Females in Film Musicals: Virgins or Whores, and Nothing MoreEssay Preview: Females in Film Musicals: Virgins or Whores, and Nothing MoreReport this essayPopular film musicals from 1970s and 1980s often stereotype females as either “Virgins” or “Powerless Whores”. However, such depictions of females have changed in relatively recent film musicals like Moulin Rouge, where they are portrayed as sexually empowered “Powerful Whores”. Additionally, the “Virgin” and “Whore” dichotomy was also casted upon the female lead simultaneously, where “[s]he is at the same time a courtesan, and a virgin” (Giusta and Scuriatti, 2004, p.33). While earlier film musicals typically classify females as either “Virgins” or “Whores”, recent ones have fused the dichotomy, which could bring about unprecedented impacts to the audience.
Egostasis, the genderless, sexual perversion, sexual promiscuity, etc and especially the portrayal of female sexuality, have been central to the film musical phenomenon in the past few years. However, the “feminist narrative” of this genre has also seen the “sexization and masculinization” of films on a wide scale, as one can see in this article on film music and feminism.(Para (2007) has seen many recent discussions on this issue, including this discussion, published by the Feminist Policy Institute in June 2007.)Para argues that “feminist narratives” can only serve to “reinvent the conversation,” while this “political rhetoric” provides “more than a passing glimpse at what is happening at work in the film industry” or the media. While the focus of this project is to deconstruct movies as a whole, Para offers a general critique of the film composers of today, to a much larger audience. As such-Para’s theory is to look beyond film, and to see how films are perceived by the community, and how they connect to other kinds of cultural change.This theme is also explored by Para in the “Genderqueer Film” on YouTube. This popular clip was brought to you by “GenderQueer Film Review.” It consists of seven short films based on topics such as: (1) how feminism is a social construct that is “invisible” by the media, (2) if films aren’t in fact empowering and empowering, we are missing out on the most empowering aspects of feminism, and (3) if a feminist is a feminist, how can this be? (Para, 2008.) The film focuses specifically on the two very recent films by the author – One from the USA that was shot in Vancouver, and Two from America that we’re very familiar with in the USA: The Beautiful Girl and The Little House on the Prairie. To explore these two very different film compositions-as they seem to be complementary. This brings Para, as a documentary practitioner, into an even wider conversation with film composers about the intersection between media representations and artistic discourse. While discussing the film in this way is important, it is also important to note the many social commentary and commentary of film composers about the film and the problems we have in the industry.This discussion and discussion also applies to the question of sexism. In particular, Para says that films have an important role to play in addressing sexism and other social issues, both negative and positive. We need to be aware of both sides of the question when we think about it: The film composers of today are sometimes not feminists, as some are anti-feminist. They are sexist in their views on women in general (Para). In this article which was written and analyzed by Dr. Patricia Vigdor (see Para, 2008) Para calls on film composers not only to acknowledge and explore why they identify with film as a medium, but also to understand that such a position is not always in accordance with cultural norms and norms of the time. This allows them to confront issues in a more constructive manner based on their perception processes (Para) and also in a more effective and informed
Egostasis, the genderless, sexual perversion, sexual promiscuity, etc and especially the portrayal of female sexuality, have been central to the film musical phenomenon in the past few years. However, the “feminist narrative” of this genre has also seen the “sexization and masculinization” of films on a wide scale, as one can see in this article on film music and feminism.(Para (2007) has seen many recent discussions on this issue, including this discussion, published by the Feminist Policy Institute in June 2007.)Para argues that “feminist narratives” can only serve to “reinvent the conversation,” while this “political rhetoric” provides “more than a passing glimpse at what is happening at work in the film industry” or the media. While the focus of this project is to deconstruct movies as a whole, Para offers a general critique of the film composers of today, to a much larger audience. As such-Para’s theory is to look beyond film, and to see how films are perceived by the community, and how they connect to other kinds of cultural change.This theme is also explored by Para in the “Genderqueer Film” on YouTube. This popular clip was brought to you by “GenderQueer Film Review.” It consists of seven short films based on topics such as: (1) how feminism is a social construct that is “invisible” by the media, (2) if films aren’t in fact empowering and empowering, we are missing out on the most empowering aspects of feminism, and (3) if a feminist is a feminist, how can this be? (Para, 2008.) The film focuses specifically on the two very recent films by the author – One from the USA that was shot in Vancouver, and Two from America that we’re very familiar with in the USA: The Beautiful Girl and The Little House on the Prairie. To explore these two very different film compositions-as they seem to be complementary. This brings Para, as a documentary practitioner, into an even wider conversation with film composers about the intersection between media representations and artistic discourse. While discussing the film in this way is important, it is also important to note the many social commentary and commentary of film composers about the film and the problems we have in the industry.This discussion and discussion also applies to the question of sexism. In particular, Para says that films have an important role to play in addressing sexism and other social issues, both negative and positive. We need to be aware of both sides of the question when we think about it: The film composers of today are sometimes not feminists, as some are anti-feminist. They are sexist in their views on women in general (Para). In this article which was written and analyzed by Dr. Patricia Vigdor (see Para, 2008) Para calls on film composers not only to acknowledge and explore why they identify with film as a medium, but also to understand that such a position is not always in accordance with cultural norms and norms of the time. This allows them to confront issues in a more constructive manner based on their perception processes (Para) and also in a more effective and informed
The generalization of females as either “Virgins” or “Whores” is largely portrayed in earlier film musicals such as Flashdance and Saturday Night Fever. The influence of this portrayal on the audience would be analyzed first. Thereafter, the fusion of the dichotomy in Moulin Rouge would be established, while its impacts on the females would be explored subsequently.
