Fan Practices and Masculinity and Femininity - Essay Example

TASK: HOW MIGHT THE FAN PRACTICES THAT PRODUCE A CULT TEXT BE CATEGORIZED AS EITHER MASCULINE OF FEMININE; THIS ACCORDING TO GENDERED COMPETENCIES AND DISPOSITIONS AS FOUND IN THE AMERICAN SERIES “TRUE BLOOD.” Name: Institution: Lecturer: Date: The award winning and critically acclaimed production: “True Blood” is an American series based on the novel series “The Southern Vampire Mysteries”; that details the co-existence of both the Human and Vampire Races in a small imaginary town, in Louisiana State. The vampire race lives secluded and hidden from the Human Race; their interactions limited to feeding time; this due to the fact that the vampires need human blood for their survival. This has consequently brought out antagonistic results to this coexistence, most often than not ending tragically. It is centered on Sookie Stackhouse who is a telepathic server at the Bon Temps bar “Merlotte’s.” Vampires, two years prior, remained hidden from the Human Race; dwelling in the shadows while preying on human beings for their blood that was the vampires lifeline. This, however, changes when scientists in Japan create an artificial form of blood called “True Blood” that takes the place of human beings’ blood. They no longer have their survival controlled by the need for human blood. Instead, the vampire race is able to integrate itself into the “Mainstream” Human society. The resultant interactions are mutually suspicious with each race preferring its own company; often being intolerant of the other (Broyles, 2010, p. 56). Vampire blood, on the other hand, is categorized as being a kind of human narcotic: “V” or “V Juice” that is often sought after by the Human race. Sookie, the main protagonist is caught up in a fight between a human couple and a vampire male, Merlotte’s first, who were attempting to drain his blood. From this scene, the notion of women’s’ hospitability, non- violence and accepting nature is exhibited; this contributing immensely to the ensuing relationship that was to develop between her, Sookie, and the vampire, Bill Compton. From this relationship, a host of vampire culture and psychology is explored with great limitations being portrayed on vampire psychology. The receptive and understanding nature of Sookie epitomizes the goodwill and caring nature present in the female psychology (Hammond, 2006, p. 136). The murders of several women, all connected to Sookie’s older Brother Jason, provides the first season’s major plot. Among the victims are Maudette Pickens, a sexual partner; Dawn Green, one of Merlotte’s servers; Grandmother Adele and girlfriend Amy Burley. He is addicted to vampire blood “V”; that is a human narcotic unlike anything manufactured at the time. The viewers’ knowledge of Jason’s innocence does not help much in easing the constant accusations and investigations carried out by detective Andy, in conjunction with Sheriff Bud, who target him as the main suspect in the investigations. The theme of masculinity comes out with the accusations, of the murders, and the constant harassment of the perceived suspect by the local authority. Violence and other acts of violence are socialized with the notion of masculinity while the feminine nature is credited with old age (Grandmother Adele), sensual and sexual pleasures as portrayed by Maudette and Marlette’s Dawn Green (Ghaill, 1994, p. 51). Friendship and enduring bonds are exemplified by the unwavering support given to Jason by two of his friends and workmates, Fortenberry and Lenier. Masculinity and endurance are two themes explored until in the end, another actor; Rene is exposed as the murderer; killed in a final confrontation with Sookie. Rene, Arlene’s fiancé is actually Drew Marshall who having created a false identity goes about killing those women he considers gang-bangers; that is, women who have sexual relations with vampires. Friendship and unwavering bonds between the Male species is exemplified as being strong and long-lasting; this contributing to the fan practices among men in society of forming clubs, associations, secret societies/ organizations and alliances among a host of other activities that hint at cultic practices in society. A sense of ‘Right’ and ‘Duty’ are also present with Marshall interpreting his murders to be a form of ‘cleansing act’; Man’s duty to rid society of blemish. The notion of “Abuse” is explored in the various brief relationships, often sexual in nature, are presented in the various scenes especially in entertainment places such as Marlette. Barmaids are often viewed, in the eyes of the predominately-male clientele as being symbols and tools of pleasure sexual pleasure and often seek for sexual favors. The Feminine species are often entangled in tricky situations that often end tragically. Due to their lack of the physical strength and stamina, present in their counterparts the males, they are often at the receiving end of this violent and often exploitative relationship. The practice of male dominance, especially over the Feminine species is thus characteristic of the cultic behavior and practices of the males over females especially related to a cultic context (Broyles, 2010, p. 78). Tara, Sookie’s best friend, is hired as a bartender by the shape-shifter owner of Merlotte who also is an admirer of Sookie. There is a brief relationship thereafter, this exploring the notion of “abuse of stature/ office”, which attracts Sam towards Tara. Tara’s life is characterized by the presence of a cousin Lafayette, who though working as a cook at Merlotte, deals in drugs, does road works and is involved in prostitution among other activities. She also has an abusive relationship with her alcoholic mother Lettie and at the same time trying to deal with her “inner demons.” All these exemplifying the myriad of issues that face the women of our societies; this because of a cocktail of socio-economic and cultural issues that they face in their daily lives. While her mother eventually ‘sobers up’, Tara’s life spins out of control resulting into a drunk driving accident after