Manipulating Public Perception of Female Criminals

drunkenness and promiscuity. In Jean Ritchie's book, The Mind of a Murderess (1988), it is mentioned that Myra Hindley was described as unemotional, composed, and lacking in femininity. Ritchie also speculated that demonstrating vulnerability and emotion may have been helpful in Hindley's case.

It was evident in her mug shot that she lacked femininity and had a tough demeanor. The moors murders case gained popularity as a gothic soap opera. Our anxiety is heightened when a woman commits a heinous act such as killing a child, which goes against the laws of nature. Myra Hindley was heavily criticized for her involvement in the murders of the moors children.

The insatiable thirst for retribution of the public was fueled by their own discourses regarding a domestic woman and a loving wife. According to the patriarchal ideology of Victorian England, murder committed by a woman was so unthinkable that it had to be explained away as the action of a whore, witch, monster, or madwoman (4. Page 230). Despite the justice system's belief in egalitarianism, the involvement of media with public opinion exerts pressure on the system. This pressure from media and anxiety surrounding female deviants creates an Androcentric view that contradicts rational scientific truth, where there is no class or privileged group (egalitarian).

Page 145 features a conversation regarding the decrease of ethical behavior in women. This is causing harm to the justice system as well, which is also going through a decline in morality. It appears that there is an increased tendency to incarcerate women within the criminal justice system, which can be observed in Case Study Two concerning Rosemary West.

When analyzing West and Hindley's cases, West's situation

stands out. She is perceived differently by the media as a symbol of evil and animosity. Her face seldom appears in the media and is scarcely recognized. Additionally, since her conviction was contentious, the media and public spared her of much blame and condemnation. Hence, although she committed crimes, the media did not portray her as the embodiment of feminine evil or deviance in society.

The media focused on the actions in the case rather than the individual involved, perhaps because Rosemary was not initially intended to be found guilty by the police. However, her husband's suicide while in custody increased pressure on the justice system from both the media and public. This drive for vengeance led the court to link circumstantial evidence from the murders to West and present it to a jury who felt compelled to deliver justice.

The media scrutinized West, highlighting her inadequacies as a mother and spouse, thereby undermining her credibility before the jury. As noted earlier, societal expectations in relation to motherhood, domesticity, morality and demeanor - norms that apply to all females - greatly influence the treatment of female convicts (2. Page 51). Such behaviors that veer off these expectations elicit revulsion and animosity. Nevertheless, female criminals are represented differently in films and TV, as evidenced by the uneven media coverage, with Rosemary West receiving little attention, whereas the serial killer Aileen Wuornos generating significant media sensation.

In November 2003, Nick Broomfield released his second documentary about Aileen Wuornos titled "The Life and Death of a Serial Killer." This came shortly after the release of Patty Jenkins' film "Monster" in April 2003 which was based on the tragic real-life events of

Wuornos. The powerful writing of Jenkins and the talented casting of Charlize Theron challenged societal beliefs about female behavior and the public's reaction to crimes committed by women. Rather than attempting to make Wuornos an instantly lovable or normal character, "Monster" presented her as she was.

The portrayal of Aileen Wuornos in "Monster" depicted a woman who did not conform to societal norms for female behavior, leading to confusion. However, the film allowed the public to understand and sympathize with her struggles through her perspective, ultimately supporting Dovey's argument. Images of Wuornos before execution and Charlize Theron's portrayal of the character are displayed side-by-side.

In this article, Jon Dovey explores the topic of "confession" and utilizes Foucault's theories to argue that our society is fascinated with the deviant confessor. The popularity of Nick Broomfield's documentary stems from the fact that it challenges the set of discourses and social norms that we use to measure deviance. This disruption of our own views on discourse not only unsettles the audience, but also intrigues us as we witness a woman who has committed heinous acts confess to us personally. Despite the fact that it is evident throughout Broomfield's documentaries that she is mentally unwell, our connection with her becomes intensely personal as she reveals herself to the camera. This gives us a sense of empowerment as if she is solely confiding in us, despite knowing that others will also view the footage.Both Nick Broomfield's 2003 film "The Life and Death of a Serial Killer" and "Monster" provide a compassionate depiction of Aileen Wuornos, while recognizing her possible role in the murders. These works propose that Wuornos may have experienced temporary

or total insanity, which she cites as her primary justification for the killings. Consequently, spectators are encouraged to reflect on the ethical ramifications of this situation. The documentary culminates with Wuornos confessing to having deliberately planned all of the homicides.

In an interview with Nick Broomfield, Aileen Wuornos denied that her crimes were premeditated. Despite this revelation, questions arise regarding the effectiveness of the legal system when faced with media pressure. The media amplified Aileen's case, portraying her as a malevolent woman who murdered seven men and buried them in a forest. By emphasizing Aileen's supposed lack of motive, she was presented as an anomaly that disrupted discussions on female behavior.

Aileen's case in particular has been aggravated by the fact that she killed men (2), which, while not deemed as abhorrent as killing children, was considered even worse due to her profession and prior history, which placed her below men socially in the eyes of the public (based on an androcentric perspective). Thus, taking the life of someone of higher social standing was seen not only as a tragedy but as more reprehensible than mere murder (3). The British TV series "Bad Girls" (Maureen Chadwick 1999-2006) offers a fresh discourse on delinquent women and portrays women convicts within the current penal system.

Despite showing a progression in the public's acceptance and equality of female criminals, this series still features disliked characters and others we identify with, primarily due to the necessary conventions of storytelling and suspense-building. While our attitudes towards criminal women have evolved, media sensationalism continues to stir up unfounded prejudices. Nevertheless, Jon Dovey's ideas (5) prove relevant as the show tackles the internal

struggle and remorse experienced by these "bad girls" who eventually confess and come to terms with their offenses.

By humanizing female characters, this TV series challenges common beliefs about women and promotes equal treatment for all, regardless of deviations. However, our anxieties have led to mistreatment of female murder suspects within the justice system. Aileen Wuornos suffered from societal expectations due to her upbringing and relationships.

The fear of the unknown is highlighted in discussions about female criminals, which are exploited by both theorists and media outlets to profit from the concept of deviance. This commercialization has adverse effects on impartial justice. Consequently, women convicted of crimes are treated differently than men. Female murderers face less societal acceptance compared to their male counterparts.

Despite various explanations, the root cause of unequal treatment between men and women persists, resulting in imbalanced punishments. However, recent media and film portrayals have shown progress in the struggle for justice equality. As women's rights continue to advance, hopefully further advancements in discourse surrounding their conduct will follow.