Spring 2008

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Wonder Woman (2006 ed.) Source: zonanegativa.com Lara Croft Source:images.entertainmentearth.com

Case Study: Feminist images of women as action heroes: Do they even exist?

A look at comparing and contrasting Wonder Woman and Laura Croft as feminist-influenced images of women.

Describe images using Lester Model:

Personal: Most of my personal reactions to the image will be disclosed in the analysis. I do appreciate the changes Wonder Woman has seen since her induction.

Historical: Wonder Woman is a fictional cartoon action super hero. She was created by William Moulton Marston. DC Comics have continued to publish her since 1944 (Wikipedia).

Her debut appearance was in the December 1941 All Star Comic #8 edition. She is a prominent figure because she is one of the original members of the Justice League (Wikipedia).

In terms of historical action figures, she was one of the breakers of the glass ceiling. She laid the path for women to later become the star or lead action figure in comics, video games and movies.

Technical: There is high key lighting with fast fall off to create heavy shadow where the creator of the image wanted the emphasis. The shadows are cast on her arm’s muscular definition and upper legs.

The framing draws you to her bare skin: her chest, tummy and legs.

The signifier is clearly drawing the axis lines toward the center of her crossed arms. This signifies a form of strength and un-paralleled power.

Ethical/Cultural/Critical: This image provides an interesting and fair feminist appeal which creates a sense of ethics. This image and all of its visual aspects allude to a consideration of current women’s politics and progressivism. This can be seen as enhancing the positive cultural expectations of women, rather than perpetuating certain stereotypes. There is still a “sexy” appeal which will be discussed more in depth later in the analysis about “feminist-influence” images.

Laura Croft Image…

Personal: Most of my personal reactions to the image will be disclosed in the analysis. I do appreciate the changes Wonder Woman has seen since her induction.

Historical: Lara Croft is a English fictional protagonist in the Tomb Raider video game. She was created by Toby Gard in 1996. Her character has moved to other entertainment sectors, like movies, comic books and animated films (Wikipedia).

She has been named “most successful human video game heroine,” and honored with a “game star,” (Wikipedia).

There have been at least 9 Tomb Raider creations; the transformations of Laura Croft demonstrate a woman who gets progressively leaner and bigger in the chest.

Technical: There is key-lighting coming from the upper left casting shadows on her legs and guns. The shadows are emphasizing her strength and sex appeal, all at the same time.

Also her hair is always in a pony tail that comes behind her shoulder always pointing down to her breast.

The signifier is drawing the axis lines down in the direction of the two guns meeting at the bottom of her legs. This signifies her strength in conjunction with her sexiness, a theme we found earlier.

Ethical/Cultural/Critical: This image finds itself more vulnerable to cultural and ethical attacks on stereotyping women as Barbie-looking action heroes. It shapes her in a very juvenile way with over sized breasts. Regardless of commercial incentives, it can almost be assumed the image was created by a man for a man. Her character may be “intelligent” and “athletic” but her body perpetuates the unrealistic expectations modern women are imposed. Further, there is a huge ethical dilemma when her transformations always get more hour-glass shaped and heavier in the breast.

Why did I select these two images?

These two images were a perfect sampling of women who are closely in the same line of work but have different ways of being presented. Although, both may appear similar in appearance at first, there are small but important details that set them apart.

A more recent Wonder Woman image was purposefully selected because of its timeliness and its updated features to make this debate and analysis richer.

The images were also selected to represent the definitional debate on feminism and how it is portrayed in mainstream pop culture, specifically among female action heroes. Do these women provide a strong example of whether such a thing like a ‘feminist image’ even exists?

Analysis:

Laura Mulvey, currently a professor of film and media studies at Birkbeck, University of London, argues that female bodies are used as erotic subjects of the “male gaze” and his pleasures. Mulvey also suggests that the “strong” female character can be seen as a threat which is why they purposely create the woman with less masculine features. This results in the female images in these comics or videogames with ultra femininity and fetishes.

This is found also in Hollywood filmmaking where the “male gaze” is the major criticism of feminist film critics.

Although second-wave feminists have created the current feminist wave to be part of a movement not just a look. This ____(insert here)____is what a feminist looks like.

