Question 1a. Digital Technology

For my Foundation Portfolio I created a two-minute film opening in the horror genre and for my Advanced Portfolio I made a short film in the social realist genre. Over the two years I learnt a host of new skills relating to digital technology which helped me create two different and very successful media products, along with synergous ancillary tasks – a film poster and a website.

At AS, in terms of pre-production, as I had never used a digital video camera or any video editing software before, I made a short sequence to learn basic shot types and editing conventions – shot/reverse shot, the 180 degree rule and match on action. This task also involved setting up a blog to record my media work. I chose Blogger as it has a user-friendly interface and allowed me to add ‘labels’ to organize my posts. I also set up a YouTube channel where I uploaded my finished sequence and embedded it into my blog so that my teacher and other students could review and comment on my work. I also uploaded pictures of my storyboard to my blog as evidence of my work. I researched the most suitable editing software to use for this task and for future products and came to the decision to use iMovie. I learned basic editing skills such as splitting clips, adjusting the length of clips and changing the volume. These initial steps all developed my creative use of digital technology in that I worked out practical ways to realize my vision for my film opening.

Digital technology was essential during the research and planning stages of my tasks. At AS, I learned about the conventions of film openings through watching numerous examples on YouTube of my horror genre. I completed a shot-by-shot analysis of a scene that inspired me from ‘Scream- the Netflix series’ for which I uploaded screen grabs of each shot to my blog to enable really close analysis. This also helped me to appreciate the types and framing of iconic shots, which are conventional for a horror. I was then able to be creative with my shots while maintaining the style of the genre, as I had a broader knowledge of which camera angles and shot styles would be successful. I also made digital collages using PowerPoint, Canva.com and SlideShare to create a specific ‘look’ for my film opening. In terms of communication, for my actor I set up a group chat on FaceBook with the rest of my group so that we could communicate easily. I also used the internet to research non-copyrighted music to use for my film opening, and spent many hours on freeplaymusic.com where I was able to search suitable genres. Also I had to record using a digital recording device the ‘jack in the box sound’ to avoid copywriting someone else’s music for my non-diegetic soundtrack.

During production digital technologies were of some use also, as using a digital voice microphone to record my voice-overs helped generate clearer speech for my actresses.

It was at post-production that digital technology was especially key to the success of my film opening. I used iMovie to edit rough cuts and got feedback from focus groups, who were able to spot one occasion where my editing was not quite continuous, showing my props movement in shits where they were the same. It was useful to be able to upload my rough cuts to YouTube for multiple audience feedback to help iron out any issues. I then used iMovie to cut and fade the track I’d recorded in and out, mixing it with a second track I had chose on freeplaymusic.com, so my film opening became more dramatic, using sound bridging to link my two inside and outside locations. It was useful to find out how to manipulate the volume of the soundtrack at key points, such as turning it down to hear the diegetic sound of the speech announcement.

In terms of post-production, I experimented with lots of different kinds of digital technology to make my evaluations of my AS task, including: PowerPoint uploaded to Slideshare and embedded in my blog; Prezi; iMovie clips uploaded to YouTube. Also using a software called ‘Motion’ I was able to create my own film Ident. This enabled me to tackle the evaluation stage in a creative way, using a variety of digital media.

At A2 I was much more comfortable with using a wide range of digital technology and so was able to incorporate more advanced ideas into my research and planning. I also acquired a new Canon 5D camera to better the quality of my shots. So for this task, I created two ancillary tasks of a website and a film poster. This meant researching existing websites and film posters and analysing them, as well as watching YouTube videos to help me learn about the different software I was using: Wix.com was a favourite in website making and Photoshop was common when creating posters. I discovered that the changes in digital technology over recent years have had significant impact on the style of artists’ websites: most of them are now ‘mobile-friendly’ with a very clear and simple interface to enable interaction with the small screen of a smartphone. This helped me to choose Wix.com to create my website, as it has the ability to be viewed as a mobile version. I made a mock website and magazine advertisement to develop my skills in using both types of software. I used my own pictures from tumblr and instagram to practise using the software to edit the pictures, such as adding text, filters and experimenting with lighting. I was able to upload these to my blog to get feedback from focus groups, which then informed my planning of the real thing. I also set up social media accounts connected to my website as this is conventional for film companies: twitter, facebook and YouTube. I wanted to use as much digital technology as possible to make my products accessible to my audience of young digital natives. Progressing from AS, this time I made an animatic of my storyboard and posted it to my blog so that I could collect feedback and see exactly how long my shots should last and what shots would actually look effective in the project as a whole. Finally, I created a group chat in Whatsapp to communicate with my performers and production team to organise shoot dates. This worked better as we don’t tend to use facebook any more for communication with our peers.

