Coursework - 1st Draft...
“I’m The Deadliest Women In The World”, in particular reference to ‘Kill Bill: Volume Two’ (2004) by Quentin Tarantino, how and why have women's roles in action films changed over the recent years?
In the early nineteenth century, we typically associated the male to be the protagonist/ dominant figure in film, thus society was exceptionally patriarchal. Women usually tend to be represented as emotional, sexual, beautiful and passive. Theorist Laura Mulvey argues that cinema audiences look at films in two ways: voyeuristically and fetishistically. This led to objectification and narcissistic towards women. However, now in the twentieth century women are seen more active then passive, more stronger then delicate allowing them to be just as equal as men. With the help of feminists, and World War Two taking an important role, women are becoming less subordinate and more prevailing and controlling in both the media and society. David Gunlett agrues that since the rise of ‘girl power’ in the media, through identities constructed by music artists such as Destinys Child, as well as contemporary actresses such as Uma Thurman, demanding more active than passive roles: women have become more powerful and dominant. The movie ‘Alien’ (1979), directed by Ridley Scott, had the first female role in a action genre, this has opened many opportunities for women as it has helped produce films such as ‘Kill Bill: Volume Two’ (2004) by Quentin Tarantino.
Firstly, women in the nineteenth century were seen with stereotypical roles, such as housewives, the ‘femme fatal’ and passive. Women “didn’t have many rights” [1] to do much in both the media and society, until feminism arised. One of the main reasons as to why women had no right was due to the patriarchal society, “a dual system in which men oppress women” [2]. Men were shown with much more power and dominance compared to women. For example, films from the early 1920’s, Safety Last! (1923), where women were seen as a ‘propp’ as we see the only female character to be featured in an action film as a girlfriend (Mildred Davis): not much importance to film. Normally, the dominant character in a action movie tends to be a male, and “women tend to be passive” [3] damsel in distress. However, ‘Kill Bill: Volume Two’ (2004) by Quentin Tarantino, challenges the patriarchal society as Uma Thurman plays the protagonist and dominant character, as the “audience would typically expect the protagonist to be a male” [4] instead of a omwne in the action genre.
However, women were pessimistically represented throughout the action genre which the ‘Male Gaze’; a term used by theorist Laura Mulvey in her essay 'Visual Pleasures and Narrative Cinema' (1975) would support, describes what Mulvey saw as the “male point of view adopted by the cinema” [5] for the benefit of an assumed male audience. However, ‘Kill Bill: Volume Two’ (2004) does not follow the issues Mulvey raises because Uma Thurman is represented with such great power, more than men with the help of her samuri sword, throughout the ‘The Crazy 88’ scene, where she singled handly killed them, the cameras were focused all on her and the audience were “mesmerized and captivated” [6] left with enigmas of her next move on her revenge to kill bill. However, Uma Thurman is represented as powerful and dominant, men are still getting their voyeuristic pleasures by watching Uma on her Killing rampage as her outfit is tight fitted which makes her attractive to look at the same time. The male audience may feel a little anxious by watching a powerful and dominant women shown in control by using many phalic objects, such as the samuri sword.
Moreover, Uma Thurman is dressed in a bright yellow jump suit, which is very tight. The colour yellow attracts ‘the gaze’ of male viewers and the way she is presented shows off her figure, giving voyeuristic pleasures to the male audience and supporting Mulvey’s theory. However, it can be argued that the yellow jump suit that she wears symbolises a very strong historical male figure in society as The Bride’s costume “alludes to Bruce Lee’s Game of Death” [7]
Mulvey believes the “female body is displayed for the male gaze” [8] in order to provide and provoke erotic pleasure (voyeurism). However, the audience were forced to “see women through a males prospective” [9] because majority of the directors are male. Films such as, ‘Vertigo’ (1958) by Alfred Hitchcock, where women were “repeatedly represented as blondes” [10] and damsel in distress through majorities of his films: as he believed “we should tortue the women” [11]. Laura Mulvey agrues that cinema audiences look at films in two ways- voyeuristically and fetishistically. This led to objectification and narcissistic towards women. However, even though Tarantino is a male director, he portrays women “throughout his films with power and dominance” [12]. Also, Tarantino does not follow the traditional narrative cinema, so it could be suggested it does not follow the issues Mulvey raises in her essay of ‘Visual Pleasure and Narrative Cinema’: as all women represented in ‘Kill Bil’l are acitve than passive.
However, Women were oppressed to be nothing more than “mere sex objects” [13] with their passive roles. The most common stereotypes of women is the term “Bimbo”. However, theorist Gaye Tuchman (1978) suggests that “women were underpresented” and the media are provoking a symbolic nilation of women. She believes “women have little value in the T.V world” [14]. Thus, ‘Kill Bill’ as well as many other action movies such as ‘Charlies Angels: Full Throttle’ (2003), where women are represented as a dominant and heroic protagonists, criticizes Tuchman’s theory as Thurman is shown dominant throught out the film as she singled handly killed ‘The Crazy 88’ (who were all men) and the ring leader of the ‘Deadly Vipers’, Bill.
