Gender Norms in American Cinema Will Be a Thing of the Past.
Small steps are being taken to eradicate stereotypes…even within the Wizarding World.
Media is a big part of why the public holds certain values. This power to shape how people view the world has ultimately influenced their opinions, beliefs, and attitudes daily. With the rise and expansion of modern technology, the media is becoming more and more accessible. This access to technological advancements is intrinsic to high media consumption. A broader audience range furthers the media’s ability to influence the general public. The result of this is the development of social constructs and negative stigmas around gender; which has hindered many invidiously for centuries. However, the binary concepts of gender roles are an ornament of the past. When analyzing the classics to modern heroes of American cinema, it is clear that the stereotypical ideals that were once held to a totem in society, now face opposition.
Appearances of Binary Gender Norms Depicted in American Cinema
American Cinema is a form of artistic expression that showcases people. The films and their construction are certainly influenced by gender roles and gender behaviors (Rohrer Paige, 1996). Its means are to disseminate information, not solely entertainment, but to represent men and women. Past content analysis indicates that films “take into account gendered expectations and norms” (Duane 4). Male characters, especially those presented as main characters of high caliber. Some examples of such male figures are Indiana Jones, Maximus from Gladiators, Mathayus from the Scorpion King, and etc. as they are often portrayed as rugged, tough, masculine, and muscular in American cinema.
While women are usually presented as either the helpless, victims or as nothing more than sexual objects to frolic with the audience. Some examples of such female figures played by main and/or side characters in films such as Transformers, The Wolf on Wall Street, Pirates of the Caribbean, etc. Though appeals to certain appearances are subjective, “attractive,” is usually fashioned to be seen as “sexy,” and “feminine.” Women are more likely to be portrayed in a sexualized manner and even more likely to be encouraged to engage in sexually suggestive behaviors as opposed to their male peers.
Reflection of these directions is displayed in their appearance; as their costumes typically stage them to wear less and more provocative clothing, as depicted in films such as Star Wars, Catwoman, Game of Thrones, etc. U.S research even indicated that
“even in U.S. G-rated films, women are often hypersexualized with unrealistically small waists, unusually large chests, and unattainable hourglass figures” (Pennell et al. 2015).
Subsequently, this wardrobe is synonymous with their performance.
Females are often depicted in media as non-essential and/or passive characters. They are usually offered a narrow range of roles and their characters are more likely to receive a mentor as opposed to their male peers. In fact, even if given the opportunity to play as the main narrative of the storyline, a majority of those female characters are in a discerning group or team, rather than alone. Some examples of these squads are seen in movies such as Charlies’ Angels, The Wizard of Oz, Steel Magnolias, etc. The quantity and quality of strong solo leading female characters are often outnumbered by male characters in American Cinema. Collectively, these results suggest to viewers that women play a more minor role, and aren’t as knowledgeable or capable as men — and less likely to be a hero.
Binary Gender Roles Displayed in Heroes of American Cinema
The perspective or narrative of the hero’s journey is a pillar of identity, a judgment of value that is related to cultural and societal pressures. Male heroes tend to be more aggressive in a crisis while female lead characters are more emotional and superficial. Thus, the quantity of violence committed in movies is higher amongst males than female roles. Furthermore, due to the frequent use of violence amongst male heroes, they are often scripted to have more abilities (physical and/or supernatural), as opposed to their either submissive, compassionate, nurturing, and/or understanding female supporting co-stars, as presented in popular films such as Ip Man, Iron Man, The Dark Knight Rises, etc.
When female characters are given the opportunity to execute a victory, it is usually accomplished through their witty, nurturing, and compassionate character or through the art of manipulation and persuasion rather than the physical strength, weaponry wield, and aggression of their male counterparts. This is also because
“the active roles of the protector [in many films] are masculinized, having strength and power as the foundation of masculinity; therefore, femininity is seen as vulnerable and weak” (Pennell et al. 2015).
This reinforces the gender stereotype that women are less powerful or lack abilities than men and that men are not capable of nurturing or compassion.
Acknowledging as “A Thing of the Past”
In most modern-day superhero movies, such as the Spider-man series, the character Mary Jane is shown as weak and in need of rescue by her male counterpart” (Pennell et al. 2015). Pennell et al., also states that strong, intelligent, and physically capable female characters are featured in the X-Men series, however, “both series sexualize through their appearance.” However, Hollywood movies today are acknowledging the public’s demand to see more gender equality films. To have advertising norms portrayed in female characters — “strong, intelligent, and physically capable,” is a step towards change.
Many films released today or films that are currently in production intend to serve the public well. Because in order for an industry to do well, they have to understand what their consumers want. Series that decide to continue today and/or spin-off trilogies are on the course of rewriting their scripts and storylines to write in a character that is more appealing to the general public. Marvel and DC movies have been a great fault for portraying stereotypical male and female roles. In the movie “Wonder Woman,” played by the amazing and talented Gal Gadot, there are several scenes that contain unnecessary and
“unfortunate shots that focus on Gadot’s cleavage or butt … one-shot [that features] her leather-clad, her] butt takes up almost the entire screen. The other Amazons are also wearing notably less clothing than they had on in “Wonder Woman” (Kratzer 2017).
However, since “Iron Man,” the movie that set the stage for the entire Marvel franchise; all marvel movies had male leading actors. Recent Marvel and DC movies prove to be defying gender roles. To feature leading female characters such as “Wonder woman” is notable progress. Marvel also showcases strong and powerful women leading in Captain marvel, Black widow and etc.; queer additions (Ex. Valkyrie), and more sensitive, compassionate, and empathetic starring characters. This is proven in one of Marvel’s recent movies, “End Game.” Here Spiderman’s character, played by Tom Holland and even Thanos seem to display higher levels of compassion, and empathy compared to previous films featuring these male characters.