During the production of my A2 task, for my ancillary tasks, as I had developed my skills in the use of Photoshop through my props including a poster, so I was able to imagine how I was going to use my image in my final film poster and bear that in mind while setting up my photoshoot with my actresses like Tamara. Also, when building my website I was able to use the feedback from my initial practice to develop my skills. While setting up social media accounts for my actress , I researched numerous social media accounts of similar existing actresses and found that they use their account to promote and update fans on their latest movies, alongside mundane everyday updates such as sharing instagram photos of their breakfast or rehearsal ‘on set’ to let fans know that they are producing new music and create a buzz to pique their interest. 

At post-production at A2, after taking iMovie as far as I could, I then edited some sections of my music video on Final Cut Pro. This was new software for me, but after iMovie it was not too much of a challenge to learn the editing techniques. Finally, to make my evaluations of my A2 portfolio as creative as possible, I used different kinds of digital technology, including Prezi, motion, final cut and photoshop. Rather than handing out a paper-based survey to my focus groups as I did at AS, this time I used SurveyMonkey which enabled to reach a much larger audience as I posted the link to survey on facebook, twitter, whatsapp and over email.

In conclusion, over the two years of the course, I feel I developed my skills in digital technology significantly, enabling me to realise my creative ideas and make four very successful products.

Question 1a. Analysing through Research and Planning

A great deal of research and planning went into making my two successful media products over the course of my A Level: at AS I made a two-minute film opening from the horror genre inspired by ‘scream the Netflix series’ and at A2 I made a short film in the social realism genre inspired by ken loach and together with two ancillary tasks: a magazine review page and a film poster. I feel the depth of my research and planning benefitted my final products greatly, especially at A2 where I could plan to avoid some of the issues I came across at AS.

At AS I did a preliminary task, which was vital as, although I had used a digital video camera, I had not learnt about specific shot types or storyboarded a video project. My class worked with a professional camera operator for a session to learn about how best to operate the camera, to pan, do a ‘hollywood cut’ and avoid ‘dead space’. The 180 degree rule was also complicated to master and took quite a few re-takes. It was only when I was actually filming that I realised how it is vital to prepare a shot-by-shot storyboard rather than rough instructions such as ‘actor opens door’ and how long the shot should be held to ensure I followed the rules of continuity editing. This also made me aware of the need for attention to detail such as continuing the take after action ends to have enough filming to cut correctly. I learnt from then on to storyboard with many more shots and accurate timings.

For my research, I watched lots of film/series openings and analysed them very closely. I completed a nine-frame analysis of Scream the Netflix series because it contained several shots that I wanted to replicate, such as the point of view shot from the killer outside the house. Furthermore at A2 I watched lots of short films on YouTube and on the website shortoftheweek.com. I also watched student short films to research how they achieved success on a low budget. These became easier to relate my filming technique to as I had limited actors, equipment and time.

Research into sound was also vital. I listened to the types of music and sound effects used on many horror films. Often this is copyrighted music, which presented a problem because the brief forbids the use of this. That meant I had to be creative in my search, listening to hours of copyright-free tracks on freeplaymusic.com, however unable to find something accurate enough to represent the theme of my film, I recorded my own music then edited it in iMovie and the focus group I played it too, said it was authentic and fitted the theme of my film very well. However furthermore at A2 I was able to research more into the different sound tracks I needed to use to fill my full short movie and acquired my music from freeplaymusic.com and merge certain bits of music together.

