“But We Are Not Men”

Home , A Golden Crown, Blood of My Blood, Eastwatch, First of His Name, Kill the Boy, Kissed by Fire

“BUT WE ARE NOT MEN”

The Development of Victimized Women to Leading Ladies in the Patriarchal World of Game of Thrones (2011-2019)

MASTERARBEIT

zur Erlangung des Mastergrades an der Kultur- und Gesellschaftswissenschaftlichen Fakultät der Universität Salzburg

Fachbereich Anglistik und Amerikanistik

Gutachter: Univ.-Prof. Dr. MA. Ralph J. Poole

Eingereicht von Ninna Fiia Mimosa Pohjola, BA BA MSc

Salzburg, Oktober 2019

Eidesstattliche Erklärung

Ich erkläre hiermit eidesstattlich [durch meine eigenhändige Unterschrift], dass ich die vorliegende Arbeit selbständig verfasst und keine anderen als die angegebenen Quellen und Hilfsmittel verwendet habe. Alle Stellen, die wörtlich oder inhaltlich den angegebenen Quellen entnommen wurden, sind als solche kenntlich gemacht. Die vorliegende Arbeit wurde bisher in gleicher oder ähnlicher Form noch nicht als Bachelor-/ Master-/ Diplomarbeit/ Dissertation eingereicht.

______Datum, Unterschrift

Abstract

Fictional characters in film can present femininity and masculinity in exaggerated ways. Such characterisations lead to rigid concepts which women and men are expected to follow. Challenging gender narratives is a concern shared by feminist film theorists. The fantasy television series Game of Thrones (2011-2019) sets an example on how female characters develop from objectified, erotic spectacles to authoritative queens of Westeros. Ruling independently without a man by their side, they reflect aspects of the second-wave feminist ideal. This thesis focuses on the three characters: Daenerys Targaryen, Cersei Lannister, and Sansa Stark. Combining aspects of feminist theories, film analysis, and heroines in film, this paper analyses how the three women escape patriarchal values and refuse to adhere to gender roles, which is their key to becoming the leading ladies of Westeros.

Key Words: Game of Thrones, feminism, film analysis, women in film

Acknowledgements

First, I would like to thank my thesis advisor Professor Poole, for his expertise and guidance throughout the seven years of my studies. It has been the greatest pleasure to attend his inspirational lectures and seminars. For two years, I have been carrying around the idea for this work, and I have Professor Poole to thank for helping me bring it to paper.

I would like to express my deepest appreciation to my mother. She has made me the person I am today. Without her and the constant supply of snacks, this thesis would not have been finished. Thank you for the incredible life you have made possible for me.

I am thankful to my partner, who has been a tower of strength through all the ups and downs the last years have brought me. He allowed me to make my dreams come true and has opened doors I could not have imagined existed. Without you I would not be me.

Lastly, but definitely not least, my gratitude goes to my girls. Their constant support and help throughout the years have been the best encouragement. I will be forever grateful for the countless conversations we have had in the library. You are definitely worth melting for.

This one was pure joy.

Table of Content

Introduction 1

1. Feminism 5

1.1. Second-Wave Feminism 5

1.2. Women in Medieval Times 10

2. Film Analysis 14

2.1. Characterisation 14

2.2. Cinematography 17

3. Women in Film 21

3.1. The Heroine 21

3.2. Women in Game of Thrones 26

4. Daenerys Targaryen 30

4.1. Season 1: Dragons 30

4.2. Season 2: Ships 34

4.3. Season 3: The Unsullied 37

4.4. Season 4: Freeing Slaves 39

4.5. Season 5: Ruling Mereen 41

4.6. Season 6: The Dothraki 45

4.7. Season 7: Finding Allies 48

4.8. Season 8: Conquering Westeros 52

5. Cersei Lannister 58

5.1. Season 1: Robert’s Death 58

5.2. Season 2: Queen Regent 61

5.3. Season 3: A New Queen 64

5.4. Season 4: Joffrey’s Death 66

5.5. Season 5: Walk of Atonement 69

5.6. Season 6: Queen of the Seven Kingdoms 71

5.7. Season 7: Finding Allies 74

5.8. Season 8: Defending King’s Landing 77

6. Sansa Stark 81

6.1. Season 1: Betrothal to the Prince 81

6.2. Season 2: Hostage 84

6.3. Season 3: Key to the North 88

6.4. Season 4: Escape 91

6.5. Season 5: Lady Bolton 94

6.6. Season 6: Lady of Winterfell 97

6.7. Season 7: Ruling Winterfell 102

6.8. Season 8: Queen in the North 105

7. Discussion and Conclusion 109

Bibliography 114

Introduction

“I don’t believe in rigid positions or categories, or oppositions. I don’t think that women are sheerly women and men, men.” (Cixous 23)

Cixous’ statement lays the foundation on which the idea of this thesis has been built upon. Media culture, amongst others, constructs different identities, one of them being gender. As media are ubiquitous in everyday life, they are, to some extent, responsible for setting social norms. Therefore, they draw attention to themselves as scholars are interested in the social production of gender (Kearney 3). Not only real persons presented in media set norms for society but also fictional characters, and

[t]he fact that fictional characters are by default categorized as male or female in the reading process as well as the omnipresence of gender-related issues in fictional texts make it desirable for literary and cultural studies to formulate approaches to fictional characters that include the category ›gender‹ in a systematic fashion. Feminist literary criticism and gender studies have paid much attention to the description and interpretation of literary characters, exploring literary and cultural representations of masculinity and femininity in the context of their production and reception. (Gymnich 506 f.)

Such fictional characters and their interpretation show that the presented femininity and masculinity are exaggerated and that the characters carry specific characteristics, which result in stereotypes. Assessing the gender roles and concepts in fiction, gives rise to such rigid character traits, which are even more radical than non-fictional ones. This is why media, gender, and in this case, feminist studies pay attention to the constructed dynamics of character construction and thus sometimes stereotype presentation of fictional characters (ibid. 622). Challenging gender narratives in order to call stereotypical and dominant gender constructions into question is a concern shared by feminist theorists. This concern “involves feminists in the tangles of deconstruction, narrative transformations and transgressions between genres and between high and low art” (Humm 143). The fantasy television series Game of Thrones (2011-2019) has been criticised for its intersection of race and gender, and objectification of women on one hand. On the other hand, the show has also been praised for its variety of agentic and complex female

characters (Naylor 39), the latter forming the core for this thesis. On account of the popularity of the series, its influence on the presentation of women in media has to be looked at. The main plot of Game of Thrones is the battle for the Iron Throne, and whoever sits on the throne in King’s Landing rules over Westeros, a country set in medieval times. Until the beginning of the series, only men have sat on the Iron Throne and ruled over the houses of Westeros. However, not only the male characters want to win the Iron Throne in the game of thrones, but also women present themselves as “ambitious, active, and able as men” (Schubart and Gjelsvik 2). Even though the female characters do not have the physical strength, financial means or right family connection to rise from their secondary positions in the patriarchal society, they navigate to the top. This thesis focuses on how three main female characters develop through the eight seasons. Amongst others, Daenerys Targaryen, Cersei Lannister, and Sansa Stark are portrayed as stereotypical female characters at the beginning and are objectified in the patriarchal society. However, all of them have been crowned queens at the end of the series. Without having a king by their side, they rule over parts of Westeros and Essos independently, which highlights aspects of the second-wave feminist ideal (Frankel 42, 48). As Beaton puts it

Since the women of Westeros are not equal to men, those who exert control do so through exceptional strength and tenacity. This type of narrative can provide a kind of feminist pleasure, by showing an exceptional woman’s triumphs and her confrontations with male political or military leaders. (209)

As the three main female characters of Game of Thrones embody the ideals of second- wave feminism, the main aspects and concepts of the feminist movement are presented in the next chapter. It has to be noted that second-wave feminists tended to focus on white middle-class educated women in the developed world and did not include topics of ethnicity, race, class or sexual orientation. Even though these have become increasingly prominent topics in the discussion of feminism in the 21st century, the original viewpoint of second-wave feminism is to the fore in this paper as the leading ladies of Game of Thrones are all white, upper class, and educated (Stevens 150). No matter which feminist viewpoint is taken, the underlying belief is that women suffer from social injustices because of their sex. This holds true for the lack of formal education or the domestic incarceration, which were topics at the beginning of the feminist movements, as well as

the wage gap issues from the 21st century (Whelehan 25, 30). As Game of Thrones is set in a medieval world, the treatment of women during the Middle Ages, will be focused on in the second subchapter. Women were seen as inferior to men. With the combination of cultural pressure and physical violence, they internalised their position in society and the concept that men had the leading mind and women the objectified body in society, without being able to make decisions for themselves (Tolan 326, Partner 2). Heroic fantasy films are often set in the Middle Ages, which produce a wide range of heroic character types, presenting a valuable and dynamic field of study. Aspects of film analysis will form the second chapter. Films use frequently presented characters in order to make them more universal and thus appealing to wider audiences. A number of terms is used for such characters, such as archetypes, stereotypes, characters tropes, etc. Such character types are focused on in the first subchapter in order to be able to distinguish what is expected of female characters and what is typical for male characters (Eder, Fotis and Schneider 39). Additionally, these characterisation strategies can be accentuated by cinematographic devices such as camera height, angle, lighting or colour. By using these formal aspects, it is possible to convey the underlying psychological messages of certain scenes (Lancaster 52). In a patriarchal setting this would mean that the hierarchy lies in the gaze as the woman is objectified and looked at by the man (Elsaesser and Hagener 94), which can be captured through the camera by presenting women as inferior to men (Lancaster 52). The third chapter takes women in film into focus. Feminism seeks to disempower the way film has presented women in their stereotypical roles as objects (Humm 3). Typical roles for women, what characterises heroic deeds in film, and how women can overcome such predefined roles will be to the fore in the first subchapter. These will be intensified in the second subchapter which presents the overall appearance and position of women in Game of Thrones. The treatment and presentation of female characters of the series has been the topic of controversial discussions as the majority of female characters suffers under the patriarchal oppression and objectification (Schubart and Gjelsvik 1 f.). Nevertheless, Game of Thrones presents complex and agentic female characters, driving the plot with their actions and presenting the events from their perspective (Naylor 47). Combining the aspects of feminism, film analysis, and heroines in film, the development of Daenerys Targaryen, Cersei Lannister, and Sansa Stark will

be interpreted in the following three chapters. Each character’s development will be dissected in eight subchapters, each focusing on one season, before comparing in the discussion how the three leading ladies reject being coded by feminine stereotypes and unite characteristics of the archetypical mother, Hetaera, femme fatale, princess, and damsel in distress to ascend to the throne (Frankel 37 f.).

1. Feminism

Irigaray claims that feminism has lost its popularity, making it a target of oppression or mockery. Men, media, advertising, and women themselves seem to take a step back from calling themselves feminists as they “want to live as they wish, to love according to their own desires, to try and construct a history, particularly a sexual history, in feminine mode, judging the problems of women’s liberation a thing of the past” (34). However, with Game of Thrones, the theories of the second-wave feminism discourse seem to be resurging and refashioned in order to destruct the consumed media and to ask questions about representation and consumption with a feminist perspective (Naylor 39 f.). First and second-wave feminism are presented in the issues that women in Game of Thrones have to struggle with. The leading ladies of the series want to achieve a high position in a patriarchal hierarchy, without having to share this power position with men (Whelehan 148). In order to make this connection between critical movements and the show clearer, main concepts of feminism, and particularly second-wave feminism, will be looked at in the following chapter. As Game of Thrones is set in a fictional world in medieval times, the position of women in the Middle Ages will be looked at in the second subchapter. Gies and Gies argue that a possible explanation for the pervasive misogyny during the Middle Ages was that men feared women and had to control them as their objects of reproduction (Naylor 46).

1.1. Second-Wave Feminism Second-wave feminism had its beginning in the 1960s, and can be best defined as a social movement focusing on power relations in political processes with the aim to change society by enhancing the power and status of women (Stevens 2 ff.). Second-wave feminism followed the first wave, which focused on the right to vote for women (Hewitt 15). The essential demands of this second wave across countries were equal pay, opportunities, and education, the right to abortion, 24-hour childcare, and a termination of media images of women that were demeaning. A key feature was also the emergence of groups in which women could openly talk about their experiences in a gendered society (Stevens 148). Politics of sexuality, sexual power, and the ability to consent to sex were disputed points during the second wave. The sexual autonomy and agency of women was

fought for and the medial hypersexual representations were challenged. On one side, commercial sex and pornography were argued to be fundamentally oppressive to women. On the other side, women’s liberation was sought after, asking for open sexual exploration and discussions without stigmata (Gilmore 247). A male supremacy was traced throughout the system by second-wave feminists, the male dominant system being rooted in Western ideology. This exploration revealed that this system is so ingrained that it appears unquestionable and natural that gender-neutral aspects of thought, e.g. religion, science, and law, are expressing and representing the masculine world-view (Tolan 333). It almost seems that before the 1960s no one questioned that women would always be in charge of childcare and housework as domestic skills were not considered relevant for men. By challenging these assumptions, women challenged the patriarchal control by calling into question that their time and energy was absorbed by household work, which freed men to pursue social, economic, and political goals (Auchmuty 201). Simone Beauvoir’s texts about feminism lay the groundwork for second-wave feminism, when the concept of woman was re-defined. Beauvoir argues that women could not form the alliances that men made in business and government as they were excluded from the public sphere, and therefore women, for a long time, did not have the possibility of arguing against their subordination (Tolan 319, 321). Of course, neither men nor women can be blamed for behaving according to the socially constructed roles as these roles have been internalised by each individual. Those take the blame who have realised the unequally distributed power and do not try to do their best to oppose the socially manifested stereotypes (Foster 69). Generally, the role expected of women is to become mothers. Opposed to men, they do not have to decide which path in life to take, fulfilling and identifying themselves with the achievements and goals of their spouses (Frankel 73). The private and public were split, relegating women to domesticity and depriving them of a political voice, whereas men were required to identify with rationality. Sameness and universality are principles from the Enlightenment that are sought after by feminists by challenging the issue of sexual difference and the construction thereof. The female body had been contained, made small, and confined in the domestic space, developing into an opaque object. Either angel or monster, not regarded as a complex human being, the angel of the house or the madwoman in the attic were concepts of women that can be read as

the hidden and unconscious wishes and worries of patriarchy (Rice and Waugh 143 ff.). In this context, patriarchy

signifies more than the rule of men; it connotes a ruling body of individual men who directly influence social relations and who could be quite simply dethroned in favour of more egalitarian power structures. Stereotypes and gender socialization are seen, therefore, as contingent effects of patriarchy—and are consequently perceived as the product of conscious intention on the part of the powerful (men) to maintain their position at the expense of the powerless (women). (Whelehan 80 f.)

