And how does the franchise show this? By literally placing the future of what’s left of the world in the hand of dysfunctional and emotionally fragile children.

Manic Pixie Revolutionary Awakenings by Julia Patt

Maria essentially makes Freder the chosen one—she inspires him to go underground and gives him his purpose when he awakens to the dystopian system in which he lives. Without her, the story does not proceed and the system continues unopposed.

Hell Is a Future We Make for Ourselves: The Many Dystopias of The 100 by Deborah Pless

As she has an older brother, her birth was unauthorized and when she was discovered she was sent directly to the SkyBox. And so on. While some of the crimes are legitimate, many are the result of children growing up in a totalitarian state. So clearly it’s going to be better here on the ground, right?

Ha!

The Hunger Games: Proving Dystopia Is the Best Young Adult Genre by Rowan Ellis

Dystopia, in its futuristic escapism and its contemporary relevance, is an ideal genre for the young adult demographic. By pushing the boundaries of disturbing content and reflecting on youthful idealism, dystopian narratives trust the YA consumer to be both literary in their consumption of the book or film, but also socially and morally insightful in their view of the imagined world they hold.

“You’re Not My Mother!” Bodies, Love, and Survival in Advantageous by Colleen Martell

In these moments, and in those unspoken moments when she savors placing long sweet kisses on Jules’s cheek, we see Gwen’s resistance. “Know your value,” Gwen tells Jules. It’s not found in good grades, not in getting into the best school, not in a newer and “better” body, but in sensory and emotional human pleasures.

The Making of a Caribbean-Canadian Sci-Fi: Brown Girl in the Ring by Amanda Parris

When speaking over the phone, Sharon’s enthusiasm for this pioneering adaptation of a Caribbean Canadian sci-fi novel emanates as though this was a fresh and newly discovered idea. In fact, Sharon has been working on creating this film for the past 15 years (while also establishing herself as a published playwright, writer, actor and award winning director) and although the journey has been long, she strongly believes that now is the perfect time to transition this well-nurtured idea into tangible reality.

Empowerment in the Imaginary Spaces of Zach Snyder’s Sucker Punch by Toni McIntyre

By creating her own worlds where she is a force to be reckoned with, Babydoll reclaims that very thing that was taken away from her by her stepfather and the hospital: her humanity.

Can a Dystopian Society Be Redeemed? Lessons from ‘Mad Max: Fury Road’

This guest post by Gabrielle Amato appears as part of our theme week on Dystopias.

Often, dystopia is about exposing where we’re going wrong and giving us a reason to course correct by showing us the worst case scenario of consequences. Human folly is a common undertone in dystopian fiction, especially sci-fi and horror, showing us an exaggerated form of the suffering we will have to endure if we cannot change. In Battle Royale, we see a world where the criminalization of youth has lead a society to fear its own children so much that middle-schoolers are forced to murder each other. In I Am Legend, a proud doctor informs the world that she has cured cancer using an engineered virus, but her hubris is our downfall. The virus kills 90 percent of the population and turns the other 10 percent into ravenous zombies. In Fahrenheit 451, rampant anti-intellectualism produces a world where books are illegal.

Mad Max: Fury Road is less about illustrating for us what consequences await if we don’t change our ways and more about what we must do once those consequences befall us. It’s about whether or not society can, as Furiosa hopes, be redeemed. Fury Road shows us a quick sketch of our situation: the world is a barren, wind-blasted desert; Immortan Joe controls the water and the people, using women to breed and feed an army of War Boys who maintain his grip on The Citadel by sacrificing their lives in battle. The driving plot of the movie is Furiosa and The Wives looking for a way out of this oppressive dystopia.

Although Fury Road does not show us how we arrived here, it does a very good job of identifying exactly who and what is wrong with society. Women are livestock, used for breeding and milking to maintain Immortan Joe’s army. With the exception of Furiosa and her honorable position as the driver of a massive war rig, the only place we see women in The Citadel is within Immortan Joe’s chambers, imprisoned there for his use. In the chase through the desert, The People Eater frequently refers to The Wives as “assets” to be protected.

The Wives have been specially chosen to breed a “perfect” son

When The Wives flee their chambers, they leave behind two explicit messages: “we are not things” and “our babies will not be warlords.” Immortan Joe’s patriarchy doesn’t only objectify and exploit women. Though only older boys are sent riding to war we see many War Pups, boys who haven’t reached puberty yet, some barely more than toddlers, in The Citadel.

