The irony of female rage in film: a catalyze for progressiveness
By Gagnessiry Fall
Female Rage is a beloved genre among women of all ages, capturing their emotions and experiences as they break free from societal constraints. In film, it serves as a powerful platform for women's voices, challenging gender expectations and biases ingrained in younger generations. Specifically following characters Nina Sayers from Black Swan 2010 made by Darren Aronofsky (BS) and Babydoll from Sucker Punch 2012 made by Zack Snyder (SP) who resonate with women in the 21st century, as thereâs a strive to shape female identities beyond the notion of the "perfect woman" that had been normalized in Western society. However, as more movies explore the female perspective, the line between reality and fantasy blurs, highlighting the concept of gender as a social construct. These narratives aim to dismantle stereotypes and empower women, but all they do is provide false hope to maintain the gender power society is based upon.
Nina Sayers and Babydoll prove to be poor attempts at curating characters outside the rules of society as their subjects appeal to the male gaze, that being the idea that âFeminine is Mysteryâ as Simone De Beauvoir expressed in The Second Sex (De Beauvoir, 1949). She introduces the concept of reciprocity, which paints a mutual exchange between men and women, suggesting itâs limited by the narrow perspective of only two genders providing the concept that "women is otherâ. This places the female in the continued system of âBiopowerâ introduced by Micheal Foucault in History of Sexuality, Vol 1 (Foucault, 1976) when it comes to the regulation of gender especially in this case in media, society views and gets inspired by. Media is continuously used as lessons citizens should learn from and in society, people use these concepts to âtraffic the sex/gender systemâ placing women as passive victims as Gayle Rubins expressed in The Traffic in Women: Notes on the âPolitical Economyâ of Sex (Rubins, 1975). This places Female Rage as a prime example of male âfetishism and curiosityâ as their gaze continuously objectifies women to be represented in a one-sided light in film studies expressed by Laura Mulvey in Fetishism and Curiosity (Mulvey, 1996). Through all these philosophies on the structure of female character the common word of âempowermentâ doesnât have a meaning when being compared to the genre of Female Rage.
The Limitations of Gender follows the journey of an aspiring ballerina, Nina Sayers, and her psychological struggle to live up to the role of the Black Swan. At the beginning of the movie, Nina Sayers is introduced in a light palette that contains baby pinks, creams, and light grays which displays her childish, ambitious nature but as the pressure piles upon her, the light palette is diseased with darkness as her final image is seen with a blood red. This movie follows the lens of female perfection using the topic of ballet to appeal to the Western world. To start the use of ballet almost restricts what is seen as feminine, as it's always associated with one gender following the male gaze forcing upon the myth of âNatural Feminineâ (De Beauvoir, 1949) which associates women with normalized standards society places thus stripping them away from individuality. Nina Sawyer is characterized as âa frigid little girlâ (BS, 32:21) at the beginning as her mindset was skewed toward being perfect, her character was curated on the concept of what society views as light femininity. Nina at the end of the movie follows the strict eyes of being something âpureâ as Leroy had said, ending her life with âI was perfectâ (BS, 1:42:43) whilst appealing to the role of staying true to the idea of what feminine looks like. With the concept of ballet, the film dives into a medium the society has placed a gender upon being female, although this movie is supposed to dive away from the gender norms, it almost cements it and proves its abiding to the concept that âwomen are otherâ (De Beauvoir, 1949). The simple fact that Aronofsky attempted to create a character that defies the norms of femininity is almost ironic, his subject matter can be interpreted as placing women in the strict limitations of âWomen is Mysteryâ therefore making Nina Sawyer a product of normalization.
Black Swan proceeds to use the character, Nina Sayers, as an example of a film that dives into the concept of sex freely as a way of normalizing conversation in reality. That approach is not only something that pursues the sexualization of the female image, but it also puts upon new conversation standards for Western society. As Leroy says âGo home and touch yourselfâ (BS, 37:22), he places Nina in the mindset that she needs to do certain things to achieve the standards of what the âperfect black swanâ is. This follows her as it kickstarts the first pan of Ninaâs actions to deal with anxiety which is her continuous use of scratching, specifically her back. Foucault expressed the idea that âsex is secret '' (Foucault, 1976) as itâs something society always hides but something that people always want to be outspoken about. In this case, Black Swan attempts to use this topic as an open medium although all it does is force ânormalizing powerâ (Foucault, 1976) to fight against ârepressive powerâ (Foucault, 1976) in society, women are placed at the forefront to help society overcome uncomfortably. But, as Foucault expressed, sexuality wasnât something repressed, instead, society placed regulations based on the unseen hierarchy of power in which people have through the uses of censorship and denial. As black swan attempts to show a breach of norms, it almost follows the idea that talks about sex are sacred and heavily scrutinized, displaying a poor example of the progression and empowerment of the female gender in Western society.
