Wednesday, 13 December 2017

Critical Investigation: Task 5

Essay plan
Break your ideas and research down:

  • sections 
  • paragraphs 
  • headings 
  • summaries 
  • quotes/references  
You may also want to plan a rough word count for each section, remembering you are aiming for around 2,000 words (notincluding quotes - probably around 2,500 with quotes).
(You could just include the initial letter in brackets).



Strong female character

Katniss as a character
- How she is portrayed as a strong character
  - Vulnerable, real
  - Strong, brave
     - Binary opposites within herself.
     - Real and relateable.
- why she is a role model
- How she challenges typical stereotypes within film
- Whether these representations are positive or negative.
- Audience respose
Jennifer Lawrence
- How she is different
- How she challenged stereotypes of Hollywood actresses
- why she is considered a role model for young teens




Quotes


"21st Century heroine called Katniss Everdeen: she is strong but also soft. She is brave but she has doubts. She is a phenomenal fictional creation, yet is real enough that moviegoers can draw inspiration from her values, her resourcefulness, and her very human inner conflicts. And she is played by Jennifer Lawrence, who appears not only to be handling her current duties as Hollywood’s finest model of well-adjusted millennial female stardom but doing so with charm. Everdeen and Lawrence: golden girls both."

“She is a singular heroine in that the burden of survival weighs on her. She has a ton of survivor’s guilt.  And she keeps surviving.” - Nina Jacobson, the producer of the Hunger Games film franchise

"Lawrence, now all of 23 years old, has established herself as a star as influential in her strength of personality as in her performance skills. And by standards of modern feminist movie-star role models"

- "Ultimately, we identify with Katniss because of her struggle to maintain her humanity, her compassion, in the face of a world, a society, that is hell-bent on turning her into the exact opposite. So it is in our real world, where we are pitted against one another in a giant, cutthroat, all-against-all competition."
- "in The Hunger Games is not like other movies, where it is just two men competing for one woman or vice-versa"


"Jennifer Lawrence plays a young woman who is not defined by her relationship to men, and who is bringing down the system"
"Jennifer Lawrence isn't just acting cool, she is cool and aware that she wants to keep her body healthy-looking, not a size zero." -This Guardian article talks about how Katniss Everdeen and Jennifer Lawrence herself have become a role model for young teen females. This is evident in the way that Lawrence herself as an actor advocates wanting to be physically healthy which subverts the stereotype of females in the film industry are conventionally thin. Also, her character in the film portrays a dominant character who is smart and a symbol of a revolution, that isn't passive compared to Bella Swan in Twilight, is something that may interest young females even more because its not something that is often seen in films and has changed the way women are presented in modern films.
"although its heroine Katniss, is perceived by many readers to be a groundbreaking "feminist icon," the narrative is limited in the way it disrupts patriarchal gender roles. Broad reads the conclusion of the series - which ends with a vision of katniss's "safe, stable, and highly insular heterosexual reproductive union" - as a foreclosure of alternative possibilities for female futures.
- "Katniss is a hunter."
RUE'S DEATH SCENE 




MM44 - The Gender Politics in The Walking Dead and The Hunger Games.

 - Sophie Stringfellow explores constructions of masculinity and femininity in the Walking Dead, a continuing  TV series, in comparison with Suzanne collins' more helpful gender perspective on the other side of the dystopian revolution represented in Hunger Games - "it is possible to discuss her heroism, a stereotypically masculine quality, as she volunteers to take her sister's place at the reaping."

MM56 - Furiosa and the ‘Male Gaze’: Is Fury Road a Game-changer? Nick Lacey suggests the massively successful Mad Max: Fury Road challenges patriarchal values, using the theories of Laura Mulvey, and narrative approaches to gender.
- "Finally, from Mulvey, in mainstream cinema narrative, men are active, 'forwarding the story, making things happen' in contrast to women's passivity  (R)
MM44 - The Gender Politics in The Walking Dead and The Hunger Games.
- "In The Hunger Games, protection between male and female characters is based on mutual care which never calls the strength or capabilities of the women into question"



Theories

- Dominate ideologies
- Challenging the female stereotypes
- Levis Strauss binary oppositions - masculine vs feminine