In other words, patriarchy is the domination of social institutions by men (Humm 5). Beauvoir views marriage as an economic arrangement, which exploits and oppresses women, and that through marriage the belief that women need protection and provision by men is further perpetuated (Tolan 321). Domination and even violence in general, be it in writing or elsewise, was and is considered a matter of state, culture, and civilisation, and most of all, masculine. A woman embracing violent concepts would be called hysterical (Cixous 21). Kaplan states that during the second wave of feminism, culture was committed to the differences between the sexes, with a focus on the submission and domination patterns, which privileged men (29). The role of women was to perform the way society and thus men expected. Civilisation is defining what destiny a woman is supposed to follow, not biological, economic, or psychic factors (Frankel 72). Two strategies emerged for feminism: liberation strategies, which stressed the need for space for differences in gender, and the emancipatory strategies, struggled with gender equality (Stevens 150). Gender is viewed as being expressed in hierarchies and relationships, in which particular values are assigned to being either feminine or masculine. Society sustains a domination of the masculine and thus gender inequality. As men have dominated the power positions, power is defined by male values, giving them advantages to achieve such power positions. In other words, in order to attain power positions, women have to either take on male values and characteristics, or the requirements and rights to hold a position of power have to be changed (Stevens 5). Another claim of the feminist movement is that the cultural and social term ‘feminine’ has had or still has a negative connotation because, for a long time, it described women the way the male patriarchy wanted them to be. It seems that women had no say in defining femininity for themselves, as it has been defined by male

preferences (Cornell 37). One of Beauvoir’s main arguments was that even though there was no psychological or physical reason for women to be inferior to men, across cultures and throughout history this has been the case. Their reproductive function was thought of as a disadvantage and a reason for abusing women in the inferior position, making maternal roles for women deeply entrenched in society and their natural destiny, which Beauvoir challenged (Tolan 320 f.). It has to be noted that when talking about feminine and masculine, the terms are not intended to describe binary hierarchy or opposition, but equality and difference. Moreover, neither is the social sex or biological sex necessarily addressed, but equality and difference are to the fore when drawing attention to the male-defined, patriarchal world (Cornell 37). Central to feminist criticism is the idea of women having the passive body and men the active mind (Tolan 320). Another theoretician during the second-wave feminism was Laura Mulvey, who argued that, in film, the controlling gaze was always male. This led to the assumption that the viewer identifies with the male protagonist, the hero, and objectified the woman as passive, and as an erotic spectacle. Subsequently, the ‘male gaze’ was debated as one of the main concepts in feminist film theory (Chaudhuri 31). Feminist thinking means rethinking certain assumptions that are made concerning the female character. For example, making reason and intuition opposites to parallel male and female has to be questioned (Jehlen 191). The hierarchy between the genders can be overcome by affirming the right to enjoy individuality, irrespective of the biological sex. This could help society to overcome differences, having access to a civil identity. Natural differences are part of the identity and continue to exist, but they should not be reason for choices an individual can make or duties entrusted to them. Male or female, civil identities and thus singularities should be protected by the individual (Irigaray 58 f.). According to Beauvoir, men are left to form the future in transcendent ways, freed from their bodily identification in contrast to women, acquiring more knowledge and thus influencing society. Beauvoir, amongst others, saw women as well as men as being tied to body and mind, both having to overcome bodily needs and both being capable of pursuing full intellectual and emotional potential. Beauvoir believed that, through technological progression, women would be able to emancipate themselves from biological differences providing the basis for equality

and to then “be the equal of men; […] think and work and act like a man, and instead of bemoaning her inferiority she would declare herself equal” (Tolan 322). Irigaray (4 f.) claims that society is changing, relationships have to be rethought, and existing institutions are no longer acceptable for the move towards equality between men and women. The assumed distribution of emotions and body between men and women has to be reorganized as does the distribution of intellect and sensibility:

rights to protect the identity of women would offer means of defining a level of equality between women without diminishing their diversity. Insofar as they are citizens, women are in some sense equivalent, and this in no way deprives them of their own qualities. (Irigaray 11)

Stevens is positive that through the inclusion of women’s voices and presence, political life has and will change. These changes could be that politics become more honest, socially progressive and less corruptive, aggressive, and combative, as women, for whatever reason, behave differently than men (169). Irigaray emphasises that in this era it has become the priority to respect differences and fight for equality of rights for men and women, risking war if this is not upheld. The era of exploitation has to be replaced by “an era of coexistence, awareness of limits, and respect for natural and cultural riches” (12 f.). Equality does not mean ignoring the differences between people, but not treating people unequally because of their differences. Men should not be able to dominate and systemically control women due to the social phenomenon of patriarchy, but gender- neutral political and human rights should be a given. In other words, “[t]he point is not an equality which simply treats women as if they were men, but that women’s qualities, contribution and situation should be positively recognised, fully incorporated into a completely reshaped organisation of society” (Stevens 8). In other words,

[g]ranting […] equality of opportunity cannot be restricted to allowing them to enter a world geared to men’s qualities and needs, but must involve finding out what their specific qualities are in order to review their education and their professional life in the light of these qualities. A change of perspective of this sort leads to respecting women as mature citizens, and to the enrichment of the community with values which it needs: the practice of intersubjectivity, the sense of the concrete, concern for the future; and to enabling coexistence between women and men, not only on the instinctual level – with all the forms of violence which the institution of the family modestly conceals – but on the level of civilization. (Irigaray 155)

Civil dimensions have to be acquired when becoming a woman, but acquiring the feminine identity does not mean to cast aside all characteristics considered feminine. Feminism focuses on how the individual can choose from a wide range of characteristics, no matter if they are termed feminine or masculine, without having to defend ones choices in front of society (Irigaray 36 f.). In conclusion, all feminist theories share three assumptions. First, male and female genders are constructed by social conventions, oppressing women more than men. Second, patriarchy shapes these constructions. Third, a non-sexist society can be envisioned with the help of women’s experiential knowledge. This leaves feminism with two tasks: disputing gender stereotypes and constructing new models (Humm 5).

1.2.Women in Medieval Times Bennett argues that medievalism and feminism have been perceived as an artificial and counterproductive couple even though both studies benefit from blending them (9 f.). The Middle Ages lasted a thousand years, which are known for vast changes in Europe such as migrations, technological innovations, and social upheavals (Gies and Gies 4). This chapter focuses on women living in Europe during the Middle Ages. Precisely, the Later Middle Ages (1216-1485) in England (Wilkinson 1) were chosen as the society in Game of Thrones, inspired by this time and region (Salo 23). What has to be considered when it comes to the power distribution in medieval society are the factors of “wealth, marital status, birth order, historical accident, popularity, a forceful personality, sheer ambition, and so on” (Clover 77). Patrilineal principles triumphed as the only claim for the familial property for women was the dowry. Families either despaired in providing the costs for a marriage or, when prosperous, gave their daughter and the dowry to the highest bidder (Bynum 226). Women were treated as property, used for marriage purposes (Gies and Gies 19), which, on one hand, could lead to the daughters being disappointed by their parents’ obligation for them being bought off, and on the other hand, could make them feel guilty about the pressure the dowry put on the family resources; in other words, “some girls may have seen betrothal and marriage as abandonment by their own families” (Bynum 226). Women spent their lives under the guardianship of a man – first the father, then the husband (Gies and Gies 27). As “the wife had no legal existence and therefore no responsibility, the husband was liable for her

debts and had the right to chastise her” (Gies and Gies 30). Many daughters were forced into unwanted marriages, which led some to prefer celibacy in monasteries in order to escape the brutality, including rape, of a marriage and the dangers of childbirth (Bynum 20, Larrington 45). In many cases, childbirth was a fatal hazard for women as the obstetrical practices were not developed yet. Women suffered, were injured, and could die during labour (Gies and Gies 5). This made marriage not the desired aspiration for many women, which is particularly the case when considering that it was common to marry women when they were still children, at the early age of 13 in some cases. As soon as they hit puberty, women were obliged to comply with the paths set out for them (Larrington 45). This domination “was achieved by a combination of physical violence and cultural pressure. All aspects of society and culture functioned according to a sexual politics that encouraged women to internalize their own inferiority until it became psychologically rooted” (Tolan 326), making the classic female role one of service to men (Frankel 73). Women are not prominent in the traditional history about the Middle Ages as they were not included in the male-dominated activities such as wars, revolutions, and politics. If they were prominent, they “received patronizing credit for behaving like men—a woman led an army with ‘a man’s courage,’ an able queen ruled ‘as if she were a man’” (Gies and Gies 3). O’Gorman (196) insists upon that women have been positioned as the cause of war, which presents them as needing protection and bearing the blame at the same time. Both, men and women, were living in uncertain times. If the men were at war, women were left in charge of their homes and to cope with everything else but fighting in the war, taking on the tasks of men, organising, directing, and leading (Driver 91 f.). However, to be able to take over, a woman had to be married. Conditions for marriage had to be taken into account for women when looking at the Middle Ages. They had a biological role to fulfil during the marriage, as well as an economic and social role. Mostly the wives were secluded to their homes, excluded from the male spheres of politics and business (ibid. 6). Activities within the house were connoted with inferior importance, even though the women took care of the food cultivation, preparation, distribution, and textile manufacturing (Bynum 192). “It is because women lacked control over their wealth and marital status that their life stories show fewer heroic gestures of casting aside money, property, and family” (Bynum 25), which lead to men being the heroes of stories.

The Western stereotypes for both sexes are found in medieval society. The dominant male was efficient, aggressive, and intelligent and the female virtuous, compassionate, docile, ignorant, passive, and meek (Blamires 5). What keeps men and women from questioning distribution of power and endeavours, particularly in heroic tales, is the myth of women’s reproductive organs. This myth somehow justifies the privileges of men. The burdens and pains that are inflicted on women, are intended so by nature. This was used as an excuse for increasing women’s misery, claiming them for hearth and home (Beaviour 284 f.). Active participation is denied for women, thus creating the notion of women

as loved object who inspires the male artist, whilst she herself remains silent, is deeply engrained in contemporary culture, despite best efforts of feminist critics to expose the implications of such imagery: man creates, woman inspires; man is the maker, woman the vehicle of male fantasy, an object created by the male imagination, incapable of any kind of agency herself. (Murray 327)

In other words, medieval societies attributed all the mind to one part and the body to the other (Partner 2). Stereotypes for women that stem from the Middle Ages would be the “distressed widow with a vulnerable child” and the “softening peacemaker” (Blamires 179). Societies also attributed magical powers to women’s physiology (Gies and Gies 7). Blamires highlights that “women’s reputation for ‘weakness’ and ‘instability’ was among the most serious of the impediments to profeminine thinking, and of course it was a negative construction built on exactly the same gender binary of feminine ‘softness’ / masculine ‘hardness’ which was used in women’s defence” (126). Binaries, according to Blamires (236) that were contrasted as male and female were

self- Male intellect active rational reason judgement order control Female body passive irrational emotion lust mercy disorder

Men called each other women in order to talk each other down. Characteristics connected to women were used to insult each other. These insults were preoccupied with the powerlessness of the female position in society. However, both can slip into the territory of the other, sex being a metaphor for power (Clover 74 f.). Promiscuity was attributed to men, without disgracing them. Women had to embody chastity and purity in order to

uphold their honour (Larrington 48). To sum it up, the Middle Ages advocated that “to laud a woman for strength is to confirm that weakness might be the feminine norm” (Blamires 176) and believed that nature defined women in contrast to a feminist viewpoint where a women herself defines what is feminine “by dealing with nature on her own account in her emotional life” (Beauvoir 69).

2. Film Analysis

Media impacts cultural concepts of masculinity and femininity, which contributes to the binary conceptions discussed in the previous chapter. Female as well as male characters are simplified in order for them to be universally known. For women these, amongst others, would be the good or bad mother, a faithful spouse, princess or hysterical careerist (Gymnich, “Gender in Audiovisual Media” 7). Haarstrup claims that Game of Thrones is a series, which presents such female stereotypes as “victims, sexual objects, and dispensable individuals. This is partly motivated by the status of women in medieval times, in the storyworld. Yet often the stereotypical female characters are contrasted with complex female protagonists with their own goals” (147). How such stereotypes, particularly for women, are characterised in film will be the focus of the following subchapter in order to be able to distinguish complex characters from stereotypes. How the presentation of universally known stereotypical characteristics and cultural concepts can be presented in film, will be discussed in the second subchapter.