Location planning was key to my AS task because I was getting my actor to come to my house at a specific time of night so it was dark, therefore she had to stay. I had to work out when she had a free weekend so my crew could to get to the location at the right time and on the right day. Filming in my house proved more difficult than expected. The room also had big glass doors which I knew I had to ensure the crew was never visible in the reflections. Instead, I used the reflection of the darkness in the window to hide myself whilst filming looking like there was nothing in the window. This creative use of the surroundings actually helped create verisimilitude and ultimately improved my film opening. Additionally, I filmed quite a few shots outside, where I had no control over the weather and although it was windy, the sound of the wind became an external sound to my tension.

However, at A2, I was aware of the need to plan in more detail and ideally be in better control of my environment. Therefore I decided to get all my outside filming done on one day and I checked the availability of my actors in plenty of time. As she was a school student she only had the weekend and after school, therefore I knew for daylight I needed a weekend. So I organised for us to film on a Sunday as she had dance on a Saturday so I had daylight for my set. However I also chose a relative’s house for the interior shots and used my local sport centre for their studio, for the rest of the shots, which was convenient for my actors and enabled me to spend time setting up my shots and revisiting the location.

At AS I only had to research film conventions; however, at A2 I was using both film and two other media – magazines and film posters. As well as extensively researching similar products and conventions, I looked into the best software to use for these tasks. I found that both Photoshop and InDesign were excellent tools that are also used as industry standard. To be prepared for these tasks, I created a mock magazine review and film poster using that software. I had never used either before, but found I picked up the skills quickly through experimenting.

I used Blogger to record all my research and planning. At both AS and A2 I labelled my posts to organise my blog and help me refer back to key posts during production. Although I posted all my research into similar products, my storyboard, risk assessments and costume, set lists, etc at AS, I was still able to raise my game at A2 by doing twice as many posts and blogging in much more depth. For example, I analysed the whole of a short film rather than just nine shots, which gave me a much better picture of the variety I needed in my own project.

In conclusion, my extensive research and planning contributed hugely to the success of both my AS and A2 production outcomes. The use of storyboarding, shot by shot analysis and location planning were necessary in producing effective and aesthetically pleasing portfolios.

Question 1b. Analysing through Media Language

For my A2 Portfolio I chose to make a five-minute short in the social realist genre, ‘I am Phoenix’, which introduces the story of a girl who seeks to make a living for herself in the dire circumstances she faces. Within media language, my analysis focuses primarily on the mise en scene, camera work, sound and editing to show how my film opening represents my strong female character and how her hope in the capitalist system allows her to become something.

Mise en scene plays a vital part in my film opening to establish the genre and narrative. In line with Todorov’s narrative theory, my film subverts having an initial establishment of equilibrium as being a social realist it’s not common we begin in a state of harmony, but life is constantly upsetting the piece, this is a typical convention for social realist films. Somewhat similar to Mia in ‘Fish tank’ it opens in state of disequilibrium as her mother and her are arguing. My protagonist’s journey to get out of the house symbolizes a greater journey that she embarks to find her freedoms and this continues throughout the narrative. My first few seconds are set on a roadside and within the town area, a place that is familiar to the audience. This helps to introduce them to my as we see her archetypal chav outfit connotes her economic status. A semiotic analysis of her costume suggests strength but a sense fear as the camera is dead set facing her back with her hand in her pockets, giving the impression she is alone and wants to project an image of need and fearlessness. A close-up of her ‘peace hoop earrings’ establishes her further want for harmony and confidence in her appearance.

As theorist Stuart Hall states, ‘Media does not merely reflect the world, but contributes to the shaping of it.’ Verisimilitude is established with the use of real-life locations and carefully-planned mise en scene: once my protagonist walks through the town there is great deal of attention to detail, with lots of busy people arranged on the around the square of shops, local newsagent shops and other actors in the background riding bikes to give the impression of a busy low economic town environment. This enables the audience to recognize very quickly from these signs, and before the use of dialogue, the sort of environment my protagonist is living in.

