In what ways can 'the gaze' be said to be political?
The idea of privilege observation
“The gaze” implies a wide range of psychoanalysis, philosophic and theoretical frameworks in diverse aspects. “Gaze” itself has been commonly known as the power point of view. The concept of the gaze often related to the level of social status, class, gender and identities in sociology and cultural studies. The gaze could be sexual, political, or psychological with consciousness or in an unconsciousness level. (Balducci, 2017) In which, there are certain type of gaze that are suggested to involve political science and international relations. This includes the “The postcolonial gaze” proposed by Edward Said, “The imperial gaze” by Ann Kaplan. Or else, the famous “Male Gaze” and “Feminine Gaze” introduced by Laura Mulvey in her master piece Visual Pleasure and Narrative Cinema in 1975. (Mulvey. Rose. Lewis. 1975) In essence, the gazes often addressed to the issue of racism, sexism, picture generation and in certain degrees of discrimination which are related to political subjects. (Roye. Rajeshwar. 2013) The gazes by the means of privilege observation, that is always involved with personal aggression.
Gender in cultural assumption
Specifically for the masculine gaze or the feminine gaze, they often related to feminism, sexual liberation, women liberation and Fetishism. Which has often referred to sexual imbalance and seeking for gender equality. Male gaze often examine According to Mulvey, the representation of women on screen are often being displayed as sexual objects and are portrayed in an erotic way. This is in order to arouse a pleasurable visual experience for men. (Mulvey. Rose. Lewis. 1975) In contrast, the male protagonist often plays in a central role for the active male figures. The concept of the male gaze is known as a sexualised way of looking that empowers men and objectifies women. (Mulvey. 1999) Mulvey emphasises that the popularity of the mainstream Hollywood films is largely built under the ideal of mastering the command of men. Critics have also drawn attention to how women being manipulated of cultural fetishisation of femininity for the purpose to boost visual economy. (Thornham. 1999) Women are being viewed from the perspective of heterosexual men and are presented largely in the context of sexual influence in response to the demand of male ideology. The active males and the male gaze empowers men and objectifies women. (Mulvey. 1999) The concept of male gaze and the female gaze proposed by Mulvey have play a major part in film and culture. Mulvey’s statement was crucial for the contribution of women empowerment for a qualitative research framework regarding to women liberation and fight against sexism. In which, Mulvey’s philosophy of the masculine point of view could be use as a political tool to strengthen feminism. (Mulvey. 2017) This is also suggested to be the reason why the male gaze and female gaze could be relevant to political point of view. The concept based upon the inequality of socio-political power between men and women.
Figure 1.1. (play.google.com. 2019) Film Poster. Catwoman.
Sexism in Film Culture
Feminism is a social movement that has had an enormous impact on film theory and criticism. Feminist counter-cinema took its inspiration from the avant grade in cinema and theatre. Early feminist criticism addressed to the issue of female stereotypes and picture in generation in Hollywood films. (Penley. 1988) Feminist critics developed an understanding of semiotics and psychoanalysis discourses that have proved the ways in which sexual imbalances is encoded in classical narrative and early film culture. (Iglesias Prieto. 2004) “Cinema as reflecting reality.” Claire Johnston was among the ver first feminist critics to offer a sustained critique of gender images and stereotypes from a semiotic point of view. The sign “Woman” are negatively represented as an absent from the text of the film. Feminist counter-cinema did not only pertain to mainstream Hollywood film, but fictions, journal and documentary in general. (Denzin. 1995) Feminist critic stated that narrative structures are defined by Oedipal desire, according to the sexual development theory developed by Freud. (Gardiner. 2002) This could also be understood as a socio-political economy dominated by the control of subjectivity by men and the power of patriarchal imagery. To a certain extent, this could also lead to a psychological framework of men of heroism and the pursuit of heroic masculinity as a type of masculine desire. (Lahai. 2017)
When it comes to narratives and film, it is not a secret that superhero use to only have been used for male characters. Such as the Superman, Batman, Hercules, Robin, Iron man, Spiderman, and Captain America. All of the mentioned hero figures have always been portrayed as strong and righteousness. (Nouwens. 2014) However, the figures of women superhero were often being shown as sexual, violent with stupidest referring to the first superhero narrative character ever - the Fantomah. (Morris. 2015) Throughout the decades, the last film productions with female lead super heroines - Catwoman (2004) directed by Pitof, and Elektra (2005) by Rob Bowman. The films were both rather flopped immensely. The characters were completely objectified women as a superhero character sexism. (Kvaran. 2017) In particular, the Catwoman character manifested herself in our popular cultural consciousness that has often varied dramatically. Catwoman was portrayed with female narcissism and psycho with her aggressive side of her sexuality referred to her tight leather costume, with push up bra, tight pants and high heels. (Miller. Azzarello. Romita. Steigerwald. Robins. 2016) See Figure 1.1. Feminist critics have drawn attention to her character setting has endured gender objectification, and the hyper-sexualisation of a sexual woman with erotic impacts. (Simons. 1988) In her next film “Batman Returns” the controversy turned to addressed sexism and feminism’s libidinal along with her classic dialogue to Batman and became one of the top sexist superhero movie in the film culture. (Syn. 2014) She said “How could you, I am a woman.” and a moment later, “As I was saying, I’m a woman and can’t be taken for granted. She attempted to kill Batman a certain time having been rescued by Batman earlier. As a female “heroine” feature, perhaps, the Catwoman has more likely to be portrayed as an evil type of rebel character. Which have given an impression of Catwoman as a icon to implies woman who are “sexy and disloyal”. (Knight. 2010)
Figure 1.2. (movieweb.me. 2019) Film Poster. Elektra.