- Perkins - Stereotypes are not always negative, establish elements of the truth.
- Alternative representatio
- A Feminist Icon
- Propp - Character Roles
- Mulvey Male Gaze
- Dyer - stereotypes are a projection of the real world.
- Cognitive dissonance
- Dystopia

(R, A, N/ S)


Power in femininity
- Rue and Katniss + Sister
  - Rue = Feminist Archetype.                                                                                                - Subverts gender stereotypes - not dependant on man. Dependant on each if not themselves
- Nurturing nature has benefited her in survival
- sisterhood = power, Repeated motif
- Strength from caring for each other and protecting each other.
- Fighting each other = weakness (in this case - death)
- 



Quotes


"Apart from Sigourney Weaver’s singular Ellen Ripley in the stereotype-shattering Alien quartet – the older soul sister to Katniss in what Jacobson calls “feminine ferocity”– there aren’t many saga-style heroines around who show their emotional wounds quite as openly. “Not a**-kicking for the sake of a**-kicking,”

"The catchphrase "May the odds be ever in your favor" perfectly encapsulates the central contradiction of our times of how anyone can succeed at anything yet the odds are always against you because so small a percentage of the population actually do succeed.
- "she’s a feminist character not because she wields a bow like Bella never could, but because while in the arena she learns to recognize, value, and eventually embrace feminine strengths. It’s her ability to find strength in other women — and to support them in return — that makes the girl on fire a feminist."
- When Katniss befriends Rue, she forms an feminist archetype
- "The swiftness of Clove’s death after she makes her malice towards the other women in the arena clear, and the contrast between her fate and Katniss’s, almost seems to suggest that women who, like Clove, will not support their sisters are punished for it. And in contrast, for nurturing a supportive relationship with another woman, Katniss earns what no other woman in the arena does: the right to live"
- "It’s only through her mother’s example that she can find a way to work with Peeta and earn her escape from the games. By forcing herself to recall the way her mother cured sick patients, Katniss saves Peeta"
- "For women, the need and desire to nurture each other is not pathological but redemptive,” argued Audre Lorde in one such essay, “and it is within that knowledge that our real power is rediscovered" -  feminist philosophers"
- "Ultimately, Katniss is a feminist character not because she can put an arrow through an enemy’s throat as quickly and cleanly as any man, but because she learns to maintain that strength while opening herself up to the power of mutual support and sisterhood. It’s that, perhaps more than anything else, that makes Katniss an ideal role model for girls and an icon for feminist readers."
RUE'S DEATH SCENE
Hooks, B. (2015). Feminism is for everybody: passionate politics. New York, NY: Routledge.
 -“sisterhood is powerful”
-> This relates to the idea that there is strength within females and not just when trying to be equal to men. This highlights that females do not have to adopt an aggressive form in order to show that they can be strong. In fact being in touch with their feminine and caring side and showing that they can band together in order to be powerful. Which is related to my critical investigation because it can be linked to the scene when Rue and Katniss form an alliance in order to survive and they protect each other and it can also be linked to the fact that Katniss is in touch with her emotions in a sense that it is seen that she is filled with conflict which suggest that she is showing that she can express her emotions.
- “ we bonded to protect our interests as women”


- “Feminist thinking teaches us all , especially, how to love justice, freedom in ways that foster and affirm life.
-> I think this statement links to my critical investigation in the sense that Katniss Everdeen is a dominant protagonist and that she is doing what ever she is doing in order to provide freedom for everyone and justice to the people who have been victims of the brutal capitol that are the main cause of their restrictions and lack of freedom to express themselves.
MM44 - The Gender Politics in The Walking Dead and The Hunger Games.
 - Sophie Stringfellow explores constructions of masculinity and femininity in the Walking Dead, a continuing  TV series, in comparison with Suzanne collins' more helpful gender perspective on the other side of the dystopian revolution represented in Hunger Games
"In contrast to the machismo on display in the first episode of The Walking Dead, The Hunger Games gives us an all-female domestic scene in which Katniss comforts her sister who has woken from a nightmare."

Protection issues - care or control.

- "The powerful sisterly bond represented by the pin drives the plot and helps to spark a revolution... The relationship between the two sisters is also mirrored in the arena with Katniss and Rue, whose poignant interactions shows girls who are capable of looking after each other."