she is thrown out of her home; this ruining her car. She is later taken in by a social worker who introduces her to “Eggs” Benedict to whom she is attracted. The disappearance of Godric, a 2000 year old vampire sheriff of Area 9 causes Eric to enlist both Bill’s and Sookie’s help in trying to find Godric. In their quest, they cross Jason’s path, who seeking to discover meaning in his life has joined the Fellowship of the Sun, a church that is mainly dedicated to anti-vampire activities. There is an ensuing clash that pits the two parties’ ideologies and sense of belonging thus bringing out an antagonistic character trait in humans against anything peculiar or more powerful. Cultic fellowships are often clothed in religious ideals that appeal to a vibrant and youthful fan base. Consequently, the resultant cultic practices and rituals are often categorized as either feminine or masculine in nature, with witches, in their covens being predominantly female in character (True blood). The resultant feminine association of women and dark powers comes out strongly in this with Maryann who, due to her supernatural ability of control and influence over humans, attempts to control and eventually leads the town and its residents on a destructive path. Another association is that of witchcraft, with Marnie leading a coven of witches on a ritual in the art of necromancy. The vampires discover this and view her as a threat as Antonia, a powerful necromancer from the 16th Century, possesses her body. This she does so as to exert her revenge on all vampires. As part of her plan, she casts a spell of amnesia on Eric with whom Sookie, having returned to Bon Temps, has a romantic affair. The witch Antonia eventually reconsiders after realizing all the wrongdoing she has caused to the innocent people of the town, and she decides to stop. Despite this Marnie, whose body has been possessed by Antonia, fights back; this due to her addiction of the former’s power. She binds Antonia against her will so as to acquire her powers. From this, there is the notion of “lust for power” that drives people to committing unthinkable actions; this so as to gain more power. This brings out the defying stance of the Human Will that is focused on an achievement at whatever cost. The fan practices associated with this are cultic in nature, involves the formation of fraternities where there is the following of orders/ rules regardless of the resultant consequences that exemplify the lust for power (Richardson, 2007, p. 142). The viewership of the resurgence of vampirism can be found within contemporary American culture and media. There is a fanatical teenage obsession with screen adaptations, of such television series, that deals with vampirism such as Stephanie Meyer’s Twilight saga to “True Blood”. The viewership targeted is an adult audience, but the great following that the above series and Joss Whedon’s “Buffy the Vampire Slayer” series enjoys among the youthful population is of a cultic nature. The latter series helped set the stage for the critical analysis of both vampirism and feminism; this within the contemporary popular culture. The role of the vampire as found in the visual medium is significantly connected with gender views as found in contemporary society (Broyles, 2010, p. 45). Visual media such as television and film, often reaching a larger audience that other forms of media, has immense influences on the youthful fan base due to it being more widespread. It is a learning medium that is more passive in nature; thus, the impacts of ideals about masculinity and/ or femininity may be learnt more passively, accepted and/ or integrated into society. Both masculinity and femininity are explored, with their characters being presented in various ways; some being much skewed and thus unrealistic while others are true to life. Femininity is presently exemplified, both individually and in a variety of views, as found in the above with the representation being largely positive in the above two television series. Certain messages are transmitted by these works, with each representing both individual and varied views about femininity. Thus, the characterization of females in the series “True Blood” is strong, with it featuring powerful female roles; this found in both its main character, Sookie Stackhouse as well as the supporting character Tara Thornton. Tara is characterized as being strong willed and opinionated, who thrives to protect Sookie’s welfare as well as her questionable relationship with a vampire. She is not afraid in expressing her opinions; this exemplified when she confronts her male boss upon his request that she wears a uniform. She makes the point of noting that he, the boss, does not care if his male employees wear uniforms thus a sort of distinguishable relationship exists between the workers and the management. The relationship is more favoring to the male employees, thus Tara’s statement to her boss that “he does not feel the necessity to sexualize the men in his service in the same way he does the women.” (Corber & Valocchi, 2003, p. 189) Sookie, the main protagonist, is first presented as a strong-willed and innocent woman with superhuman abilities; she can hear others’ thoughts, possesses superhuman strength and can see the minds of others. Her physical strength does defy typical gender expectations thus explaining her trouble with maintaining her expected gender roles in society. She is inexperienced romantically, for her age, but she knows so much about love and relationships and their associated negative aspects. Due to her power, of being able to read minds, she is not able to sustain a successful and romantic relationship and ends up having disastrous experiences with the dating of average people. Fan practices associated with this include the formation and sustenance of relationships between parties of unlikely character, who find solace in each other due to their lack of acceptance and understanding in the contemporary setup. Cultic traits are exemplified by the association and relationships present between unlikely characters in