The Value of Feminist Approach in Challenging our Assumptions about Cinema History - Report Example

Cinema History The Value of Feminist Approach in Challenging our Assumptions about Cinema History by Introduction The depiction of a woman has always been controversial and complicated in cinema. For a long time women were perceived in a stereotypical way being inseparable from a role of a mother and a wife. However, one of the greatest world directors, Frierdrich Murnau managed to create a new feminist image of a woman and demonstrate it in an unexpected genre- in a horror movie. The film which had a serious impact on the genre later was called “Nosferatu” and told the story of Dracula but with certain serious modifications. The author changed the names of the characters to avoid problems with the author of the book and interpreted the story in his own special mystical, meaningful, and symbolic manner. The choice of a woman as the main opposition force to the evil, moreover evil which is non-humane but paranormal, has made the film non-typical and even feminist to some extent. A woman who is often depicted in the movies as “non-man” which means as the image devoid of masculine qualities such as bravery, aggression, and steadiness in Murnau`s Nosferatu still demonstrates exceptional power and the ability to sacrifice herself for the others. But this power is typically feminine: beauty, wisdom, and the ability to sacrifice. With these qualities and certain wisdom, Ellen destroys indestructible immortal vampire, and destroys herself as well. Therefore, Mugnai’s portray of a woman is not typical and revolutionary for a history of cinema. Brave experiment with a classical gothic novel results in deep exploration of mystic power of a woman which predicted the wave of feminism in Western culture. Feminism and Gender Feminism is a social movement that has exclusive influence on the development of art and cinema in particular. It is possible to interpret movies as major sources of myths regarding women and gender roles in society in general. Cinema has been shaping people`s perception of femininity and masculinity since its origination (Read, 56). However, taking into account an assumption that gender is not inborn but is imposed by society as a number of behavioral patterns, it is possible to notice that femininity was always a bit deviated in cinema. Feminist movement caused various changes in the Western society, including a right vote for women in elections; the right to submit the application for divorce; the rights for possession of property; the right of women for control over her own body and the right to solve, what medical intervention is admissible, including a choice of contraception and abortions. Such changes were directly influenced by literature and cinema depiction of gender roles in society (Read, 18). Hollywood was the first target of feministic criticism because early movies depicted women with the help of fixed and stereotypical images which were far from positive. Later the depiction of women became more versatile and capturing, and European cinema, Murau`s expressionism in particular played an important in it. According to Fridan, the role of the housewife and teacher of children was imposed to the woman by means of creation of so-called the mystery of femininity. She noted that pseudoscientific theories, womens magazines, and the advertising industry taught that the women possessing true femininity do not need career, they do not need the higher education and the political rights — in a word, they do not need independence and opportunities. Everything that from them is required is from early childhood to devote themselves to searches of the husband and the birth of children (Fridan, 67). Thus, broadening of the perception of a woman with the help of applying of new characteristics to her personality made it possible to see a woman far from a traditional role of a mother and a wife. Gender is now mostly perceived as socially constructed phenomenon due to the evident changes that happened for instance in perception of women throughout centuries. For instance, women were allowed to vote less than a century ago that is why the perception of women as citizens has developed recently. Certain attributes of female and male genders are considered culturally acceptable and appropriate. For example, it is approved by society when women become housewives and take care of children while for men it is not viewed as masculine and normal. According to one of the most important philosophers of the XXth century, Michel Foucault, gender as a concept (apart from biological division between sexes) is created with aim of control. Discourses applied by social institutions define which behavior must be considered normal and which is deviant. These discourses are determined to make sexual practice serve the major aim-reproduction, and following this goal society defines how male and female should behave, communicate, and represent themselves to the world (Foucault , 67). Therefore, any behavior that does not have a purpose of producing another human being is not accepted in society though it is not as literal as it seems. Despite feminism social