Gender Theory - Jeremy Orlebar | Thursday December 09, 2010 David Gauntlett in Media, Gender and Identity: An Introduction argues that: ‘Femininity is not typically a core value for women today. Instead, being ‘feminine’ is just one of the performances that women choose to employ in everyday life – perhaps for pleasure, or to achieve a particular goal.’

Key Words/Theories
- Dominate ideologies
- Challenging the female stereotypes

- Perkins - Stereotypes are not always negative, establish elements of the truth.
- Alternative representation
- A Feminist Icon
- Propp - Character Roles
- Mulvey Male Gaze
- Dyer - stereotypes are a projection of the real world.
- Dystopia



(A, R, Id, M/ S)


Masculinity - Change
- Peeta = affectionate nature
- Contrasting to Katniss
- How male audiences have changed due to this and why they have become more open to this genre of films that are usually aimed at young females.
- The males in the film are not there to act upon male gaze.
- Traditional masculinity scarcely shown



Quotes


- "Peeta Mellark—the baker, the nurturer, the feeder—is having his own moment. And well he should."

- "Peeta is, as NPR’s Linda Holmes aptly said, Katniss’ perfect “movie girlfriend" = Peeta’s acts of gentleness and sacrifice multiply"

- "He encourages her to talk about her feelings. He encourages her to share herself with others."

- This article talks about how its not just Katniss reversing the gender steretypes but also Peeta (played by Josh hutcherson) How they are both opposites of each other which shows the clear gender subversion. He is seen as the more caring and gentle character who is in tune with his emotions in comparison to Katniss who is quite restrictive when it comes to opening up about feelings.


- Unlike Twilight, Hunger Games is drawing serious interest among males

MM44 - The Gender Politics in The Walking Dead and The Hunger Games.

 - Sophie Stringfellow explores constructions of masculinity and femininity in the Walking Dead, a continuing  TV series, in comparison with Suzanne collins' more helpful gender perspective on the other side of the dystopian revolution represented in Hunger Games

- "Unlike many of the hyper-masculine characters in The Walking dead, Peeta also demonstrates a clear sense of self-perservation. We see this towards the end, when he is gravely injured and hides himself, instead of attempting any feats of bravery"




- Challenging the male stereotypes
- Levis Strauss binary oppositions - masculine vs feminine

- Perkins - Stereotypes are not always negative, establish elements of the truth.
- Alternative representation
- Propp - Character Roles
- Mulvey Male Gaze
- Dyer - stereotypes are a projection of the real world.
- Gendered consumption
- Dystopia
- Alienation



(R, Id, A, N/ S) 


Historical Texts
Tom raider (2001)
- Overly sexualised
   - Shower scene
   - Tight figure hugging clothing, revealing
   - Not the same in hunger games
      - Doesn't focus on sexualisation of Kaniss 
- Strong female character
- Fighting scenes - take care of self, Skilled (sharp hearing)
Princess Leia
-



Quotes

- WJEC MS1 Representation of Femininity - Rob Miller | Thursday October 24, 2013
"Intertextual references to Lara Croft in the action adventure video game Tomb Raider(2013) are apparent in her representation as a post feminist icon who exhibits both stereotypically male and female characteristics." (H)
https://www.rogerebert.com/reviews/lara-croft-tomb-raider-2001
Lara Croft does not emerge as a person with a personality, and the other actors are also ciphers, but the movie wisely confuses us with a plot so impenetrable that we never think about their personalities at all.
https://www.youtube.com/watch?v=pBNKarJukms
"A lady should be modest"
Tomb raider (2001) - In Tomb Raider you have the main female protagonist where clothes that are flattering to the male gaze. Despite the fact that she is a ground breaking female action hero, her sexual objectification in order to appeal to the male audience seem to be a part of the film that is heavily focused on. However in the Hunger Games, this isn't the main focus, in fact, it could be argued that Katniss Everdeen is not sexualised in this film, Although in the poster it does show her to have a curvy figure and skin tight clothing that shows of the figure which would suggest an argument that that could be a form of sexualisation of the character.
Princess Leia in Star Wars (1977) - second wave feminism in which we begin to see a change in the way women are portrayed in film. Which leads me back on to the Hunger Games in which we see that due to this slow change in the cinema world.
- These two examples show hoe the films are a zeitgeist as it shows how the different values of society at the time. The fact that different thing were considered important. The change in how females are represented and how the change has affected how we perceived the characters.