society; gender not withstanding (Doane & Hodges, 2001, p. 46). Her love interest, in the character of Bill Compton, is a vampire who not being average is able to sustain a longer relationship; this due to their connection by their supernatural qualities. They are thus able to find a form of commonality despite their individual differences. The presentation of an alternate take on the way in which relationships, male/ female, may begin and progress is created by the provision of space for an ‘outcast’ to whom another related to; having similarly experienced difficulties in functioning in terms of the expected social norms as espoused in romantic relationships. This placement of both Sookie and Bill in very similar circumstances, this due to their past inabilities to forming meaningful relationships, brings out the representation of both female and male in equal terms. Sookie’s inability to read Bill’s mind is perceived to be in contrast to the norm as the ability to read one’s thoughts is perceived differently among the sexes. She is happy about her inability in reading his mind; this interpreted as a realization that there won’t be a constant bombardment of criticism, evaluation and opinion presented through the male gaze that added ultimately to the failure of each of her past relationships. The suggestion here is that the female figure yearns not only for a sense of mystery within a relationship in general but also for the stereotypical mysterious masculine figure. While television and film often show female characters obsessed with their male counterparts’ feelings and thoughts, Sookie’s situation may propose that the allowance of such feelings and thoughts to remain at least not explicitly expressed or remain hidden within every waking moment of a relationship, is what the feminine character truly desires (Broyles, 2010, p. 76). On the other hand, the theme of masculinity is portrayed in “True Blood” as being a testament that works involving vampirism, this being specific to the pop culture, feature common perceptions of masculinity and men. There is the provision of two key male characters: one who, though failing, vies for female attention unable to fully move from the ‘friend category’; while the other who typically being highly masculine, strong and mysterious, fitting into the ‘bad boy’ image, often becomes the love interest. The fan practice stemming from this point of view is that masculinity and a ‘bad boy’ image are espoused as being key advantages towards getting relationships with the opposite gender. “Sookie is mine” (True blood) is just but a phrase that represents the theme of masculinity with Bill acting as Sookie’s protector; this from other vampire even though she is physically capable of taking care of herself. There is the profound sense in male presence being equated to security and protection; the skills and strengths of the feminine character not-withstanding (Ortner, 2002, p. 246). Bill, portrayed as a traditional masculine figure is kind, courteous and thoughtful of others; this he does by exercising exceptional control over his emotions while at the same time establishing his desire to both protect and love Sookie. He represents, thus, the typical male common to the vampire genre. Conversely, Sam Merlotte who is Sookie’s boss is a male character who desires affection from her but is unable to attain it. Although relatively successful and handsome, he is not able to get Sookie to look at him as more than a friend; this adding to his damaged feelings about his own masculinity. The vampire seemingly uninterested, at least at first, in his female love interest is sometimes aloof and he may not explicitly state his feelings for her. He may be hesitant in entering into a relationship with her. He features an ability to have power over her on some level, this due to the powers and abilities gifted to the species (Broyles, 2010). The male does not exercise direct domination over his female love interest; therefore, remaining in control becomes an issue for this character. This need is perhaps a personification of the desire by the male to repress his desires to rule over, dominate or even harm the female; this representing the necessity within the masculine gender to restrain themselves from typical masculine traits such as domination and aggression in order to maintain a relationship of romantic nature with the feminine gender. There is, therefore, the notion of conflict of own masculinity among the masculine gender. Perhaps finding his own masculinity a problem, which he must keep under balance and control, transmits an interesting view of what masculinity means within the contemporary society. In conclusion, the films and television industries have had profound influences on the fan practices that have evolved over time to accept such notions as “vampirism”; this with the different ideals of gender roles affecting much in the production of a cult text. The effects socially have been significantly felt among the more youthful population who are drawn to the different mysteries presented; there being either mystic or a reality notwithstanding. References Broyles, K. (2010). Vampirism, and the Visual Medium: The Role of Gender within Pop Culture’s Latest Slew of Vampires. Fort Smith: Arkansas University Press. Corber, R. J., & Valocchi, S. M. ( 2003). Queer studies: an interdisciplinary reader. New York: Wiley-Blackwell. Doane, J. L., & Hodges, D. L. ( 2001). Telling incest: narratives of dangerous remembering from Stein to Sapphire. New York: University of Michigan Press. Ghaill, M. M. (1994). The making of men: masculinities, sexualities and schooling. New York: Open University Press. Hammond, M. (2006). Reading, publishing and the formation of literary taste in England, 1880-1914. London: Ashgate Publishing, Ltd. Ortner, S. B. (2002). “Is Female to Male as Nature Is to Culture?”. New Jersey: Gilbert and Gubar. Richardson, R. ( 2007). Black masculinity and the U.S. South: from Uncle Tom to gangsta. Georgia: University of Georgia Press. True Blood: The Complete First Season. HBO Home Video, 2009. DVD. Read More