What Are The Stereotypes Of Women In Action Films
“She fights, she shoots, she kills, she solves and she rescues” (Brown, 1996, p.56) and she, is the new heroine portrayed in films today. Films possess the potential to influence, engage and inspire and hence is vital in constructing one’s perceptions of gender (Hammer, 2009). Together with the rise of feminism, female portrayals in action films have also changed from male dominated action films to heroine action films. However, does the change in female portrayals in these action films reflect the progress of feminism? Previous portrayals of women in films adhere closely to women in reality and hence demonstrate the 4 cardinal virtues mainly, piety, purity, submissiveness and with greater emphasis on the last virtue, domesticity (England,
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2011; Hammer, 2009). However, the rise of feminism resulted in the emergence of more sophisticated female characters, especially in the genre of action films, where the characters adopt masculine traits such as assertiveness and independence ( Chris, 1996; Demiray, 2012; England, 2011; Gilpatric, 2010; Hammer, 2009). Although these heroines characters indicate advancement in the male dominated films, the progress is limited as men are still the ones carrying out the most climatic and impactful rescue scenes ( England, 2011; Gilpatric, 2010). As a result, female action characters in male dominated films are still secondary to male characters as they are merely playing supporting roles in these action films ( Gilapatric, 2010).
In recent times however, there is an increasing number of heroine action films whereby the protagonists of the films are played by female characters (Brown, 1996; Demiray, 2012). Diverging from passive female roles in male dominated action films, these heroines are even more ferocious and decimating than male characters (Brown, 1996). In addition to relying on high technological weapons, heroines in action films such as Kill Bill and Terminator, also independently engage in dangerous fights that involve more direct physical contact (Brown, 1996; Demiray, 2012). Such portrayals reduce reliance on men and therefore place women in a more self-sufficient position.
Over the years, we observe the transition from male dominated action films to heroine action films. Since film is “where the learning is” (Hammer, 2009, p.204), the change in female portrayals in films certainly reconstructs our perception of women. In addition, social cognitive theory suggests that stereotypes serve as a monitoring system for viewers and possesses the potential to alter their knowledge on gender belief and behavior (England, 2011; Hammer, 2009). Gender stereotypes hence educate viewers on acceptable and appropriate characteristics and behavior that each gender should rightfully demonstrate (Hammer, 2009, England, 2011). Furthermore, according to the constructivist approach, films play a critical role in the development process of shaping gender perceptions of children and hence the implications arising from new female portrayals in heroine actions films cannot be underestimated (England, 2011). Although female characters in these heroine action films may appear to have broken down traditional gender barriers, they still conform to some form of stereotypes, resulting in them being unable to be fully liberated from becoming stereotyped. In these films, the heroines are portrayed as subjugated and sexualized, conforming to the traditional stereotypes, while there is also the emergence of a new form of stereotype in which they conform to.
Subjugation of women
Despite taking up the leading role in heroine action films, these female characters may still be subjugated and regarded as secondary to men.
While we are so captivated by how the empowered female action characters are able to maneuver their way to success by defeating the villains through exercising masculine traits, we actually overlooked their underlying intention for developing such extreme aggressive character in heroine action films(Brown, 1996; Demiray, 2012). Brown (1996) believes that gender is a choice and not fate. Because these women were victimized and went through painful ordeal, insecurity and suffering before, revenge seems to be the trigger behind women’s decision to go through such vigorous and intensive training to be as strong as men (Brown, 1996; Demiray, 2012). A good example of this would be that of Sarah Connor in the Terminator series of films. Representing the victimized woman utilizing guns as a symbol of empowerment, Sarah Connor started off being victimized and it was through these sufferings that she developed into the heroine portrayed at the end of the movie ( Brown, 1996). Furthermore, even though the female protagonist, Beatrix, in Kill Bill was a professional killer, the fact that she was victimized and sexually assaulted countless times by men, explained her strong drive to toughen up and her overwhelming desire to kill and seek revenge( Demiray, 2012). Even though these female characters develop male exclusive traits such as aggression, the fact that their eventual empowerment stems from previous subjugation by men suggests that the action heroines are not free from male suppression after all.