Nonetheless, action films have tremendous impact, “continuous high energy, huge amount of physical stunts, battles/ fights and martial arts” [15]. In the past, the action genre merely focused more around a male hero or protagonist - portrayed by these most prominent actors such as: Bruce Lee, Sylvester Stallone and Bruce Willis. Women in the action genre usually play the “roles of accomplices or romantic interests of the hero” [16] , although in modern action films have now featured strong female characters to broaden the demographic appeal. Such as, 'Charlie's Angels: Full Throttle' (2003). This text shows that women have their independence, and show their “strength and physique” [17] as men. This also, shows how society has grown from being patriarchal. ‘Charlies Angels’ along side other action films with leading female protagonists, show how women now have broke that ‘traditional woman’ of being the ‘damsel in distress’ or the ‘femme fatal’.
Since the early nineteenth century, men “have been associated with the heroic” [18] and dominant role in action movies. Such as 'King Kong’ (1933) by Merian C. Cooper. King Kong had reinforced the patriarchal attitudes as the only female character role played the damsel in distress: as King Kong falls in love with Ann Darrow [played by Fay Wray], a thin, blonde, weak/passive character. Society was far more patriarchal and “women were not seen to have a higher status” [19] than men: women were seen as objects of desire. There was hardly any strong female featured in action films. Robocop’ (1987) by Paul Verhoeven, also conveys how “men dominanted the past” [20] and how women were not seen as equal to men till feminism was introduced. Hollywood has been heavily critised because Hollywood used and provoked “the advantage of a patriarchal hegemony” [21] for success. However, both the media and society had changed as ‘Kill Bill’ shows Thurman on a “rampage of revenge” [22] to kill bill. Women prove that they can do just as much as men, as Kill Bill breaks the tradition of having a male as a dominant and heroic character, however ‘Kill Bill’ does not show any misogyny: hatred towards women, because women are represented as dominant and in control.
Moreover ‘Feminsim’, a political movement to advance the status of women by challenging values, attiutdes, social constructions and socioeconomic practices which disadvantage women and favour men, has help women gain there opportunity and rights. ‘Kill Bill’ deals with feminism as women are represented and portrayed as independent and with a higher status which is what feminism wanted to achieve: “equal rights for women” [23]. It also challenges the traditions of actions films by having a female dominant, controlling and popular main character. Feminist Maggie Humm agrues “that with women’s victory in the struggle for suffrage has been accomplished” [24].
However, “The end result of any film is a communication with its audience” [25]. Even though feminism came about, audiences were still used to seeing the male play the dominant and heroic role in film. The audience may be thrown of balance while watching ‘Kill Bill’ as they usually see a male as the protagonist, but however this is not the case: As Thurman is a strong headed, powerful and dominant character. This may seem to shock the audience as they usually identify the protagonist to be a male. Marjorie Rosen (1973) a feminist, “charted the changing representation of women in Hollywood films” [26] has now occurred in film.
Although, feminism played a major role in women’s independence, World War Two also, was a great social opportunity for women. World War Two alongside feminists helped to produce successful films with dominant female roles such as ‘Alien’, ‘Kill Bill’, ‘Cat Women’ and ‘Tomb Raider’.
Moreover, ‘Kill Bill’ seems to subverse dominant ideologies and values, as Tarantino “challenges stereotypes of men being dominant” [27] and in control, as Thurman is dominant throughout the film, as she takes her revenge upon to kill Bill. Thurman breaks this tradition of women just as the 'propp' of a film. David Gaunlett agrues that “since the rise of ‘girl power’ in the media” [28], through identities constructed by music artists such as Destinys Child, as well as contemporary actresses such as Lora Croft, demanding more active than passive roles: women have become more powerful and dominant. Women over the years have become stronger, dependable and respected and are “no longer objectified” [29]. They have become less subordinate to men and are no longer just seen as a tool for pleasure.
As Feminism and World War Two took a great part in womens equal opportunites and independence, the 1970’s is where women started to progress as the first ever female action hero had arised. “The dominance of the male hero in this genre was challenged by Sigourney Weavers, Ripley in ‘Alien’” [30]: which was the first action movie to feature a strong female protagonist. Weavers was seen as “resourceful, self-reliant, hard-assed, feminist action heroine” [31]. Represented as independent, Weavers guided male lead Alien has thus been considered a “prototype for the Girl Power-effect” [32] that occurred in Hollywood towards the early 2000s when more and more action-movies with powerful female leads appeared e.g. ‘Charlie's Angels’, to the mainstream martial arts film e.g. ‘Kill Bill’.
