Genre and Gender in Popular Film

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“ You cannot talk about genre without talking about gender.” Initially, this would appear to be a simplistic statement. On closer analysis, however, one fact becomes evident. It is the representation of gender which informs the genre of the text. Ismay Barwell , in her essay ‘ Feminist perspectives and narrative points of view’ states that “ Every text is gendered since every act of narration…..involves a process of selection….and the nature of that selection implies certain values” ( p.99). She makes the point that “ The desires, attitudes and interests which guide any choices made must be either male or female”( p.98 ). It is within this frame of reference, that the two texts will be analysed.

In terms of the meaning of conflict between women and men, popular films play a significant role in defining the applicable norms, values, and expectations. They communicate to their audience a set of ideas regarding what issues create conflict between women and men and how such conflict usually transpires. They inform their audience how such conflict should be resolved. As Mark Hedley states in his 2002 study: “They reveal to their audience who is expected to be assertive and who is expected to be compliant, who is expected to overcome obstacles and who is expected to fold under pressure, who is expected to pursue their legitimate interests doggedly and who is expected to acquiesce to such pursuits sympathetically” ( p.2 ).

When we speak about gender in relation to genre, what codes and conventions should be in evidence? What expectations do we have, as an audience, of our heroes and heroines and their behaviour? In the Hardboiled Detective Fiction genre, for example, the Hero (usually male ) is conventionally characterised as having a serious psychological or social problem, causing him to be at odds with the society within which he operates ( Davidson lecture, 2005 ). Conversely, in the Western genre, the Hero ( again usually male ) typically represents an idealistic image- selfless - considerate of those less fortunate or more vulnerable than himself. This would usually include all other characters within the text ( Mitchell,1996. p.108 ).

The existence of a gendered relationship in a film must also evidence conflict if it

is to represent the qualities of such conflict to an audience, bounded by the point at

which the relevant behavior is initiated and...

... middle of paper ...

...ng with the ideology of the Chivalric code, no male hero is permitted to harm a woman? It would appear that the female characters are secondary to the males in this text, and that their primary role appears to be one of plot development. Nevertheless, their inclusion is pivotal, not

only as plot development vehicle, but also to the exposition of male motivation.

Works Cited

Barwell, Ismay. ( 1993 ) ‘Feminist perspectives and narrative points of view’ in Hein, Hilde and Korsmeyer, Carolyn( eds.) Aesthetics in Feminist Perspective. Bloomington and Indianapolis:Indiana University Press.

Davidson, Guy. ( 2005 ) eduStream lecture; Genre: Detective Fiction.20/04/2005.

Hedley, Mark. (2000) The Geometry of Gendered Conflict in Popular Film:1986-2000.http://web7.infotrac.galegroup.com.ezproxy/itw/infomark w( accessed

01/05/2005 )

Maltin,L.( 2000 ). Leonard Maltin’s 2000 Movie & Video Guide ( Maltin,L.ed ).New York : Penguin Putnam Inc.

Mitchell, Lee Clark. ( 1996 ) Westerns: Making The Man In Fiction and Film. London : The University of Chicago Press, Ltd.

Tasker,Yvonne. ( 1993 ). Spectacular Bodies; gender, genre & the action cinema. London : Routledge publishing.

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