In addition to victimization, female action characters are still portrayed as secondary to male characters as they may still be manipulated and guided by men in one way or another. The demanding and exhaustive process that a submissive and vulnerable woman has to go through to transform into heroine may still be credited to men. This is best illustrated in Kill Bill where Beatrix owed her victory to her male trainer, who taught her an important skill( Demiray, 2012). At the same time, Bill was able to manipulate Beatrix’s mind and convinced her to agree with something that she may not admit to ( Demiray, 2012).
Similar to victimization, the manipulation of women by men represents one way that women are ultimately subjugated, reflecting the traditional stereotype of a submissive female. This undermines the ability of the portrayal of heroines in liberating them from the patriarchal structure.
Emergence of new stereotype
The revolution from a submissive and weak female character to a strong and powerful heroine in fact creates a new set of stereotype for the female action characters to conform to.
Unlike the female action characters in male dominated films, heroine action films bring women to a higher level of masculinity as these female characters showed no mercy in their independent attacks (Brown, 1996; Demiray, 2012). By embracing masculine traits, these female characters may eventually lose their essential true self that was defined by femininity. Because of the overwhelming urge and desire for revenge and protection purposes these female characters went through vigorous physically and mentally challenging trainings and turned into heroines who are ruthless, emotionless and impervious (Brown, 1996; Demiray, 2012). Killing alone is insufficient. The female action characters employ sadistic, cunning and grotesque methods to punish and torture their enemies (Brown, 1996; Demiray, 2012). They go beyond simply wanting their enemies dead so as to satisfy their sadistic pleasure and seek justice for the torment they went through because of men. This is evident in Sympathy for Lady Vengeance where the female protagonist, Geum-ja Lee continued to fire a shot at the already dead enemy so as to seek equilibrium in her emotional imbalance and injustice which had lived with her since she was victimized (Demiray, 2012). Heroines may be depicted as callous, merciless and ferocious characters and hence, conforming to a new set of stereotype compared to previous female portrayals.
Blinded by revenge, these female action characters lost their true identity (Demiray, 2012). Female action characters in the past male dominated films made use of the masculine traits such as independence, assertiveness and aggression they developed, to shield their inner submissive, vulnerable and feminine side (England, 2011; Gilpatric, 2010). However, roles are reversed in heroine action films. As demonstrated by Maggie in Point of No Return, who exploited her “vulnerable” feminine image at her convenience to gain advantage of the situation, heroines in fact use their effeminate side to disguise their developed masculine identity. (Brown, 1996). Their feminine side in turn serves as a façade to hide their overpowering and intimidating masculinity to defeat their enemies (Brown, 1996). While adhering close to or even beyond the parameters of male roles, these heroines may not have liberated themselves as they lose their female identity.
Unlike past female representations, these female action characters in heroine action films in fact conform to male stereotypes and hence may not be liberated since they seemed to live in men’s shadows.
Continued Sexualization
The empowering female action characters in heroine action films who are regarded as role models, may in fact still project great sexual appeal than before and hence, distance from liberation.
Continued sexualized images of heroines dressed in tight costumes and sweatwears that accentuate their hot body figure, subject themselves to male gaze( Brown, 1996; Demiray, 2012; Gilpatric, 2010). Objectification of women is emphasized as these irresistible physical female portrayals further fuel men’s desire to possess them( Forte, 1990; Demiray, 2012). Kill Bill illustrates how even an unconscious woman can be sexually assaulted without any seductive behavior on her part (Demiray, 2012). This further reinforces the relevance of objectification of women even in heroine action films and hence unable to break away from male gaze and therefore conform to traditional stereotype.
Greater emphasis on sexualized images of women may in turn impose a set of expectations for female viewers to conform to. Heroines are portrayed as beautiful, well toned, sexy, aggressive, intelligent and highly educated characters and hence illustrates the ideal image that every girl yearns to achieve ( Brown, 1996, England, 2011; Gilpatric, 2010). Such continual emphasis on “beautiful is good” ( Smith, McIntosh, Bazzini, 1999 as cited by Hammer, 2009, p. 213) highlights the significance and benefit of physical beauty. According to social cognitive theory, these ideal images of female action characters may inflict pressure on female viewers to achieve these unrealistic expectations (England, 2011; Gilpatric, 2010; Hammer, 2009). As a result, they might even despise their own appearance, resort to undesirable and unhealthy means such as excessive dieting or develop unhealthy eating habits, just to achieve the ideal image portrayed by these heroines (Hammer, 2009).