2.1. Characterisation Fixed sets of character traits that are attributed to specific roles of fictional characters are termed character types. If repeated in media, they can become common such as the witch, wise old mentor, femme fatale, the mad scientist, the damsel in distress, the trickster, the career woman, the crafty grandmother etc. Some of these character types tend to interact frequently together, leading to specific action sequences as well. The character types can be based on types that a society develops, including social status, origin, age, and gender as aspects through which such stereotypes are distinguished. Through frequent presentation in fictional media, the characters turn into stock media characters that are common for specific genres. The archetypes are familiar to readers and viewers because of their universality (Eder, Fotis and Schneider 38 ff.; Frankel 37-40). As mentioned above, “[g]ender is beyond doubt one of the central categories operating in the cognitive processes that govern both the perception of human beings and the construction of fictional characters” (Gymnich, “The Genderi(ing)” 506). Archetypically, a male character is the hero or father figure, manifesting their control either through paternal assistance and strength or punishment (Armens 10, 34). Declaring

characters to be, speaking in binary and gender-coding terms, either male or female, commonly attributes the characters specific issues such as emotions, values, attitudes or norms. Women are drooping victims in the stories, soft, using smiles, kind words, and manipulations to fight. They are romantic and sometimes naïve, focused on topics such as marriage and motherhood. In contrast to men, they show covert strength and do not fight the system directly. Women are not presented as bold, outspoken, being able to fight or being able to kill, flinching at the sight of blood. Furthermore, women are portrayed as irrational (Gymnich, “The Genderi(ing)” 506; Frankel 39 f., 73). In film, femininity is portrayed with emotionalism, rivalries, and political ineptness. Taking off their clothes is a way for women to gain power (Frankel 74). The following concepts included in the description of Chantal Chawaf’s writing style by Powrie can be used to paint various demonstrations of men and women in their traditional gender roles:

The soldiers march purposefully on, razing towns, interested only in rape and pillage, and public names, whereas the female protagonist inhabits a private, domestic sphere, whose inhabitants are nameless, surrounded by precious objects preciously preserved, and delicate materials, dreaming, [thus exploring] the arrogation of power by men, symbolically by images of male violence (rape, warfare), and the passive resistance of domestic women to that power. (79)

Gymnich argues that “since readers tend to assume that there is a straightforward relationship between sex and gender, they are likely to expect characters to act (more or less) in accordance with culturally dominant definitions of masculinity and femininity” (“The Genderi(ing)”506). Four archetypes that are attributed to female characters are the Amazon, a hard worker, builder, fighter, death-dealer, intellectual, who is content in the men’s world of war; the Hetaera, a lover, enabler, femme fatale, who is effective in self- knowledge and relationship matters; the Mother, a nurturer, teacher, protector, devouring mother, who functions around birth and creation; and lastly the Medium, who can be described as sorceress, wise woman, seer, witch, distorter and deceiver in matters of the future, rebirth, and death. Comparing her to Artemis from Greek myth, the Amazon is career-driven, independent, stubborn, pursuing her own goals, exploring new territory, and is devoted to nature. The Amazon is often seen as virgin or without having permanent relationships as she is independent and does not need a man to fulfil her. This is also the case for the Medium, who is also known for her independence or relating to the universe,

the most enigmatic of these four archetypes. In contrast, the Hetaera acts for her companion either in an enabling or impairing way, which holds also true for the mother, who takes her role in the world for the child and acts for him or her and not herself. This can either be in a guiding and loving manner, or by smothering and infantilizing the child. Whereas the lover and mother are coded feminine, the warrior women are coded as masculine. The medium mostly seems androgynous, mainly playing a minor role in the story (Frankel 38 f., 50). Another archetype is the princess or maiden, who is innocent, a child-woman, youthful, and moderate. She wants to be rescued, accommodate others, and make peace. This is why she imitates those she admires and wants approval from them. The fairy-tale princess is passive, compliant, hopelessly naïve, and does not know her desires and strengths. Courtesy and courtly behaviour are the only talents the princess feels confident in using. She believes that as long as she meets the expectations of others, she will be treated kindly and be cared for. Her naiveté makes her trust in rank and beauty more than character (Frankel 98-110). Armens states that mothers are typically known for their nurturing care and fathers for their patriarchal demands. He furthermore defines matriarchal culture as emphasising on the ties of passive acceptance of nature, the soil, and of blood; patriarchal culture focuses on the predominance of rationality, changing nature, and focusing on man-made law (viii). In contrast, a femme fatale is sweet and innocent on the outside, but manipulative and even murderous when she wants to achieve her desires. She does this by feigning helplessness and using her sensuality and femininity (Frankel 101). Nevertheless, fixed characters and their traits can also change, even though this change also tends to be in a predictable way. For example, the “typified career woman of many romantic comedies is overwhelmed towards the end by the insight that marriage and household are her best choice, after all” (Eder, Fotis and Schneider 38). The women can choose to either wear or remove the mask of womanliness, using the artificiality as disguise to achieve their goals (Frankel 73). In some cases, the modification of archetypes makes the characters more believable, lovable, and more realistic when they are fully formed (Frankel 37 f.). Not many characters mix male and female archetypal roles, for example, by being feminine and climbing a political ladder. It has to be noted that not only because a woman

or man is given the characteristics of the other sex, does this make a story progressive and its female characters desirable as role models (ibid. 167); because even if

women have power, they are treated as unusual exceptions to the gender divide. Thus the girl learns that being masculine is superior. A better role model for girls would be someone who acts like them and doesn’t dismiss them as useless. Women who loathe being women and spend all their time convincing others they’re not just as good as (or better than!) men, they basically are men, are strong. But they make problematic feminist icons. (Frankel 43)

Images of Women Criticism, from the 1970s and 1980s, is a branch of feminist studies, which focuses on the presented female characters in fictional work. This branch regards female characters created by men as presenting their anxieties and wishes. These projections are read as gender stereotypes such as the femme fatale or the witch mentioned above (Gymnich, “The Genderi(ing)” 507). The characters looked at in feminist film studies show that stoic women are powerful and the emotional ones weak. Stereotypically feminine women are shown as weak. Anger still seems to be an unacceptable emotion for a woman – reserved for the masculinized women. They can only be powerful when they reject their femininity, are strong on the battlefield, and their clothing hides their feminine curves. In other words, in order to be powerful they have to reject their femininity. These women are seen as the ideal of second-wave feminism as they are completely independent, career-focused, have no husband or children and are seen as equal to men (Frankel 42, 48). It seems that the only choice women have to become independent is to imitate a male lifestyle. No other paths to power are feasible. Depending on the situation, however, it is also somehow understandable that women would want to be men as their position in society is everything else but desirable, which is the case in Game of Thrones (ibid. 64, 72).

2.2. Cinematography Cinematic stories are created by using colours, lenses, and compositions of camera perspectives in order to convey psychological messages (Lancaster 52). While all other chapters so far have discussed characters, particularly roles in film or television, this chapter focuses on the mode of presentation. As camera perspectives are going to be listed in this chapter, it has to be kept in mind that in a patriarchal setting, as Mulvey has pointed

out, there is a hierarchy in gaze: woman is being looked at by the man, making her the object of the scene (Elsaesser and Hagener 94). A scene can be used in order to convey mood, the emotional intent or to make something stand out. Darkness and light have to be in contrast to each other in order to provide high energy. Light alone holds clarity and darkness mystery (Lancaster 70). Characters in film and their psychological profile, emotional frame of mind, change of mind-set or social background can be constituted by physical appearance and clothing. Dark clothes, for example, can present repentance and mourning (Suciu and Culea 49). The psychological impact of lines has to be taken into account as well. Diagonal lines are a foreshadowing of imbalance, change, and energy; whereas, horizontal lines emanate evenness and balance. Power and strength are emitted by vertical lines (Lancaster 73). The feelings or frame of mind of a character are to be mirrored in the setting by objects or props, disclosing relationships, moral choices, interests, beliefs, motivations or ideals amongst others. A character surrounded by green nature during spring time can be connected to life and maturity, for example (Suciu and Culea 53). Thus colours can convey emotions, be it as colour of costumes, props or the setting, our feelings are shaped unconsciously (Lancaster 76). The following table presents colours with positive and negative aspects connected to them, according to Lancaster (76):

Table 1 Colour connotations

Colour Positive connotations Negative connotations

Blue Peace, loyalty, trust Fear, coldness, masculinity

Turquoise Protection, healing, sophistication Envy, femininity

Green Environment, fertility, earth Guilt, jealousy, envy

Yellow Joy, energetic, intellect Unstable, irresponsible

Purple Nobility, wealth, spirituality Moodiness, mystery

Pink Compassion, health, femininity Immaturity, weakness, femininity

Red Strength, love, power Danger, warning, anger

Orange Friendliness, courage, success Sluggishness, ignorance

Gold Wisdom, value, tradition Self-righteousness, egotistical

Silver Graceful, glamorous, sleek Dull, non-committal, indecisive

White Innocence, goodness, purity Pristine, emptiness, isolation

Black Elegance, dramatic, protection Mystery, death, evil

Grey Intelligence, security, reliability Sadness, gloomy, conservative

Brown Earth, friendly, longevity Dogmatic, conservative

The relationship to the subject of the shot can be determined by the height and angle of the camera, in other words, its placement, which also determines the shot size, which will be discussed below. The height and angle are also used to paint the psychological aspects and power relations of the scene. For example, presenting a character from above, makes the characters seem small and defeated or looking up at them, they are perceived as powerful. However, if these assumptions are true, they have to be defined from one scene to the next (Bordwell and Thompson 196). The most common camera angles are presented in the second table, taken from Lancaster (52):

Table 2 Emotional Impact of Camera Height and Angle

Emotional Impact of Camera Height and Angle

The camera’s point of view from on high looking down onto the subject, causing the subject to look up towards the camera. This height can be just High angle slightly higher than the eye line or higher. It tends to result in a sense of subservience and weakness. There is no intimacy in this type of shot, due to the imbalance of power being uneven.

The camera’s point of view is low, looking up at the subject, so the subject must look down towards the camera. The height can be just slightly below the eye line or lower. Low angle It typically gives the character dominance, authority, superiority, and even strength. There is no intimacy in this type of shot, due to the balance of power being uneven.

Camera’s lens is at eye level to the subject. Use a level shot with a normal lens to provide intimacy in a close-up, due to the perceived equal power and Level relationship. It often provides a sense of evenness of power since no one is looking down or up at someone, and allows for intimacy.

Camera tilted unevenly from the horizon line. Dutch angle Tends to induce a sense of disarrangement or confusion on the part of the subject.

When on axis and level, provides the strongest intimacy since the full face is Front exposed.

Sees action from the side. Side It pulls us away from intimacy since we’re not seeing the full face where emotion is most fully expressed.

The furthest emotional distance from a character, since we do not see their face. Rear We feel tension because we don’t know what the character is feeling, doing, or looking at.

The shot size can be either medium wide or close, determining the level of intimacy, how and what the viewer is allowed to see during the scene (Lancaster 52). Seven shots are usually distinguished from each other. First, the extreme long shot portrays humans as tiny or lost in the picture and is used in connection bird’s-eye views of cities or landscapes. In a long shot the background is still dominant, but human figures are more prominent. Next, medium long shots frame a human from about the knee up, whereas the medium shot frames them from the waist up, making expressions and gestures more visible. The body is framed from the chest up when a medium close-up is chosen. A close- up shows just parts of the human or an object, emphasising details of facial expressions, gestures or significant elements (Bordwell and Thompson 195). The close-up is also chosen during intimate moments in order to shape key moments in the scene (Lancaster 17). Lastly, an extreme close-up isolates the portrayed image, magnifies an object or shows only a portion of a face (Bordwell and Thompson 195).

3. Women in Film

Quantitative content analyses have shown that the most common roles that women are portraying in media are the mother, wife, daughter, or girlfriend. Additionally, they take traditional female jobs in film such as nurses, secretaries or receptionists, and they are beautiful and young, but not educated (Zoonen 27). As discussed above, feminist film analysis focuses on the presentation of women in film. This is emphasised by Humm as she states that

[f]eminism has no single vision, although it is a visionary way of seeing. Film, on the other hand, often and anxiously envisions women stereotypically as ‘good’ mothers or ‘bad’, hysterical careerists. […] Films’ powerful disfiguring of the female is what feminism seeks to disempower. The visual is therefore a crucial visible part of any feminist theory. (3)

In order to do this, traditional roles that men and women are given in film have to be focused upon to analyse if there is a progress in the power relations between men and women in film. Naturally, in fantastic film, the “existence of a strong man, the hero, eponymous or not, who unites disparate elements under his banner, whether it to be to trap the wild beast, protect the incipient community, or systemize ritual worship” is expected (Armens 53). The first subchapter will focus on what is expected of such heroes, including summaries of Vladimir Propp’s and Joseph Campbell’s theories about components of the steps a hero has to make in order to reach his goal. Furthermore, aspects of women presented as heroines will be touched upon as well. Fantastic films must offer new patterns in order to draw in the viewers, which is what Game of Thrones does as it “uses the rules […] of the fantastic, yet twists them in surprising ways to create a universe with a female fantasy hero, combining the unique with tradition” (Schubart 107). The general presentation of women in Game of Thrones will be shortly outlined in the second subchapter.

3.1.The Heroine Heroism is oftentimes perceived as distinctly masculine, stressing adventure, movement, exploration, conquest, and especially rule and rescue (Driver and Ray 8). The patriarchal ideas of women as passive, emotional, helpless, and irrational victims can be internalized

by writers and film makers. Even if heroic women are included in the story, they seem to comply to these norms (Watanabe-O’Kelly 105). Women are typically portrayed as fainting, cowering, crying, and begging for mercy (Frankel 73). They have to conform to beauty ideals and the promise that they can influence the plot of the story. Leading from the background, if they are beautiful, is only an ostensible position of power. Taking care of their beauty, as well as husband and children, is a token of dependence (Plesch 81). The feminine hero and thus body is required to show discretion, to be slender, muscular, strong, and supple. Her dresses should be figure-accentuating, practical, yet with sex- appeal (Beaviour 292). Many heroic characters of films and their stories are set in the Middle Ages, which offer various causes for quests and battles (Driver and Ray 5). Because fantastic films set in the Middle Ages have an

extensive influence and authority, medieval film requires that we read against the grain to identify the sites in which a particular ideology is at work. The gendering of the medieval hero on film is one of those sites and the depiction of women has not necessarily become more enlightened since the medieval period. (Driver and Ray 7 f.)