A Hero that Defies Gender Norms
The classic portrayals of some of these male heroes are depicted as though there is no identity for a man that isn’t centered around those set roles of a male hero. A hero that takes on an atypical form of “masculinity” is featured as the main character in the new Harry Potter Trilogy, “Fantastic Beasts and Where to Find Them,” Newt Scamander.
Scamander is seen breaking Hollywood’s traditional depiction of a male hero in the new series and would be best described as unconventional. His narrative is guided by his own curiosity and ought for answers. His personality — sensitive and empathetic — allows him to be greatly self-aware of his duties and desires. The main article that is missing from many males seen in the media can be boiled down to the single idea, ‘empathy.’
Traditional Hollywood depiction of a male hero suggests that any deviation from the transitional path is just a “quirk” that will eventually have to be corrected in order to return to normalcy: when the “right characteristics” appear. This is explained in Duane R.’s paper, “Gender in Classical American Cinema: A Phenomenological Perspective,” as it states,
“if the movie is to be received well, the director and producers still…make that extra effort to excuse obvious violations of stereotypes and norms” (Duane 5).
“Even if the aberrant behavior is explained in the context of the film-such as by insanity or simply that the man is a member of the drag queen subculture-contemporary gender norms still influence how the film is [received] by the audience” (Duane 4).
However, Newt Scamander’s character requires no explanation. He often appears to be quiet and is openly vulnerable, traits that serve him well as the hero of this series. Though he is described as socially inept, he possesses deeper levels of emotional intelligence and empathetic worldviews that extend beyond people, thus allowing him to connect with other creatures, unlike others.
The media bears a toxic fascination around hegemonic masculine success and failure. Whereas a character, already subverting norms, is portrayed as a failure and the solution is ‘more manliness’ or their brand of subversion is used to achieve some kind of ‘masculine ideal’ of success. This was clear when several negative movie reviews of “Fantastic Beasts and Where to Find Them,” were published after its airing. One of which was a made in a “New York Post,” which states,
“ . . . as Newt, Redmayne delivers all his lines in a borderline mumble and avoids eye contact at all costs.
This makes him an admirably mainstream portrayal of introversion, perhaps, but not a very engaging lead“ (Sara Stewart 2016).
Similar remarks were made by
“The Village Voice,” by Bilge Ebiri (2016), states, “Newt’s awkwardness was presumably meant to be charmingly dorky, but Redmayne plays him with such baroque, quivering preciousness that much of the time he seems physically ill.”
Ironically speaking, these reviews prove that rather than having characters be truly non-conforming, they have them be as confirmative non-conforming as much as possible in order to receive high marks. Thus, Newt Scamander’s character constantly challenges this design. His character shakes the bones of those unprepared for change and is directionally intended to subvert norms; he is a hero.
In a Nutshell
American Cinema is a form of artistic expression that showcases people. It accounts for gender expectations and norms and takes on the judgment of value that is related to cultural and societal pressures surrounding gender. It has reinforced gender stereotypes that women are less powerful or lack more abilities than men and that men are not capable of nurturing or compassion. It has also portrayed characters that subvert norms as a failure. Over the years a broader audience range has allowed the media to paint such stereotypes to the general public. However, it is also ironic that this allows for a wider range of opinions from the audience to influence the media in itself. Thus, the resulting social constructs and negative stigmas built by the media around gender is a binary concept that is now an ornament of the past. From analyzing the classics to modern heroes of American cinema, it is clear that the stereotypical ideals that were once held to a totem in society, are now met for change.
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Work Cited:
Cloud, Duane R. Gender in Classical American Cinema: A Phenomenological Perspective, The University of West Florida, Ann Arbor, 2014. ProQuest, https://search.proquest.com/dissertations-theses/gender-classical-american-cinema-phenomenological/docview/1526000574/se-2?accountid=5078.
Paige, Linda R. “Wearing the Red Shoes.” Journal of Popular Film & Television, vol. 23, no. 4, 1996, pp. 146. ProQuest, https://search.proquest.com/scholarly-journals/wearing-red-shoes/docview/199408137/se-2?accountid=5078.
Pennell, Hillary, and Elizabeth Behm-morawitz. “The Empowering (Super) Heroine? the Effects of Sexualized Female Characters in Superhero Films on Women.” Sex Roles, vol. 72, no. 5–6, 2015, pp. 211–220. ProQuest,
https://search.proquest.com/scholarly-journals/empowering-super-heroine-effects-sexualized/docview/1670914944/se-2?accountid=5078, doi:http://dx.doi.org/10.1007/s11199-015-0455-3.
Kratzer, Susan. “‘Justice League’ Review: Too Much Too Soon.” University Wire, Nov 28, 2017. ProQuest, https://search.proquest.com/wire-feeds/justice-league-review-too-much-soon/docview/1968959885/se-2?accountid=5078.
Stewart, Sara. “‘Fantastic Beasts’ Is Second-Rate Rowling.” New York Post, New York Post, 16 Nov. 2016, nypost.com/2016/11/16/fantastic-beasts-is-second-rate-rowling. Web. 12 March. 2020
“Muggling Along: ‘Fantastic Beasts’ Conjures Too Little of the Potter Magic.” The Village Voice, 14 Jan. 2019, www.villagevoice.com/2016/11/16/muggling-along-fantastic-beasts-conjures-too-little-of-the-potter-magic/. Web. 12 March. 2020