Indoctrination starts early for boys in The Citadel

Though these War Pups are too small to drive and fight their faces are still painted like skulls, their little bodies pressed into the service of Immortan Joe. In The Citadel little boys do not enjoy a childhood. They have no experience and therefore no concept of compassion or kindness or human connection. The moment they are useful they are put to work and, more importantly, begin receiving the brainwashing that will eventually render them into fanatical War Boys willing to die at the whim of their leader. Women are livestock and boys are weapons.

It doesn’t matter how the world got this way, but it does matter who made it this way because those people are still in power. Who Killed The World? The implication is clear; it was the patriarchy. It was men like Immortan Joe, The People Eater, and The Bullet Farmer who even now continue the same destructive habits. Resources are tightly controlled by these men to satisfy their greed, and only doled out to others if it will serve the masters. Immortan Joe goes so far as to stage the ceremonial release of water down onto The Wretched just to display and revel in his own boundless power.

It’s a surprisingly explicit reference to the connection between power and abuse: Immortan Joe positions himself as a savior figure while at the same time turning the blame for the suffering of The Wretched back onto their own “addiction” to water. The systematic oppression of The Citadel is denied.

So what can Furiosa and The Wives do under these circumstances? Their first strategy is one most of us would choose. If the place where you live is terrible, you leave it behind. You try to find a new place, a green place. But escaping isn’t so easy. When Furiosa’s war rig breaks down and the fugitives realize that they are being pursued, Cheedo has a crisis of courage. She runs off across the sand toward the coming army, insisting, “We were his treasures. We were protected. He gave us a life of luxury, what’s wrong with that?” Cheedo has learned to survive as an object, and still believes that the best possible life she can hope for is one with the meager privileges of being chosen as the treasure of a powerful man. Although they are far from The Citadel, Cheedo has not left it yet. But it isn’t only Cheedo’s internalized oppression that conspires against these women. When Furiosa at last brings her companions to a place she remembers, the remaining Vuvalini they meet tell her that The Green Place is now barren. Even that piece of earth has gone sour like all the rest. Now there are only two choices left: keep running and hope to stumble across an oasis or return to the only place they know to be capable of sustaining human life.

They cannot escape this dystopia and find a utopia; the former must be refashioned into the latter. Mad Max: Fury Road shows such a remaking of the world is possible by first showing such a remaking of people. When Capable discovers Nux stowed away on the war rig she treats him like a person. She is kind to him and when she touches him she does so with tenderness. This is the first time that Nux has experienced human interaction that isn’t based in violence, as far as we can tell. Early in the film we see that his relationship with other War Boys is based on masculine posturing and competition. In a moment when he is vulnerable, lost, and humiliated Capable meets him with compassion and empathy, and we see how quickly it changes him. Having his humanity validated immediately turns Nux’s loyalties – he doesn’t want to be a thing anymore.

When Cheedo reaches for Rictus Erectus from the hood of the war rig we wonder if she has given up hope once and for all. But instead she uses her own fragility as a trick, and we understand that she has changed too.

Even Cheedo, so fearful that she wanted to turn back, has decided that it is better to risk everything for the chance to be a person than to return to being a treasure. She doesn’t want to be a thing anymore either. It is through the transformations in Cheedo and Nux that we see how Furiosa, the Vuvalini, and The Wives will transform the entire Citadel.

“Where must we go, we who wander this wasteland in search of our better selves?”

At first, The Wives leave with Furiosa because, as she tells Max, they are looking for hope. But Max knows that hope is a mistake; you have to fix what’s broken. It’s Furiosa’s desire for redemption the reveals the right path. The fact is, it is too late to avert disaster. We are already living in an oppressive patriarchy that treats women like breeding stock and men like weapons, and our environment has already been drastically altered by global warming. But there is no green place we can escape to. We cannot leave society and we cannot leave the planet; this is what we’ve got to work with. Further, even if we could run away to some hidden oasis to form our utopian feminist society, who would we leaving behind? Is it right to abandon the War Pups, the Milking Mothers, and The Wretched to save ourselves? Mad Max: Fury Road teaches us that the only way out of the dystopia is through it. You must choose to remake it, and yourself, into something better.