On the other hand, women’s representation in the media tend to revolve around the focus on physical beauty. They are often represented as being the “victim or lover or being part of a context (family, friends and colleagues) ” [33]. Leading females are represented differently when directed by a male or a female director e.g. ‘Kill Bill Volume [One And] Two’. ‘Kill Bill: Volume Two’ (2004) directed by a male director Quentin Tarantino; shows even though Thurman was the protagonist in ‘Kill Bill’ she was still however acting upon what Tarantino had wrote, this shows how a male is still dominating the film, but women still do have most of the upperhand as “Kill Bill was improvised” [34].
However, a male director meant the audience are forced to see women through a males prospective because majority of the directors are male. Actions films are usually a “male based genre” [35], however Thurman breaks the action ideology, as women have the upper hand and represented as strong and more control. She sends a positive message across proving that women are just as better as men and there is less of the patricharcal society. However, even though Thurman shows a independent strong female, she is directed by a male director Quentin Tarantino. It is likely that male directors portray women characters different from how women directors portray women characters, simply because it’s harder for them to relate to the characters.
Female roles have become more positive, optimistic and superior compared to the early nineteenth century representation of women. Action films in the past had the typical male protagonist strong, muscular and active. Films such as 'The Terminator' (1984) to 'Charlie's Angels: Full Throttle' (2003) show that women have their independence, are strong and just as equal as men, as we see more and more women represented as active and independent in contemporary society. This is evident that womens roles in action films have changed drastically, yet the representation of women has spread over to magazines, adverts, and other media texts, as women continue to grow stronger and more dominant. This illustrates many progressive values and counter-hegemonic representations of females to be seen as equal as men in the media. This strong representation of women shown in the media is shown through text ‘Kill Bill’ because Uma Thurman breaks this tradition of women just as the 'propp' of a film. Thurman has a vicious and “bloody satisfaction” [36] fight with female O-Ren-ishi: the fight between the two female characters are more tough and man-like. “Here we see that the females are active characters and taking up masculine roles” [37], they are no longer portrayed or represented as passive, but just as active as men.
In the 1960s, women were gaining more of their independence slowly as we see more women on screen. On the other hand men still play the protagonist and are still considered dominant compared to women in film and society. Even though there are more women on screen, e.g. "The Avengers" (1961): Directed by Don Leaver, where we have a female character Diana Rigg as Emma Peel featured. Yet there continuesly stereotyped and given typical roles such as housewife, girlfriend, etc... This is very important text as Feminists originated around the 1960s: This show’s how feminists help play a crutial part for womenduring that period of time. This portrays how the attitudes of both genre and society are slowly changing especially towards women .
As ‘Kill Bill’ breaks the tradition of having a male as a dominant and heroic character, however ‘Kill Bill’ doesn’t show any misogyny, hatred towards women because women are represented as dominant and in control (throughout the whole film), as we tend to see a male taking up the heroic and dominant roles. However, Bill did brutally murders his lover [Beatrix], which reinforces the misogynistic as well as patriarchal attitudes.
However, Tarantino “use the non-chronological structure to build tension” [38], which does not follow the traditional narrative cinema, so to some extent we can agrue it does not follow the issues Mulvey raises: as women in ‘Kill Bill’ are active and not passive, and controlling in comparison to the male actors. Also, the samuri sword "the bride" uses can be seen as a phallic symbol and fetish object. Women still being objectified, and men are still dominant as Beatrix is essentially tortured in each instance. Tarantino in his words is “merely reflecting the violence in the society around him...” [39]. Tarantino is showing a positive role for women in this film. For example, Thurman's character, single handly killed ‘The Crazy 88’ (who were all men) and the ring leader of the ‘Deadly Vipers’, Bill. Miramax usually help to produce art house films and in this way Kill Bill was recognised. In previous years there has been an underepresentation of women occuring for some time but in ‘Kill Bill’ “Tarantino has stayed true to the origins of the wuxia plan and made nearly all his central character’s deadly women warriors” [40].
However, the film industry was not the only male centred media, as men were dominant within sitcoms aswell e.g. "Adventures of Superman" (1952), where we still have the male as both the protagonist and hero. However, Lois Lane played by Noel Neill is portrayed as a damsel in distress as superman saves her from crime. This reflects society and their views are still strongly patriarchal. Women were passive and fragile this caused them to be victimized and need to be saved from a man [Superman]. However, today sitcoms such as ‘Sex And The City’ (1998-2004) “Four beautiful female New Yorkers gossip about their sex-lives” [41]. Such humorous comments such as “You men have no idea what we’re dealing with down there”, adds humour to the show and engages the audience. Women in the series are represented as sexually active and in control. This would have been acknowledging as a negative representation of women in the early 90’s where as now it is acceptable for women to be sexually active. This is evident to the fact that society and the media are becoming less patriarchal and women are seen as equal as men
In the past, women were underepresented, passive and suborndinate compared to men. They were hardly featured in any text e.g. magazines, adverts and film. Action films e.g. ‘The Terminator’ (1984), in the past centers around a male action hero or protagonist: society was far more Patriarchal and women were not seen to have a higher status than men. However, now that has changed with the help of feminism and World War Two taking a major role. Since the outstanding and ground breaking release of ‘Alien’ (1979 Ripley) to have the first dominant and heroic women featured in the action genre, women have had appeared more and more continueously. Uma Thurman in ‘Kill Bill’ (Tarantino) breaks and challenges the traditional roles of women being passive as she is more active and dominant. 'Charlie's Angels: Full Throttle' (2003) show that women can be and are independent, strong and just as equal as men. It is now evident that women are no longer objectified, ‘gazed’ upon, and also cinema audiences do not look at films in two ways: voyeuristically and fetishistically. Uma Thurman does not follow the passive role typically associated with women and instead breaks the usual convention of women being passive by taking an active role.