Key Words/Theories

- Dominate ideologies
- Challenging the female stereotypes

- Perkins - Stereotypes are not always negative, establish elements of the truth.
- A Feminist Icon
- Propp - Character Roles
- Mulvey Male Gaze
- Dyer - stereotypes are a projection of the real world.
- Narrtive pleasures
(R, N, Id, M, A/ S, H)


MIGRAIN  - m,  Ideology, Genre, Representation, Audience, Institutions, Narrative




-“The main character Katniss’s valiant struggle against President Snow and latent distrust of those authority figures supposedly on her side all speak to teenage desires to heroically rebel against those who wield power over them.” (R)
- Gauntlett, D. (2002). Media, gender, and identity: An introduction. London: Routledge.
- "women increasingly reject dated ideas regarding their gender role..."
- "macho culture, dominated by white males'"- "violence against women, single mothers are 'pathologized' by politicians and the media, and female poverty is increasing."
- "no interest in being associated with its connotations of passivity or weakness."
-"the 'girl power' discourse is actually a commercial tool"

- Greer, G. (1971). The Female Eunuch. London: HarperCollins.

- “Status ought not to be measured by a woman's ability to attract and snare a man.” 

- “Those miserable women who blame the men who let them down for their misery and isolation enact every day the initial mistake of sacrificing their personal responsibility for themselves.” 
Mulvey, L. (1989). Visual and Other Pleasures. - "In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at-ness"
- "The presence of woman is an indispensable element of spectacle in normal narrative film, yet her presence tends to work against the development of a story line, to freeze the flow of action in moments of erotic contemplation” (Katniss goes against this view as she is the flow of the narrative)
Wood, J. T. (1994). Gendered lives: Communication, gender, and culture.  Belmont, CA: Wadsworth Pub.- "a woman may be strong and successful if and only if she also exemplifies traditional stereotypes of femininity-subservience, passivity, beauty, and an identity linked to one or more men."
- "Realizing that inequality is socially constructed empowers us to be agents of change."
- "the media’s bias in favor of women who are traditionally feminine and who are not too able, too powerful, or too confident."
EPILOGUE/ENDING SCENE - The fact that there is a medium close up of Katniss and her baby shows the contrast from the start of the film series to the end. It puts emphasis on the fact that the side of Katniss that involves her motherly instincts have been long put on hold throughout the film however it has been showcased that she does show that part of her when it comes to her sister Prim and when she teamed up with Rue in the first film for a short amount of time. 

Gauntlett, D. (2002). Media, gender, and identity: An introduction. London: Routledge.  

Representation of gender in the past: Women and men in movies

- “films almost always focused on male heroes. These men typically made the decisions which led the story, and were assertive, confident and dominant.” (pg – 50)

- “Women had important roles in many films but were far more likely than men to be shown as frightened, in need of protection and direction, and offering love and support to the male lead characters” (page – 50)

- “in Hollywood films, then, women are ultimately refused a voice, a discourse, and their desire is subjected to male desire” E. Ann Kaplan (1983) (pp.7-8) (page – 52)

- “Women are not only given less screen time, when we’re up there on the screen we are likely to be portrayed as powerless and ineffectual … Where are the triumphant women heroes to match the winner roles men play constantly?” Kathi Maio (1990s) (page – 52)
Representation of gender today:

- “Men in Hollywood films today tend not to be seamlessly hard-masculine heroes which we saw in the 1980s; they more often combine the toughness required of an action hero with a more sensitive, thoughtful or caring side, typically revealed at certain (often  quite brief) points in the movie” (page – 75)

- “Female roles have definitely become tougher” (page – 75)

-“women and men tend to have similar skills and abilities in film today” (page – 83)

- “Men can get away with being older” (page – 83)

Hall, S., Evans, J.,& Nixon, S. (2013). Representation. London: SAGE.