Instead of liberating women, such sexualized portrayals of heroines conform to patriarchal structure by subjecting them to male gaze. Furthermore, these images confined female viewers to restrictions while they struggle to look like them.
Wider scope of roles
Nevertheless, these female action characters in heroine action films indeed represent a progress towards liberation in male dominated action films. Not only these female action characters are granted more opportunities to explore roles which were previously deemed male exclusive, they are also allowed to try roles which may possibly overpower and defeat the male characters in these films independently ( Brown, 1996; Demiray, 2012). One good example is illustrated by Sarah Connor in Terminator who may appeared more muscular than the other attractive and hot female action characters ( Brown, 1996). In this case, “muscularity is the sign of power” ( Richard Dyer, 1982 as cited by Brown 1996) . Such excessive masculine physical portrayals of female action characters signify a break away from conventional physical portrayals of female characters.
However, the ability of heroines in breaking down conventional gender barriers rests on the receptivity of the audiences to such changes in female portrayals as well as the effectiveness of the portrayals themselves.
Receptivity is assessed based on the success of the films. According to Gilpatric (2010), heroine action films are still not as successful as male dominated action films as they produced much less revenue compared to the latter, indicating poor receptivity of heroine action films. Furthermore, subjugation, sexualization and the creation of the new stereotype of heroines indicate that the effectiveness of these heroine portrayals are minimal, and thus undermining their ability to effectively break away from patriarchal structures (Brown, 1996; Demiray,2012; Forte,1986; Gilpatric, 2010).
In conclusion, heroine action films may seemingly appear to portray female characters away from traditional portrayals. However, upon a more in depth analysis of these films, these heroines in fact still conform to stereotypes. Not only are they still conforming to conventional stereotypes such as being subjugated and sexualized, they now even conform to male stereotype. Therefore, female action characters in heroine action films may not seem to be liberated while remaining
stereotyped.
References:
1. Brown, J. A. (1996). Gender and the Action Heroine: Hardbodies and the
"Point of No Return". Cinema Journal, 35(3), 52-71. Retrieved from http://libproxy.smu.edu.sg/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edsjac&AN=10.2307.1225765&site=eds-live&scope=site
2. Demiray, B.G. (2012). The Avenging Females: A Comparative Analysis of Kill
Bill Vol.1-2, Death Proof and Sympathy for Lady Vengeance. CINEJ Cinema Journal, 1(2), 29-35. doi:10.5195/cinej.2012.40 Retrieved from http://libproxy.smu.edu.sg/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edsoai&AN=edsoai.810788605&site=eds-live&scope=site
3. England, D., Descartes, L., & Collier-Meek, M. (2011). Gender Role
Portrayal and the Disney Princesses. Sex Roles, 64(7/8), 555-567. doi:10.1007/s11199-011-9930-7. Retrieved from http://libproxy.smu.edu.sg/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=sih&AN=59438132&site=eds-live&scope=site