It’s about encompassing all issues: race, gender, sex, poverty and the list goes on. “Feminist-influenced” means strong women, independent women, powerful women. However, when commercialization steps in the adds their glossy boobs and size 2 waists to sell their strong beautiful- big-breasted-action hero, they forget that they have an ethical obligation to tone down the negative and damaging expectations they perpetuate among women and young girls.

In terms of feminist-influence images that I’ve included of Wonder Woman and Lara Croft, Laura Croft fails tragically to the “male- gaze” theory and becomes a bimbo for little boys.

Although Wonder Woman has had other looks, this image showcases her strengths and super hero powers not just her oversized breasts.

It’s no surprise that we are still failing in bringing women to represent strong and “normal” features through images. However, until the market changes, i.e. until people stop having these fantast fairy tales, they will stop consuming. In the meanwhile, media, video games and film makers will continue to profit off of the pre-teen, big boobed, long-haired bimbos that charm you with their “power” and “intelligence.”

Personal/Historical: This “othering” that helps Americans depict what “evil” or “bad” is can been seen back to the early days of discriminatory immigration policy. Although this may seem a stretch, from the early times of immigration policy the harshest policies have been imposed against foreigners who look least like “Americans.” Consequently, eastern and southern Europeans faced dramatic racist sentiments, more than Western or anglo-looking foreigners ever faced. Even today, the acceptance of “others” comes a lot more difficult when the “other” looks less like you.

Historically, the color white has been associated with virginal, clean and safe; whereas, the color black or dark colors have been used to evoke fear, differences and evil.

In terms of defining how Javier, who plays the psychotic serial killer and a source of “evil” in the award-winning film, “No Country for Old Men,” he is depicted as “evil” and is othered very strategically.  

Technical/Costuming: First, they took a Spanish actor that most Americans are unfamiliar with, providing that element of the “unknown,” much like the dark foreigner many American sentiments have rejected during history. Additionally, they cast a Spaniard with dark and deep brown eyes, the non-light or comfortable “Anglo” features. They also, made his hair frame his face so all you see are his eyes and the way he gazes at his victims. You can’t help but be mesmerized by his stare. His chilling stare lets you know that he is about to kill you. It’s remarkable how the directors were able to take Javier from a normal happy looking man to a deeply disturbed man.

Also, all of his clothing is dark and lacking attention. It is as far away from a fashion statement as possible. He also walks in a form that is so unfamiliar to most people. His walk and slight hump gives you the element of evil or different, not the good kind of different.  

The director gave him a pale glow also to demonstrate an element of evil by making him appear as supernatural, as an evil that exists in the world whether human or not.

Finally, the slight and subtle accent the character has leaves you questioning where he’s from also giving you the feeling of the unfamiliar and foreign which again evokes the “othering” of the character.

Overall, the Coen brothers are brilliant. They cast this “evil” character perfectly, leaving you stifled with fear.

Ethical/Cultural: Even though I have just pointed out many things, I find it slightly offensive how we create the “other.” I am able to identify such strategies when I see them evolving. I believe the perpetuation of evil as dark and exotic helps create the bad guy sentiment. This results from fear. Fear is the root of anti-immigrant sentiments, anti-tolerant sentiments and integration deficits. I’m troubled when I see over and over traditional fear tactics used, however I understand why the director would choose to create triggers that would identify with the audience. I understand artistically why they would want to use symbols, colors and images that create fear and connection with identify who the bad guy is, however, this doesn’t break the cycle of over representation of people of color in prisons or always on the “bad” side.

This is one of my beautiful best friends, Sonja. Sonja is an American of Pakistanian-Irish decent…So this picture serves to show you my confusion/dillemma. If you read my blog on “Miss Arab: the more you wear, the better” …you’ll find how disgruntled I am by the message being made. However, here, I find it extremely beautiful to see Sonja veiled. The difference is she has a choice to wear a veil or a tank top…

Sorry if this post is all over.