Female Objectification
On the other hand, the female protagonist in “Elektra” who has also been portrayed as sexual and violent with the same type of sexy costume in the film. See Figure 1.2. Her role is an assassin. Elektra is transformed by the killing of her father. Elektra was part of a postfeminist wave that took the supersession of crude patriarchy’s opposition of active male and passive female for granted. Feminist critics examine the feature of Elektra is a reformed villains with exotic temptress archetype suffused with film noir femme-fatale attitude. (Euripides. McLeish. McDonald. Walton. Euripides. 2004). Elektra. London: Methuen Drama. Which implies as a familiar object of male heterosexual desire and subordinate to male fantasy. (Dicus. 2000) Since both of the film were mainly directed by men. In an overall view, all these former female heroine characters could relatively applied to Mulvey’s philosophy in regards to male gaze. Since the masculine gaze point of view is made possible through camera lingering on the curves of the female body. As this is in order to build a visual stimulation of projected female figures to create an erotic spectacle. So as Fantomah, Catwoman, and Elektra. (Kvaran. 2017)
The impact of their character features are suggested to be Scopohilia, which is a human reaction to sexual imagery that aimed to obtain visual pleasure of erotic plots. (Dever. 2013) On the movie screen, the women characters have passively perceived as pre-existing meaning sense, as the sex objects, and as the passive object to satisfier the male desire. (Mulvey. 1999) Not only the female hero characters, but in general and especially the mainstream Hollywood movies during the 20th centuries. The role of the female characters which also have brought up an influential impact to female spectators in terms of the female gaze. Feminist critic also draw question of female desire within psychoanalytic discourse. (Cozzolino. Adamson. 2012) “The female subject who is made to bear the burden of that lack in order to provide the male subject with the illusion of wholeness and unity.” Kaja Silverman. Which explained women are influenced by the movie characters and subconsciously by the means to impersonate their outlooking and features. (Thornham. 1999) Sexual imbalance and sexism were made evidential in the mentioned example. It is necessary for women to stand out and fight against sexism not only in the film industry, but in the society as a whole. Feminism have no means to fight against men. The power of feminism in which every women deserve to possess their freedom of expression in social and gender equality. (Altbach. 1980)
Figure 1.3. (Pinterest. 2019) Film Poster. Wonder Woman.
Women empowerment and liberation
Throughout the next decade, the gaze in regards to sexuality have gradually transformed to a much better place for women in contemporary art, film, sociology and in general. (Callahan. 2010) Especially for the new generation in western culture. Women, and especially the female characters in cinema, they often being portrayed as “Smart”, “Independent”, “Compassionate”, “Fearless” and “cool-headed” with “strength” under the feminist lens. (Cui. 2003) Sexual equality appear to be a dream comes true within the contemporary film culture. (Marciniak. 2016) Given an example, Wonder Woman(2017) as one of the masterpiece of subversive feminism. Wonder Woman could be said to be one of the first superhero female character that is iconic and recognisable to women liberation in film and narratives. (Irwin. 2017) The character is a founding member of the Justice League. Wonder Woman as a fictional superhero appearing in American comic books published by DC and the film directed by Patty Jenkins. Wonder woman has been the first female character who gets her own narrative character that is not about supporting a man’s story. (Darowski. 2014) Perhaps it is not the perfect film to depiction of feminism, the character, the idea and the storyline has been a progressive step forward for women leading behind the screen. It has been an evaluation of feminism on the movie screen.