movement women still are considered as secondary people whose aim is to serve men. Thus, femininity is always associated with weakness, victimhood, subordination, submission, and acceptance. Women are those who are being led while men know how to lead and how to solve problems. A woman is always a mother first of all who need to take care of the family and provide children with positive example. Women are also associated with tenderness, beauty. In most later horror stories a woman plays a passive role and her capacity to fight the evil equally to a man is neglected (Lane, 33). “Nosferatu” “Nosferatu” is the most successful adaptation of Bram Stoker`s novel “Dracula” despite the fact that the Murnau had to make serious changes in the plot. Thomas Hutter, the realtor, learns from Knok that the Count Orlok wants to buy a house in Wisborg. Having left his beloved wife Ellen with their friends Hutter goes to Transylvania. In Romania he faces strange fears of locals regarding Count Orlok, however, Thomas perceives them as foolish superstitions. The coach refuses to take Hutter further than the bridge stating that this is where the land of ghosts begins. Here the hero is met by the crew sent from the castle which delivers Hutter to the place of destination with improbable speed. In the castle the main hero gets acquainted to the terrible owner whose appearance and habits are similar to the rat`s. They sign documents, and Count Orlok shows Hutter his bedroom. The Count also pays attention to the medallion with Ellen`s portrait — he is obviously impressed by her beauty. At night Orlok being in a trance, attacks Hatter and bites him. In the afternoon Hutter goes down to the cellar and finds Orlok lying in a coffin. At the same night he sees from a window how Count Orlok alone puts some coffins on a cart demonstrating incredible power and finally leaves. Fortunately Hutter manages to run away. Ellen staying in Wisborg, feels that her darling husband is in trouble, which reveals her mental connection with the husband, and through it — with Orlok. At this time Knok goes crazy and escapes psychiatric clinic where he was put earlier and alarms the town by shouting that the Owner is coming. Orlok gets on the vessel going to Wisborg, having hidden in one of boxes. At nights he gets up from a coffin and attacks seamen. When the vessel arrives to Wisborg there is no a single person alive on the board except for the Count. In Wisborg the vampire settles down in the house which is located opposite to Thomas and Ellens house. At the same time Thomas comes back to Ellen, feeling extremely happy. Soon people of Wisborg observe a wave of deaths and connect it to a plague. Ellen, having learned Thomass history and having read the book brought by him about vampires, decides to risk her own life: in the book it is told that the woman who is pure in her heart can distract the vampire be her beauty and make him forget about sunrise which will kill the beast. She entices Orlok and allows him to suck her blood. The vampire falls asleep and forgets to disappear in the cellar till the dawn — that is how he gets destroyed. There are several important alternations made by Murnau when adapting the novel. The most evident is the sacrifice of Ellen which she makes to distract monster`s attention from the sunrise – during which he disappears as a ghost. The character of the husband is mostly senseless ad useless as a decent opponent since he is unable to resist the vampire, which makes this plotline similar to the book. However in Dracula the conflict becomes so subtle that the reader wonders if Van Helsing really waits when Dracula attacsk Mina. The film is made that way that it has to stimulate viewers` imagination on subconscious level since it has numerous symbols and the imagery is complex and capturing. Murnau used to depict women in the opposite to traditional view, he saw internal strength and light in these tender creatures. Probably this combination of physical weakness and purity was the one that attracted attention of the director. “Nosferatu” is one of the first horror movies which avoids the stereotype of woman as a victim and in this way it represents new perspective on the role of the woman in narration. Ellen is shown as a savior and as the person who is capable to sacrifice her life for the wellbeing of others. So it is necessary to pay attention to how Murnau portrays Ellen from the very beginning. It does not occur to the viewer that passive Ellen who does nothing but waits for her husband represents real power in the movie. If look closer to the way how Murnau depicts the heroine it becomes evident that strong vertical frames, usually doors, adorn the main heroine of the film. She seems tall, slender, and completely lit with light Her figure is extremely straight as if Ellen has some rigidness contrasting to bent and creepy figure of Count Orlok. Her outfit underlines her purity, certain innocence and beauty. It is also possible to draw a parallel between bride`s wedding dress and body sacrifice and Ellen`s readiness to die. However, it is only on the visible physical level. Moreover, Ellen is mostly depicted in movement, she represents and symbolizes