- Early feminist attacked images that were “not representing women as they really are or really could be – for being stereotypes, rather than positive images, psychologically rounded characters, or real women.”
-> this statement relates to my critical investigation because Katniss Everdeen is seen as a more realistic Protagonist that shows that she has a conflicting lifestyle. The fact that she has so many things weighing upon her shoulders, things she has to consider carefully. She has been given a lot of responsibility and how the directors managed to portray the effect of this have been realistic in the sense that she has to stay strong and puts up a very dominant front however in some cases it shows that she is also a very vulnerable character and that when it comes to her family, she can be seen as overprotective. This shows the change in how women are portrayed in the media/films. That there is a more realistic view of them.
Wood, J. T. (1994). Gendered lives: Communication, gender, and culture.  Belmont, CA: Wadsworth Pub.
- "Realizing that inequality is socially constructed empowers us to be agents of change."
MM44 - The Gender Politics in The Walking Dead and The Hunger Games.
 - Sophie Stringfellow explores constructions of masculinity and femininity in the Walking Dead, a continuing  TV series, in comparison with Suzanne collins' more helpful gender perspective on the other side of the dystopian revolution represented in Hunger Games
- "The Hunger Games have access to a spectrum of 'ways of being' and any restrictions on their behaviours come solely from the particular rules of the dystopian society, rather that expectations based on gender.

MM34 - Engendering Change: What’s Happened to Representations of Women?
- Nick Lacey explores the traditional view of active men and passive women, and finds that feminism still has a fight on its hands

- "John Berger - Men act and women appear. Men look at women. Women watch themselves being looked at."

MM56 - Furiosa and the ‘Male Gaze’: Is Fury Road a Game-changer? Nick Lacey suggests the massively successful Mad Max: Fury Road challenges patriarchal values, using the theories of Laura Mulvey, and narrative approaches to gender.

- "Mulvey suggested that mainstream cinema institutionalises the 'male gaze': that is, that most films are shot from a male perspective."

- "Finally, from Mulvey, in mainstream cinema narrative, men are active, 'forwarding the story, making things happen' in contrast to women's passivity  (R)
MM55 - The Fourth Wave? Feminism in the Digital Age. Chloe Gray explores networked feminism, and the role of digital and social media in transforming debates about the meaning of gender equality.
The 'first wave of feminism' began in the late 19th to early 20th centuries, with a main focus on suffrage. The 'second wave' began in the 1960's campaigning for the growth of equal rights and leading to the Equal Pay Act of 1970, amongst other equality laws. Since the late 1990's, we are believed to have entered 'the third wave' (often identified as post-feminism). The new fourth wave of feminism is also known as 'networked feminism'. It aims to tackle social equality issues found both on, and using, modern technology.


Feminism and film

by Helke Sander

translated by Ramona Curry
Only now have women begun to comprehend themselves as social subjects and to throw off alien interpretations of their nature and being."

- "nowadays we always find both images: woman as object and as subject. Therefore, both — the traditional and conditioned, and the politically new — will be present in work by women, including that of contemporary women filmmakers"
Aspects of British feminist film theory A critical evaluation of texts by Claire Johnston and Pam Cook
“Any revolutionary must challenge the depiction of reality: it is not enough to discuss the oppression of women within the text of the film: the language of the cinema/depiction of reality [sic] must also be interrogated, so that a break between ideology and text is affected.” (Notes, p. 29)"





SHEP - Social, Historical, Economic, Political








"In an extremely partisan atmosphere seven months before a presidential election, Hunger Games has the great advantage of being a movie with subtle political overtones that appeal to conservatives, and others that appeal to liberals."

"It’s crucial that young readers are considering scenarios about humanity's future, because the challenges are about to land in their laps," Collins said. "I hope they question how elements of the books might be relevant to their own lives. About global warming, about our mistreatment of the environment, but also questions like: How do you feel about the fact that some people take their next meal for granted when so many other people are starving in the world?”


