Дипломная работа на тему "ТЮМГУ | Многозначность превращения женщины в товар в современном постфеминистском кинематографе: «Блондинка в законе» (2001) и «Мария- антуанетта» (2006)"

Работа на тему: Многозначность превращения женщины в товар в современном постфеминистском кинематографе: «Блондинка в законе» (2001) и «Мария- антуанетта» (2006)
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Описание работы

МИНИСТЕРСТВО НАУКИ И ВЫСШЕГО ОБРАЗОВАНИЯ РОССИЙСКОЙ ФЕДЕРАЦИИ
Федеральное государственное автономное образовательное учреждение
высшего образования
«ТЮМЕНСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ» ШКОЛА ПЕРСПЕКТИВНЫХ ИССЛЕДОВАНИЙ (SAS)

ВЫПУСКНАЯ КВАЛИФИКАЦИОННАЯ РАБОТА
бакалаврская работа
ТНЕ АМВIGШТУ OF FEMALE COММODIFICATION 1N CONTEМPORARY POSTFEМINIST CINEМA: LEGALLY BLONDE (2001) AND
МАЮЕ ANTOINEТТE (2006) / МНОГОЗНАЧНОСТЬ ПРЕВРАЩЕНИЯ ЖЕНЩИНЫ В ТОВАР В СОВРЕМЕННОМ ПОСТФЕМИНИСТСКОМ КИНЕМАТОГРАФЕ: «БЛОНДИНКА В ЗАКОНЕ» (2001) И «МАРИЯ- АНТУАНЕТТА» (2006)

42.03.05 Медиакоммуникации Профиль «Кино и медиа»

Тюмень 2023

TABLE OF CONTENTS INTRODUCTION 4-9
LITERATURE REVIEW 10-14
RESEARCH METHODOLOGY 15-18
CHAPTER 1. POSTFEMINIST CINEMA: THE RETURN OF A PINK 19-21
CHAPTER 2. THE REVERSAL OF THE LOOK IN MARIE ANTOINETTE 22-25
CHAPTER 3. WOMAN AS SPECTACLE IN LEGALLY BLONDE 26-28
CHAPTER 4. WOMEN-COMMODITIES: THE AMBIGUITY OF FEMALE COMMODIFICATION. 29
4.1. A WOMAN AS A MERE COMMODITY. 29-31
4.2. A WOMAN AS A ‘PROPERTY’ OF A MAN IN THE FAMILY AND IN THE SYMBOLIC SOCIAL ORDER 31-34
CONCLUSION: POSTFEMINIST FILMS OFFER A CRITIQUE 35-37
BIBLIOGRAPHY. 38-40
FILMOGRAPHY. 41
FIGURES 42-43