Medieval knights are expected to be aristocratic, handsome, strong, honourable, and courageous. A noble, generous leader, defending the weak and helping those in need, presenting justice, is anticipated. The hero has the equipment and abilities he needs in order to save the kingdom, the weak, and especially the women (Sainato 133 f.). Virginal identity was central and idealised in medieval Europe, with the symbols for virginity – white clothing, youth, slim figure, oftentimes blonde – staying consistent. The purity is portrayed as heroic in itself or the inspiration for the heroism of others, for the chivalry and prowess of knights for example (Bernau 95, 101). The Middle Ages also recognised women as heroes (Driver and Ray 7 f.); however “[f]ilms have depicted female characters as both more heroic and less heroic than the literature and history of the Middle Ages warrant. Nevertheless, female characters are often relegated to the margins in medieval film” (Driver and Ray 8). Almost always, the protagonist of a film set in the Middle Ages can be described as a hero. At the heart of each hero’s quest is to learn to know himself and how to be humble and doing this by having to be reborn and gaining new powers (Frankel 139, 153;

Schubart 111). Moreover, the heroic archetype is compelled to continue the journey, even if they express an unwillingness to do so (Stuller 101). Pharr (54) states that “[o]ftentimes, for a hero, [the] beginning lies within one’s heritage. Heroes may seem to come from nowhere, but they are seldom just of the universe”. In order to do so, the hero needs to grow up and undertake a voyage and during this voyage the heroe’s name needs to be informed with meaning (Pharr 60-64). In the pure fairy tale, the heroes are not confronted with changes or inner conflicts. The characters can be divided into either good or bad, being punished or rewarded at the end of the story. Classically, the hero is either the youngest in the family succession or his origins are unknown. Before the obligatory adventure starts, the hero is helpless, naïve, simple, and usually isolated or has a period of material hardship (Suciu and Culea 386). Vladimir Propp distinguished various steps the hero has to undertake during his or her journey. Here, only the main aspects were chosen for the journey of the hero. First, the hero must leave his home and go on a journey because he is addressed with a request or command, making it his obligation to start the journey, e.g. saving the princess. During this journey the hero is attacked, interrogated, and tested by the donor, as mentioned in chapter 2.1. The hero can receive help from e.g. a magical agent. Next, the hero is led or transferred to the whereabouts of the object of search. Here the villain and hero are joined in combat in which the hero is branded and the villain defeated. On his way home or to a new destination, the hero is pursued, and a false hero is found to have taken the true hero’s place. In resolving a difficult task, the true hero of the tale is recognized, exposing and punishing the false hero or villain. After the hero is given a new appearance by magic, or a new palace or garments, he ascends the throne and/or is married (Propp 26-36). Joseph Campbell also described the adventures that a hero had to undertake and the rites of his passage: “separation—initiation—return” (Campell 23). During the first part of the adventure, the hero has to separate and depart from his home as the “Call to Adventure” draws him into a relationship with forces he does not understand yet. “Refusal of the Call” shows that the hero can choose whether to begin his journey or remain at his place of origin. If he does decide to follow the beckoning, a “Supernatural Aid” or protective figure will provide the adventurer with an object that will help the hero during his trials. Next, the separation phase of the hero’s journey entails “The Crossing of the First Treshold” in which the hero leaves his known and ordinary world in order to start

the adventure. “The Belly of the Whale” forms the last step of the separation phase and transits the hero into the unknown and is symbolized by rebirth. (ibid. 42-74). The initiation phase of the hero’s journey starts with “The Road of Trials” during which he has to survive ordeals and tests with the aid of, secret agents or magic objects. “The Meeting with the Goddess” happens when the hero has overcome all barriers. The two unite by bonding in some way, he gains her support, and thereby the support of a greater power. “Woman as Temptress” presents a temptation that has to be overcome in order to show dedication to the overall goal. In some way, the hero has to reconcile his relationship with a father figure during the phase “Atonement with the Father”, which can also mean defeating the father and taking his place. After the last two trials, the hero ascends to a higher status, by gaining knowledge or understanding another level which readies the hero for the final trial. Often the hero’s appearance is changed, which symbolizes his development. When “The Ultimate Boon” is achieved, the overall goal of the adventure is accomplished. After the last trial the hero is worthy of claiming his price (Campbell 81-148). Lastly, the return phase of the journey starts with “Refusal of the Return”. After the hero has accomplished the quest and feels elated, he still has to return home. “The Magic Flight” can either include a journey back to the hero’s world with the help of the supernatural aid from the beginning or with forces working against the hero’s return. On his way home, the hero may encounter “Rescue from Without”, at which stage his own world may come and help him come back. “The Crossing of the Return Threshold” symbolizes the hero’s return to his own world and also combines the two worlds in some cases, which can present itself as a last trial. The hero is now “Master of the Two Worlds” and is able to cross the threshold between the worlds whenever he likes. After accomplishing the journey’s goal, the hero has the “Freedom to Live” and choose whether to reign, teach, marry or set on another journey (ibid. 167-205). Considering that both, Propp and Campbell, wrote their narrative theories for decidedly male heroes, the question Watanabe-O’Kelly asks “so can women be heroes?” (105), is an important one. Women are portrayed as either powerful, but on the bad side, or weak and on the good side. The female main characters are good but weak, and a powerful female protagonist is rarely presented. The female character is used to give the

male protagonist an opportunity to act the hero (Faithful 350). Schubart combines the characteristics of a universal hero and a fairy tale hero and comes to the conclusion that

A fairy tale heroine must be beautiful, whereas a fairy tale hero can be a fool and less than attractive. Both must learn humility and compassion but in different ways. The hero playfully so and the heroine by being debased. And where he will gain a kingdom, she, instead, will gain a husband. (110)

One of the best established character tropes is the damsel in distress, having to be saved by the prince, warrior or conqueror, and “even as the simplistic portrayals of the damsel have become less common, the trope has persisted. Many an erstwhile strong female character has suddenly found herself in desperate need of the male protagonist to rescue her” (Faithful 350). Frequently female characters are punished when they are associated with lust and sexuality. The adulterous heroine usually is killed or commits suicide, whereas male characters seem to bypass this fate, strengthening the patriarchal values (Tolan 327). Women have also played a rather secondary role until the 60s in fantastic literature. Two types are the most prominent roles that are ascribed to women: Either she is “’girl supergenius’, who is clever and excellent in one particular area. The other is the ‘ordinary girl’, who usually appears as the hero’s younger sister or as a minor character, contributing healthy common sense to the group” (Suciu and Culea 386). Stuller adds that

[t]here were female superheroes, yes, but more often there were girl sidekicks, girl heroes, girl sleuths, and girl reporters […]. Girls could have careers, as long as they were culturally appropriate for their gender, but grown women were married and homemakers. (13)

On one hand, female characters are generally portrayed as clever; however, their true strength seems to lie in feeling and intuition. On the other hand, in contrast to men, they do not seem to grasp the seriousness of situations, are giggly and silly (Suciu and Culea 386). Action, science fiction, and horror films tend to have women as side characters next to the mainly male heroes. However, there are some exceptions. For example, in films such as Terminator (1984) the leading female characters are not portrayed as helpless sex objects, but their main agenda is surviving and saving others (Faithful 349 f.). The heroine tends to collaborate with others, making her a better warrior as she

encourages others to become active and not because she would be incapable of succeeding on her own (Stuller 92). If a female hero is present, she is usually taught by a male character, as her mother, or similar female authority, person is absent (Stuller 105). Love is often a concept that is stressed when it comes to female characters, being the source of strength for a heroine. In some ways, it is a reimagining of heroism, straying from the concept of the ‘Lone Wolf’ notion of masculine heroism and presenting a different quest than the classical dragon, prize, or damsel in distress. However, it is sexist to think that love would only be inherent in women, and it also reinforces stereotypes as the greatest gift suggests nurturing and selflessness for loved ones (Stuller 87 f.). In addition to this, Frankel emphasises that

Women shine as role models when they are allowed to utilize all their skills as warriors, intellectuals, mothers, lovers, and queens, and when they’re allowed to identify with a sparkling, active heroine, not just the men as rulers of their society. (183)

In all kinds of genres, it seems to harm both, men and women, when masculinity is overshadowing femininity (Stuller 15). In conclusion, the heroine of a film should not dismiss her feminine values, even though reversing gender roles might bring equality. More equal positions in society should be obtained, entering fields dominated by men, and women should acquire power. This change will be then reflected in mass media, albeit with a time lag (Zoonen 30).

3.2. Women in Game of Thrones Game of Thrones takes mainly place in the Seven Kingdoms of Westeros, the capital being King’s Landing from where the king rules from the Iron Throne. In the first season, king Robert Baratheon is murdered and the quest for the Iron Throne begins. War breaks out, families fight each other with murder, torture, and massacre as part of the Machiavellian politics (Schubart and Gjelsvik 5). In 2014, Frankel claimed that the treatment of women in Game of Thrones was “one of the most hotly debated issues in popular culture” and she called into question whether the series was “presenting a feminist statement” (ibid. 1). At the time, Game of Thrones had three seasons. Since the beginning of the series, the women of Game of Thrones have been topics of debates as they can be read in varying ways, leading to controversy among viewers. It is questioned if the show

is feminist or antifeminist, repressive or subversive, or if role models are presented “in a complex and conflicted contemporary world that has abandoned utopian illusions and in which fantasy is transformed from to light to dark and from the ethically simple to conflicted” (Schubart and Gjelsvik 1 f.). On one hand, it has to be noted that Game of Thrones’ society is set in medieval times “where women weren’t even close to being thought of as equal to men” (Frankel 1). On the other hand, the series is based on fantasy books, not historical fiction. Recreating historical authenticity in a fantasy world poses a paradox as the fantastic in itself is pretended and imaginary (Salo 23). In this fantastic, pseudomedieval world many aspects are addressed that are avoided when fantasy or historical fiction is presented, although they were part of European societies during the Middle Ages (Naylor 46). Marriages for women are arranged against their will by their fathers and guardians in the series (Frankel 10 f.). For example, in medieval times, rape and unwanted arranged marriages were common, making such scenes in Game of Thrones realistic in these aspects (Frankel 8). Chivalry is expected from men in Westeros; however, this reinforces that women have to be protected and puts them on a pedestal on which they learn to depend on men. Daughters are not allowed to inherit before their brothers, and no woman can sit on the Iron Throne, unless the kingdom is ruled by a male family member of hers (Frankel 161 ff.). Firstborn men are prepared to take the throne, be the head of the family and household. However, they have to prove themselves as competent fighters and by conforming to the moral code. Only then can they take the power position in the family and be responsible for the continuation of the family dynasty. Women are prepared to take over secondary functions as wives and mothers. As such, they are valuable assets for alliances, who are allowed to counsel and represent their sons and husbands in some matters. Women are expected to be pretty and intelligent, but they have to obey and behave like men want them to. If they, however, want to take power positions solely for themselves, men will keep them from it (Stutterheim 46, Larrington 33). Frankel states that even though there is a range of female characters,

the number of characters who resort to sex to get ahead or abandon all trace of womanhood as a path to power leaves very few women playing the game of thrones

in their own right, and even fewer who enjoy being female. As behavioral models go, most of these are sadly lacking. (2)

Game of Thrones is set in a world where women had sex as their primary means to assert their power. Noblewomen were treated like property and also traded as such, and only when widowed, it was possible for them to become regents and lead armies (Frankel 6). Ruthlessness is not expected from women, making them the more dangerous as they have to scheme their revenges and take time to plan them (Frankel 78). The leading ladies in Game of Thrones share their approach to politics and men, without making empty threats (Schubart and Gjelsvik 2). According to Frankel, most of the female characters serve others and put their interests ahead of their own. Some, but few female characters have their own independent path, which they follow in order to either rule or find their destiny in the chaos. The author also claims that “male is ‘normal’ and female is ‘unusual’ or ‘surprising.’ Far more males (including main characters, secondary characters, and nameless soldiers) die in the series, reinforcing the concept that the females are unique in a male world” (35). Rosenberg argues that the women in Game of Thrones are not damsels and even though “they are often in highly distressing circumstances, they’re largely tasked with saving themselves” (par. 1). According to Frankel, most of the female characters are nevertheless restricted to traditional archetypes such as the warrior or career woman. In her book she looks at issues of empowerment and feminism, concentrating on the archetypes and traditional roles presented in Game of Thrones (2 f.). Schubart and Gjelsvik also view the characters as matching stereotypes, but nevertheless interpret the

fair Princess Daenerys, who can survive fire and has three dragons, the scheming and evil Queen Cersei, a passionate Lady Catelyn, the ambitious Red Witch Melisandre, vengeful tomboy Arya, romantic teen Sansa, chivalric knight Brienne, clever prostitute Ros, and many others who are not run-of-the-mill fantasy women, but rather complex, multi-faceted, intriguing, and highly engaging characters. (2)

Larrington defines the series as high fantasy with not only dragons and other magical elements, but also almost real characters with flaws such as jealousy or alcoholism, questioning politics, kingdoms, and social structures (13-16). George R. R. Martin, the author of A Song of Ice and Fire (1996-2011), on which Game of Thrones is based, is known for not keeping to traditionally expected character and genre specific tropes in the

epic fantasy series (Peterson 17). Frankel, however, understands the series to portray strong characters “with classically masculine characteristics, and weak characters with feminine ones, thus the women must reject their feminine side to operate in the men’s sphere” (2). Askey argues that examining the power dynamics of the series may show that it is overturning traditional power relations concerning gender. The series presents women who gain power without having to comply to socially expected methods, revealing gaps that the patriarchal ideology overlooked (51, 61), and “Game of Thrones offers potential for both a validation of and a challenge to a basic Mulveyan critique of the objectified woman-as-spectacle, who stands opposite the camera- and viewer- identified male protagonist” (Naylor 47). Almost half of the viewers of the show are women, for which, according to Naylor, the treatment of female characters and their feminist standpoint are an important factor (46), as the female characters of Game of Thrones “behave ambiguously, straddling lines between hero and villain, [and so they] can cross the lines between creator and destroyer or even between categories of archetypes” (Frankel 39).