As for Hall’s ‘contributing to the shape’ of the world, feminist ideology is present in my film opening as it adheres to modern societal expectations of a strong female. My protagonist sets an ideology many women could relate, as it is a 21st century film for a young, contemporary audience. David Gauntlett also argues that “Femininity is not typically a core value for women of today; instead, being feminine is just one of the performances that women choose to employ in everyday life.” Which is exactly what my protagonist is showcasing through being herself.

According to Blumler and Katz’s ‘Uses and Gratifications’ theory, one reason an audience watches a film is to reinforce personal identity and to use a text to judge how to behave in reality. Modern audiences are increasingly demanding strong female characters to whom they can relate, and my film opening provides this through ‘leading by example’. We see a young female character, as Judith Butler theorizes, ‘performing’ a particular identity; My protagonist, Phoenix, is portrayed to show particular interest in a pamphlet, clearly engaged and actively trying to change her ways.

In terms of camera work, my film opening conforms to Claude Levi-Strauss’s theory of binary oppositions by having a demanding and antagonist parents juxtaposed with an innocent young female daughter. This is shown in my camera work by a low angle shot of her father slapping her. By having the audience ‘look up’ to him, I establish him as an intimidating and dominant character, to emphasize the daughter’s circumstances.

Barthes’ enigma code is also at work here as, before the audience is introduced to the father, they see a close-up of Pheonix, the protagonist, stealing a chocolate bar. This creates a mystery as to why she does what she does, that the audience wants to see solved later on in the film. Explained in her final dance sequence.

In terms of editing, the flashback between her dancing and her past – showcasing the victim versus the villain, causes empathy for her and the audience rooting for her to win. Furthermore, the quick cutting of the journey walking through supported by sad music that changes to more upbeat music after locating the pamphlet confirms my aim that, according to Angela McRobbie “There has been a change in focus from the representation of the passive, dependent female to a more confident focus on self.”

Question1b. Applying Theories

According to theorist Tilley “narrative is a complex process with important implications” and this is highly applicable when concerning my coursework portfolio, a social realism short film, “I am Phoenix”. I will examine and apply in this essay a number of theories in order to deepen my analysis.
The concept of binary oppositions, developed by Levi-Strauss is relevant amongst most social realism films, as this idea explains how opposites are created within a story to help propel the narrative. In my short film, the protagonist, Phoenix is portrayed as the ‘archetypal chav’, to which has a negative connotation due to the stereotype of people needing welfare being referred to as scum. However as seen in the opening sequence of non-linear flashbacks and long held wide shots, it’s apparent her mother is abusing her shown in their contrasting body language, but that also she is suffering as a result. Therefore introducing my protagonist as the “good” character and her mother, the antagonist, as the “bad” character.  This is exemplified when a later scene of her mother and father fighting results in her father hitting her, its more obvious that the protagonist’s parents are in fact the antagonists of this film, whilst she in confirmed as the binary opposition protagonist, as she is portrayed as lonely and weak.

Furthermore, Bulgarian theorist Vladimir Propp, who studied fairytales, developed the ‘theory of character function’. This is whereby certain characters help to propel the narrative due to given functions matching his theory. In my coursework, the protagonist, Phoenix, is presented as the “hero” when she plucks up enough courage to make something of herself, despite her rough family life with the antagonist and go to a dance audition. The idea the protagonist is the hero, is because in her dance, the flashbacks of the antagonist abuse and the camera low angle shot suggests she’s becoming superior, succumbing to the socio-economic circumstance she’s been presented with.  The short camera time the antagonists are seen for implies their villainous characterizations.

My coursework doesn’t however entirely follow the theory presented by Todorov, as my film doesn’t start in a state of equilibrium assumed from the shots of her parents but does has a state of disequilibrium. This is the chaos of her flashbacks and life falling apart around her, presented through the non-linear structure of the shots and confusing narrative. However although it doesn’t agree with step one off Todorov’s theory is does agree with their final premise where the story resolves to a new equilibrium. So assumed from the clap at the very end, following her dance suggest she will move onto new things in her life.  Driving the narrative of the film towards a happy ending.To conclude, Tilley’s theory that ‘narrative is a complex process with important implications’ is greatly applicable to my movie, supported by Levi-Strauss, Vladimir and Todorov’s theories, suggesting how elements of my movie push the narrative along.