4. Forte, J. (1986). Women in Performance Art: Feminism & Postmodernism.
Women In Performance Art: Feminism & Postmodernism. Retrieved from http://libproxy.smu.edu.sg/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=sih&AN=SN156500&site=eds-live&scope=site
5. Gilpatric, K. (2010). Violent Female Action Characters in Contemporary
American Cinema. Sex Roles,62(11/12), 734-746. doi:10.1007/s11199-010-9757-7 Retrieved from http://libproxy.smu.edu.sg/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=sih&AN=52269310&site=eds-live&scope=site
6. Hammer, T. R. (2009). Controlling Images, Media, and Women 's
Development: A Review of the Literature.Journal Of Creativity In Mental Health, 4(3), 202-216. doi:10.1080/15401380903084936. Retrieved from http://libproxy.smu.edu.sg/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=44317529&site=eds-live&scope=site
7. Jordan, C. (1996). Gender and class mobility in Saturday Night Fever and Flashdance. Journal Of Popular Film & Television, 24(3), 116. Retrieved fromhttp://libproxy.smu.edu.sg/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=9701225149&site=eds-live&scope=site
2011; Hammer, 2009). However, the rise of feminism resulted in the emergence of more sophisticated female characters, especially in the genre of action films, where the characters adopt masculine traits such as assertiveness and independence ( Chris, 1996; Demiray, 2012; England, 2011; Gilpatric, 2010; Hammer, 2009). Although these heroines characters indicate advancement in the male dominated films, the progress is limited as men are still the ones carrying out the most climatic and impactful rescue scenes ( England, 2011; Gilpatric, 2010). As a result, female action characters in male dominated films are still secondary to male characters as they are merely playing supporting roles in these action films ( Gilapatric, 2010).
In recent times however, there is an increasing number of heroine action films whereby the protagonists of the films are played by female characters (Brown, 1996; Demiray, 2012). Diverging from passive female roles in male dominated action films, these heroines are even more ferocious and decimating than male characters (Brown, 1996). In addition to relying on high technological weapons, heroines in action films such as Kill Bill and Terminator, also independently engage in dangerous fights that involve more direct physical contact (Brown, 1996; Demiray, 2012). Such portrayals reduce reliance on men and therefore place women in a more self-sufficient position.
Over the years, we observe the transition from male dominated action films to heroine action films. Since film is “where the learning is” (Hammer, 2009, p.204), the change in female portrayals in films certainly reconstructs our perception of women. In addition, social cognitive theory suggests that stereotypes serve as a monitoring system for viewers and possesses the potential to alter their knowledge on gender belief and behavior (England, 2011; Hammer, 2009). Gender stereotypes hence educate viewers on acceptable and appropriate characteristics and behavior that each gender should rightfully demonstrate (Hammer, 2009, England, 2011). Furthermore, according to the constructivist approach, films play a critical role in the development process of shaping gender perceptions of children and hence the implications arising from new female portrayals in heroine actions films cannot be underestimated (England, 2011). Although female characters in these heroine action films may appear to have broken down traditional gender barriers, they still conform to some form of stereotypes, resulting in them being unable to be fully liberated from becoming stereotyped. In these films, the heroines are portrayed as subjugated and sexualized, conforming to the traditional stereotypes, while there is also the emergence of a new form of stereotype in which they conform to.
Subjugation of women
Despite taking up the leading role in heroine action films, these female characters may still be subjugated and regarded as secondary to men.
While we are so captivated by how the empowered female action characters are able to maneuver their way to success by defeating the villains through exercising masculine traits, we actually overlooked their underlying intention for developing such extreme aggressive character in heroine action films(Brown, 1996; Demiray, 2012). Brown (1996) believes that gender is a choice and not fate. Because these women were victimized and went through painful ordeal, insecurity and suffering before, revenge seems to be the trigger behind women’s decision to go through such vigorous and intensive training to be as strong as men (Brown, 1996; Demiray, 2012). A good example of this would be that of Sarah Connor in the Terminator series of films. Representing the victimized woman utilizing guns as a symbol of empowerment, Sarah Connor started off being victimized and it was through these sufferings that she developed into the heroine portrayed at the end of the movie ( Brown, 1996). Furthermore, even though the female protagonist, Beatrix, in Kill Bill was a professional killer, the fact that she was victimized and sexually assaulted countless times by men, explained her strong drive to toughen up and her overwhelming desire to kill and seek revenge( Demiray, 2012). Even though these female characters develop male exclusive traits such as aggression, the fact that their eventual empowerment stems from previous subjugation by men suggests that the action heroines are not free from male suppression after all.
In addition to victimization, female action characters are still portrayed as secondary to male characters as they may still be manipulated and guided by men in one way or another. The demanding and exhaustive process that a submissive and vulnerable woman has to go through to transform into heroine may still be credited to men. This is best illustrated in Kill Bill where Beatrix owed her victory to her male trainer, who taught her an important skill( Demiray, 2012). At the same time, Bill was able to manipulate Beatrix’s mind and convinced her to agree with something that she may not admit to ( Demiray, 2012).