4. Daenerys Targaryen

There are different ways in which Daenerys Targaryen can be read: the adaptive conqueror, the woman warrior, the nurturing mother, and the beautiful goddess. She has to slip into these roles in her quest to win the Iron Throne in order to win over numerous followers, which each will have their own objections to a female ruler (Howe 247 f.). Daenerys stands out from the other female characters as she is independently acting for herself, and women and men equally are in her service (Frankel 36). Thus she

may be leading armies and conquering male rulers, but she is not simply a stand-in for a male ruler. She privileges her womanhood and motherhood, seen as distinctly non-masculine attributes. The sexist assumptions of symbolic masculine power structures do not apply to her because she deprivileges the phallus and it loses its signifying abilities. (Askey 62 f.)

As a woman, Daenerys establishes a new kind of heroism, a ruler who considers the needs of others and presents a regeneration of the society, including those without the means of power (Gresham 154). Even if Daenerys does not succeed in sitting on the Iron Throne at the end of the series, she at least has succeeded in liberating minds (Gresham 167). This is why “Daenerys’s story is a kind of feminist narrative with a focus on empowering an individual woman against oppression and conflict” (Beaton 208), and how she is portrayed doing this will be looked at in the following subchapters, each focusing on Daenerys’ development in one season.

4.1. Season 1: Dragons When Daenerys is first presented in the series, she is wearing a pink, see-through dress, and is intimidated by her brother Viserys. He is controlling her, even undresses her before she has a bath. She voices that she does not want to marry Khal Drogo, a leader of a tribe of warriors, but Viserys dismisses her by expressing that he does not care who Daenerys has to please, as long as he gets his army. He expects to get an army from the Dothraki leader as exchange for Daenerys as he wants to go back to Westeros and take the Iron Throne (“Winter is Coming”). Daenerys is in the inferior position to Viserys, and he uses her as an object to get what he wants by marrying her to a stranger at a very young age (Tolan 333, Gies and Gies 19, Larrington 45). In the scene below, Daenerys’ pink dress

emphasises her weakness and femininity; the almost white hair falling onto her shoulders stands for her innocence (Lancaster 76). Daenerys is objectified as the passive and erotic spectacle, Viserys’ gaze lingering on her (Elsaesser and Hagener 94). The scene is provided with high energy by contrasting Daenerys and Viserys with light and dark (Lancaster 70), and the medium long shot captures her averted gaze, trying to ignore what is happening to her (Bordwell and Thompson 195). Daenerys’ journey has begun, she has to leave her home due to her brother’s command (Propp 26-36).

Daenerys and Viserys (“Winter is Coming” 33:30)

During the wedding ceremony, Daenerys is given three dragon eggs as a gift. At the end of the first episode, Drogo rapes Daenerys (“Winter is Coming”), presenting a realistic wedding night of the Middle Ages (Bynum 20, Larrington 45). Daenerys finds a confidant in Jorah Mormont, who introduces her to the traditions of the Dothraki, which can be seen as “The Crossing of the First Threshold” as she becomes acquainted with a new world (Campbell 42-74). After Daenerys is again taken from behind by Drogo, she gets advice from her handmaiden about how to seduce Drogo. A tender scene between the two is shown, and they start falling in love with each other (“The Kingsroad”). Daenerys leaves her passive role and tries to change her situation, which does lead to an improvement, even though the beginning of the relationship is controversial (Watanabe-O’Kelly 105). More and more, Daenerys starts to embrace her role as khaleesi, does not take orders from her brother anymore, but even shows him his place after he threatens her (“Lord Snow”).

She is not thought inferior to men anymore, which is a role she has yet to accept. She decides to be merciful and not have her brother killed for hurting her (Tolan 326). During the scene, she is surrounded by nature, connecting her to life and maturity as she is maturing herself (Suciu and Culea 53). She is still wearing her hair openly, emphasising her innocence. The brown leather clothing shows that she is connected to nature and emanates friendliness (Lancaster 76). Her dismay about how Viserys is treated for hurting her, is shown in the medium shot (Lancaster Bordwell and Thompson 195). Daenerys does not yet feel superior to Viserys, hence the level shot is used to show the evenness; nevertheless, she is looking down at her brother lying on the ground and she stands above him (Lancaster 52).

Daenerys in control (“Lord Snow” 36:22)

Daenerys has gained power by defining herself as Khal Drogo’s wife and having his son in her belly; she starts to detach herself more and more from her brother and realises that he will never take the Iron Throne (“Cripples, Bastards, and Broken Things”). In the sixth episode, Daenerys takes part in a ceremony which Viserys interrupts. He threatens to take her back if he does not get the crown that was promised him. In a brutal way, Drogo gives Viserys a crown by pouring liquid gold on his head. Jorah bids Daenerys not to look at her dying brother, but she takes it all in and realises that “He was no dragon. Fire cannot kill a dragon” (“A Golden Crown” 50:05). Jorah is trying to shield Daenerys from the

ghastly scene, but she does not want his protection and does not avert her eyes from the violence (Armens 10, Cixous 21). Daenerys is trying to convince Drogo to get the Iron Throne for their son as she has always dreamed of going back to Westeros where she was born (“You Win or You Die”). When the khalasar raids a village, the Dothraki plunder it and rape the women. Daenerys does not accept this tradition.

JORAH: Princess, you have a gentle heart, but this is how it's always been. DAENERYS: I do not have a gentle heart, ser. Do as I command or Khal Drogo will know the reason why. JORAH: Come. [to rescued woman] What do you want done with them? DAENERYS: Bring her to me. And those women there. JORAH: You cannot claim them all, Princess. DAENERYS: I can, and I will. (“The Pointy End” 26:41-27:26)

Jorah again tries to define her by feminine stereotypes, but she rejects them (Watanabe- O’Kelly 105). She is using the authority of her husband to command Jorah and the Dothraki (Tolan 321). When she is brought before Khal Drogo, she stands by her decision and does not recoil when a Dothraki does not obey her commands by stating that “I am a Khaleesi. I do command you” (“The Pointy End” 28:35-28:41). Here she does not ask Khal Drogo to speak for her, but insists on her hierarchical position (Tolan 326). Even after Khal Drogo falls ill and Daenerys loses her baby, she does not despair, but stands her ground when the Dothraki state that after Khal Drogo dies, she will have no power: “I have never been nothing. I am the blood of the dragon” (“Baelor” 28:05-28:11). In the last episode of the first season, Daenerys suffocates Drogo because he will not gain back his consciousness, burns his body and the woman who was responsible for Drogo’s lethal injury. She herself steps into the fire where she has put her dragon eggs. Most of the khalasar leave during the evening and night. In the morning, the fire has burned down and Daenerys emerges with three dragons (“Fire and Blood”).

Daenerys rises from the ashes (“Fire and Blood” 49:49)

Daenerys’ white hair is not as prominent as before. Like her skin, it is covered with ashes, the grey standing for security and intelligence. The red dragon emanates strength and danger (Lancaster 76). Both are looking ahead at the future in the medium close-up (Bordwell and Thompson 195). Daenerys’ “Road of Trials” has begun as she has received the “Supernatural Aid” with her dragons. She transits into the unknown as the fire symbolises her rebirth (Campbell 42-74). Daenerys is the typical heroine at the beginning as she is the youngest of the family and is searching for her origins (Suciu and Culea 386).

4.2. Season 2: Ships Season two starts with Daenerys wandering through deserts with the khalasar that has stayed with her. Some doubt the leadership qualities of a woman, which is explained by Jorah. Daenerys answers “They will like it far less when I am done with them” (“The Night Lands” 15:53-15:56). She is not threatened by those who question her authority as a woman in a power position (Stutterheim 46, Larrington 33). When Daenerys and her khalasar are at the gates of Qarth, a city in the desert, the city council called Thirteen, turn them down, which Daenerys answers with

Thirteen, when my dragons are grown, we will take back what was stolen from me and destroy those who have wronged me! We will lay waste to armies and burn cities to the ground! Turn us away, and we will burn you first. (“Garden of Bones” 33:52-34:10)

Here she threatens those who are doubting her authority and insists on her ancestry and right to the throne, even though she is a woman (Bynum 226). In the fifth episode, Daenerys and her khalasar have been admitted to Qarth as Xaro Xhoan Daxos, one of the Thirteen, has vouched for her. He gives her presents, and tries to persuade her to marry him, and promises that she will receive half of his wealth. Daenerys is tempted as she needs ships to sail to Westeros. Jorah, however, persuades her to let him find her ships, so she does not have to depend on Xaro (“The Ghost of Harrenhaal”). Daenerys does not want to live under the guardianship of Xaro (Gies and Gies 27) but needs ships to reach her goal, which combines characteristics of the career-driven and independent Amazon (Frankel 98). Daenerys’ quest for ships continues and she tries to persuade another member of the Thirteen to grand her ships, which she will repay. He asks her if she has got ships, and armies, or allies to back her claim for the Throne. After she denies these, she explains why she will, nevertheless, take the Iron Throne:

For my wedding, he gave me three petrified dragon eggs. He believed, the world believed, that the ages had turned them to stone. How many centuries has it been since dragons roamed the skies? But I dreamt that if I carried those eggs into a great fire, they would hatch. When I stepped into the fire, my own people thought I was mad. But when the fire burned out, I was unhurt, the Mother of Dragons. Do you understand? I'm no ordinary woman. My dreams come true. […] I am not your little princess. I am Daenerys Stormborn of the blood of Old Valyria, and I will take what is mine. With fire and blood, I will take it. (“The Old Gods and the New” 32:15- 33:18)

The merchant is infantilising Daenerys by calling her little princess (Gymnich, “Gender in Audiovisual Media” 7). She, however, rejects such associations, insisting on her authority as Targaryen and Mother of Dragons and dismissing patriarchal values. Furthermore, she emphasises that she does not abstain from violence to get what she wants (Humm 5, Powrie 79).

Daenerys negotiating (“The Old Gods and the New” 31:24)

During the scene, the merchant is looking down at Daenerys, maintaining his superiority. The long shot captures Daenerys standing below him (Bordwell and Thompson 195). Using a delicate Dutch angle, the shot emphasises the disagreement between the parties, which is also underlined by the incongruity and thus imbalance of the lines presented in the scene (Lancaster 52, 73). Daenerys is wearing a light blue dress with golden embroidery, which she got from Xaro. The gold reflects his wealth, but the blue can either stand for Daenerys not trusting him or her coldness towards him (ibid. 76). In the last episode of the second season, Daenerys’ dragons have been kidnapped by a warlock, and she has to retrieve them from the House of the Undying. The warlock has taken over the Qarth with Xaaro. Daenerys punishes the two and by seizing Qarth, she obtains enough gold to buy ships (“Valar Morghulis”).

Dragons breathing fire (“Valar Morghulis” 49:21)

During the above scene, Daenerys has to overcome obstacles in the House of the Undying, in the end burning the warlock as she finds her dragons. The camera shows her in a superior position with a low angle shot, her strength being affirmed by the fire. With the medium long shot, her dragons are included in the picture. Her arms mirror the horizontality of their pedestal, standing for balance between the mother and her children, whereas the diagonal flames imply energy. Daenerys wearing brown, green, and grey clothes, accentuating her bond to nature and reliability when it comes to her dragons (Bordwell and Thompson 195; Lancaster 52, 73, 76). In this season, Daenerys has insisted on her values and independence, which brought her nearer to her goal by getting ships and her dragons learning how to breathe fire (Frankel 42 f.).

4.3. Season 3: The Unsullied Daenerys has travelled to Astapor, a slave-trading city. Here she wants to buy herself an army. In the first three episodes, Daenerys is negotiating terms with a slave holder because she wants to buy his Unsullied, elite eunuchs, trained for battle. Daenerys agrees to exchange one of her dragons for all slaves the trader has to offer. Her advisors object during the trade. Daenerys reprimands them and threatens to discharge them from her service if they ever do it in front of strangers again (“Walk of Punishment”). The dragon exchanges hands on a chain, but Daenerys commands it to burn the slave trader, as soon as the deal is finalised, and she lectures her advisors that a dragon is not a slave.

Furthermore, she surprises everyone by revealing that she can speak High Valyrian, and only wanted the translator Misandei to translate for her in order to hear the slave trader’s real intentions (“And Now His Watch Is Ended”). Daenerys proves herself to be calculating, rational (Blamires 236), and not naïve (Frankel 99). She is ready to dismiss her confidants if they are not obedient (Tolan 326). Like the dragon, she does not abide by patriarchal rules, but makes her own (Stevens 5).