INTRODUCTION
“The society we know, our own culture, is based upon the exchange of women.”
– Luce Irigaray, This Sex Which Is Not One, p. 170.
What is postfeminism? The term has many different meanings depending on the fields, but, in its basic definition, postfeminism indicates a historical shift–a time “after” feminism (after its second wave). It is also understood through the alignment with “post” movements (e.g., post-structuralism, postmodernism, postcolonialism). The contemporary societal perception of feminism is that it has accomplished many of its goals, thereby it makes further expansions of the movement obsolete. Thus, we are postfeminist now. However, this dissertation focuses more on the problems of its term instead of its achievement. The one problem of the term’s usage comes from the multiplicity of feminist movements and its intersection with different theories and ideologies (e.g., new and old feminism, anti-feminism, postfeminism, activist feminism). Since this is the case, the term denotes the impurity of the movement where multiple and contradictory ideas co-exist, rather than where the new ideas simply displace existing ones. Thus, we should, as some scholars suggest, see feminism and post-feminism as a continuum rather than a conflict (e.g., Gill, Ferriss & Young).
Initially, there was a polarization between the Reformist and Revolutionary thinkers in the feminist movement. The latter ones seek for fundamental changes in the existing power structures. The thinkers aimed to undermine patriarchy as a system of domination. While the Reformists wished for change in their economic status and wanted to gain social equality within the existing structures. Under this polarization, with time, in particular in the 1980’s, radical feminist politics was detached from the movement. The process of depoliticization signifies this shift to postfeminism in the 90s. In addition, these days, the growing visibility and popularity of the ‘brand’ of feminism complicate the logic of ‘feminism in retreat’. Postfeminism is an ambiguous term itself. It can be seen both as a rupture from the ideas of second wave feminism and as a continuity of these ideas in a form of third wave feminism. Indeed, some might say that postfeminism and third wave feminism are roughly the same thing, or different ways of looking at the same thing. Considering this confusion of the concepts, I would like to explain why I have chosen to pursue postfeminsim and not third wave feminism as a conceptual lens. In contrast to third wave feminism, I see the ambiguity in the definition of postfeminist. It is its major peculiarity. The “post-” indicates a “time after,” when changes occur on the basis of past ideas. These changes can be simultaneously a continuation of and a rupture from the past. While, the waves signify only the progressive development of ideas. Thus, postfeminist is a far more complex and engaging term for analysis.
In the contemporary theoretical landscape, postfeminism contains wider social phenomena. Starting from the late 1990’s and in the early 2000’s, there was an outburst of the films that appealed to female viewers. These were highly popular films such as Pretty Woman (1990), Clueless (1995), Sex and the City (1998-2004), Bridget Jones’s Diary (2001), Thirteen going on Thirty (2004), The Devil Wears Prada (2006), and numerous others. These films are complex, simultaneously promoting and questioning traditional sense of femininity, marriage, and beauty. On the one hand, these films reinforce traditional gender roles, promote love and family over career and independence as many films from the late 1940s and early 1950s. Thus, we can observe hints of nostalgia for the clear patriarchal order in the times of ambiguity and uncertainty of the twenty first century. In addition, as I have mentioned above, toxic consumerism is a cross-cutting theme and problem in these films. On the other hand, postfeminist films show women successfully balance between their career and romance, putting emphasis on the pleasure and happiness of the female that she can get either from work or romantic relationship. Thus, it would be oversimplifying to name postfeminist films either entirely negative or positive.
In this work, I will try to look at postfeminist cinema from different perspectives and make a contribution to this open debate by pointing out the complexity and provocativeness of these films. Noted by many scholars, one specific feature of this cinema is its close ties with neoliberal values. Thus, postfeminist films are homogeneous: usually youth-obsessed and white and middle-class by default. Indeed, these films stress individualism, choice and agency in the promotion of consumer culture. However, on the other hand, it has a latent ability to offer a critique of the traditional patriarchal order. Therefore, instead of rejecting and perceiving postfeminist cinema as dull melodramatic comedies, we should pay more attention to the potential hidden in this cinema.
One may inquire whether postfeminism is still relevant in the 2023, is it still with us? Liberal trends of the present coexist and entangle the conservative trends from the past. I would claim that the logic of postfeminism is nonetheless haunts the discourse on gender, even though the focus has shifted from the women’s rights to the questions of sexuality and the position of sexual minorities and queer people. In my view, all other analysis of gender takes the feminist framework as its point of departure. Thus, rethinking the ontological constructions of woman is still a relevant and important issue. In that sense, this dissertation will offer a new perspective on the topic of postfeminism, trying to decompose its characteristic traits using the example of films. Furthermore, I will turn to the process of postfeminist identity construction and explore the very structures of power that produce it.