Similar to victimization, the manipulation of women by men represents one way that women are ultimately subjugated, reflecting the traditional stereotype of a submissive female. This undermines the ability of the portrayal of heroines in liberating them from the patriarchal structure.
Emergence of new stereotype
The revolution from a submissive and weak female character to a strong and powerful heroine in fact creates a new set of stereotype for the female action characters to conform to.
Unlike the female action characters in male dominated films, heroine action films bring women to a higher level of masculinity as these female characters showed no mercy in their independent attacks (Brown, 1996; Demiray, 2012). By embracing masculine traits, these female characters may eventually lose their essential true self that was defined by femininity. Because of the overwhelming urge and desire for revenge and protection purposes these female characters went through vigorous physically and mentally challenging trainings and turned into heroines who are ruthless, emotionless and impervious (Brown, 1996; Demiray, 2012). Killing alone is insufficient. The female action characters employ sadistic, cunning and grotesque methods to punish and torture their enemies (Brown, 1996; Demiray, 2012). They go beyond simply wanting their enemies dead so as to satisfy their sadistic pleasure and seek justice for the torment they went through because of men. This is evident in Sympathy for Lady Vengeance where the female protagonist, Geum-ja Lee continued to fire a shot at the already dead enemy so as to seek equilibrium in her emotional imbalance and injustice which had lived with her since she was victimized (Demiray, 2012). Heroines may be depicted as callous, merciless and ferocious characters and hence, conforming to a new set of stereotype compared to previous female portrayals.
Blinded by revenge, these female action characters lost their true identity (Demiray, 2012). Female action characters in the past male dominated films made use of the masculine traits such as independence, assertiveness and aggression they developed, to shield their inner submissive, vulnerable and feminine side (England, 2011; Gilpatric, 2010). However, roles are reversed in heroine action films. As demonstrated by Maggie in Point of No Return, who exploited her “vulnerable” feminine image at her convenience to gain advantage of the situation, heroines in fact use their effeminate side to disguise their developed masculine identity. (Brown, 1996). Their feminine side in turn serves as a façade to hide their overpowering and intimidating masculinity to defeat their enemies (Brown, 1996). While adhering close to or even beyond the parameters of male roles, these heroines may not have liberated themselves as they lose their female identity.
Unlike past female representations, these female action characters in heroine action films in fact conform to male stereotypes and hence may not be liberated since they seemed to live in men’s shadows.
Continued Sexualization
The empowering female action characters in heroine action films who are regarded as role models, may in fact still project great sexual appeal than before and hence, distance from liberation.
Continued sexualized images of heroines dressed in tight costumes and sweatwears that accentuate their hot body figure, subject themselves to male gaze( Brown, 1996; Demiray, 2012; Gilpatric, 2010). Objectification of women is emphasized as these irresistible physical female portrayals further fuel men’s desire to possess them( Forte, 1990; Demiray, 2012). Kill Bill illustrates how even an unconscious woman can be sexually assaulted without any seductive behavior on her part (Demiray, 2012). This further reinforces the relevance of objectification of women even in heroine action films and hence unable to break away from male gaze and therefore conform to traditional stereotype.
Greater emphasis on sexualized images of women may in turn impose a set of expectations for female viewers to conform to. Heroines are portrayed as beautiful, well toned, sexy, aggressive, intelligent and highly educated characters and hence illustrates the ideal image that every girl yearns to achieve ( Brown, 1996, England, 2011; Gilpatric, 2010). Such continual emphasis on “beautiful is good” ( Smith, McIntosh, Bazzini, 1999 as cited by Hammer, 2009, p. 213) highlights the significance and benefit of physical beauty. According to social cognitive theory, these ideal images of female action characters may inflict pressure on female viewers to achieve these unrealistic expectations (England, 2011; Gilpatric, 2010; Hammer, 2009). As a result, they might even despise their own appearance, resort to undesirable and unhealthy means such as excessive dieting or develop unhealthy eating habits, just to achieve the ideal image portrayed by these heroines (Hammer, 2009).
