Gender Politics and Roles in a Horror Film Essay Example

The recent release of SAW III reintroduced the concept of a female villain. One notable example of a female in a horror role is the character lamia from DRACULA'S DAUGHTER (1932), which garnered significant recognition. Although there were some successful attempts at utilizing females in prominent roles within horror films, these opportunities remained limited.

THE WEREWOLF introduced a female wolfman followed by movies like SHE WOLF OF LONDON and CRY OF THE WEREWOLF as additional examples; however, these roles also had their limitations. Female roles in monster movies ranged from exploitative portrayals seen in THE VAMPIRE LOVERS to comical depictions such as FRANKENSTEIN'S DAUGHTER to outstanding performances like those seen in THE EXORCIST.Although there have been limited instances where villainess roles have been effectively portrayed in movies such as SAW III and THE DEVIL'S REJECTS, it is important to acknowledge that these portrayals reflect societal gender dynamics. Horror films often depict the male gaze projecting fantasies onto female characters, who are presented as objects of exhibitionism with visually stimulating appearances (Mulvey 203). These traditional gender roles in horror movies are what audiences expect, and any deviation from them may risk rejection. However, well-scripted deviations can be accepted by viewers. For instance, Jessica Lang's poorly written dialogue in the 1976 remake of King Kong changed her role from the fearful Fay Wray in the original film, but not necessarily in a positive way. While it is reasonable for her character to scream when faced with a monstrous ape, saying "This isn't going to work out" while looking at an amorous giant ape is simply silly.In situations of severe panic, people do not typically fulfill the expected roles.

However, traditional roles can exhibit more than just passivity. Fay Wray's fear and panic in the face of Kong can be interpreted as stubborn rather than submissive, as she rejects him and stands up for herself. Her rebellious shrieks disrupt Kong's focus and prove that her role is not as inactive as assumed. While she confronts the beast, Wray's reaction is more believable compared to Jessica Lange's response, making her rebellion credible.

Gender roles in horror movies are not as clear-cut as initially believed. According to Botting (135), Gothic writing has intertwined culture, economy, and gender boundaries in film. Male and female roles were strongly contrasted prior to ALIEN; however, after this movie's release, women started taking on more active roles. This blurring of gender roles may not be immediately evident on the surface since character actions remain consistent regardless of when the film was made.

Ultimately, both male and female characters continue to be victims in horror movies. In ALIEN, Ripley is an active character but becomes a target for the foreign creature similar to Fay Wray in KING KONG. A similar discrepancy can also be observed in THE WOLFMAN from 1942 where Evelyn Ankers' character Gwen is far from weak; she is independent and strong-willed. Despite knowing that a wolfman lurks nearby at the climax of the film, Gwen ventures into the forest alone to search for her partner.The text discusses how horror movies portray gender roles and presents a unique perspective on reality. It emphasizes the importance of cinema as a medium for depicting different aspects of human experience. Despite being categorized as a genre that explores fantastical elements, horror films offer insights into

the roles played by genders, both passive and active. Additionally, these films also delve into the perspective of monsters themselves, presenting multiple roles concurrently. Anne-Marie's example further exemplifies this concept as she transitions from reserved in public to lively and multitasking in her kitchen, showcasing how individuals can assume diverse roles based on varying perceptions (Kristeva 12).In the realm of horror movies, regardless of their specific subgenre, the central theme always revolves around the dynamic between predator and prey. While there may be variations in how this function plays out, such as showcasing a sympathetic monster or a flawed human hero, the ultimate outcome remains consistent - marauders relentlessly pursuing their quarry. The roles of male and female can both assume the position of prey, unfortunately oftentimes aligning with common stereotypes. Nevertheless, for the authoritative monster, gender roles hold no significance. To this monstrous entity, all realms are filled with potential prey, rendering gender roles inconsequential. Despite this disregard for gender roles by monsters, there still exist nuances within these diverse roles. However, from the perspective of the monster itself, all humans are simply fodder regardless of their behavior or reactions depicted in the movie.

Bibliography:
- Barker, Clive."The Forbidde." In IN THE FLESH: NARRATIVE OF TERROR. New York: Poseidon Press.1986.67 - 108.
- Botting, F. "Candy Gothic." In GOTHIC CAMBRIDGE: Boydell & Brewer.2001.133 - 151.
- Kristeva, Julia."Powers of Horror: A Study in Abjection." New York: Columbia University Press.1982.
- Mulvey Laura."Visual Pleasure and Narrative Film."
- Shaviro Steven."Film Theory and Visual Fascination." In THE CINEMATIC BODY.Minneapolis: University of Minneapolis Press1993 .1 - 65