In the early nineteenth century, we typically associated the male to be the protagonist/ dominant figure in film, thus society was exceptionally patriarchal. Women usually tend to be represented as emotional, sexual, beautiful and passive. Theorist Laura Mulvey argues that cinema audiences look at films in two ways: voyeuristically and fetishistically. This led to objectification and narcissistic towards women. However, now in the twentieth century women are seen more active then passive, more stronger then delicate allowing them to be just as equal as men. With the help of feminists, and World War Two taking an important role, women are becoming less subordinate and more prevailing and controlling in both the media and society. David Gunlett agrues that since the rise of ‘girl power’ in the media, through identities constructed by music artists such as Destinys Child, as well as contemporary actresses such as Uma Thurman, demanding more active than passive roles: women have become more powerful and dominant. The movie ‘Alien’ (1979), directed by Ridley Scott, had the first female role in a action genre, this has opened many opportunities for women as it has helped produce films such as ‘Kill Bill: Volume Two’ (2004) by Quentin Tarantino.
Firstly, women in the nineteenth century were seen with stereotypical roles, such as housewives, the ‘femme fatal’ and passive. Women “didn’t have many rights” [1] to do much in both the media and society, until feminism arised. One of the main reasons as to why women had no right was due to the patriarchal society, “a dual system in which men oppress women” [2]. Men were shown with much more power and dominance compared to women. For example, films from the early 1920’s, Safety Last! (1923), where women were seen as a ‘propp’ as we see the only female character to be featured in an action film as a girlfriend (Mildred Davis): not much importance to film. Normally, the dominant character in a action movie tends to be a male, and “women tend to be passive” [3] damsel in distress. However, ‘Kill Bill: Volume Two’ (2004) by Quentin Tarantino, challenges the patriarchal society as Uma Thurman plays the protagonist and dominant character, as the “audience would typically expect the protagonist to be a male” [4] instead of a omwne in the action genre.
However, women were pessimistically represented throughout the action genre which the ‘Male Gaze’; a term used by theorist Laura Mulvey in her essay 'Visual Pleasures and Narrative Cinema' (1975) would support, describes what Mulvey saw as the “male point of view adopted by the cinema” [5] for the benefit of an assumed male audience. However, ‘Kill Bill: Volume Two’ (2004) does not follow the issues Mulvey raises because Uma Thurman is represented with such great power, more than men with the help of her samuri sword, throughout the ‘The Crazy 88’ scene, where she singled handly killed them, the cameras were focused all on her and the audience were “mesmerized and captivated” [6] left with enigmas of her next move on her revenge to kill bill. However, Uma Thurman is represented as powerful and dominant, men are still getting their voyeuristic pleasures by watching Uma on her Killing rampage as her outfit is tight fitted which makes her attractive to look at the same time. The male audience may feel a little anxious by watching a powerful and dominant women shown in control by using many phalic objects, such as the samuri sword.
Moreover, Uma Thurman is dressed in a bright yellow jump suit, which is very tight. The colour yellow attracts ‘the gaze’ of male viewers and the way she is presented shows off her figure, giving voyeuristic pleasures to the male audience and supporting Mulvey’s theory. However, it can be argued that the yellow jump suit that she wears symbolises a very strong historical male figure in society as The Bride’s costume “alludes to Bruce Lee’s Game of Death” [7]
Mulvey believes the “female body is displayed for the male gaze” [8] in order to provide and provoke erotic pleasure (voyeurism). However, the audience were forced to “see women through a males prospective” [9] because majority of the directors are male. Films such as, ‘Vertigo’ (1958) by Alfred Hitchcock, where women were “repeatedly represented as blondes” [10] and damsel in distress through majorities of his films: as he believed “we should tortue the women” [11]. Laura Mulvey agrues that cinema audiences look at films in two ways- voyeuristically and fetishistically. This led to objectification and narcissistic towards women. However, even though Tarantino is a male director, he portrays women “throughout his films with power and dominance” [12]. Also, Tarantino does not follow the traditional narrative cinema, so it could be suggested it does not follow the issues Mulvey raises in her essay of ‘Visual Pleasure and Narrative Cinema’: as all women represented in ‘Kill Bil’l are acitve than passive.