Females: Magazine Representation

Collective Identity, We were checking the female representation within magazine such as 'cosmopolitan' and 'women health' however we looked also at males representation in 'mens health' was comparable to women. Plus looking into female representation in male magazines throughout the year was interesting also.

Magazines and gender from stmarysmediastudies

Here was the analyse and response to the slide share:

Females: Judith Butler's Gender is a Construction

Gender is: Constitution of Identity culturally and socially instituted through repetition of stylised acts throughout time.

 Acts are bodily gestures, styles, movements (language aswell).

 Judith Butler

Gender Norms build social cultural subjects as women and men. Our ideas what men and women are reflected nothing that exist in nature: Our derive from customs that embeded social relations of power.  The reality of being a woman (or a man) is not an empirical fact, but rather a preformative effect of the language and the constitution acts that define her (or him).

"Butler suggested that feminists rejected the idea that biology is destiny, and our culture which assumed that masculine and feminine genders would inevitably be built, by culture, upon 'male' and 'female' bodies, making the same destiny just as inescapable. That argument allows no room for choice, difference or resistance. She prefers; rather than being a fixed attribute in a person, gender should be seen as a fluid variable which shifts and changes in different contexts and at different times. She argues that sex (male, female) is seen to cause gender (masculine, feminine) which is seen to cause desire (towards the other gender). This is seen as a kind of continuum. Butler's approach is basically to smash the supposed links between these, so that gender and desire are flexible, free-floating and not 'caused' by other stable factors. Butler suggests that certain cultural configurations and expectations have come to seem natural in our culture as it presently is. but, she suggests, it doesn't have to be that way. She also argues that we all put on a gender performance, whether traditional or not, anyway, and so it is not a question of whether to do a gender performance, but what form that performance will take. By choosing to be different about it, we might work to change gender norms and the binary understanding of masculinity and femininity.This idea of identity as free-floating, as not connected to an 'essence', but instead a performance, is one of the key ideas in queer theory. Seen in this way, our identities, gendered and otherwise, do not express some authentic inner self but are the dramatic effect (rather than the cause) of our performances. It's not (necessarily) just a view on sexuality, or gender. It also suggests that the confines of any identity can potentially be reinvented by its owner..." Credits to: zlorhenley

Exam Question 1b. Narrative: Todorov

Todorov's narative theory basically states that most story's plot lines follow the same pattern or path.
1. Equilibrium.
The first part of the story will display a happy start, where the majority of characters are content and everything is as it should be.
2. A Disruption (disequilibrium)
The second part of the stroy will feature a problem or somthing will disrupt the happiness.
3. Realisation
This part of the plot is when everyone realises the problem and it is chaos.
4. Restored order
This part of the plot os when the characters attempt to repair the damage and restore the problem.
5. New Equilibrium
This is the final part of the plot where the problem is resolved and normality can resume again.

Exam Question 1b. ALL: Roland Barthes

Barthes was a french media theorist who was writing from the 1950s through to the 1970s. Barthes has unravelled or deconstructed a number of texts and came to the conclusion that texts may open (with numerous semiotic threads to pull) or closed, (with only one obvious thread to grasp). The most obvious aspect of enigma codes is that they are constructed primarily to attract and hold the attention of the audience want to see solved.

The five codes which are woven into any narrative are:
1. The Hermeneutic Code (action)
Is the story avoids telling the truth or revealing all the facts, in order to drop clues in through out to help create mystery.
2. The Engima Code (puzzle)
The way the tension is built up and the auidence is left guessing what happens next
3. The Symbolic Code
This is very similar to semantic but acts at a wider level, organising semantic meanings into broader and deeper sets of meaning. This is typically done in the use of antithesis, where new meaning arisis out of opposing and conflict ideas
4. The Semantic Code
The semanitc points to any element in a text that suggests a particular, often additional meaning by way of connotation which the story suggests.
5. The Cultural Code
Looks at the audience wider cultueral knowldge, morality and ideology.