Daenerys burning slave holders (“And Now His Watch Is Ended” 48:15)

Daenerys is presented as superior with the low angle shot. Her determined gaze is focused on the burning of the masters and captured by the medium close- up. Her white hair stands for her view of the flawlessness of her plans and also isolates her in a way because she is the only one with the typical Targaryen hair. Her blue clothes emanate coldness towards the brutal deaths and fear of her enemies. The red and orange fire emphasise her power (Lancaster 52, 76; Bordwell and Thompson 195). Daenerys has got an army now, frees the Unsullied from their enslavement, and asks them to fight for her of their own free will after they have killed all the masters and freed the slaves of Astapor. All show their approval (“And Now His Watch Is Ended”). Daenerys gains power by enabling others, which they reward with allegiance (Stuller 83 f.). The following quest for her is to free the slaves from all cities in Essos (“The Bear and the Maiden Fair”). The next city she wants to take is Yunkai. In order to do so, she asks the Second Sons, a company who is paid for their services, to fight for her cause

(“Second Sons”). They do not take her offer and insult her. Later in the episode, one of the leaders, Daario Naharis, kills the other two leaders and presents himself to Daenerys, swearing his loyalty to her. He surprises her while she is in the bathtub. Instead of covering herself and thus hiding her body, she stands up and is not intimidated by him (“Second Sons”). Her superiority is also emphasised with an extreme low angle shot, which gives her power over the leader of the Second Sons, and Daenerys has recruited another army to fight for her. Her grey gown expresses her security in creating her own rules, and the curved line of Daario’s weapon seems to lift her up. Another time she has proven those wrong who do not see her fit to rule as a woman due to patriarchal values (Lancaster 52, 76; Sainato 122 f.; Humm 5).

Daenerys acquiring the Second Sons (“Second Sons” 45:12)

4.4. Season 4: Freeing Slaves The men of Daenerys’ followers battle for her affection, some by challenging each other for the honour of riding next to her, others bringing her flowers (“Two Swords). This shows that she is still alluring in her leading position as woman (Eder, Fotis and Schneider 38 ff.). After her soldiers have taken Meereen, another slave city, she frees the slaves (“The Breaker of Chains”) and decides to rule Meereen to calm down the protestors before conquering new lands (“The First of His Name”). Here she shows that she uses her mind and decides against her desire to sail to Westeros (Blamires 236). Daenerys commands Daario Naharis to share the bed with her, which he willingly does. She

dismisses him in the morning (“Mockingbird”). Daenerys has used her power position to objectify Daario as erotic spectacle and satisfies her lust, yet she is not punished (Tolan 327). The queen learns that Jorah betrayed her, by informing King Robert about her first pregnancy. She exiles him and forbids him to ever come near her again (“The Mountain and the Viper”). Daenerys keeps her values even if it means ignoring her emotions (Irigaray 4 f.). In the throne room, the light falls on her, underlining the clarity of her decisions (Lancaster 70). The long shot captures her sitting above everyone else (Bordwell and Thompson 195), reinforcing her authority. She is wearing a blue and white dress, although the white part is dominant here, putting emphasis on her goodness and purity. The diagonal presentation of the stairs stands for the imbalance she feels when dismissing her confidant (Lancaster 52, 73, 76). She is the embodiment of virginal identity with her white clothing, slim figure, and white hair (Bernau 95, 101).

Daenerys ruling in Meereen (“The Mountain and the Viper 27:52)

Daenerys is shown ruling over Meereen, taking time to hold court and listen to the complaints of the people of the city. A shepherd comes to inform her that the largest of her dragons, Drogon, has burned his child among his sheep. After this, Daenerys decides to confine her other two dragons, Rhaegal and Viserion (“The Children”).

Daenerys confining her dragons (“The Children” 25:38)

The scene shows how it pains Daenerys to take the freedom from her dragons, stressing aspects of the archetypical mother and showing that she identifies as the mother of her dragons; however, she does not put the need of her children above those of the people (Frankel 98-110). With the medium close-up, her pain is visualised. The blue surrounding her can be read as the coldness she feels when leaving her dragons (Bordwell and Thompson 195, Lancaster 76). In the fourth season, Daenerys has learned to hold back her emotions and make rational decisions, which are expected from her as a ruler (Watanabe-O’Kelly 105).

4.5. Season 5: Ruling Meereen The fifth season starts with Daenerys trying to rule Meereen and having difficulties with accepting that the Meereenese want to open the fighting pits again, which she has closed because she freed the slaves from fighting. Furthermore, the Sons of the Harpy, an organisation working against Daenerys’ reign, kill her supporters. Daario advices her to free her dragons again to show the people her power; these, however, refuse to follow her out of their cell (“The Wars to Come”). The dragons reflect Daenerys’ struggle with proceeding with her plans; she seems stuck in her quest to conquer Westeros (Campbell 81 f.). Daenerys’ keeps strictly to her rules. A former slave kills a member of the Sons of the Harpy even though he was promised a fair trial. For this, the former slave is executed

publicly. First, the crowd pleads for mercy, but after the execution they start to hiss at Daenerys and throw stones at her (“The House of Black and White”).

DAENERYS: The Harpy’s life was not yours to take. Once, the masters were the law… FORMER SLAVE: And now you are the law. DAENERYS: The law is the law. Take him. (“The House of Black and White” 46:16-46:27)

Daenerys has been uplifted to an almost holy position by those she has freed (Gies and Gies 7), but as she is merciless and abides by the law she has made, she is met by discontentment (Armens viii). The queen contemplates about how to proceed to win back the approval of the Meereenese. She is pictured above the city on her balcony. Even though Daenerys’ position stands for her superiority, the camera is even higher than her in the high angle shot, and the extreme long shot suggests that there is an even higher power, her inability to change the situation, as she is lost in the picture. Moreover, she is again wearing a white dress, on one hand, emphasising her purity, on the other hand, her isolation from the Meereenese people (Lancaster 52, 76; Bordwell and Thompson 195).

Daenerys standing over Meereen (“Sons of the Harpy” 41:19)

In the middle of the season, Daenerys’ advisor Barristan is killed by the Sons of the Harpy. She reacts by calling for all the masters of the great houses of Meereen and brings them to her two dragons. Every man who does not kneel and accept her reign, is burned

alive (“Kill the Boy”). Daenerys demonstrates her power to the patriarchs of Meereen, hoping to seize the murders of the Harpies with it (Rice and Waugh 143 ff.). Daenerys agrees to reopen the fighting pits, but only free men are allowed to fight. Furthermore, she decides to marry one of the high masters of Meereen, Hizdahr zo Loraq, to demonstrate her respect for Meereen (“Kill the Boy”). Daenerys makes rational decisions in order to bring peace to Meereen (Armens viii) even though it means sacrificing her own Amazon-like independence of having no spouse (Frankel 98); however, she chooses her husband-to-be herself and gives him no opportunity to object, using him for marriage purposes (Faithful 349 f., Gies and Gies 19). By competing in the fighting pitches, Jorah and Tyrion Lannister, the brother of Cersei, have made their way to Daenerys, who is attending the fighting pits. Jorah she sends away; Tyrion, however, convinces her of his value as advisor (“Hardhome”).

TYRION: So if I'm not going to be murdered and I'm not going to be banished . DAENERYS: You're going to advise me. While you can still speak in complete sentences. TYRION: Advise you on what? DAENERYS: How to get what I want. TYRION: The Iron Throne. Perhaps you should try wanting something else. DAENERYS: If I want jokes, I'll get myself a proper fool. TYRION: I'm not entirely joking. There's more to the world than Westeros after all. How many hundreds of thousands of lives have you changed for the better here? Perhaps this is where you belong, where you can do the most good. DAENERYS: I fought so that no child born into Slaver's Bay would ever know what it meant to be bought or sold. I will continue that fight here and beyond. But this is not my home. TYRION: When you get back to your home, who supports you? DAENERYS: The common people. TYRIONL: Let's be generous and assume that's going to happen. Here in Slaver's Bay, you had the support of the common people and only the common people. What was that like? Ruling without the rich? House Targaryen is gone. Not a single person who shares your blood is alive to support you. The Starks are gone as well. Our two terrible fathers saw to that. The remaining members of House Lannister will never back you, not ever. Stannis Baratheon won't back you, either. His entire claim to the throne rests on the illegitimacy of yours. That leaves the Tyrells. Not impossible, not enough. DAENERYS: Lannister, Targaryen, Baratheon, Stark, Tyrell. They're all just spokes on a wheel. This one's on top, then that one's on top. And on and on it spins, crushing those on the ground. TYRION: It's a beautiful dream, stopping the wheel. You're not the first person who's ever dreamt it.

DAENERYS: I'm not going to stop the wheel. I'm going to break the wheel. (“Hardhome” 21:16-22:15)

Daenerys requests for Tyrion to work as her advisor and prove himself worthy of her trust before granting it. Tyrion lists the obstacles Daenerys has yet to overcome to conquer Westeros and shows that she has made the right decision in gaining his support for her claim as he knows the current power distribution in the Seven Kingdoms. Daenerys is set on reaching her goals and is willing to use violence (Stuller 87, Cixous 21). For Daenerys, the season ends with escaping the fighting pits on Drogon. The Sons of the Harpy attack during a fight, and Drogon saves Daenerys and defeats the Sons of the Harpy (“The Dance of Dragons”). Daenerys cannot control where Drogon is flying, and so they land in the Great Grass Sea of the Dothraki. As Drogon has been wounded in the fighting pits, and he is refusing to fly, Daenerys leaves him. In the scene below, she is surrounded by the Dothraki on their horses and her faith is left open (“Mother’s Mercy”). The scenes are blurred and no lines can be found radiating balance, emphasising the uncertainty of Daenerys’ situation (Lancaster 73). She is portrayed as tiny compared to the Dothraki in the extreme long shot (Bordwell and Thompson). The nature that surrounds her supports the dominance of the Dothraki as it is their home (Suciu and Culea 53). Her dress is the only source of blue colour, making her stand out from the Dothraki and emanating fear (Lancaster 76). Daenerys has met a barrier as ruler of Meereen, and because she seems to have come to a halt in her quest for the Iron Throne, she is brought back to her beginnings, where she is to leave the false hero she has become and be reborn again (Propp 26-36, Campbell 42-74).

Daenerys surrounded by Dothraki (“Mother’s Mercy” 38:40)

4.6. Season 6: The Dothraki At the beginning of the sixth season, Daenerys is being kept prisoner by the Dothraki. She has to walk while they are riding and suffers insults from them; however, they do not know that she understands their language (“The Red Woman”). After she tells them who she is, she has to join the Dosh Khaleen, where all khaleesis go, if their khal has died before them (“Home”).

Daenerys as captive (“The Red Woman” 35:22)

Daenerys is still wearing her blue dress, but the fear has left her, and she is rather indifferent towards the Dothraki (Lancaster 76). By feigning to be incapable of their language, Daenerys again proves to use her mind and deceives those she does not trust (Tolan 320). Even though her hands are bound together, and she has to walk, she is not shown in an inferior position by the camera, as a level shot is used in each sequence (Lancaster 52). Jorah and Daario have come to find her, instead of escaping unnoticed with Daenerys as they planned, Daenerys insists on another way. She burns all the current khals, after telling them that they are not fit to rule the Dothraki, and steps out of the burning house, unharmed, while all Dothraki outside the house kneel before her (“Book of the Stranger”).

Daenerys in front of the khals (“Book of the Stranger” 51:53)

Daenerys plans on defeating the khals and thus claiming the khalasars for herself in Dothraki fashion (Partner 2). In the above scene, she is standing before the khals while they try to decide to kill or leave her in the Dosh Khaleen. She is featured above them in the medium long shot, in a superior position, looking down at them (Bordwell and Thompson 195). She is wearing a black dress, affirming the dramatic scene and foreboding the death of the khals (Lancaster 76). Her power is presented by her touching the fire buckets and throwing them to the ground without the heat burning her, but killing

the men (Gies and Gies 7). She steps out of the burning house, reborn anew amongst the Dothraki, who kneel before her (Campbell 42-74). Daenerys, sitting on Drogon before the Dothraki on horses, convinces the Dothraki to do something, they have never done before:

Every khal who ever lived chose three blood riders to fight beside him and guard his way, but I am not a khal. I will not choose three blood riders. I choose you all. I will ask more of you than any khal has ever asked of his khalasar. Will you ride the wooden horses across the black salt sea? Will you kill my enemies in their iron suits and tear down their stone houses? Will you give me the Seven Kingdoms, the gift Khal Drogo promised me, before the Mother of Mountains? Are you with me, now and always? (“Blood of My Blood” 45:00-48:33)

Daenerys adopts traditions of the patriarchal Dothraki, yet she changes them to suit her and become even more powerful (Stevens 5). The Dothraki cheer, following her to Meereen. At their arrival, Meereen is under siege. With the help of her dragons and the Dothraki army, however, she soon has overcome the masters of Meereen, whom Daenerys lets burn by her dragons. Back in the castle, she is visited by Yara and Theon Greyjoy, the heirs of Iron Island. The two women agree to help each other. Yara offers Daenerys her fleet and men to win the Seven Kingdoms in exchange for Daenerys helping them to get back the Iron Islands and dethrone Yara’s uncle, who does not think women are fit to rule (“Battle of the Bastards”). The queen has found herself again and uses the power of her dragons to finally defeat the Meereenese master once and for all with her forces (Schubart and Gjelsvik 5). Daenerys agrees to collaborate, making both women stronger (Stuller 92). At the end of the season, Daenerys orders Daario to stay in Meereen to keep the peace, appoints Tyrion Hand of the Queen, and she and her followers are presented on ships, leaving Meereen (“The Winds of Winter”).

On the way to Westeros (“The Winds of Winter” 1:03:59)

Daenerys is looking ahead, focusing on the future that lies before her in the medium close- up (Bordwell and Thompson 195). She is wearing a black dress, accentuating her figure (Beauvoir 292) underlining her elegance and the mystery ahead (Lancaster 76). Daenerys seems to have overcome all barriers when she meets Yara and overcomes the temptation to stay in Meereen to rule in piece with Daario (Campbell 81-148). She embraces the characteristics of the Amazon, being driven to reach her goal in Westeros and doing this independently without a man by her side (Frankel 98 ff.).

