Guest Writer Wednesday: Girl Power in Sucker Punch, Hanna, and Winter’s Bone

This guest post by Marina DelVecchio also appears at Marinagraphy
In the past year, directors have been trying to feed our womanist pangs for more girl power in films. At least this is how I see the trend. Because as a woman and a mother, I want to see movies that represent my gender as empowered, important, and intelligent. I want to see them as real and as true and valued members of society. I want to have faith in humanity—in this world, even though it is still centered on patriarchal values and systems that perpetuate the notion that a woman is necessary only in her sexuality—her ability to bring a man to his knees with the want of her. But this is not a real woman. She does exist, but she does not represent women like me—late 30s to early 40s, a mother and educator, struggling to cast out the voices that tell her she is nothing, old, and imperfect if she doesn’t fit the role patriarchy has assigned her. I want to see movies that show me what power feels like—the kind of power that is accessible to me and my daughter—normal women in a normal and imperfect world. The last few months have found me thinking about the female characters depicted in films and how much power they really have. Here they are:
Sucker Punch (directed by Zack Snyder) left me with a knotted feeling in my stomach, as well as with conflicted emotions. I loved the idea of a character escaping her reality of abuse and institutionalization by folding within herself and locating a place of refuge deep in her subconscious. Whatever was happening to her body in real life, her mind was not aware of it because she was in another realm—a more powerful one. I didn’t like that she escaped the reality of a mental institution and an impending lobotomy into a brothel where the girls were being sold off to men. A girl would not escape to this kind of world out of choice, even if she knew she was going to be lobotomized at the end of her journey. And to suggest that sex-trafficking is better than a lobotomy is insane in itself—lobotomize me any day of the week. To have her find refuge into a brothel was definitely an attempt at appeasing the men in the audience of this film. It would not appeal to women. What did appeal to me was that I did not have to watch this beautiful girl gyrate and dance provocatively in order to seduce the highest paying john—who of course, is an old, fat, cigar-smoking and money-padded man with power and political standing.
I loved that she escaped that kind of self-selling image of provocateur to land in a fantasy world wherein she wielded machine guns and knives with natural expertise, power kicks and punches that never missed, and a confidence that all people should have—and all young girls and women should possess. In this fantasy world, she kicked ass, but again, to appeal to the men she had to be called “Baby Doll,” (which brings up the image of a hot red or pure white negligee, depending on the individual man’s fantasy), and she had to look like a little girl in Prep school uniform complete with short skirt and below-the-curve-of-her-busty-bust-shirt. She had to be sweet, sexy, and powerful at the same time—and perhaps because of this—because we cannot seem to have a heroine who is powerful without being sweet (innocent girl) and sexy (slutty siren) at the same time—because we cannot have a heroine who is just powerful, just dominant, and who is not expected to appeal to men’s desires in any way—then Baby Doll (Emily Browning) just doesn’t cut it as a strong female character—and Sucker Punch doesn’t fit the bill of a good, strong, and powerful representation of Girl Power. When the female character has to appeal to men’s sexual yearnings to achieve power, she fails to be powerful.
In contrast, I was pleasantly surprised with Hanna, (directed by Joe Wright), which just came out. 16-years-old, Hanna (Saoirse Ronan) is raised by her father, an ex-CIA operative who has taught her everything she knows. We first meet her in the wild forests of Finland, very unsexy, un-pretty, and completely covered in layers. And we find her hunting with a bow and arrow, sprinting after her prey, killing it, and then gutting it with her bare hands. So unsexy, and yet so powerful. A small girl, she is smart, fast, and logical.
But there is one problem—she is not normal—she is a genetically engineered girl who was part of a CIA project to build perfect soldiers from birth. And because she is this kind of “soldier,” she is not someone we can relate to in any way. Her skills were not simply developed with the aid of her father; they were made possible because of the genetic modifications that had been made to her while she was still in her mother’s uterus. She was born a soldier, not developed into one, and this reality makes her an unreal hero—at least to me. If she had been a normal little girl, then all the skills she had learned would mean something—maybe that all girls can achieve this kind of mental discipline, this kind of physical prowess—but this message disappears when we learn about her origins. Still, I loved this movie, and as a heroine, Hanna is very powerful compared to Baby Doll. In addition, Cate Blanchett’s character, although the villain in this film, is strong also in her tailored shin length skirts and suits jackets, sporting a short bob haircut, and toting a gun or two or three. The women characters in this movie were quite compelling, including the mother she encounters on her journey, who refuses to wear makeup because she considers it to be dishonest. I’d like to read her story.
Which brings us to Winter’s Bone. I rented this movie one Saturday night, and although it has been criticized for its stark and depressing mood, it is real, gutsy, and a true feminist—womanist—girl power-ish film, lacking in pretensions, sexism, or glamor. 17-year-old Ree Dolly (Jennifer Lawrence) is a real-life girl in the real world, born into the “patriarchal male honor culture of the Missouri Ozarks” (James Bowman, 2010), who feeds her siblings squirrels, and teaches her brother how to hunt, kill, skin, and make a meal of it—all lessons a father would teach to his son. But he’s not around. Part of this culture highlighted by drugs and murder, he is missing; her mother is mentally depressed and useless; and Ree is left to tend to her younger siblings and make sure their house isn’t taken away from them. She is cajoled, lied to, threatened, beaten by men and other women in this clan, and she faces the reality of her real-life responsibilities with quiet fortitude. Accepting the fact that her father is dead, it is left up to this girl to find proof of his death in order to keep her parents’ house from being taken away and leaving her and her mother and siblings homeless. She puts her life in danger to accomplish her goal, and she also gives up her dream of escaping this kind of corrupt life by joining the army and making something better of herself and her future. She is able to save her house and family, through sheer nerve and guts, alone, and for this, she is a true hero—a real life heroine that we can feel confident in advocating as strong.
There is no guile to her—no sex—just smarts and courage—which is more of what I would like to see in movies and their portrayal of women and young girls. Not surprisingly, this is the only movie of the three mentioned directed by a woman, Debra Granik. Although she adapted the film from a novel written by a man, Daniel Woodrell, Granik gave us the kind of heroine that we need; a heroine who fights for decency and justice, and who does not use her sex or appeal to men’s sexual desires to attain that which she is in need of. We need less of Sucker Punch and Mean Girls; less of Charlie’s Angels and Sin City. But we do need more of Ree Dolly’s. So many more. So bring them.
How about you? What film heroine kicks ass for you—preferably a non-sexualized, eroticized, or generated-for-male-consumption heroine?
Marina DelVecchio is a writer and a College Instructor. She has a BA in English Literature, an MS in English and Secondary Education and has completed thirty credits towards a Doctorate in Feminist Theory, Rhetoric and Composititon and 19th century Women Writers. Originally from New York, she began teaching on the High School level and then moved up to the College level in 2005. She presently teaches English Composition, Research, and Literature at a local Community College in North Carolina.