Femininity: the quality or nature of the female sex  Source: Webster’s Dictionary

Arab: a member of the Semitic people of the Arabian Peninsula b: a member of an Arabic-speaking people Source: Webster’s Dictionary

Bahrain: islands in Persian Gulf off coast of Arabia 2 an independent kingdom capital Manama (on Bahrain Island) area 255 square miles (661 square kilometers), population 485,600 3 island, largest of the group, 27 miles (43 kilometers) long Source: Webster’s Dictionary

Introduction: In a blog posted by a Palestinian woman, Haitham, in September 2007, she discusses how she is proud that the woman from Bahrian (woman in yellow) was the winner of “Miss Arab World.” Haitham argues that there is beauty it not showing skin and the wearing of a veil. She also argues that Western media depicts this type of “modest” beauty negatively. Thus, my analysis of the “Miss Arab World” pictures will be a response to this Arab blogger and the beauty/femininty demonstrated in the Arab beauty pageant.

Personal:  My personal reaction to the central message is a slightly troubled one. I’m not sure whether to be enchanted by the femininity demonstrated through the gold and black robe or the mystique hiding Miss. Bahrian’s hair or concerned with the cultural implications. Although, I find it beautiful for the winner of the contest to be draped in clothes, I question its cultural and gender expectations of Arab women. This I will discuss further in my critical and ethical analysis.

Historical:  Historically the pose of woman receiving a crown to symbolize her victory is very traditional. Regardless of the country in the world, the line up of women like cows is historically embedded in beauty pageant culture. I find it an interesting juxtaposition of how different the reactions of Western and Eastern women are when they win beauty pageants. Most Western women look like they just accomplished the most unimaginable thing being crowned, where this woman is very “modest” much like what her culture asks of her.

Technical:  This picture has high key lighting and is extremely well lit. This high lighting is meant to evoke happiness, familiarity and warmness. The photo of Miss. Bahrain being crown is very high and makes the viewer excited through the lighting, whereas the full body picture of her is dark and has poor lighting. However, this dark lighting almost makes the viewer feel oppressed. Although, those might be my Western biases seeping through, I find it interesting how dark and shadowed her full body and fully robed picture is.

Ethical/cultural/critical: Ethically this photo is meant to dissemble the ideas of “Western” beauty and femininity. It successfully delivers the message being sent by an Arab region that beauty and femininity can be modestly hidden and discrete.  Their intention of rewarding conservatism and traditionalism are delivered in the photos of Miss Bahrain. Behind the heavy make up, veil and full robes there is a very critical and cultural implication made about women and beauty.

Although I recognize my Western limitations when viewing this picture, I find it offensive that rewarding the “hiding” of their bodies symbolizes courage and beauty. I understand that Western media may misinterpret their culture, religion and roles but I find it appropriate to criticize the idea that women can’t show their bodies and express themselves in ways relevant to them. Sure, Western women may take it over the top when expressing themselves, but there is something to be said about the access and freedom Western women enjoy in expressing themselves. This freedom alone, has allowed for strong feminists to criticize women who use their bodies only for sex. This type of contradiction and availability is what creates dialogue and eventually freedom, freedom to choose.

In a time, where we look back and appreciate all that our foremothers have done for us, I can’t help but question how much there is still left to do. Statistically, women don’t always make the same wage as men who are working with the same experiences and work conditions, women are still questioned about their right to choose, gay women are not allowed to marry whoever they please….I just find it interesting that in a time of progress, women, as well as other groups are still faced with serious struggles.

Below is a preview of the movie:

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Introduction:

            Iron Jawed Angels beautifully and masterfully retells the story of the second wave of women’s suffrage. Made in a very contemporary and profound way to meet the audience of today, it unveils the realities for the proponents of this time. It gives you full characters and context for which these women were, rather than making them far fetched historical figures. Hilary Swank and Lucy O’Connor are the two lead women playing Alice Paul and Lucy Burns. The film shows how courageous and radical, for their time, these women really were. They pushed boundaries that are no-brainers for people today; however this film charges you with the responsibility of activism. The director coerces you into the scenes without your permission but leaves you feeling empowered and makes you appreciate those things that the women before us: white, black, immigrant, rich, poor or educated did for us.  

