Script
Feminist Film Theory Analysis Mad Max: Fury Road
I have chosen to analyse in depth the film 'Mad Max: Fury Road' through a feminist lens in regards to the feminist film theory. I plan on taking a look at the cinematography employed, actors chosen to play certain roles and how aspects of the film theory apply to the film, for example the male gaze, reflection theory and counter cinema.
Feminist Film Theory originates from Feminism, which when simplified can be defined as a socio-political movement which aims to create equal rights for women and ultimately gain equality on all fronts between the two genders, in particular the time-scale between the 1960s and the 1970s. The main ideologies behind the theory is that women should not be in cinematography for the sole purpose of being sexual gratification for men; this relates heavily towards the 'male gaze' theory suggested by Laura Mulvey. Women are stereotypically seen as being the 'damsel in distress' and helpless without the aid of a man, an excellent example is the James Bond movie series where the women are portrayed as frail, weak, feminine and extremely dependent on a man for survival. The feminist film theory attempts to break this stereotype and and put forward the idea of equal rights within cinema for both genders.
The post-apocalyptic, dystopian film ‘Mad Max: Fury Road’ was directed by George Miller and released in 2015. 'Mad Max: Fury Road' mainly portrays the film’s influence from feminist film theory through the character 'Furiosa' who is played by actress ‘Charlize Theron’. The character is seen to have a masculine build, short hair and an independent mindset, a feminist would criticise this due to their belief that the masculinisation of women in films is the only way in which men will accept women in cinema; this also contests theories such as masculine film theory and suggests the film is heavily influenced by feminist film theory. In a typical modern film the character ‘Max’ played by actor ‘Tom Hardy’ would fall in love with ‘Furiosa’ and she would be dependent on him for survival and happiness, however, the film portrays them both as equals and dependent on one another. Suggested by Johnston in 1975, the female masquerade’s incorporation within this film is evident through ‘Furiosa’; the theory suggests that women are more able and flexible at identifying with the other gender.
The male gaze can be applied to this film through 'Immortan Joe's' five wives (who are all played by attractive actresses and models) and in particular, the way they're dressed when 'Max' first interacts with them. The fact that all five women are pregnant reinforces the concept that they are seen as sexual objects by the men in the film, in addition to this the pregnancy suggests they have been ‘used’ by Immortan Joe and are therefore ‘tainted’. This contrasts with the atmosphere created by 'Furiosa' and therefore further emphasises her independent and strong-willed nature. On the other hand, a criticism of 'Mulvey's' theory on 'the male gaze' is the exclusion of female spectatorship or a 'female gaze'. In a later essay 'Mulvey' attempted to correct her generalised beliefs stated through her 'male gaze' theory: she claimed some of the female spectatorship may prefer or unconsciously identify with the passive role of the stereotypical woman and some may even go as far as identifying with the typical masculine point of view.
Within the film the audience are introduced to a group of older women called the ‘Vuvalini’. The women are initially portrayed as unthreatening and helpless due to their apparent age and small number, however, unlike stereotypical women in a classic film narrative, further on in the film they are seen to easily hold up their own when fighting off Immortan Joe’s war party; this subverts the gender stereotypes.
A subcategory of feminist film theory is female subjectivity, according to italian author Teresa de Lauretis, the main function of narrative within film is to lead women into femininity regardless of their want. This film supports this theory due to its positive ideologies regarding feminism put forward by the actions and narrative of the film; for example Immortan Joe’s five wives attempting to flee his oppressive grasp of them.
Immortan Joe is portrayed as the main antagonist of the film and in relation to feminist film theory, symbolises the modern oppressive patriarchal society. Within the film breast milk is a commodity and collected from Immortan Joe’s five wives via a pumping machine. He chains them up when doing so and does not permit them any freedom, they are portrayed as having no rights and are seen as lesser than human. This relates directly to reflection theory which was proposed by Molly Haskel and Marjorie Rosen, the theory suggests the way in which women are portrayed in films is directly correlated to how women are portrayed in modern society.
To conclude, I believe Mad Max: Fury Road was heavily influenced by the political feminist movement in the 1960’s and by feminist film theory. This is evident from the character Furioasa and her attitude towards the oppressive patriarchal society the film is based in, in addition to this the character Immortan Joe and the Vuvalini reinforce the ideologies put forward by feminist film theory and further portray the film as one which has been influenced by said theory.