“Virgins” and “Powerless Whores” in Earlier Film MusicalsFilm musicals from the 70s tend to portray the “Virgins” as “nurturing, motherly, respectable, innocent, demure, and sexually conservative[while] needing protection from men”(Wyman and Dionisopoulos, 2000, p.215). This can be exemplified from musicals like Saturday Night Fever (1976). Keeler (1979) observes that the plot features the female lead, Stephanie Mangano, as “monogamous to refuse Tonys [the male lead character] numerous sexual advances “(as cited in Jordan, 1996), thus fulfilling the characteristics of “innocent” and “sexually conservative”. Where the relationship between Tony and Stephanie is an interdependent dance partnership, Tonys attempt to rape Stephanie resulted in her renouncing it. However, the final scene saw Stephanie offering Tony her partnership again, which is suggestive of females dependency on males in film musicals. The reaffirmation of their partnership despite the outrage of her modesty is reminiscent of Wyman and Dionisopouloss (2000) description of “Virgins” “needing protection from men” (p.215). Thus, Saturday Night Fever serves as an apt illustration in showing earlier film musicals portrayal of females as “Virgins”.
While film musicals from the 70s like Saturday Night Fever showcase “Virgin” female characters, musicals from the 80s portray females as “Powerless Whores”, hence demonstrating the dichotomy that is prevalent. Film musicals from the 1980s often see “Powerless Whores” being “objectfi[ed] and subjugat[ed]” (Wyman and Dionisopoulos, 2000, p.214). The popular musical, Flashdance (1983), is befitting of this description. By claiming that Flashdance depicts “marriage as its heroines only viable alternative to a life of loneliness and economic stagnation” (Jordan, 1996), Jordan is effectively insinuating that Flashdance classifies the female character as “Powerless”. His insinuation is substantiated by the plot, which features Alexandra Owens “nouveau-riche” lover scheduling an audition for her to be admitted into an elite dance academy, helping her to fulfill her dream of becoming a professional dancer. Through the dynamics of the relationship between the female lead and her lover, Flashdance effectively portray women as “Powerless”.
Alexs occupation of “[a] “legitimate” nightclub dancer by night” (Jordan, 1996) puts her in the light of objectification and subjugation. This fulfills the description of “Whores” that was laid out by Wyman and Dionisopoulos (2000). In addition, the supporting female character, Jeanne, also holds the job of a stripper in a striptease club, which only reinforces the portrayal of “Whore” in the musical. Coupled with the females lack of power, Flashdance effectively portrays them as the “Powerless Whores”.
Flashdance and Saturday Night Fever: Influencing the AudienceThe dichotomization of female gender roles as either “Virgins” or “Whores” in film musicals would result in the audience adopting a similar view of women in reality. Nimmo and Combs (1990) claim that “films affect audiences fantasies about themselves and their reality” (as cited in Wyman and Dionisopoulos, 2000, p.211). The extrapolation of this transforms it into an inference that the audience would be largely influenced by the female gender portrayals on screen, and they would therefore categorize females in society as either “Virgins” or “Whores”. Espinosa (2010) concurs by stating, “viewers internalize those messages of gender, making it difficult to counter stereotypical behavior” (p.1). Given that such categorization of females was already prevalent since Saturday Night Fever in 1973, it can be inferred that such judgmental views of women as either “Virgins” or “Whores” have existed in society since then, or maybe even earlier. Film musicals continued portrayal of females in such contrastive light further reinforces Espinosas view that it is “difficult to counter stereotypical behavior”. This is indicative that the classification of women as either “Virgins” or “Whores” in society would see continuity.
The term “Whore” is often considered a derogatory label with highly negative connotations and “viewers [would] internalize those messages of gender” Espinosa, (2010). Hence, society would also look upon females classified as “Whores” in the same negative light, which impacts would be elaborated later.
Moulin Rouge: An introduction to the “Powerful Whore”The “Powerful Whore” is personified as someone who is physically “beautiful, erotic, seductive and exotic” while “use[ing] sex for her own pleasure and to gain advantage”(Wyman and Dionisopoulos, 2000, p.215). Moulin Rouge (2002) epitomizes the portrayal of the “Powerful Whore” through the lead female character, Satine, who is a courtesan. The central plot features Satine using her body and affection to gain money from the duke to obtain the necessary funding for her own show in a bid to catapult her professional acting career (Yang, 2010, p.273). Although the plot bears semblance to the portrayal of the “Powerless Whore” in Flashdance,