Guest Writer Wednesday: That Glee Photo Shoot

Cross-posted at Fannie’s Room and Shakesville.

So, there is this. View the slideshow (warning: might not be safe for some workplaces).

I love Glee. I sometimes am annoyed by it, but generally, I appreciate its ode to geekiness. I also do sometimes like looking at photos of attractive women (and men), if the photos are tastefully done and don’t seem like they’re completely exploiting the person. And subtlety is good. Subtext, to me, is often sexier than in-your-face displays of sexual availability.

Those disclaimers aside, I could now go on about how these photos at once infantilize adult women by portraying female actresses as sexy schoolgirls while also inappropriately sexualizing these characters, who are supposed to be under the age of 18.

I could also talk about how annoyingly predictable it is that, of all of Glee’s diverse cast members, it is the two women who most conform to conventional Hollywood beauty standards who have been granted the empowerful privilege of being sexified for a men’s mag. For, despite Glee’s idealistic and uplifting message that It’s What’s On the Inside That Counts, the show’s resident Fat Black Girl With A Soulful Voice is noticeably absent from the shoot.

And then there’s the fact that it’s titled Glee Gone Wild! a not-so-subtle allusion to that paragon of klassy art that made Joe Francis a
pimp
wealthy man. Yeah, I could talk about how that’s not my favorite.

We could also explore how the photos are clearly intended for the heterosexual male gaze (or, say, the gaze of a sexually abusive photographer who talks about how his “boner” compels him to want to “dominate” girls) and his sexual fantasies.

And I will talk about that for a minute, actually.