However, Women were oppressed to be nothing more than “mere sex objects” [13] with their passive roles. The most common stereotypes of women is the term “Bimbo”. However, theorist Gaye Tuchman (1978) suggests that “women were underpresented” and the media are provoking a symbolic nilation of women. She believes “women have little value in the T.V world” [14]. Thus, ‘Kill Bill’ as well as many other action movies such as ‘Charlies Angels: Full Throttle’ (2003), where women are represented as a dominant and heroic protagonists, criticizes Tuchman’s theory as Thurman is shown dominant throught out the film as she singled handly killed ‘The Crazy 88’ (who were all men) and the ring leader of the ‘Deadly Vipers’, Bill.
Nonetheless, action films have tremendous impact, “continuous high energy, huge amount of physical stunts, battles/ fights and martial arts” [15]. In the past, the action genre merely focused more around a male hero or protagonist - portrayed by these most prominent actors such as: Bruce Lee, Sylvester Stallone and Bruce Willis. Women in the action genre usually play the “roles of accomplices or romantic interests of the hero” [16] , although in modern action films have now featured strong female characters to broaden the demographic appeal. Such as, 'Charlie's Angels: Full Throttle' (2003). This text shows that women have their independence, and show their “strength and physique” [17] as men. This also, shows how society has grown from being patriarchal. ‘Charlies Angels’ along side other action films with leading female protagonists, show how women now have broke that ‘traditional woman’ of being the ‘damsel in distress’ or the ‘femme fatal’.
Since the early nineteenth century, men “have been associated with the heroic” [18] and dominant role in action movies. Such as 'King Kong’ (1933) by Merian C. Cooper. King Kong had reinforced the patriarchal attitudes as the only female character role played the damsel in distress: as King Kong falls in love with Ann Darrow [played by Fay Wray], a thin, blonde, weak/passive character. Society was far more patriarchal and “women were not seen to have a higher status” [19] than men: women were seen as objects of desire. There was hardly any strong female featured in action films. Robocop’ (1987) by Paul Verhoeven, also conveys how “men dominanted the past” [20] and how women were not seen as equal to men till feminism was introduced. Hollywood has been heavily critised because Hollywood used and provoked “the advantage of a patriarchal hegemony” [21] for success. However, both the media and society had changed as ‘Kill Bill’ shows Thurman on a “rampage of revenge” [22] to kill bill. Women prove that they can do just as much as men, as Kill Bill breaks the tradition of having a male as a dominant and heroic character, however ‘Kill Bill’ does not show any misogyny: hatred towards women, because women are represented as dominant and in control.
Moreover ‘Feminsim’, a political movement to advance the status of women by challenging values, attiutdes, social constructions and socioeconomic practices which disadvantage women and favour men, has help women gain there opportunity and rights. ‘Kill Bill’ deals with feminism as women are represented and portrayed as independent and with a higher status which is what feminism wanted to achieve: “equal rights for women” [23]. It also challenges the traditions of actions films by having a female dominant, controlling and popular main character. Feminist Maggie Humm agrues “that with women’s victory in the struggle for suffrage has been accomplished” [24].
However, “The end result of any film is a communication with its audience” [25]. Even though feminism came about, audiences were still used to seeing the male play the dominant and heroic role in film. The audience may be thrown of balance while watching ‘Kill Bill’ as they usually see a male as the protagonist, but however this is not the case: As Thurman is a strong headed, powerful and dominant character. This may seem to shock the audience as they usually identify the protagonist to be a male. Marjorie Rosen (1973) a feminist, “charted the changing representation of women in Hollywood films” [26] has now occurred in film.
Although, feminism played a major role in women’s independence, World War Two also, was a great social opportunity for women. World War Two alongside feminists helped to produce successful films with dominant female roles such as ‘Alien’, ‘Kill Bill’, ‘Cat Women’ and ‘Tomb Raider’.
Moreover, ‘Kill Bill’ seems to subverse dominant ideologies and values, as Tarantino “challenges stereotypes of men being dominant” [27] and in control, as Thurman is dominant throughout the film, as she takes her revenge upon to kill Bill. Thurman breaks this tradition of women just as the 'propp' of a film. David Gaunlett agrues that “since the rise of ‘girl power’ in the media” [28], through identities constructed by music artists such as Destinys Child, as well as contemporary actresses such as Lora Croft, demanding more active than passive roles: women have become more powerful and dominant. Women over the years have become stronger, dependable and respected and are “no longer objectified” [29]. They have become less subordinate to men and are no longer just seen as a tool for pleasure.