Mis-en-Scene or setting the stage:

            The scene I selected is Chapter 4; 21:08-25:53, lasting little over four minutes. The scenes open with the woman that symbolizes a patriot holding leading these suffragists to war. She is the woman on the horse. The first thing you see in that shot/framing is her eyes, bold and brown, her sword, her white gloves, her dress, purple and gold flag (historically known as the colors of the suffrage movement) and her horse. Also, her hair is worn down, which is something in this time that was very uncommon for women. It is a sign of defiance. The items in the set are much like ones you would see of a solider at the frontline of war.

            The enemy or one of them was the oppressive government women were ruled by , the viewer can see that within the first second of the scene the frame is of the Capitol building behind them in between the Suffrage flags. It almost reminds you that the path is a long one and one that must come into focus eventually.

Dialogue and editing:

            The shots and their framing are outstanding. The more intense or endangered the viewer feels, the great number of shots and back shots are taken and they move with greater intensity. Also, in this scene there is almost NO dialogue, except for the men shouting out mean things like,

            “ You he/she..”

            “What do you want to be a man?”

            “Lift up your skirts, what is under there?”

All references about men made by men, a very powerful use of words in a quick scene.

            Also, during the parade the women are shot from below or at eye level, giving you a feeling of intimacy. It feels almost as the director wanted you to feel as if you were marching with them.

Foreshadowing:

             A moment where there is clearly foreshadowing is when the first bottle is thrown at the women and falls on the ground, you know the women are no longer safe. However, the director switches right to the President in his vehicle who is far away from the parade. This lets the viewer know that the only person who will eventually stop this violence and injustice is him. One of the last shots, is when the First Lady pats President Wilson’s hand, almost like “everything’s going to be okay”, a natural sign of anticipation for what is to come.

Sound and vision:

            The scene opens with a song by Lauryn Hill, a defiant and controversial woman herself, called “Everything is Everything.” Some of the poignant and parallel versus reflect why the director may have selected to be the first thing you hear when the women begin to parade. Below are some lyrics that fit perfectly with this movement and the thoughts of these women:

            “ Deception instead of what is true..”

            “We lose the game before we event start to play…” ß My favorite, perfectly describes the Suffrage Movement or the legal rights of women.

            “Change comes eventually..”

            “Thing come slow or not at all…”

            “The ones on top will make it stop..” ß definite foreshadowing, seeing as  President Wilson finally moves Congress to enact the right for women to vote.

            “Love ourselves and we won’t fail…”

            This song is about struggle, understanding the challenges and never tiring. Although hopeless at time and maybe even deceitful change eventually comes. This is the perfect song for the beginning of their march.

            Once the women are beginning to be raided and eventually brutally attacked, the scene quickly moves to the President and then following that shot…you hear music that would come out of a scary movie. It’s a high pitched Enya voice warning you of danger, letting you know that these women are no longer safe and harm is at the forefront.

            The end of the scene ends with complete silence. Like you know this time they were defeated, but it’s not the last battle they’re marching in.

            Also it is important to take note of the prominent images the viewer sees:

American flags, purple, gold, blue, red and white. The blue is only seen on people with power: the Senator’s wife, the police officer, President Wilson and the First Lady. The khaki colors are mainly for the immigrant women and some of the black women. The women are dressed in whites appealing to the virginal and purity themes of women. There were also children placed, giving the viewer even more reasons to relate and feel empathetic because children evoke innocence.

            At the end of the scenee, the once full street is completely empty. Again with the Capitol building prominently placed in the backdrop. Flags, horns and white are all scattered across the rioted street.

Lighting:

            The scene is entirely outside giving everyone the advantage of natural light. The only person who is giving heavy top lighting is the woman on the horse, she seems almost magical. The lighting and texture given to this women makes you feel like she is unstoppable, you don’t doubt her ability to lead these women. She is soft in her white colors, yet commands attention, seeing as the she is the only woman given high lighting. This shot of the horse with intense lighting is also used throughout the entire film.

In Weston Lippia’s March 13^th post, he suggests that the Native experience and African American experiences are different thus why native people shouldn’t identify with black rappers. The whole idea that minority experiences are either absolutely different or identically shared is ludicrous, no pun intended. Whether it’s a white boy from the suburbs or a Latino from the inner city, all types of people can identify with different genres of music. I find it questionable that hip hop music is only being correlated with stereotypical images of black men, according to Mr. Lippia “hardcore ghettos breeding killers and thugs”.