4.7. Season 7: Finding Allies At the beginning of the seventh season, Daenerys has arrived at Dragonstone, the island she was born on (“Dragonstone”). She has gathered the great houses of Westeros and their leaders around her. Olenna Tyrell is in charge of Highgarden, Ellaria Sand of Dorne, and Yara of the Iron Islands. With their help, Daenerys wants to occupy King’s Landing, the capital of Westeros, and to destroy the Lannister armies (“Stormborn”). Daenerys has started to gather allies around her, particularly female leaders, the only male head of a house being Jon Snow at the moment. The dragon queen has come to understand that only by collaborating with others and thus removing her status as ‘Lone Wolf”, she can conquer the Seven Kingdoms (Stuller. 87 f., 92). Daenerys receives Jon in the throne room of Dragonstone as she has sent for him. She tries to convince him to bend the knee (“The Queen’s Justice”).

I was born at Dragonstone. Not that I can remember it. We fled before Robert's assassins could find us. Robert was your father's best friend, no? I wonder if your father knew his best friend sent assassins to murder a baby girl in her crib. Not that it matters now, of course. I spent my life in foreign lands. So many men have tried to kill me, I don't remember all their names. I have been sold like a broodmare. I've been chained and betrayed, raped and defiled. Do you know what kept me standing through all those years in exile? Faith. Not in any gods, not in myths and legends. In myself. In Daenerys Targaryen. The world hadn't seen a dragon in centuries until my children were born. The Dothraki hadn't crossed the sea, any sea. They did for me. I was born to rule the Seven Kingdoms, and I will. (“The Queen’s Justice” 13:08-14:27)

Daenerys emphasises that men have tried to kill her, but she has survived them all (Tolan 321). Furthermore, she recounts how the patriarchal structures have used her for marriage purposes (Gies and Gies 19). The one thing that has saved her was not a knight in shining armour, but herself (Faithful 350). She believes in her capabilities and her potential as a female leader (Irigaray 58 f.). Jon Snow tries to convince her that they need to fight the White Walkers, an army of corpses, together, and tells her about the dragonglass hidden on Dragonstone, which can help them in the fight (“The Queen’s Justice”). She is sitting on the throne at Dragonstone, where the throne’s lines not only emanate an imbalance but also her power. Daenerys is seated in a dominant position above all others when the long shot captures her prominence. For the first time, red is part of her clothing, the colour of her house, which stands for strength and danger. Darkness, and thus mystery, is surrounding her (Bordwell and Thompson 195; Lancaster 52, 72-76). She has taken the place of her father on the throne, the next step on the heroine’s journey (Campbell 90-148).

Daenerys on the Dragonstone throne (“The Queen’s Justice” 7:58)

Meanwhile, Daenerys has sent the Dothraki to take Casterly Rock, the Lannister’s stronghold, the inhabitants, however, have evacuated it, and their army has meanwhile taken Highgarden, Dorne, and the Iron Islands, who were all Daenerys’ allies. Daenerys wants to take her dragons and burn down King’s Landing immediately, her counsellors and Jon, however, convince her not to do this as she would be no better than the rulers before her (“The Queen’s Justice”). Nevertheless, Daenerys flies away with her dragons to destroy the Lannister army instead (“The Spoils’s of War”). Daenerys is losing allies and starts to get emotional. She has to avenge them and thus attacks the Lannister armies on their way home from Highgarden. On Drogon, she defeats the army (Frankel 42, 48). The remnants of the battle are shown, and Daenerys addresses the surviving soldiers. She offers them to choose to either bend the knee to her or die, insisting that the only thing she wants is to break the wheel and not destroy their lives as Cersei does (“Eastwatch”). The queen is portrayed with a low angle shot (Bordwell and Thompson 195), asserting her dominant position with Drogon in the background (Lancaster 52). The medium long shot captures her impassive face, when looking at how much she has destroyed (Cixous 21), and the setting sun. The orange and yellow sky can be read as accentuating Daenerys’ irresponsibility in killing men and not giving them time to contemplate as captives and ignorance on the pain she is causing. Her black clothing reflects the deaths she causes (Lancaster 76).

Daenerys sentencing men to die (“Eastwatch” 4:53)

Daenerys, her counsellors, and Jon decide that a group of men is to capture a White Walker North of the Wall and bring it to Cersei in order to convince her to fight with them against the common enemy (“Eastwatch”). In the next episode, Daenerys goes to rescue the group, including Jon, from the White Walkers on her dragons. This leads to one of her dragons, beign killed. Back at Dragonstone, Jon bends the knee to Daenerys (“Beyond the Wall”). Daenerys, Jon, and their supporters are to meet Cersei near King’s Landing. Daenerys arrives late and on Drogon, demonstrating her power to the other queen. Cersei learns of Jon having sworn his allegiance to Daenerys and does not accept the truce offer at first. After Tyrion talks to her, she assumedly agrees to send her troops North. Daenerys and Jon decide to travel North together to defeat the White Walkers. On the ship, they share intimate moments and start to fall in love (“The Dragon and the Wolf”). In the seventh season, Daenerys has lost a child, rescued men, and also killed many because the enemy has taken her allies. Once more, she does not shy from violence in order to achieve her goals (Cixous 21; Driver and Ray 8; Frankel 78, 98-100). Daenerys’ appearance has also changed from colourful dresses to modest, single-coloured garments. The dragon queen has ascended to a higher status as she and Cersei are the only queens in Westeros and Essos – two women holding the highest positions (Campbell 81-148).

4.8. Season 8: Conquering Westeros In the first episode, Daenerys arrives at Winterfell. She feels that the Northeners are having a hard time accepting her, which is also the case for Sansa Stark, the sister of Jon and lady of Winterfell. Daenerys confronts Jon about this and states that she needs Sansa’s respect. When alone, she takes the initiative and kisses him. Daenerys learns that her dragons are barely eating (“Winterfell”).

Daenerys arriving at Winterfell (“Winterfell” 7:29)

The dragon queen does not feel at home in the north; nevertheless, the relationship to Jon keeps her happy. When arriving at Winterfell, she is wearing a white and red coat. The white accentuates her loneliness and the red her strength (Lancaster 76). The medium shot makes her distant expression visible (Bordwell and Thompson 195). She is set above the Northeners on her horse, dominating those who have yet to accept her as their queen (Lancaster 52). In her secret relationship with Jon, she is the one taking the lead (Gies and Gies 27). Daenerys addresses Sansa directly, and they share a conversation about women fighting for power positions (Stevens 5). At the end of the episode, Jon reveals a secret he himself learned in the first episode of the eighth season and tells Daenerys that he is her nephew Aegon Targaryen (“A Knight”). She has to forget the discontent between Jon and herself. During the battle against the White Walkers, Daenerys is flying on Drogon, burning the dead bodies. She saves Jon from the Night King when he has fallen from Rhaegal. When she herself is on the ground with no dragon in sight, she takes up a

sword to fight (“The Long Night”). Daenerys is capable of ignoring her emotions in order to make rational decisions (Blamires 236). She is not waiting for the men to win the battle but joins it – first on her dragon and then with sword in hand (Driver 91 f.). No knight comes to safe her; it is her who saves Jon (Eder, Fotis and Schneider 38 ff.). After the dead have been defeated, a feast is held in the halls of Winterfell and Daenerys finds herself secluded from the groups that have formed around Jon, who is celebrated by his friends. When alone, Daenerys confronts Jon about their relationship and asks him not to tell his secret to anyone, so they can rule together as queen and king. Jon states that he only wants to tell Sansa, Arya, and Bran and no one else. She does not accept that as she sees Sansa as too great a risk (“The Last of the Starks). Daenerys is ready to have a man at her side. However, she is only ready to accept this dependence under her conditions (Frankel 38 f.). It is decided that the remaining troops travel to King’s Landing to fight Cersei. Daenerys flies there on Drogon. As they come closer to King’s Landing, her second dragon is killed by Euron Greyjoy with a giant crossbow, ships of Daenerys’ fleet are destroyed, and Misandei is taken captive. At the end of the episode, she is decapitated in front of Daenerys (“The Last of the Starks”). These setbacks are not taken well by Daenerys. The mother in her is devastated by the loss of her second child (Frankel 38 f.). Additionally, one of her remaining confidants has been killed, and Daenerys is left with only a few people whom she really trusts and loves (Stuller 87 f.). In the fifth episode, Daenerys has to suffer more blows. While she is still mourning her losses, Daenerys burns Varys for betraying her (“The Last of the Starks”).

Daenerys condemning Varys (“The Bells” 13:27)

Daenerys is given the superior position by the low angle shot. The medium shot captures her as well as her dragon and Jon, who is looking away from the violence. Drogon is an extension of Daenerys and, surrounded by darkness, emphasises the mystery around the dragon and his mother. The red dress symbolises Daenerys’ anger and the danger for all those who question her authority (Bordwell and Thompson 195; Lancaster 52, 70, 76). Even though he wants to stay loyal to her cause, Jon is not willing to be Daenerys’ lover anymore because of their family connection (“The Bells”).

DAENERYS: Far more people in Westeros love you than love me. I don't have love here. I only have fear. JON: I love you. And you will always be my queen. DAENERYS: Is that all I am to you? Your queen? [They kiss; Jon withdraws] All right then. Let it be fear. (“The Bells” 16:04-17:26)

The last person she trusts denies her his love, which makes it impossible for Daenerys to control her feelings anymore, and she embraces her violent side. After this, Daenerys decides to attack King’s Landing with all forces. She is the commander in the fight and destroys ships and barricades, riding on Drogon (Blamires 236, Cixous 21, Powrie 79). When her forces have made it into the inner city and wait for the bells to ring and signal Cersei’s defeat, she waits above the city gates on Drogon. The bells ring, but Daenerys chooses to burn King’s Landing and destroy the Red Keep nonetheless, creating hundreds of corpses on her way (“The Bells”).

In the last episode of Game of Thrones, Daenerys has ordered the Unsullied to kill all soldiers of the enemy, even though they have taken the city. She gives a speech in front of her remaining army and promises that they “will not lay down our spears until we have liberated all the people of the world. From Winterfell to Dorne, from Lannisport to Qarth, from the Sommer Isles to the Jade Sea! Men, women, and children have suffered too long beneath the wheel. Will you break the wheel with me?” (“The Iron Throne” 16:21-16:56). Daenerys’ thirst for blood has not been satisfied yet. During her victory speech her immense power is captured. First, she is equated with Drogon, who appears to have given her wings, which are also mirrored in her dress at the shoulders and sleeves. Her domination over King’s Landing and its habitants is presented with her standing above everyone on the stairs and the chosen low angle shot. Her black dress accentuates the deaths she has caused and the white and grey ash that falls everywhere is emphasising the emptiness and sadness of the city (Lancaster 52, 76). She has achieved her overall goal, but refuses to finally let herself return home and wants to go on with her voyage of conquest (Campbell 167-205).

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Jon and Tyrion share a conversation during which Tyrion states that Daenerys has murdered more innocent people than Cersei and intends to continue her conquering expedition in the same way. Tyrion emphasises that Jon can still choose which part he will play in the future of Westeros. Daenerys is admiring the Iron Throne, her overall goal (Campbell 167-205). Jon joins her and confronts her about all the dead innocents. Daenerys states that she needs loyal men behind her to build the new world she believes in and thus killed those who did not share her believes. She asks Jon to build the world and break the wheel with her. They kiss, and during the embrace, he stabs her in the chest (“The Iron Throne”).

Daenerys’ death (“The Iron Throne 37:37)

Daenerys trusted a man and paid the price for the digression from her feminist ideals in the end (Watanabe-O’Kelly 105). The shot seems slightly tilted and thus the Dutch angle shot emphasises how the world has changed and been disarranged by Daenerys’ death (Lancaster 52). Jon’s still loving embrace is captured by the medium shot (Bordwell and Thompson 195). The greyness of the scene accentuates sadness of her death and Jon’s betrayal (Lancaster 52). Even in her last moments, Daenerys’ eyes are focused on the Iron Throne. Drogon takes her body and flies away with the Mother of Dragons, bringing her the freedom to rest (Campbell 167-205).

5. Cersei Lannister

Cersei Lannister is described as the classic femme fatale, chasing domination for her children and herself. She seizes power in a male-dominated world, manipulating everyone around her (Frankel 88), and Cersei is even “willing to employ her sexuality in order to secure the throne for her offspring” (Howe 247). Cersei has an excess of femininity; she dresses in silken gowns, expresses how she would have wanted to be born a man, and seduces those around her. She is flaunting her powerlessness and femininity (Frankel 72). Howe argues that Cersei is often more overtly sexualised than Daenerys with her long open hair, revealing dresses, and body as a weapon in the male dominated world (254). Cersei feels trapped in a woman’s body. She does not give the king sons, but has them with her brother, committing treason which is not revealed before her husband’s death. Without giving him heirs of his bloodline, she emasculates him and mirrors herself and the Lannisters in the creation, defining her identity in her terms through control (Frankel 90). Even though she can be viewed as a bad person through her actions, she is however,

not speciﬁcally an antifeminist one. Her anti-feminism comes from how she gains power. Resorting to stereotypical feminine scheming and poisoning is bad. Worse is offering her body to men she doesn’t like as a way of compelling them to help her […]. It’s unfortunate that she’s almost the only one giving speeches about women’s rights and why women should have the right to rule. (Frankel 88)

In order to evaluate Cersei’s ascent to power, each season will be analysed in the following subchapters. This character yearns for being a good mother but also wants to gain power. As Westeros is characterized by its patriarchal culture, these are two goals which seem incompatible (Stutterheim 94).

5.1. Season 1: Robert’s Death Cersei has travelled to Winterfell with her husband king Robert and their children to convince Ned Stark to take the position of Hand of the King, his closest advisor. In the first episode of the series, the relationship between Cersei and Jaime Lannister is shortly portrayed. She tries to take the lead in a conversation with her twin brother, but he dismisses her and takes her from behind (“Winter is Coming”). Cersei and Jaime have an incestuous relationship; in other words, the female character is having an adulterous

relationship (Tolan 327). When the prince and Ned Stark’s children are brought before the king and queen after a fight, Cersei is the one demanding that Arya’s direwolf is killed as it injured Joffrey; however, this leads to Sansa’s direwolf being beheaded after Cersei’s wish (“The Kingsroad”).