Exam Question 1b. ALL: Claude Levi-Strauss

Levi-Strauss was a french lingustic theorist who wrote many books on how culture and meaning relate. Narratives we realate to each other unconsciously reflect the ideologies, obsessions and fears of our society. These naratives are constructed using opposites, such as dark and light. We see in texts many binary oppositions, this slideshare explains how Levi- Strauss uses the concept of opposition:

Strauss binary opposites from laurenminns

Exam Question 1b. Narrative: Vladimir Propp

Vladimir Propp was a russian media theorist, known as a formalist, who analysed over 100 Russian folk tales and realised that certian characters recurred in completley different stories:

- the villain, who struggles with the hero (formally known as the antagonist)
- the donor,
- the helper,
- the Princess, a sought-for person (and/or her father), who exists as a goal and often recognizes and marries hero and/or punishes villain
- the dispatcher,
- the hero, who departs on a search (seeker-hero), reacts to the donor and weds
- the false hero (or antihero or usurper), who claims to be the hero, often seeking and reacting like a real hero (ie by trying to marry the princess)

Propp also realised that certain narrative themes were used again and again: prepartation, complication, transference, struggle, return and recognition. Propps narrative functions cover 31 different functions, some of which can be applied and some of which wont apply, depending on the narrative.

1. A member of a family leaves home (the hero is introduced as a unique person within the tribe, whose needs may not be met by remaining)
2. An interdiction (a command NOT to do something e.g.'don't go there', 'go to this place'), is addressed to the hero; 
3. The hero ignores the interdiction 
4. The villain appears and (either villain tries to find the children/jewels etc; or intended victim encounters the villain); 
5. The villain gains information about the victim;
6. The villain attempts to deceive the victim to take possession of victim or victim's belongings (trickery; villain disguised, tries to win confidence of victim); 
7. The victim is fooled by the villain, unwittingly helps the enemy; 
8. Villain causes harm/injury to family/tribe member (by abduction, theft of magical agent, spoiling crops, plunders in other forms, causes a disappearance, expels someone, casts spell on someone, substitutes child etc, commits murder, imprisons/detains someone, threatens forced marriage, provides nightly torments); Alternatively, a member of family lacks something or desires something (magical potion etc); 
9. Misfortune or lack is made known, (hero is dispatched, hears call for help etc/ alternative is that victimised hero is sent away, freed from imprisonment); 
10. Seeker agrees to, or decides upon counter-action; 
11. Hero leaves home; 
12. Hero is tested, interrogated, attacked etc, preparing the way for his/her receiving magical agent or helper (donor); 
13. Hero reacts to actions of future donor (withstands/fails the test, frees captive, reconciles disputants, performs service, uses adversary's powers against them); 
14. Hero acquires use of a magical agent (it's directly transferred, located, purchased, prepared, spontaneously appears, is eaten/drunk, or offered by other characters); 
15. Hero is transferred, delivered or led to whereabouts of an object of the search; 
16. Hero and villain join in direct combat; 
17. Hero is branded (wounded/marked, receives ring or scarf); 
18. Villain is defeated (killed in combat, defeated in contest, killed while asleep, banished);
19. Initial misfortune or lack is resolved (object of search distributed, spell broken, slain person revived, captive freed); 
20. Hero returns;
21. Hero is pursued (pursuer tries to kill, eat, undermine the hero); 
22. Hero is rescued from pursuit (obstacles delay pursuer, hero hides or is hidden, hero transforms unrecognisably, hero saved from attempt on his/her life); 
23. Hero unrecognised, arrives home or in another country; 
24. False hero presents unfounded claims;
25. Difficult task proposed to the hero (trial by ordeal, riddles, test of strength/endurance, other tasks); 
26. Task is resolved; 
27. Hero is recognised (by mark, brand, or thing given to him/her); 
28. False hero or villain is exposed;
29. Hero is given a new appearance (is made whole, handsome, new garments etc); 
30. Villain is punished;
31. Hero marries and ascends the throne (is rewarded/promoted).