Using Lester’s Model, I will deconstruct how this “Reno/Shoe/Bar” photo is a staple of Reno Style.  Personal: This moves me because it will always remind me of my late college Saturday nights at the Imperial bar in downtown Reno. This trendy bar makes you wait outside so long that by the time you get in your feet hurt so much you have to put your heels on the bar. This shoe on the bar reminds me of the endless walking Reno-ites do on weekends, whether bar hopping downtown or musing through the casinos, or both. Historical: The rafters and exposed ceilings allude to an older time. Although there may not be a photo that matches this one, it is very indicative of Reno’s bar market. Usually bars are only hip briefly and then they take over old buildings to become hot new places. Technical: The lighting here is very dark and mysterious, yet illuminated nicely from the back light. The back light is being fueled by the alcohol light and background light. There are also small hanging lights from all parts of the bar. No flash was used and there is a shadow closest to the viewer. There is no front lighting. The framing is great at exposing tireless drinking. Ethical/Cultural/Critical Reaction: Here there is an empty cocktail glass next to a tacky gold high heel, similar to those of the ladies of the Wild Orchard. Again, indicative of Reno culture, this photo exemplifies how Reno’s nightlife is unlike any other because in most other states’ bars have last calls and a lack of 24-hour alcohol markets. This has cultural implications about Reno because many people think that booze and strippers are staples of the biggest little city’s nightlife. Plus, the shoe is made by Charlotte Rousse, how much more Reno can you get?  Reno is one of those places that you can’t help but let grow on you. Yes, you can wear tacky gold heels because, hell it’s Reno. You can drink all day and night, because hell, it’s Reno. The Wild West really set the stage for the kind of libertarian spirit Nevada and Reno in particular still subscribes to. The beauty of Reno is that while it tries to maintain its history, it is attempting to become a competitive market. The re-development of downtown and the proliferation of great new lounges only perpetuate the edge Reno is gaining, which will hopefully draw more young professionals in the future.  

There couldn’t be a better staple of being a young woman in the 21^st century than the Ladies of Sex and the City. Using Lester’s Model, I will describe how Sex and the City is the zeitgeist of my time.  One of my favorite quotes from Carrie: “Later that day I got to thinking about relationships. There are those that open you up to something new and exotic, those that are old and familiar, those that bring up lots of questions, those that bring you somewhere unexpected, those that bring you far from where you started, and those that bring you back. But the most exciting,
challenging and significant relationship of all is the one you have with yourself. And if you find someone to love the you you love, well, that’s just fabulous.” – Carrie Bradshaw   Personal: This piece speaks to me so intimately. It is a photo from the recording of their new movie set to release in May. These are the women that I have been watching since I was sixteen years old, back when I didn’t get all the witty sexual jokes.  Historical: Although there are women who have been revolutionary for their time, these Sex and the City women are like no other. This photo can be mimicked by several historical photos of groups of women walking down a busy street. More importantly, the message can be linked to the suffragist of early 1900’s  fighting for their right in society. Or the women who took their place in the labor force when the men went to fight in the wars or the women of the 80’s who began shattering the glass celing.  Technical: The lighting is brought from all directions giving them an authoritative and legitimate appearance. They also seem very happy by the way they were framed. This photo appears to be busy, yet the center of attention is clear. Furthermore, the lighting is very familiar and comforting.  Ethical/Cultural/Critical Reaction: Although Sex and the City has been criticized for over glamorizing promiscuity, the message about being a contemporary woman is moving. The cultural aspects are poignant and edgy, the producers are not afraid to make the audience uncomfortable about women’s sexuality, fashion, relationships, career ambitions and sex.  They deal with all the taboo things that many would consider unorthodox: ageism, careerism, blow jobs, threesomes, not wanting children, dildos, marrying by thirty-something, soul mates, masturbating, becoming a business partner, homeowner or quitting smoking. But at the core of controversy, these women unveil the reality of being a human being involved in the process of love, relationships and personal growth. This show surveys very different women with one thing in common: a city and a time period. It makes no apologies for the kind of woman you are.

The photo more specifically embodies the spirit of everything I love about Sex and the City: Strong women strutting through New York City with their Blaniks, bags and fabulous lives.