"I hope that they [young people] will take action because it's getting drastic in this country." - Actor Donald Sutherland who plays president Coriolanus Snow‎

- A teenage rebellion, Thailand prime minister has had problems with the young adult fantasy film where people have used this film in order to bring up issues in Thailand using the hashtag #DistrictThai. They adopted the three-finger salute of The Hunger Games in defiance of what they saw as an undemocratic, unconstitutional military take-over. In response the salute was banned (S,P)

- "Our world feels like a weird mix of old and new technology. You never know when you'll have some amazing new solution to a task, a new mobile app or machine learning system, or when you'll have to fill out piles of paper forms. Similarly in the world of the Hunger Games, there's all this super-advanced technology -- maglev trains, hovercraft, the "Holodeck"-like training area in the Capitol -- yet the contestants fight with the most primitive of weapons, like bows and arrows." (S)


- "during protests against last year’s military coup in Thailand, protestors used a three finger salute to signify their support for democracy. History is full of such gestures: the Marxist clenched fist, the fascist flat palm. This one, however, was taken from The Hunger Games – a book series turned film cycle that’s back in cinemas this week with Mockingjay - Part 2."



KEYWORDS
- Alienation
- Ambient sound - The natural sound present in any location
- Antagonist
- Anti-hero - The protagonist in a narrative who lacks the qualities of an archetypal hero but nevertheless attracts the sympathy  and sympathy and support of the audience or reader.
- Anti-Narrative - A text that challenges the traditional idea of sequential linear narrative by using flashbacks, unrelated images and altered time sequences
- Archetype - An often-repeated character type or representation which is instantly recognisable to an audience.
- Binary opposition - Levi-strauss - Narratives are structured around oppositional elements in human culture eg. good/evil, life/death, night/day.
In contemporary media narratives things like capitol/distric represent binary oppositional forces. The audience is attracted to the dynamics of this conflict with the possible variations leading usually to the ultimate triumph of good
- Black Feminism - Feminist perspective which argues that the discrimination the black women face is more intense as it is based on racial and cultural grounds as well as gender.
- Chiaroscuro lighting - Sharply contrasting lighting where strong highlights and dark shadows are used for dramatic and atmospheric effect
- Cliff hanger
- closure
- Cognition - The mental process involved in perceiving, collecting and organising information about the world into a consistent and comprehensive framework of knowledge that reflects an individual's social and cultural environment.
- Cognitive dissonance - The feeling of inconsistency and disharmony experienced by an individual when strongly held attitudes, beliefs and values are contradicted or challenged by new information or a new experience.
- Connotations
- Demographic
- Denotation
- Deviance - Behaviour that 'deviates' from the norm or that of which is generally accepted in society.
- Diachronic
 - Diagesis - The story-line or narrative which includes the whole fictional world created by a media text.
- Diegetic sound - sound within film (characters etc)
- Non-diegetic sound - sounds outside narrative (battle music)
- Disequilibrium/Equilibrium
- Dominant Ideology- Dystopia
- Ellipsis - The removal or shortening of elements of a narrative to speed up the action.
- Eyeline match - editing that maintains the eyeline level when cutting from character to what the character sees
- Fourth wall
- Gendered Consumption - The way that gender affects our consumption of media text.
- Hybrid - cross between genre
- hype
- Hyperreality
- linear narrative
- lowbrow
- mainstream
- motif
- New Ladism - Term applied to male backlash against feminism and girl power.
- Oligarchy - A political system wherein power is execised by a small elite group, usually for its own interest.
- Protagonist
- Realism
- Stereotype
- Utopia
- Zeitgeist - the defining spirit or mood of a particular period of history as shown by the ideas and beliefs of the time.



Theories/Theorists

- Judith Butler - Associated with the Queer theory - Studies that question sexuality, gender identity and their representation in the media.
Butler argues that gender identity is a construction that can be changed, rather than a reflection of any fixed 'inner self'. Traditional views of masculinity and femininity are therefore social constructions and can be challenged and altered.
- Cognitive dissonance - Leon Festinger - Suggests that cognitive equilibrium or balance is a desired mental state and that the individual facing the experience of dissonance will adjust their attitudes and belief until a state of harmony is restored.
It is also stated that, unless faced with overwhelming evidence, people will attempt to retain an existing viewpoint rather that adjust it in line with the new experience or information.

- Dependency Theory - A passive audience theory associated with researchers Ball-Rokeach and DeFleur, focusing on the degree to which audiences become dependant on the media

- Effects theory - e.g.-Hypodermic theory, 

- Barthes enigma/action codes

- Stuart Hall



 

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"One is not born a woman, but rather becomes one." (Chapter 1, Subjects of Sex/Gender/Desire, 1)


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