Following on, the character of Babydoll presents another flaw in the genre of female rage which is the display of sexualizing female identities when perpetuating society's flaws. Her character is presented in revealing clothes as being the first flaw in displaying a character that speaks out against the sexualization of the female identity. Following her introduction, the touchy subject of abuse is brought up and Babydoll is seen in a light of anger to achieve âfreedomâ (SP 29:37). Her format also being the medium of dance, through her dancing she allows herself to unlock mindsets past her frigid, timid background of abuse. This movie starts as an entrance to progression in the sense of women fighting back but then turns to more of a display of female attractiveness as âYou don't want to be judged?â (SP 26:41) is used as a way of endearment as well as empowerment. Although Snyder attempts to make the focus of the movie on feminine growth, the concept of stripping and nudity takes away from the message of the movie. As said by Rubins, women are seen as âcommoditiesâ (Rubins, 1975) in the sense of their bodies being used as ways to bring messages and or generate revenue in this case from being a director of a movie. This movie places women as âpassive victimsâ (Rubins, 1975) of male gratification and pleasure in the setting of the cabaret that is the main setting of this movie. The fact that this career field is displayed as the beginning for womenâs âyour fight for survival starts right nowâ (SP 26:41) displays Rubin's disdain for âcriminalizing the idea of sex workâ (Rubins, 1975). Not only does this movie one-sidedly force upon the idea that sex work is womenâs escape but it also shows the stigma that gender itself has to the chains in which women are forced into âthis little fantasy of freedomâ (SP 1:38:58). This movie attempts to full circle out of the concept of âeroticaâ (Rubins, 1975), but fails to address the âsex/gender constructed systemâ (Rubins, 1975) that is placed upon every corner of the western society.
Sucker Punchâs display through film attempts to break away from the male gaze although through the depictions of women in provocative clothing and scenes, it almost makes the idea of empowerment ironic. Mulvey brings out the term âscopophiliaâ which is a pleasure to watch, which is a common consensus of audiences who have watched the movie. The simple fact the movie ended with complete disregard for its message of âfreedom to loveâ (SP 1:53:12) is sexualized, making this a complete step back from the whole point of the movie's release. Itâs almost as if Babydoll's journey away from being the realm of âcuriosityâ (Mulvey, 1996) of the male gaze is thrown away as the targeted audience of the movie was female, instead, it was the imaginative male gaze Western society has created. The whole movie follows a continuous cycle of the âobjectification of women perpetuating a cycle of desire and consumptionâ (Mulvey, 1996) as the ending of the movie comes in the form of Babydoll sitting lifeless to the worldâs pains/tragedies against the female identity. Although the âpower dynamicâ (Mulvey, 1996) attempts to break men away from above women, it's almost as if this portrayal of them in a weak to powerful light stands in stark contrast to the idea of women's growth.
While Female Rage films attempt to empower women and break free from societal constraints, they often fall short by perpetuating gender stereotypes and exploiting women for the male gaze. Characters like Nina Sayers and Babydoll, although intended to represent strong women, end up being mere objects of fetishism and curiosity. Thus, it is essential to continue exploring new ways of representing female characters in media that promote genuine empowerment and challenge gender norms. In wrap up, the question of how every film presented on the big screen can show the empowerment of humans in general in a society where gender associations have already been deeply ingrained in our mindsets is a complex and thought-provoking one. As we continue to explore this issue, I still donât know how to remove bias from the perspective of the viewer, but want to express how impossible it is to separate western gender expectations and personal growth as it will always coincide.
Work Cited
Aronofsky, Darren. Black Swan. Fox Searchlight Pictures, 2010.
a Warner Bros. Pictures presentation, in association with Legendary Pictures ; a Cruel and Unusual production ; a Zack Snyder film ; produced by Deborah Snyder, Zack Snyder ; directed by Zack Snyder ; screenplay by Zack Snyder & Steve Shibuya. Sucker Punch. Burbank, CA :Distributed by Warner Home Video, 2011
Foucault, Michel, 1926-1984 author. The History of Sexuality. New York :Pantheon Books, 19782021.
Beauvoir, Simone de, 1908-1986. The Second Sex. London :Jonathan Cape, 2009.
Rubin, Gayle. âThe Traffic in Women: Notes on the âPolitical Economyâ of Sex.â In Ellen Lewin, Feminist Anthropology, a Reader. Malden, Ma: Blackwell Publishing Ltd 2006
Mulvey, Laura. Fetishism and Curiosity. British Film Institute, 1996. Great Britain by St Edmundsbury Press Ltd, Bury St Edmunds, Suffolk.