As Feminism and World War Two took a great part in womens equal opportunites and independence, the 1970’s is where women started to progress as the first ever female action hero had arised. “The dominance of the male hero in this genre was challenged by Sigourney Weavers, Ripley in ‘Alien’” [30]: which was the first action movie to feature a strong female protagonist. Weavers was seen as “resourceful, self-reliant, hard-assed, feminist action heroine” [31]. Represented as independent, Weavers guided male lead Alien has thus been considered a “prototype for the Girl Power-effect” [32] that occurred in Hollywood towards the early 2000s when more and more action-movies with powerful female leads appeared e.g. ‘Charlie's Angels’, to the mainstream martial arts film e.g. ‘Kill Bill’.
On the other hand, women’s representation in the media tend to revolve around the focus on physical beauty. They are often represented as being the “victim or lover or being part of a context (family, friends and colleagues) ” [33]. Leading females are represented differently when directed by a male or a female director e.g. ‘Kill Bill Volume [One And] Two’. ‘Kill Bill: Volume Two’ (2004) directed by a male director Quentin Tarantino; shows even though Thurman was the protagonist in ‘Kill Bill’ she was still however acting upon what Tarantino had wrote, this shows how a male is still dominating the film, but women still do have most of the upperhand as “Kill Bill was improvised” [34].
However, a male director meant the audience are forced to see women through a males prospective because majority of the directors are male. Actions films are usually a “male based genre” [35], however Thurman breaks the action ideology, as women have the upper hand and represented as strong and more control. She sends a positive message across proving that women are just as better as men and there is less of the patricharcal society. However, even though Thurman shows a independent strong female, she is directed by a male director Quentin Tarantino. It is likely that male directors portray women characters different from how women directors portray women characters, simply because it’s harder for them to relate to the characters.
Female roles have become more positive, optimistic and superior compared to the early nineteenth century representation of women. Action films in the past had the typical male protagonist strong, muscular and active. Films such as 'The Terminator' (1984) to 'Charlie's Angels: Full Throttle' (2003) show that women have their independence, are strong and just as equal as men, as we see more and more women represented as active and independent in contemporary society. This is evident that womens roles in action films have changed drastically, yet the representation of women has spread over to magazines, adverts, and other media texts, as women continue to grow stronger and more dominant. This illustrates many progressive values and counter-hegemonic representations of females to be seen as equal as men in the media. This strong representation of women shown in the media is shown through text ‘Kill Bill’ because Uma Thurman breaks this tradition of women just as the 'propp' of a film. Thurman has a vicious and “bloody satisfaction” [36] fight with female O-Ren-ishi: the fight between the two female characters are more tough and man-like. “Here we see that the females are active characters and taking up masculine roles” [37], they are no longer portrayed or represented as passive, but just as active as men.
In the 1960s, women were gaining more of their independence slowly as we see more women on screen. On the other hand men still play the protagonist and are still considered dominant compared to women in film and society. Even though there are more women on screen, e.g. "The Avengers" (1961): Directed by Don Leaver, where we have a female character Diana Rigg as Emma Peel featured. Yet there continuesly stereotyped and given typical roles such as housewife, girlfriend, etc... This is very important text as Feminists originated around the 1960s: This show’s how feminists help play a crutial part for womenduring that period of time. This portrays how the attitudes of both genre and society are slowly changing especially towards women .
As ‘Kill Bill’ breaks the tradition of having a male as a dominant and heroic character, however ‘Kill Bill’ doesn’t show any misogyny, hatred towards women because women are represented as dominant and in control (throughout the whole film), as we tend to see a male taking up the heroic and dominant roles. However, Bill did brutally murders his lover [Beatrix], which reinforces the misogynistic as well as patriarchal attitudes.
However, Tarantino “use the non-chronological structure to build tension” [38], which does not follow the traditional narrative cinema, so to some extent we can agrue it does not follow the issues Mulvey raises: as women in ‘Kill Bill’ are active and not passive, and controlling in comparison to the male actors. Also, the samuri sword "the bride" uses can be seen as a phallic symbol and fetish object. Women still being objectified, and men are still dominant as Beatrix is essentially tortured in each instance. Tarantino in his words is “merely reflecting the violence in the society around him...” [39]. Tarantino is showing a positive role for women in this film. For example, Thurman's character, single handly killed ‘The Crazy 88’ (who were all men) and the ring leader of the ‘Deadly Vipers’, Bill. Miramax usually help to produce art house films and in this way Kill Bill was recognised. In previous years there has been an underepresentation of women occuring for some time but in ‘Kill Bill’ “Tarantino has stayed true to the origins of the wuxia plan and made nearly all his central character’s deadly women warriors” [40].
