By Jeffrey A. Brown
Dangerous Curves: motion Heroines, Gender, Fetishism, and well known Culture addresses the conflicted meanings linked to the determine of the motion heroine as she has advanced in numerous media kinds because the past due Eighties. Jeffrey A. Brown discusses this immensely well known personality variety for example of, and problem to, latest theories approximately gender as a functionality id. Her assumption of heroic masculine characteristics mixed together with her sexualized actual depiction demonstrates the ambiguous nature of conventional gender expectancies and shows a growing to be know-how of extra competitive and violent roles for women.
The over the top sexual fetishism of motion heroines is a important subject all through. the subject is analyzed as an perception into the transgressive photo of the dominatrix, as a refection of the shift in renowned feminism from second-wave politics to third-wave and post-feminist pleasures, and as a sort of patriarchal backlash that allows a masculine myth of controlling robust woman characters. Brown translates the motion heroine as a illustration of adjusting gender dynamics that balances the sexual objectification of girls with revolutionary versions of lady power. whereas the first concentration of this learn is the motion heroine as represented in Hollywood movie and tv, the publication additionally contains the motion heroine's emergence in modern well known literature, comedian books, cartoons, and video games.
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Extra resources for Dangerous Curves: Action Heroines, Gender, Fetishism, and Popular Culture
The fetishistic qualities of women wielding such a heavily coded phallic symbol constitutes one of the major themes of feminist director Kathryn Bigelow’s Blue Steel (1990). Throughout the ﬁlm rookie cop Meghan Turner (Jamie Lee Curtis) is forced to negotiate her conﬂicting gender status as it is implicated in her relationships with guns and powerful men. The opening credits sequence is an obvious fetishizing display of Turner’s weapon: in an extreme close-up, with vaguely erotic background music and stylistic blue lighting, the camera dwells on the contours, the shaft, and the hollows of her standard issue Smith & Wesson.
The message of the joke is clear: masculinity is determined by one’s ability to perform certain culturally recognizable traits, and conversely to fail to perform these traits adequately implies one can be seen as feminine. ” While the action heroine’s heterosexuality is somewhat recovered by the narrative in order to escape any possibly oﬀending lesbian implications, she is still read within the conﬁnes of gender attributes as symbolically male. The ability of women to function successfully in what is coded as a masculine role illustrates the socially constructed nature of that role.
Ironically, at the showing of Double Impact I attended it was the muscular Everson who elicited shouts of approval from audience members, perhaps proving that the welltoned body is currently more of a female ideal than the voluptuous-but-weak body. It is interesting to hear how audiences respond upon ﬁrst seeing such muscular women as Hamilton, McLish, and Everson. Rather than blatant wolf whistles, there is a sense of awe and respect (from both male and female viewers) for the hard-earned muscularity that stands so far removed from even the well-aerobicized Hollywood norm.