GQ is a men’s magazine, so while some lesbians and bisexual women might be titillated by such images, they should not be so naive as to think it is they who are the intended recipients of these images. Finn, the football player, is perhaps the one dude on the show who Average Joes most identify with. In GQ’s slideshow, he is almost fully clothed in regular streetwear throughout and often adorned with the Ultimate Straight Male Fantasy of not one, but two, hot chicks who might first make out with each other and then subsequently have sex with him.

As for the women depicted, the images predominately feature the two actors wearing the sexy-lady Halloween costume known as Sexually Available Schoolgirl, thus letting gay men know that this photo shoot about characters in a musical TV show is not intended for them, either.

Which brings me to the self-indulgent, possibly shallow, item I really want to talk about.

See, well, Glee used to be our thing.

The geeks, the losers, the queers, the disabled, the atheists, the dudely jock who likes to sing and dance, the pregnant girl, the teen diva, and the male Asian actor who is supposed to be geeky-cool but who never gets a
speaking part in Glee
solo. The popularity of Glee has been Revenge of the Nerds all the way and for that reason it has been pretty, dare I say, special to a lot of marginalized people and teenagers in all its campy dorkwad glory.

But now, the GQ photo shoot has subverted geekiness to give heterosexual men yet another thing in this world that can be, erm, special to them. And what’s supposed to special about Quinn and Rachel in these photos is not their voices, their struggles, their dorkiness, their self-centeredness, their insecurities, or their dreams, but rather, the never-been-done-before message that it’s women! Who are hot! And young! And thin! Who men want to fuck!

GQ, on behalf of its straight male readership, flaunts Rachel and Quinn in these photos like Sue Sylvester boastingly displays her ginormous cheerleading trophies as yet another reminder to the geeks that “not everyone can be champions” because some people are meant to dominate and others to be dominated. The photos are the equivalent of a major studio finally producing a Xena movie, writing in that long-awaited for Xena/Gabby actual make-out scene, and then having the two main characters end up married. To men, that is. Because what heterosexual men would like to see happen to two female characters is, let’s face it, always what is most important when it comes to TV and film and to hell with any other major fan base.

Glee should know better.

Trying to be popular by catering to the “I only watch shows with multiple major female characters if they’re hot” crowd might make a couple of dorks cool for a while, but it’s also why the rest us can’t have nice things.


Fannie, author of Fannie’s Room, who, when not hanging out at her blog, can probably be found planning the homosexual agenda, twirling her mustache, plotting a leftist feminist takeover of the universe, and coordinating the recruitment effort of the lesbian branch of the Gay Mafia. Her days are busy.


Disembodied Women Take Two: The Headless Woman

The Headless Woman is the second installment in our Disembodied Women series, where we illustrate how production companies continue to market films through the dismemberment and objectification of women’s bodies. For more, see our first post, The Rear View.

Disembodied Women Take One: The Rear View

You see it constantly in print advertising and commercials: advertisers show close-ups of women’s legs to sell razors; they show close-ups of women’s breasts to sell bras; they show close-ups of women’s backsides to sell underwear. And they show close-ups of a combination of women’s body parts to sell beer, fast food, cigarettes, cologne, cars, shampoo, and countless other products. By dismembering women in such a way, the women being objectified, and hence, all women who live in the society where the advertised products can be consumed, ultimately become the objects of consumption themselves, and as such, cease to exist as human beings with feelings, intellect, and identities.

In a society that treats women merely as a collection of body parts, airbrushed to perfection, it caters to the pleasure of men, who then reduce women to body parts in everyday life. It’s no wonder women can barely walk down the street without being cat-called or ogled by individual men or entire groups of them, which serves as yet another patriarchal power trip, further subjugating women and their existence as actual people.

Unfortunately, movie posters also fall into the all-too-easy and uncreative trap of exploiting womens’ bodies in order to sell their films. I find it most disturbing that even films such as Bend It Like Beckham and The Sisterhood of the Traveling Pants also fall into the stereotypical “advertise women’s asses” approach to promoting a film. Both movies can be (and have been) read and reviewed as feminist in that they promote sisterhood and also significantly pass The Bechdel Test (which we’ve established seems embarrassingly elusive to most mainstream films).

Here’s a selection of movie posters advertising different genres that all use a woman’s backside to sell a film. Leave your thoughts about the posters, or other films that use similar imagery, in the comments.