However, the film industry was not the only male centred media, as men were dominant within sitcoms aswell e.g. "Adventures of Superman" (1952), where we still have the male as both the protagonist and hero. However, Lois Lane played by Noel Neill is portrayed as a damsel in distress as superman saves her from crime. This reflects society and their views are still strongly patriarchal. Women were passive and fragile this caused them to be victimized and need to be saved from a man [Superman]. However, today sitcoms such as ‘Sex And The City’ (1998-2004) “Four beautiful female New Yorkers gossip about their sex-lives” [41]. Such humorous comments such as “You men have no idea what we’re dealing with down there”, adds humour to the show and engages the audience. Women in the series are represented as sexually active and in control. This would have been acknowledging as a negative representation of women in the early 90’s where as now it is acceptable for women to be sexually active. This is evident to the fact that society and the media are becoming less patriarchal and women are seen as equal as men
In the past, women were underepresented, passive and suborndinate compared to men. They were hardly featured in any text e.g. magazines, adverts and film. Action films e.g. ‘The Terminator’ (1984), in the past centers around a male action hero or protagonist: society was far more Patriarchal and women were not seen to have a higher status than men. However, now that has changed with the help of feminism and World War Two taking a major role. Since the outstanding and ground breaking release of ‘Alien’ (1979 Ripley) to have the first dominant and heroic women featured in the action genre, women have had appeared more and more continueously. Uma Thurman in ‘Kill Bill’ (Tarantino) breaks and challenges the traditional roles of women being passive as she is more active and dominant. 'Charlie's Angels: Full Throttle' (2003) show that women can be and are independent, strong and just as equal as men. It is now evident that women are no longer objectified, ‘gazed’ upon, and also cinema audiences do not look at films in two ways: voyeuristically and fetishistically. Uma Thurman does not follow the passive role typically associated with women and instead breaks the usual convention of women being passive by taking an active role.
Bibliography:
'Books':
[1] Welldon, Estela V. (1988): Mother Madonna Whore. United Staes of America, The Guilford Press.
[2] Murphy, Peter F. (2004): Feminims & Masculinities. United States: Oford University.
[3] Bennett, Jacqueline; Jones, Tanya & McDougall, Julian (2002): A2 Media Studies For OCR. Great Britian, Hodder & Stoughton.
[4] Mckee, Alan (3003): Textual Ananlysis a beginner's guide. London, Thousand Oaks & New Delhi: SAGE Publications Ltd.
[5] Mulvey, Laura (1975) Visual Pleasure And Narrative Cinema, Screen.
[9] Murphy, Peter F. (2004): Feminims & Masculinities. United States: Oford University.
[10] Cosslett, Tess; Easton, Alison & Summerfield, Penny (1996): Women, Power And Resistance. Great Britian
[11]
[12] Hartley, John (2002): Communication, Cultural and Media Studies The Key Concepts. London, USA & Canad: Routledge.
[13] Mulvey, Laura (1975) Visual Pleasure And Narrative Cinema, Screen.
[14] ‘Sight And Sound’ (June 2004).
[16] Tuchman, Gaye (1978) ‘Introduction: the symbolic annihilation of women by the mass media’, in Tuchman, Gaye, Kaplan Daniels, Arlene and Benet, James (eds) Hearth And Home: Images Of Women In The Mass Media, New York: Oxford University Press.
[17] Dutton, Sullivan and Rayner, Phillip (2003) ‘Studying The Media’, p-112
[21] Cosslett, Tess; Easton, Alison & Summerfield, Penny (1996): Women, Power And Resistance. Great Britian.
[23] Welldon, Estela V. (1988): Mother Madonna Whore. United Staes of America, The Guilford Press
[24] Murphy, Peter F. (2004): Feminims & Masculinities. United States: Oford University.
[25] Lovell, Alan & Sergi, Gianluca (2005): Making Films In Comtempopary Hollywood. Great Britan, Hodder Education.
[26] Rosen, Majorie (1973) Popcorn Venus, New York:Avon Books.
[27] Smith,Jim (2005): Tarantino. Great Britain:Virgin Books Ltd.
[28] Gaunlett, David (1995) Movng Experiences: Understanding Television’s Influences And Effects, London: John Libbey.
[34] Rance, PTJ (2005): Martial Arts. Great Britain, Viring Books Ltd
[30] Clark, Vivienne; Baker, James & Lewis, Eileen (2002): Key Concepts And Media Skills For Media Studies. Great Britain, Hodder & Stoughton.
[32] Clark, Vivienne; Baker, James & Lewis, Eileen (2002): Key Concepts And Media Skills For Media Studies. Great Britain, Hodder & Stoughton.
[35] Bell, Angela. Joyce, Mark. Rivers, Danny (199): 2nd Edition Advanced Level Media. Britian: Hodder & Stoughton
[38] Smith,Jim (2005): Tarantino. Great Britain:Virgin Books Ltd.
[40] [10] Rance, PTJ (2005): Martial Arts. Great Britain, Viring Books Ltd.
'Newspapers & Magazines':
[6] Sound And Sound Magazine, June 2004
'Internet':
'Books':
[1] Welldon, Estela V. (1988): Mother Madonna Whore. United Staes of America, The Guilford Press.
[2] Murphy, Peter F. (2004): Feminims & Masculinities. United States: Oford University.
[3] Bennett, Jacqueline; Jones, Tanya & McDougall, Julian (2002): A2 Media Studies For OCR. Great Britian, Hodder & Stoughton.