Female: Ken Loach's Representation in 'I, Daniel Blake'

Ken Loach is a director of the social realism genre. His movies captures social realism through the eyes of the real life people in real life situations. They aren't really recognised by the mainstream market, however this film is available at the Big Screen Cinemas recieveing outstanding reviews:

The storylines he has crafted are stemmed from the stories that already of people lives. The actors he chooses also are the true representation of working call people as, for exmaple Daniel Blake played by Dave Johns is not an actor by occupation but a Stand up Comedian. This captures the comical element to the film effortlessly as his character keeps the upbeat theme going.

Furthermore Ken Loach's representation of his female characters is throughly thought through and decided. The single mum with two kids struggling for a place to live is showcased through an actress called Hayley Squires, who interview with BBC explains how she met with women who were in a mirror situation to her characters so she could engross herself into the characters full potential. The concept of "revenge eviction" when those to welfare are evicted after they complain about boilers or damp is the storyline of 'Katie's Life' (Hayley Squires) and surprisingly to see, Hayley embodies the character so throughly that she argues in the interview that "We are fed by the Media to look at those who need welfare as scum" when really they are just normal people that have had traumatic events or low income events alter their pathways, guving them no other choice but to seek help. So the representation of this female character although weak and vunerable in financial state is actually an accurate represetation of all those is this situation.

Females: Mulvey's 'Male Gaze' Theory

Is Hollywood finally succumbing to feminism?

Last year women such as Emily Blunt and Sandra Bollock were cast in roles originally for men. This seems to be the case in the forthcoming blockbuster reboots of Ghostbusters and Ocean's Eleven, where the females are replacing the men in lead roles.  One of the huge hits of 2015, Mad Max: Fury Road, Charlize Theron's Imperator Furiosa overshadows the titular Max (Tom Hardy). This prioritising of women over men has not been universally acclaimed.
However let's investigate the extent to which women are actually empowered in Mad Max, using the acclaimed 'Male Gaze' theories of Mulvey.

Laura Mulvey is one of the most frequently cited theorists in both film and media studies. Mulvey suggested that the mainstream cinema institutionalises the male gaze; that is, the most films are shot from a male's perspective. Her analysis remains useful in exemplifying how texts are inherently ideological, more specifically, it helps demonstrate how mainstreams cinemas are patriarchal in nature.

Mulvey suggests patriarchy is inscribed in mainstream cinema by ensuring that men are the 'bearer of the look' whilst women exist 'to be looked at', primarily as sex objects for both male protagonists and the spectator in the audience. Therefore do we automatically view women in film through a 'male gaze'? Mulvey also suggested that women's bodies are often fragmented, through the use of close-ups, giving women the 'quality of icon' rather than the active agents in three-dimensional space. Men are seen as active agents according to Mulvey "forwarding the story, making things happen" in contrast to women.

So applying this to Mad Max, Charlize Theron, is a very beautiful women actress. However as Furiosa in Fury Road, her looks are not emphasised. George Miller's camera refuses to objectify her! For example, in the first glimpse of Furiosa we see is of the tattoo on the back of her neck, however as she walks away from the camera, the shot cuts away before her backside enters the frame. The sight of her backside would have suggested the shot was intended for the heterosexual male gaze. Again, later in the film, she talks convincingly about mechanical aspects which is thought to be a typically male topic.

However despite her dominance through the DVD cover features Mas as the dominant; he has a gun and Furiosa is looking on from behind:

Furiosa isn't however, a woman who simply adopts the male gender role,  in the movie she cries and asked Max for his name, typically female traits. 

So is this a feminist narrative?

Applying Mulvey's theory suggest that Fury Road can be seen as progressive in its representation of women. Director and Co-Director George Miller also includes older women who give as good as they get in the action sequences. Max Mad is a blockbuster that does actually break the rules. Furiosa can therefore, take place in that rare pantheon of female action heroes. 

Credits to: Nick Lacey. April 2016