development, change, life while Orlok is an epitome of stagnation and therefore death Feminism in Cinema and in “Nosferatu” It is important to understand that cinema cannot be perceived as a phenomenon depicting reality cinema is rather constructing this reality and providing valuable insights, patterns of behavior, and images to the spectators. Feminine gender identity is also depicted in a strange and disputable way. According to Johnston, who analyzed the “myth” of a woman in cinema, in most cases in this myth women are represented as totally dependent on men. The author underlines that movie tradition portrays a woman as “not man” which means that she has relation to herself and no position in society. Johnson claims that it is impossible to find an example of “a woman as a woman” in the cinema (Johnston, 54). This connects the depiction of a woman to a portrait of a monster which is also only half human and half man. When Count Orlock fails to see the power in a woman, in a beautiful woman in particular, he is doomed to be destroyed. Murnau, as well as the author of Dracula, Bram Stoker are fascinated by the impossible combination of beauty, tenderness, an ability to sacrifice, and impressive internal power that let the heroine destroy something that was viewed as indestructible. The perception of a woman changes when the husband of Elle finally realizes that he did not know the woman he was married to. This view on a woman as one the human full potential of which is not accepted and acclaimed by society in general connects Murnau`s view with feministic tendencies. According to Williams, it is the woman`s “power-in- difference” that is core to portraying a female character in any horror movie. In the classical stories such as “Nosferatu” and “The Phantom of the Opera” we observe certain strange and interesting connection between a woman and a monster which the author of the article interprets as the one that stems from “similar status within patriarchal status of seeing”. Both a woman and a monster are creeps because their bodies are viewed as freaky and weird from the man`s perspective. So the author opposes general perception of monsters as those having masculinity as the main driving force. On the contrary she claims that women who associate themselves with monsters and find deep affinity with these creatures can understand mens` vulnerability (Williams, 34). In “Nosferatu” the connection between the main character, Ellen and Count Orlok is striking. In one of the episodes the heroine exclaims: “I must go to him! He is coming!” and Murnau does not give interpretation whether she is speaking of her beloved husband or she senses that the vampire is near. Another interesting aspect of Ellen`s portray on the screen is her desire to sacrifice herself. Women are often associated with martyrs because they are those who have to forget about their needs and the desire to live in the name of children, family, and humanity in general. Sexual aspect of horror movies is very controversial. Gender identity was examined by directors as it always evoked interest among viewers. Monsters were typically male and it was hardly possible to find a female monster because mythology tried to preserve women`s image of a mother and a lover. Some writers and directors connect monstrosity to gender according to Freudian position. The psychologist stated that women were similar to monsters and evoked fear in men because of the genitals that reminded men emasculate. So male monsters in cinema which prevail female monsters, such as vampires, zombies, werewolves, have the purpose of alleviating men`s anxiety of castration. That is why most of the monsters can be defined as male because their lust for women. It is possible to suggest therefore that women`s sexuality is provoking men (Williams, 44). Conclusion Murnau has managed to create a new image of a woman interpreting long and horrific legend of a vampire. These creatures are famous with their indestructability and evil nature. However, revising the position of woman in life and society and challenging her recognition merely as a submissive human being dependent on a man and lacking man`s qualities to be “complete” the director created a new woman. The image of a powerful femininity which uses beauty, charm, wisdom, and the ability to sacrifice herself, Murnau changed the perception of a woman The director did it with his special style: uses symbols, archetypes, and impressive imagery. References Foucault, M. (1978).The History of Sexuality Vol. I: An Introduction, Harmondsworth: Penguin Fridan, B. (1963). The Feminine Mystiqe. Chicago: Norton & Company Goodman, L. (1996). Literature and gender. London: Routledge. Johnston, C. (1991). Women`s cinema as counter cinema, Notes on Women`s Cinema. Feminist Film Theory. New York: A Reader Lane, C. (2000). Feminism in Hollywood. Detroit: Wayne State University Press. Read, J. (2000). The New Avengers: Feminism, Feminity and the Rape-Revenge Cycle.Manchester: Manchester University Press Williams, L. (2010)When the Woman Looks. Northern Highlands. Retrieved from: http://www.northernhighlands.org/cms/lib5/nj01000179/centricity/domain/92/week3-williams-womanlooks.pdf Read More