[4] Mckee, Alan (3003): Textual Ananlysis a beginner's guide. London, Thousand Oaks & New Delhi: SAGE Publications Ltd.
[5] Mulvey, Laura (1975) Visual Pleasure And Narrative Cinema, Screen.
[9] Murphy, Peter F. (2004): Feminims & Masculinities. United States: Oford University.
[10] Cosslett, Tess; Easton, Alison & Summerfield, Penny (1996): Women, Power And Resistance. Great Britian
[11]
[12] Hartley, John (2002): Communication, Cultural and Media Studies The Key Concepts. London, USA & Canad: Routledge.
[13] Mulvey, Laura (1975) Visual Pleasure And Narrative Cinema, Screen.
[14] ‘Sight And Sound’ (June 2004).
[16] Tuchman, Gaye (1978) ‘Introduction: the symbolic annihilation of women by the mass media’, in Tuchman, Gaye, Kaplan Daniels, Arlene and Benet, James (eds) Hearth And Home: Images Of Women In The Mass Media, New York: Oxford University Press.
[17] Dutton, Sullivan and Rayner, Phillip (2003) ‘Studying The Media’, p-112
[21] Cosslett, Tess; Easton, Alison & Summerfield, Penny (1996): Women, Power And Resistance. Great Britian.
[23] Welldon, Estela V. (1988): Mother Madonna Whore. United Staes of America, The Guilford Press
[24] Murphy, Peter F. (2004): Feminims & Masculinities. United States: Oford University.
[25] Lovell, Alan & Sergi, Gianluca (2005): Making Films In Comtempopary Hollywood. Great Britan, Hodder Education.
[26] Rosen, Majorie (1973) Popcorn Venus, New York:Avon Books.
[27] Smith,Jim (2005): Tarantino. Great Britain:Virgin Books Ltd.
[28] Gaunlett, David (1995) Movng Experiences: Understanding Television’s Influences And Effects, London: John Libbey.
[34] Rance, PTJ (2005): Martial Arts. Great Britain, Viring Books Ltd
[30] Clark, Vivienne; Baker, James & Lewis, Eileen (2002): Key Concepts And Media Skills For Media Studies. Great Britain, Hodder & Stoughton.
[32] Clark, Vivienne; Baker, James & Lewis, Eileen (2002): Key Concepts And Media Skills For Media Studies. Great Britain, Hodder & Stoughton.
[35] Bell, Angela. Joyce, Mark. Rivers, Danny (199): 2nd Edition Advanced Level Media. Britian: Hodder & Stoughton
[38] Smith,Jim (2005): Tarantino. Great Britain:Virgin Books Ltd.
[40] [10] Rance, PTJ (2005): Martial Arts. Great Britain, Viring Books Ltd.
'Newspapers & Magazines':
[6] Sound And Sound Magazine, June 2004
'Internet':
[7]http://film.guardian.co.uk/News_Story/Critic_Review/Guardian_Film_of_the_week/0,4267,1059290,00.html
[8] http://www.aber.ac.uk/media/Documents/gaze/gaze09.html
[15] http://www.filmsite.org/actionfilms.html
[18] http://en.wikipedia.org/wiki/Action_movie
[19] http://www.filmsite.org/actionfilms.html
[20] http://www.aber.ac.uk/media/Students/hzi9401.html
[29] http://www.theory.org.uk/giddens.htm
[31] ‘Alien’ 1979 http://www.filmsite.org/alie.html
[33] http://www.mediaknowall.com/gender.html
[37] http://cbjuicyfruity.blogspot.com/
[39] http://www.wsws.org/articles/2004/jun2004/kill-j25.shtml
[41] http://www.imdb.com/title/tt0159206/
'Moving Image Texts':
[22] ‘Kill Bill: Volume Two’ (2004, Quentin Tarantino): beginning scene.
[36] ‘Kill Bill: Volume Two’ (2004, Quentin Tarantino)
[8] http://www.aber.ac.uk/media/Documents/gaze/gaze09.html
[15] http://www.filmsite.org/actionfilms.html
[18] http://en.wikipedia.org/wiki/Action_movie
[19] http://www.filmsite.org/actionfilms.html
[20] http://www.aber.ac.uk/media/Students/hzi9401.html
[29] http://www.theory.org.uk/giddens.htm
[31] ‘Alien’ 1979 http://www.filmsite.org/alie.html
[33] http://www.mediaknowall.com/gender.html
[37] http://cbjuicyfruity.blogspot.com/
[39] http://www.wsws.org/articles/2004/jun2004/kill-j25.shtml
[41] http://www.imdb.com/title/tt0159206/
'Moving Image Texts':
[22] ‘Kill Bill: Volume Two’ (2004, Quentin Tarantino): beginning scene.
[36] ‘Kill Bill: Volume Two’ (2004, Quentin Tarantino)
posted by Kill Bill Volume Two at 9.2.07
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