Wonder woman, Diana Prince, achievements consist of the challenges it mounts to the masculinist schemas that shaped and managed in both genders. Wonder Woman’s association with myth is complemented by a bond with nature. Her character’s setting shows comparable abilities to the most hyper-masculine of all Marvel’s Avengers. (McLean. 2000) For instance, there was in one scene Diana leaps and clings to walls, making her own handholds through digging her fingers into stones before launching off. In this case, she does not only reformed conventionally masculine qualities as feminine. She also reveal the compatibility of the natures with one typically regard as feminine. (Knight. 2010) Wonder Woman’s subversions of female stereotype and picture generation that have ingrained herself into the superhero genre. Portrayed to partake at a same level as traditional masculine superhero of negotiation. (Ritzenhoff. Kazecki. 2014) Simultaneously, she also embodies a feminine sense of peace, justice and emotional intelligence combined with classic superhero charisma. (Camden. Zullo. 2018) Which has an implication to the pursuits of gender equality. In comparison to Catwoman and Elektra, Wonder Woman has a much higher potential to represent liberated women as a feminist icon in popular culture. She has neither been described as sexist or disloyal, nor a sexual object for erotic impact. Wonder Woman’s complex gender identity interpretation to a muscular mixed of feminine appearance. (Fitzgerald. 2018) See Figure 1.3. She looks very confidential and carries her three heroine objects including a tiara, bracelets and lasso. Even though they are traditional feminine accessories, the tiara is used as a weapon and the bracelets is her defensive items. Critics have drawn attention to wonder woman’s first heroines appearance on comic book that are uncovered. Critics examines the history of Wonder Woman creation debut in All-Star Comics in 1941. (Ormrod. 2015) However, her character feature has been developed to the powerful feminist icon throughout the era. (Virginás. 2018) The film directed by Jenkins with a female gaze of gender assumption. The outfit and character setting of Diana Prince has been thoughtfully designed to communicate a feminist perception, and not to objectified female protagonist. Her outfit is made by mental. It is a costume which exposes her shoulder and legs. It could be kind of sexualised. (Muñoz-González. 2017) However, it could be viewed or “gazed” in a positive and sanguine approach. The Amazon Princess has developed an impression who is skilled and powerful warrior and male by default. Her mixing of gendered attributes which have created the ideology of the empowered woman at the core of feminism, women liberation and the goal of gender equality. (Urick. Sprinkle. 2018)
Figure 1.4. (The Movie Database. 2019) Film Poster. The Hunger Games.
Third-wave Feminism
Thence, to what extend does gender equality or sexual balance existed in our modern society? Have feminism achieved their goal? This question brings controversy to the neglected social phenomenon of feminist woman oppression. Feminism, as a movement whose primary purpose is to achieve quality in all realms between men and women. Whereas, the third-wave feminist emulates the complexity of womanhood in many forms. (Christensen. 2015) This includes the race, religious, atheist, homosexual or heterosexual. The third-wave feminism encompasses ideology focuses on a more post-structuralist interpretation of gender and freedom of sexuality. (Vidra. 2011) In which, they interpreted sexuality should be embraced as a natural part of life, and it is a source of empowerment as a positive aspect of life. Their ideology of “feminist” is to fight against the society and strengthen women who are being forced or limited in the freedom of society. Along with the concept of new sexual freedom and pressure, the term feminism has acquired negative connotation associated in the 21st century. Essentially feminism have become a subject of debate, which have suggested to show women’s anger, haters, humourlessness, militancy, unwavering principles in unilaterally decry of the objectification of women. (Vidra. 2011) Women avoid the label “feminist,” while men classify those under the category as “undesirable” as all feminists are angry instead of passionate. The problem here would it be conceptional misapprehension? Or else, is this the proof of sexual imbalance that has still existed in the society we live in, especially in the world of Western culture? Could this culture extend or overspread to the east, or else where in the world? (Christensen. 2015)
In here, we will be focus on another example of subversive feminism, liberation and socialism with cinematic studies in oder to explore our question that we have mentioned above. “The Hunger Games (2012)” - an American science fiction adventure film directed by Gary Ross. The Hunger Games is a very complicated story structured in many story layers with many sharply featured characters. The story taken place in a dystopian post-apocalyptic future in the nation of Panem, where have been compartmentalised in 13 districts. In every year, certain adolescent with the age between 12 to 18 who will be randomly selected to represent their district, and must participate in the Hunger Games. Which is a televised annual event in which the tributes are required to fight to the death until there is only one victor remains. Storyline follows Katniss Everdeen, the main female protagonist who volunteered in replace of her sister to participate in this competition. (Collins. 2008) The best feature of Everdeen is very similar to Wonder Women. Everdeen indicates overwhelming selflessness, compassion, and family-orientation to protect her family. Her character has also designed to be exceptionally skilled with a bow and arrow while hunting. She does not carry a sexualised suit or a sexy outfit. She is neutral and does not have a physical appearance beyond her trademark braided hair. (Burke. 2013) As a female protagonist, she is physically strong, athletic, calm and brave. Conversely, her courages, independence and strength with a mix of emotional and family-centered of characteristics which have given Everdeen a sexual balance of personality between masculine and feminine. She could be seen as a contemporary heroine without super power. (Ritzenhoff. Kazecki. 2014) Thus, she could also be portrayed as another feminist icon celebrating women liberation in the position of third-wave feminist futurism.