Gabrielle Amato received her BA in Liberal Arts from Sarah Lawrence College where she focused on women’s studies. Currently she works in violence prevention, and in her spare time attempts to write useful and interesting articles about feminism, pop culture, and rape culture.

Learn from the Future: ‘Battle Royale’

This guest post by Belle Artiquez appears as part of our theme week on Dystopias.

We have all seen dystopian futures represented in film and literature: desolate landscapes with survivors of some war-torn/zombie apocalypse struggling to live their bleak lives under the rule of brutal and selfish dictators who are only out for themselves. It’s a theme we are well-accustomed to, and there are numerous examples of different dystopian futures: zombie apocalypses are in full swing at the moment in TV and film (The Walking Dead, The Last Ship, World War Z), but then there is also the fall of religion (The Book of Eli), the loss of fertility (Children of Men), and the loss of resources such as water and oil (Mad Max).

The examples of how humanity could fall are in such abundance that when we get a film that doesn’t necessarily look that different to our own current world, it may not be the harsh dystopian world that we are so used to seeing on screen. Battle Royale (2000) is that film, and yet its reality is somewhat harsher than these other dystopian themes. Directed by Kinji Fukasaku, and adapted from a book of the same title, the apocalyptic film portrays a totalitarian government that rules Japan, where communication with the western world is forbidden, and every year one school class is chosen to be pitted against each other in the ultimate fight to the death as a way of controlling the young generations and reminding them that they cannot rebel, they cannot be free, and they will only ever be restrained by their government.

The actual Battle is set on a highly guarded, isolated island, and the chosen class (a ninth grade class) is brought to it and ordered to fight in a zero sum game of death in a highly publicized slaughter game where there will be only one winner. The children are given one weapon each ranging from sauce pans to rifles and survival gear with maps and other necessities as they navigate through the island, of which there are interchangeable “forbidden zones.” Around their necks, a collar with the power to instantly kill is fitted to make sure any student disobeying the rules or being in a death zone at the wrong time will be killed. It appears to all to be a completely unfair setup, but this is a harsh dystopian world, so what do we expect?

9th grade class photo, looking like students not murderers — Ninth grade class photo–all looking like students, not murderers.

Not only does the film portray existing anxieties for Japan, it also represents the severe landscape of our current era–the fact that people struggle to survive already, that some are unfairly given better opportunities regardless of value (portrayed through the weapons the students are given) and are almost set up for failure. The fact that a ninth grade class is always the chosen class depicts the hardship and suffering of actual ninth grade classes in Japan currently. Up until that grade, students need only be in attendance to proceed to the next grade, but suddenly at ninth grade they are faced with extremely difficult exams in order to get a placement in a more prestigious school, putting immense pressure on students who are suddenly pitted against each other for these few places. Apart from this obvious nod, the film also suggests that we are already currently set up for failure worldwide. Our banking system for instance is the biggest fraud of our time, where people are given loans of money that doesn’t actually exist only to have to work even harder to repay the non-existent money back with actual hard cash. We are told that we need to earn a living doing jobs that we hate, instead of living and doing what makes us happy. We are born into constant monitoring, not being able to move around the world without asking permission or being watched. Governments may not be totalitarian, authoritarian ones but they certainly act in similar ways under the guise of protectors. These are all aspects of what the students of Battle Royale have to cope with. They are watched not only by the controllers of the battle, but by the entire country, as if nothing more than a reality show.

The “Forbidden Zones” also illustrate the ways in which laws are put in place. We know that most laws are put into place for our benefit–murder, theft, and abuse are all illegal for the good of the people–so that we feel safe in our day-to-day lives. However, governments have been known to create laws for their own benefit, take for example the new law created in Australia that states it is illegal for detention centre workers to report child abuse, rape and human rights violations. Or the American law that states it is illegal to film and report animal abuse on farms, establishing severe criminal sanctions for those who would report the abuse as opposed to those causing the abuse. These laws are not in place to protect the people, they are conceived in order to protect the corporations in charge, the authorities. This use of law-making is of course related to the “Forbidden Zones,” which are set up so the game will run within the three day time limit, and also for the entertainment of viewers watching from the safety of their homes. The students have not only to fight and kill their classmates with whatever they were given but they also have to worry about where they go, at what times.

