Viewing Response 14: Cinematic Style II
Jane Gainesâ âWhite Privilege and Looking Relations: Race and Gender in Feminist Film Theoryâ describes the âheterosexual assumptionâ of the âbinary oppositions of male/female.â Her argument is centered upon the idea that the construct of male/female has blinded society to other societal constructs such as class and race. Her focus is centered upon the erasure of black females by the whites within the film industry. The film Strange Days (1995) is an example of a film that challenges this lack of representation. First and foremost, it features a female director who is directing an action film â a genre seen as male-centered. Secondly, the film features a strong black female lead named Mace. Mace was created to be a tough character who often saves the male protagonist, Lenny from danger. Â She is characterized by her ability to fight, but she is given more depth than this by allowing her to have feelings for Lenny. This sort of portrayal is a departure from the norm as it allows black women to see themselves on the screen in a manner that is not oppositional. Â It also counters typical Hollywood tradition by vilifying the âdamsel in distress.â Faith throughout the film earns the hatred of the audience especially when she turns on Lenny. This sort of vilification makes the viewer mad that Lenny saves her in the end. This film departs from traditional constraints and goes beyond the gender construct by showing class and race tensions, but it also challenges traditional gender thought on all levels from characters to director.
Your analysis is really interesting, and itâs something that I think we all felt on a subconscious level as viewers, but I didnât even think about it until now. Faith was an annoying character for a LOT of reasons, and it was clearly intentional by the end of the movie that the filmmakers did not want us to like Faith. The fact that she is the only true âdamsel in distressâ in the film is really interesting. Now that I think back on it, I really appreciate this subversion of expectations in which the damsel in distress is the character we hate, and instead the woman that we are drawn to is the one who doesnât need the help of the âstrongâ leading man. The movie gains a new level of significance for me in this way, as the way Bigelow and her crew challenged traditional gender roles in film is really quite impressive and intriguing.













