Representation of
Females
By Millie, Jenny,
Olivia and Katy
Laura Mulvey’s Theory
Laura Mulvey’s theory is stating that women are
objectified and viewed through the eyes of a heterosexual
male. This male would then be seen as active, which would
be looking and the woman would be passive, meaning she
is being looked at.
This theory can be applied to our production because
she is in the male gaze for Jack, the male character of
interest, although she doesn’t actually know she is in
the male gaze of Jack. However, when she changes her
image, this theory can no longer be applied to our
film, as she is no longer in the male gaze but
sexualising herself in hope that she is in the male
gaze.
Janice Winship’s Theory
This theory states that the female is complicit in creating the
ideal version of herself for a male audience, because of the
gratification she will receive.
This applies to our production because she does indeed create
what she thinks is the ideal version of herself, in the hope of
receiving the gratification she wants. However, this method of
Arabella’s fails, as the gratification she receives isn't what she
was hoping for.
David Gauntlett’s theory does not apply to our production, this
is because this theory states that women are in control of their
sexuality, however their sexuality isn’t for men, it’s for
themselves. This doesn’t apply to Arabella because she is
controlling her sexuality for Jack, her love interest, not
necessarily because she wants to. However, it could in the end
be read as this theory because by the new equilibrium, she
realises that sexualising herself was a mistake, therefore she is
then in control of her sexuality because she has learnt whether
to use it or not, making her refer to Gauntlett’s empowered
female.
Judith Butler’s Theory
Butler argues we are born a certain sex, but gender is
performance. A man is not inherently masculine or a
female inherently feminine. We perform aspects of
different genders. Gender does not exist outside of these
performances. For example, the act of wearing make up
defines a person’s gender, rather than their gender
defining the act.
This applies to our production as Arabella, our main
protagonist, is quite masculine, in a sense that she is a
very clumsy, tom-boy like character who isn’t interested
in stereotypical female activities.
Some of our representations for our
production could be viewed as
challenging, for example Arabella is
proved wrong to change for Jack, which
links in with independent production
because it is a bit unexpected, yet is in
control at the end of the film . However,
having said this, she still ends up
finding love, which in this case is the
new equilibrium , which could then be
viewed as a traditional hegemonic
narrative.
Theorist Research
Here
Gauntlett
describes
the
empowered
female.