As stated above, postfeminist films are homogeneous in terms of race, sexuality, age and class. While it is the case for the majority of postfeminist films, some scholars such as Suzanne Ferriss and Mallory Young argue that main elements of postfeminism may be seen in movies about women of color and in movies produced across the world [Ferriss, Young, p. 9]. Although postfeminist ideas are not equally relevant across the world, questions of female identity, sexuality, family relations are similar across ethnic, racial, and national boundaries. For example, there are African-American and Latina woman-centered films such as Girlfight (2000), Maid in Manhattan (2002), Beauty Shop (2005), etc. Also, there are Indian postfeminist films including Bride and Prejudice (2004), the Bollywood version of Jane Austen’s novel, or Bend It Like Beckham (2002) directed by Gurinder Ghadha. We can find a number of Asian movies such as Eat, Drink, Man, Woman (1994) and
Shall We Dance? (1996). Moreover, there are a vast range of films presenting much more mature women. For instance, Unconditional Love (2002), or Under the Tuscan Sun (2003).
It can be claimed that postfeminism is an outdated phenomenon in itself. It remained in the 90s and early 2000s, as the years of films’ production indicate. However, I would argue that its ideas still persist, particularly, the focus on individual, the pleasures of consumption, return to femininity, and the replacement of political with personal. In that case, looking at postfeminism from the 2023 perspective, we still can detect it. This claim is supported by a number of scholars, for instance, Rosalind Gill. She argues that the idea of postfeminism still has a lot to offer feminist cultural critics and that statements that we have gone "beyond" it are unfortunately premature [Gill, p. 1]. Therefore, Gill asserts that postfeminism is being theorized from intersectional and transnational perspectives more and more (the aforementioned point about the visibility of black and minority ethnic women, middle aged and older women, etc.) and its significance as an essential term for comprehending contemporary culture appears to be expanding rather than decreasing [Gill, p. 11]. Those are the major reasons for critical engagement with postfeminism and examining it from the present moment.
Apparently, the focus of my research will be on the representation of women in the postfeminist cinema. In particular, I will explore the emphasis on consumer culture through which a female character usually defines herself in contemporary mainstream cinema. I will bring forward the question of self-commodification–how the female subjects are propelled to voluntarily make a commodity out of themselves. In this regard, this dissertation aims to argue that while postfeminist films typically represent women who find themselves through consumption of commercial goods and whose very subjectivity becomes a marketable commodity. Although, in some postfeminist films, we can find a critique of consumption, self-commodification and objectification of women.
From the vast range of the postfeminist films, this dissertation will focus on two contemporary films: Legally Blonde (Robert Luketic, 2001) and Marie Antoinette
(Sofia Coppola, 2006). I selected these particular two films out of the many films mentioned above, because they present two poles: Legally Blonde is a highly popular and standard postfeminist movie, which appeals to ‘universal’ neoliberal narratives of women emancipation through career and romance. Therefore, only the character analysis within the narrative of this film can provide a critique of male dominance and power structures. Whereas Marie Antoinette challenges the system of patriarchy through visual means by reversing the cinematic male gaze, acknowledging the constructed nature of Marie’s status as an object, which is rare in the mainstream postfeminist cinema.
Both movies reflect a twenty-first-century attitude towards consumerism in an ironic way. The films are led by the young female protagonist who is obsessed with fashion. The emphasis is put on the spectacle of dressing up and the heroine’s self- expression through clothes. The argument of my work will problematize the emphasis upon consumption of material objects and the question of women becoming a material object herself. I would examine the process of reification on two levels: self-commodification through the consumption (micro level), and a woman as a ‘property’ of a man in the family and in the symbolic social order (macro level).
The very term “commodification” comes from media theory, but before that, the notion of commodity was mainly a part of the field of economics. The first one to put the term in a wider context of politics and society was Karl Marx. In the book Capital, where he criticizes commodity fetishism and alienation. Marx claimed that everything in a capitalist society would eventually be commodified [Marx, p. 48]. Building on his argument, Luce Irigaray argues that girls always pass from one man (or group of men) to another, for instance, from father to husband [Irigaray, 176]. There is a tendency to accumulate wealth, that is, to produce more women- commodities by claiming a woman as yours and marking it with your name. This is what I mean by a woman as a ‘property’ of a man. This circulation of women can be extrapolated on the symbolic social order. In this dissertation, I will further expand the question of the commodification of a female identity on both narrative and visual levels in postfeminist cinema.
Below is the list of questions I want to answer throughout the course of my work: Why does the female spectator-consumer ‘buy’ the image of her commodification? Is not this process of reification contrary to feminist goals? Putting emphasis on the economic subjectivity, are we losing political agency? Can postfeminist cinema offer a critique to the process of commodific

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