The leader and man in charge of the battle is also the representative of our current powers/governments/politicians. Kitano is the man who tells the students the rules of the game, as well as handing them their weapons and survival gear, and who likewise has no problem killing two students before stating it is actually against the rules for him to do so. By breaking the rules in such a nonchalant manner Kitano shows the class that they must obey a hypocritical generation in order to survive. He even goes as far as asking the students to be friends with him, establishing a false sense of security, the contrast between being friends with this man and then witnessing him kill two of them is stark and also conveys the same governmental control that most countries understand, the “We are here to help you” attitude while they only ever help themselves. Another facet of this dynamic relationship refers to the fact that the classmates are all friends with histories and memories together and now they must let go of all of that and slaughter each other. However, not all students have the ability to do this and end up committing suicide as a way out of this and also as an escape of the imminent betrayal they will face.

Kitano threatens a student, and shows the hypocritical nature of authority. — Kitano threatens a student and shows the hypocritical nature of authority.

And just as the film articulates these contrasting attitudes and dilemmas with regard to controlling powers and zero sum attitudes, so too does it address these issues within themes of gender, sexuality and authority. Battle Royale does stereotype its female and male characters to conform to society’s ideas of femininity and masculinity. Most of the women are rendered weak, helpless, and in need of protection. Where some girls need the help of their male friends to survive (Noriko, whose protection is passed on when her initial protector is killed), others cling to each other in the hopes that some sort of sisterhood will unite them and make them strong enough to survive, showing a kind of stupidity on their part since there can only be one winner. These united girls end up in anarchy as one of them eats a poisoned dinner meant for a male classmate and suddenly they are all slaughtering each other without even trying to overcome the misunderstanding. In total contrast to this we see male students working together in perfect harmony even with a few moments of misunderstandings as a few of them work together to get the death collars deactivated. The male characters do their best to protect the female students, but only the ones that have strong emotional relationships with the men.

Noriko hides behind male student for protection portraying the fragile nature of the class's female students — Noriko hides behind a male student for protection, portraying the fragile nature of the class’s female students.

The only strong female character also happens to be presented as the villain of the piece (as does the previous winner of the game who happens to be a young girl, although we only see her briefly at the beginning), and this is possibly because she is independent, sexual, and in control. Mitsuko is violent, she quickly becomes a killing machine in order to survive, and even uses her sexuality to do so. A loner in her class before the slaughter, a victim of sexual abuse and a murderer at a young age (in self defense against the man who was going to abuse her), she now just “doesn’t want to be the loser anymore” and uses everything at her disposal to win. This includes her obvious sexuality, which she uses in ways similar to a Venus fly trap. A good deceiver, she entices a two male classmates and while they feel at ease, happy to be getting any sexual action, she kills them. Now who’s at fault for this? The girl who was just playing the brutal game like all the other students in order to survive, or the boys who stupidly thought that sex was worth the risk? Yet Mitsuko is the villain, which may actually just be another acknowledgment of current gender expectation in Japan, which is where the film and book are based on after all. Gender roles are an important part of Japanese society: men are expected to work hard, and housewives are considered valuable for their child rearing abilities; this could be why we see the group of girls acting in ways similar to the housewife, while the male students work to either outright win the game or fight the authority by breaking the collars. Traits associated with individualism such as assertiveness and self-reliance is not seen in high regard, which is why we are shown Mitsuko in a negative, villainous way. So for a film that nearly entirely describes our current living situation, it could be said that the gender roles and stereotypes too are another way of acknowledging existing gender positions and expectations in Japan.

While the strong, independent female characters are shown in negative lights.

This is certainly a terrifying film; we are presented with a nightmarish portrayal of a hyper-violent, dystopian, totalitarian world we would be afraid to be a part of, yet we are also delivered a unique depiction of the word we are already a part of and that in itself is the most nightmarish aspect of Battle Royale. The film is an acknowledgment of not only the world we live in right now but also of the human condition and the gender roles that are currently prevalent in a society that is supposed to be based on equality; however, it is anything but. We need to look to such films and recognise that although they are fictional, and depictions of a harsh dystopia, they are also reflections of our present issues in society. They are showing us how bleak and grim our own realities are without the slaughter games and authoritarian powers that make the Battle Royale world so frightening.