Instead of liberating women, such sexualized portrayals of heroines conform to patriarchal structure by subjecting them to male gaze. Furthermore, these images confined female viewers to restrictions while they struggle to look like them.
Wider scope of roles
Nevertheless, these female action characters in heroine action films indeed represent a progress towards liberation in male dominated action films. Not only these female action characters are granted more opportunities to explore roles which were previously deemed male exclusive, they are also allowed to try roles which may possibly overpower and defeat the male characters in these films independently ( Brown, 1996; Demiray, 2012). One good example is illustrated by Sarah Connor in Terminator who may appeared more muscular than the other attractive and hot female action characters ( Brown, 1996). In this case, “muscularity is the sign of power” ( Richard Dyer, 1982 as cited by Brown 1996) . Such excessive masculine physical portrayals of female action characters signify a break away from conventional physical portrayals of female characters.
However, the ability of heroines in breaking down conventional gender barriers rests on the receptivity of the audiences to such changes in female portrayals as well as the effectiveness of the portrayals themselves.
Receptivity is assessed based on the success of the films. According to Gilpatric (2010), heroine action films are still not as successful as male dominated action films as they produced much less revenue compared to the latter, indicating poor receptivity of heroine action films. Furthermore, subjugation, sexualization and the creation of the new stereotype of heroines indicate that the effectiveness of these heroine portrayals are minimal, and thus undermining their ability to effectively break away from patriarchal structures (Brown, 1996; Demiray,2012; Forte,1986; Gilpatric, 2010).
In conclusion, heroine action films may seemingly appear to portray female characters away from traditional portrayals. However, upon a more in depth analysis of these films, these heroines in fact still conform to stereotypes. Not only are they still conforming to conventional stereotypes such as being subjugated and sexualized, they now even conform to male stereotype. Therefore, female action characters in heroine action films may not seem to be liberated while remaining
stereotyped.
References:
1. Brown, J. A. (1996). Gender and the Action Heroine: Hardbodies and the
"Point of No Return". Cinema Journal, 35(3), 52-71. Retrieved from http://libproxy.smu.edu.sg/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edsjac&AN=10.2307.1225765&site=eds-live&scope=site
2. Demiray, B.G. (2012). The Avenging Females: A Comparative Analysis of Kill
Bill Vol.1-2, Death Proof and Sympathy for Lady Vengeance. CINEJ Cinema Journal, 1(2), 29-35. doi:10.5195/cinej.2012.40 Retrieved from http://libproxy.smu.edu.sg/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=edsoai&AN=edsoai.810788605&site=eds-live&scope=site
3. England, D., Descartes, L., & Collier-Meek, M. (2011). Gender Role
Portrayal and the Disney Princesses. Sex Roles, 64(7/8), 555-567. doi:10.1007/s11199-011-9930-7. Retrieved from http://libproxy.smu.edu.sg/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=sih&AN=59438132&site=eds-live&scope=site
4. Forte, J. (1986). Women in Performance Art: Feminism & Postmodernism.
Women In Performance Art: Feminism & Postmodernism. Retrieved from http://libproxy.smu.edu.sg/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=sih&AN=SN156500&site=eds-live&scope=site
5. Gilpatric, K. (2010). Violent Female Action Characters in Contemporary
American Cinema. Sex Roles,62(11/12), 734-746. doi:10.1007/s11199-010-9757-7 Retrieved from http://libproxy.smu.edu.sg/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=sih&AN=52269310&site=eds-live&scope=site
6. Hammer, T. R. (2009). Controlling Images, Media, and Women 's
Development: A Review of the Literature.Journal Of Creativity In Mental Health, 4(3), 202-216. doi:10.1080/15401380903084936. Retrieved from http://libproxy.smu.edu.sg/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=44317529&site=eds-live&scope=site
7. Jordan, C. (1996). Gender and class mobility in Saturday Night Fever and Flashdance. Journal Of Popular Film & Television, 24(3), 116. Retrieved fromhttp://libproxy.smu.edu.sg/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=9701225149&site=eds-live&scope=site