Figure 1.5. (Divci-hry.info. 2019) The Hunger Games. President Alma Coin.
Feminism, Colonialism, Imperialism
In addition, the film has also implied a wide range of political aspects. This includes social class division, authoritarian, imperialism, post-colonialism and fascism. In terms of the “postcolonial gaze” and the “imperial gaze” could also be relevant to the storyline of the film. In the story, President. Coriolanus Snow who in charge of authorities power and manipulation in the whole twelve districts. He has the privileges to rule human rights and taken control in military and all political affairs. (Lewis. 2013) President Coriolanus Snow represented govern administer authorities, which could be diffusely implied to imperialism. The nation of Panem with the 13 districts are the colonies which have fed up with the Capitol and initiate war, and pre end of war. The native troops of the garrison commanded by President Snow are spread throughout the district to attack an "attempted" or "hesitant" rebellion. The people lived and survived under colonial rule under the "postcolonial gaze” and to obey in fascism. (Miles. 2015) In The Hunger Games: Mockingjay (2014), a female leader character was created - President Alma Coin who is the president of District 13 and the leader of the second rebellion fight against the capitol. President Coin has been portrayed as a character for “Justice” at the beginning of the story who work with Plutarch Heavensbee the head gamemnaker. However, she actually disguised as a morality, considerable and a righteousness leader who is completely “Ruthlessness” before she gained her power. She suggested to arrange new Hunger Games with the children of the Capitol when she had begun to conferred with competence and jurisdiction. Everdeen has killed her instead of President Snow. (dreyer. 2015) This has been a really meaningful twist for endings. The whole story in which have shown that there are no difference for a male or a female. Despite men or women in the position of an overpowered leader. They must equally face justice to maintain legality and morality for the righteous of humanity. (Dunn. Michaud. 2012)
The ideology of new feminist icon
All in all, it is evidential that the use of “masculine gaze” and the “feminine gaze” are largely involved in gender movement in political frameworks, as well as the idea of “postcolonial gaze” and “imperial gaze” could also be said to be political. (Balducci. 2017) In this essay, we have focused on the transformation of feminism and women liberation movement which have strived a progressive step forward to the goal of sexual equality. From our discussion in regards to Wonder Woman and The Hunger Games, the film itself has been evidenced with the use of female gaze and third-wave feminism characteristics shaped in most prevalent in the film ideologies. (Gardiner. 2002) The female protagonist Everdeen has richly pressurised patriarchy, female stereotype, feminist body politics, the sexual politics, sexual inequality, liberation and sexual politics. (Dunn. Michaud. 2012) The ideology of third-wave feminism is to strive for the justice and righteousness of sexual liberation to against sexual discrimination, alternative sexualities, and the sociopolitical underpinnings of gender discrimination in all forms including sexual racism and sexual stereotypes. (Hippel. Wiryakusuma. Bowden. Shochet. 2011) In essence, sexual politics considered of radical feminism calls for all women to be surpass the social standard and traditional values of femininity. Not by hating men, against men or to destroy male’s equal rights. Nevertheless, it is essential for women to break through prescriptive social values and sexualised objectification frameworks. (Vidra. 2011) In transformation to women that could be independent with intelligence, compassion and courages who strive for the best for themselves. So as Wonder Women and Everdeen in the film. (Fitzgerald. 2018) This is another reason why Diana Prince and Katniss Everdeen could be said to referred to the third-wave feminist icon nowadays. They are natural and positive symbol in representation to the freedom of womanhood, and without the oppression of the gazes.
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