Movie Posters: Are You Ready for Death/Love/Prison?

The Throat

Ladies, if you want to marry, date, fuck, and/or kill a man, getting dangerously close to the jugular is totally the way to go. That way, you can scare him into loving/dying (it’s apparently the same thing). Also, hold him down or push him against the wall; that’s the best way to ensure he’s freaked out enough to effectively fall into your loving and/or borderline stalker-murderous-psychotic arms.

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The Back

Awww, girls, look how quirky-cute you are, with your legs wrapped around your man (you can’t get away now, boys!) or your breasts on the verge of popping out of your mini-tank slash sports bra into the face of the guy you’re using as a tabletop. And these posters tell me so much about the films, too! Really:

1) your man is going to carry you away from your god-awful once man-less life
2) you’re going to ride the shit out of your man while … possibly selling your body?
3) boobs

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The Rope

First of all, the women of Blind Dating clearly represent all women that a man might potentially have the pleasure of one day blind dating. There are no female stereotypes in this poster at all whatsoever. And my god isn’t he so completely gorgeous and worthy of all this hot-girl worship? This poster doesn’t remind me at all whatsoever of films with average-joe male leads who somehow end up in a clusterfuck of girl-stalk. That would, in fact, be a ridiculous concept in general, one that would definitely never hold up as an actual movie plot. And Four Christmases, thanks for the Christmas present illustration. I’m not quite sure which obvious rom-com bullshit I’m supposed to take from that—their relationship is a gift? they’re in it together? ohmigod don’t leave me?—but thanks. Seriously, thanks.

********************************************
The Gag

See what women do, boys? Emasculate. Dominate. Take away your ability to, you know, speak. And don’t they look like they’re having a blast doing it?

********************************************

The Tie
Pretty Woman and Ghosts of Girlfriends Past are separated by, what, twenty years? Yet it’s the same. fucking. poster. Well, the newer version contains the bachelor’s previous girlfriends, looking all suspicious and conniving, like women do. But both posters still give off that grab-your-man-by-the-leash vibe. He needs to be tamed. By you. Before he can settle down and give you that nuclear family and ultimate feeling of completeness that all women desire. And Jennifer Aniston, every guy’s girl-next-door-girl, will totally either strangle Ben Stiller or help him loosen up and have fun! You go girl! If he needs changing and/or saving, you’re certainly the woman to do it.

Movie Posters: Bad Boys vs Bad Girls

The Spirit has all kinds of shit wrong with it. According to these movie posters, Samuel L. Jackson apparently plays a gun-wielding, trench coat wearing badass, who most definitely takes an active role, probably killing people who made the unfortunate mistake of trying to face his power. On the other hand Eva Mendes plays … um … a woman, who … um … has a long neck and um … pretty lips … and um … she has been a very, very bad girl.

For a while, I thought Sin City and The Spirit were the same movie. Same marketing. Same brooding male action hero with a gun, risking his life in the rain for god’s sake. Same beautiful and, don’t forget, merciless woman who will obviously take people down with her tongue and her manipulative vagina. In the rain.

Yes, I realize these posters aren’t from the same film. But I believe they’re relevant to each other, in that these actors both star in these movies, and receive top billing. Also, the posters feature them both holding some seriously gigantic guns, and something tragic with America is probably occurring … flags, Las Vegas, extinction, “public enemies,” evil, etc. Yet we get Depp in a full suit, complete with trench coat, black leather gloves, and a hat, while Jovovich barely made it off the stripper pole in time to grab a couple of guns and destroy some shit. And watch out, she might be coming to do bad things to you, boys, hehe! (But what the hell is Depp looking at?)

Star Trek, revised taglines:

Man: I’m going to murder the fuck out of you.

Woman: I’m going to fuck the shit out of you.

What’s with the men on these posters looking away (Depp, this guy, Law, Owen) while most of the women stare head-on? I’ll tell you: the male gaze, baby! These women are straight-up going to do you. Men have more important things on their minds, like taking action, looking for action, or looking right at you in that “I’m about to kill some bitches” kind of way (which, yes, is problematic in its own right). But in fairness, even though the G.I. Joe poster objectifies the woman by depicting her entire backside, the poster with the man isn’t much better. Check out his chest! I’ll admit it; this poster sorta makes me want to do him.