I have chosen to analyse in depth the film 'Mad Max: Fury Road' through a feminist lens in regards to the feminist film theory. I plan on taking a look at the cinematography employed, actors chosen to play certain roles and how aspects of the film theory apply to the film, for example the male gaze, reflection theory and counter cinema.
Feminist Film Theory originates from Feminism, which when simplified can be defined as a socio-political movement which aims to create equal rights for women and ultimately gain equality on all fronts between the two genders, in particular the time-scale between the 1960s and the 1970s. The main ideologies behind the theory is that women should not be in cinematography for the sole purpose of being sexual gratification for men; this relates heavily towards the 'male gaze' theory suggested by Laura Mulvey. Women are stereotypically seen as being the 'damsel in distress' and helpless without the aid of a man, an excellent example is the James Bond movie series where the women are portrayed as frail, weak, feminine and extremely dependent on a man for survival. The feminist film theory attempts to break this stereotype and and put forward the idea of equal rights within cinema for both genders.
The post-apocalyptic, dystopian film ‘Mad Max: Fury Road’ was directed by George Miller and released in 2015. 'Mad Max: Fury Road' mainly portrays the film’s influence from feminist film theory through the character 'Furiosa' who is played by actress ‘Charlize Theron’. The character is seen to have a masculine build, short hair and an independent mindset, a feminist would criticise this due to their belief that the masculinisation of women in films is the only way in which men will accept women in cinema; this also contests theories such as masculine film theory and suggests the film is heavily influenced by feminist film theory. In a typical modern film the character ‘Max’ played by actor ‘Tom Hardy’ would fall in love with ‘Furiosa’ and she would be dependent on him for survival and happiness, however, the film portrays them both as equals and dependent on one another. Suggested by Johnston in 1975, the female masquerade’s incorporation within this film is evident through ‘Furiosa’; the theory suggests that women are more able and flexible at identifying with the other gender.
The male gaze can be applied to this film through 'Immortan Joe's' five wives (who are all played by attractive actresses and models) and in particular, the way they're dressed when 'Max' first interacts with them. The fact that all five women are pregnant reinforces the concept that they are seen as sexual objects by the men in the film, in addition to this the pregnancy suggests they have been ‘used’ by Immortan Joe and are therefore ‘tainted’. This contrasts with the atmosphere created by 'Furiosa' and therefore further emphasises her independent and strong-willed nature. On the other hand, a criticism of 'Mulvey's' theory on 'the male gaze' is the exclusion of female spectatorship or a 'female gaze'. In a later essay 'Mulvey' attempted to correct her generalised beliefs stated through her 'male gaze' theory: she claimed some of the female spectatorship may prefer or unconsciously identify with the passive role of the stereotypical woman and some may even go as far as identifying with the typical masculine point of view.
Within the film the audience are introduced to a group of older women called the ‘Vuvalini’. The women are initially portrayed as unthreatening and helpless due to their apparent age and small number, however, unlike stereotypical women in a classic film narrative, further on in the film they are seen to easily hold up their own when fighting off Immortan Joe’s war party; this subverts the gender stereotypes.
A subcategory of feminist film theory is female subjectivity, according to italian author Teresa de Lauretis, the main function of narrative within film is to lead women into femininity regardless of their want. This film supports this theory due to its positive ideologies regarding feminism put forward by the actions and narrative of the film; for example Immortan Joe’s five wives attempting to flee his oppressive grasp of them.
Immortan Joe is portrayed as the main antagonist of the film and in relation to feminist film theory, symbolises the modern oppressive patriarchal society. Within the film breast milk is a commodity and collected from Immortan Joe’s five wives via a pumping machine. He chains them up when doing so and does not permit them any freedom, they are portrayed as having no rights and are seen as lesser than human. This relates directly to reflection theory which was proposed by Molly Haskel and Marjorie Rosen, the theory suggests the way in which women are portrayed in films is directly correlated to how women are portrayed in modern society.
To conclude, I believe Mad Max: Fury Road was heavily influenced by the political feminist movement in the 1960’s and by feminist film theory. This is evident from the character Furioasa and her attitude towards the oppressive patriarchal society the film is based in, in addition to this the character Immortan Joe and the Vuvalini reinforce the ideologies put forward by feminist film theory and further portray the film as one which has been influenced by said theory.