Cersei deciding for her husband (“The Kingsroad” 47:34)

Cersei insists on the death of a direwolf and salutes violence; she does not take no for an answer and uses her authority as queen to get what she wants (Cixous 21, Stevens 5). In the scene, she is wearing a gold-coloured dress, accentuating her egotistical character. In the medium long shot three characters are present, and Cersei is positioned above Robert, underlining her superiority. Joffrey, her oldest son, is looking down, minimising himself (Bordwell and Thompson 195; Lancaster 52, 76). Back in King’s Landing, Cersei is advising Joffrey to be nice to Sansa as she will be his queen one day (“Lord Snow”), she is trying to influence her son in the position as mother figure, teacher, and protector (Frankel 38 f.). Cersei confronts Ned about his investigation concerning Joffrey’s right of succession, and threatens him:

NED: I was also trained to kill my enemies. CERSEI: As was I. (“Cripples, Bastards, and Broken Things” 49:42-49:50)

She is protecting her son and her own position in society and is not intimidated by Ned. In the sixth episode, Cersei confronts Robert about Ned’s wife holding her brother Tyrion

Lannister captive, and when he does not act as she wishes, she states that “I should wear the armour and you the gown” (“A Golden Crown” 03:02-03:05). He strikes her for insulting his manliness. Cersei expresses her dissatisfaction with the allocated gender roles (Zoonen 30) and the passivity of her husband (Blamires 5). Cersei poisons Robert’s wine, which he drinks while hunting, and a boar kills him. After Robert’s death, it is Cersei who commands the realm as her son is still underage. She rips Robert’s letter apart, which stated that Joffrey was not the rightful heir, knowing that her brother is the father of her children, and they are not legitimate (“You Win or You Die”).

Cersei as Queen Regent (“You Win or You Die” 53:24)

Cersei is functioning as Queen Regent, representing the king, as her husband has died, and her son is still underage. This was one of the few possibilities during the Middle Ages for a woman to hold a high power position. During the above scene, Cersei destroys the threat to her son’s heritage. As femme fatale, she acts ignorant of the truth and has Ned decapitated for treason (Frankel 38f., 101; Stutterheim 46; Larrington 33). The dark green dress stands for fertility, but also guilt and envy. During the scene, and particularly in the medium long shot, she is standing on the pedestal of the Iron Throne, and thus above everyone else, which is also emphasised by the lower position of the camera, giving her the superior position. Her person is even more heightened through her pinned-up hairstyle (Bordwell and Thompson 195; Lancaster 52, 76). Cersei is not the typical heroine at the

beginning of the story, not being the youngest in the family and knowing her origin very well (Suciu and Culea 386). Even though her story in Game of Thrones starts with a journey, she arrives back home early in the season (Campbell 23). Already in the first season, Cersei has shown that she is ruthless when it comes to her ambitions (Frankel 78).

5.2. Season 2: Queen Regent In the first episode of the second season, Cersei is shown as the head of the King’s Council. Tyrion has been appointed Hand of the King by their father Tywin Lannister, until he reaches King’s Landing. When her brother joins the group of advisors, Cersei sends the others away, and they obey immediately (“The North Remembers”). She is presented in a higher power position than most of the men around her (Askey 51). In a dispute between her and Petyr Baelish, the master of coin, this is also the case. Cersei has the upper hand as she shows him how the King’s Guard obeys her every command:

PETYR: Knowledge is power. CERSEI: Seize him. Cut his throat. Stop. Wait. I've changed my mind. Let him go. Step back three paces. Turn around. Close your eyes. Power is power. (“The North Remembers” 37:22-37:56)

Petyr is insinuating that he knows about the rumours about Joffrey’s biological father. Cersei, however, is not threatened by him and shows how she treats those who try to threaten her and does not endure the comments silently (Blamires 5).

Cersei demonstrating her power (“The North Remembers” 37:45)

This is also presented visually as Cersei is captured in higher positions than Petyr. In the above example, an extreme high angle is used to underline the unevenness of power distribution (Lancaster 52). The long shot captures how Petyr is trapped by Cersei’s influence, the soldiers functioning as extension of herself (Bordwell and Thompson 195). Her red dress and the soldiers’ red cloaks not only further emanate strength and power but also function as a signal for danger (Lancaster 76). In contrast to this, she does not have the power to control her eldest son anymore. Cersei slaps Joffrey after he asks her about the rumours of the incest between her and her brother. Joffrey threatens to have her killed if she repeats this and dismisses her (“The North Remembers”). Joffrey has internalised the cultural inferiority of women in the patriarchal kingdom (Tolan 326). Additionally to being unable to discipline her son anymore, Cersei has to cope with her only daughter being sent away in order to marry a high lord. First, it is against her will, but she soon sees reason (“What Is Dead”). Cersei and her daughter have to comply with the common practice of women being forced into marriages (Larrington 45). During episode seven, Cersei seems to give Sansa, Joffrey’s fiancé, advice about being queen and bearing the king’s children, when Sansa has her first period:

Permit me to share some womanly wisdom with you on this very special day. The more people you love, the weaker you are. You'll do things for them that you know you shouldn't do. You'll act the fool to make them happy, to keep them safe. Love no one but your children. On that front, a mother has no choice. (“A Man Witout Honour” 30:56-31:14)

Cersei stresses the love of a mother for her children (Gymnich, “Gender in Audiovisual Media” 7), but she denies that caring for other people is advisable (Faithful 349 f.). During the Battle of Blackwater, Cersei and other noble women are locked in a dungeon where they are supposed to be safe. Here Cersei laments the fact that she was born a woman when she is drinking wine with Sansa (“Blackwater”). She stresses that they have to behave as is expected from them, which she did when she invited the other women with her to the safe room (Stutterheim 46, Larrington 33). Furthermore, she states that “Tears aren't a woman's only weapon. The best one's between your legs. Learn how to use it” (“Blackwater” 28:25-28:38). Cersei insinuates that women use their bodies to get what they want from men (Frankel 2).

Cersei lecturing Sansa (“Blackwater” 27:37)

During their time in the cellar, Cersei is seated above the other women and captured with a low angle shot, emphasising her higher status (Lancaster 52). Her preference for alcohol is brought up, showing realistic flaws of the character (Larrington 13). Cersei is wearing an armour-like golden corset, mirroring her self-righteousness and wealth. The red dress, again stands for her power; however, it can also be seen as sign for anger (Lancaster 76) when she calls gender roles into question:

When we were young, Jaime and I looked so much alike even our father couldn’t tell us apart. I could never understand why they treated us differently. Jaime was taught to fight with sword and lance and mace, and I was taught to smile and sing and please. He was heir to Casterly Rock, and I was sold to some stranger like a horse to be ridden whenever he desired. (“Blackwater” 32:44-33:07)

Here Cersei is challenging the power positions that are defined by male values (Stevens 5) and the distribution of roles in society (Zoonen 30). Throughout the second season, Cersei has shown that she sees herself as equal to men, and if this is challenged by them, she demonstrates that she stands higher in the hierarchy (Faithful 350).

5.3. Season 3: A New Queen At the beginning of the third season, Cersei disapproves of Joffrey’s new fiancé Margaery Tyrell as she is not as easy to manipulate as Sansa (“Valar Dohaeris”), which has been Cersei’s weapon (Gymnich, “The Genderi(ing)” 506). Cersei exchanges opinions with her son about his fiancé and has to learn that he is smitten with his wife-to-be. Joffrey even defends her when Cersei questions Margaery’s figure-accentuating clothing style, her generosity, and her former marriage to Renly Baratheon by stating that she has been told to do all these things for a reason: “That’s what intelligent women do. What they’re told” (“Dark Wings, Dark Words” 12:05-12:11). Joffrey reinforces the stereotypes of the patriarchal culture of women being inferior to men and having to behave like they want them to (Stutterheim 46, Larrington 33). When Cersei’s father Tywin is back at King’s Landing and takes the position of the Hand of the King, she seats herself at the right side of him (“Walk of Punishment”), placing herself in the second highest power position (Whelehan 148).

Cersei as right hand of her father (“Walk of Punishment” 07:38)

Cersei views herself as close in hierarchy to her father, thus the choice of her seating arrangement (Stevens 5). The medium shot above captures this (Bordwell and Thompson 195). Cersei is once again wearing a red dress, the signature colour of House Lannister,

which represents power and strength. Her blonde hair can be compared to the effect of yellow and gold, accentuating her energetic and egotistical characteristics (Lancaster 76). In the fourth episode, Cersei shares a conversation with Margaery’s grandmother Olenna Tyrell:

OLENNA: We mothers do what we can to keep our sons from the grave, but they do seem to yearn for it. We shower them with good sense, and it slides right off like rain off a wing. CERSEI: And yet the world belongs to them. OLENNA: A ridiculous arrangement, to my mind. CERSEI: The gods have seen fit to make it so. (“And Now His Watch Is Ended” 15:35-16:00)

Both women share the notion that the power positions in their society seems arbitrarily spread and not evenly distributed (Irigaray 4 f.). Furthermore, the archetypical characteristics of a mother are reiterated as protector and nurturer of their sons (Frankel 38 f.). Cersei expresses her discontent with the gender roles again to her father:

Did it ever occur to you that I might be the one who deserves your confidence and your trust, not your sons? Not Jaime or Tyrion, but me. Years and years of lectures on family and legacy – the same lecture, really, just with tiny, tedious variations – did it ever occur to you that your daughter might be the only one listening to them? Living by them? That she might have the most to contribute to your legacy that you love so much more than your actual children? (“And Now His Watch Is Ended” 25:28-25:59)

Instead of passively accepting the ascribed gender roles in society, Cersei actively judges them. She not only sees herself as equal to her brothers, but states that she is worthier of her father’s trust and legacy than Tyrion or Jaime (Schubart and Gjelsvik 1 f.). It has been decided that Cersei will marry Margaery’s brother, Loras Tyrell, the heir to Highgarden, and Tyrion will marry Sansa. Cersei threatens Margaery when she tries to befriend her as they are going to be in-laws soon by stating that if Margaery calls her sister another time, she’ll have her killed (“Second Sons”). Cersei seems to be looking down at Margaery in the shot below. She is wearing a dark red dress with golden accessories, again accentuating her power wealth (Lancaster 52, 73, 76).

Cersei threatening Margaery (“Second Sons” 21:23)

In the last episode of the third season, Cersei is reunited with her twin Jaime, and she gives Tyrion the advice to give Sansa a child, so she can be happy and have something to live for (“Mhysa”). Cersei is being used and treated as an object for marriage purposes (Gies and Gies 19). Instead of forming bonds and acting socially acceptable, she chooses to be honest to her daughter-in-law and indicates that she still has a higher power position (Stuller 87 f.). Once more, it is shown how Cersei’s children are the only thing that matters to her, enforcing the archetypical mother. However, she also presents characteristics of the Hetaera or femme fatale, who would murder to reach her goals (Frankel 38 f.). A new queen being crowned and Cersei stepping down to the position of Queen Mother, can be interpreted as crossing of the first threshold as her position has changed, and she has to overcome new obstacles (Campbell 42-74).

5.4. Season 4: Joffrey’s Death At the beginning of the fourth season, Joffrey is murdered and Cersei has to witness it without being able to help him (“The Lion and the Rose”). After she has refused Jaime since he has escaped the Stark’s imprisonment, he rapes her in the Sept of Baelor, next to their son’s body (“Breaker of Chains”). Even though Cersei changes her mind during the sexual act and participates, it does not change the fact that Jaime started it by force, and Cersei was the helpless sex object (Faithful 349f.). When Tommen, Cersei’s second oldest son, is crowned after Joffrey’s death, Margaery and her agree to talk to their fathers

because both think that Margaery should marry Tommen (“First of His Name”). Here, Cersei has changed her mind and thinks that Margaery would be a good wife for her youngest child and tries to collaborate (Stuller 92). Cersei accuses Tyrion of having murdered Joffrey as he handed him the poisoned wine (“The Laws of God and Men”). The Queen Mother is using manipulations to get rid of her brother, who has been working against her. As the femme fatale, she is innocent from the outside but even murderous when it comes to her goals (Frankel 101). During the scene, she is wearing a black and golden-green dress. The dark colours present her mourning for Joffrey (Suciu and Culea 49), and the green and gold stand for her self- righteousness and guilt for manipulating others. The below long shot shows her in a superior position with a low angle shot, Cersei looking down at her accused brother (Lancaster 52, 76).

Cersei at Tyrion’s trial (“The Laws of God and Men” 36:27)

In the last episode of the season, Cersei confesses the love relationship between her and Jaime to their father. She threatens to make the incest public if she has to marry Loras. After she leaves her father lost for words, she runs to Jaime and tells him what she has done (“The Children”).

CERSEI: I told him. JAIME: Told him what? CERSEI: I told him about us.

JAIME: You told him? CERSEI: I told him I won't marry Loras Tyrell. I told him I'm staying right here with Tommen, with you. JAIME: You think he'll just accept that? CERSEI: Go and ask him. JAIME: What did you say? CERSEI: I don't want to talk about Tywin Lannister. I don't choose Tywin Lannister. I don't love Tywin Lannister. I love my brother. I love my lover. People will whisper, they'll make their jokes. Let them. They're all so small, I can't even see them. I only see what matters. (“The Children” 18:54-19:37)

Cersei has chosen to threaten the patriarch of the family in order to get what she wants – staying with her son and her brother. Even though her father is the wealthiest and most powerful man in Westeros, she has chosen to defy him. Cersei does not passively accept what has been decided for her, but she takes matters into her own hands (Blamires 236) as marriage is not her desired aspiration (Larrington 45). During the scene with Jaime, she is standing above him and captured with a low angle shot as she is the one making the decisions for both of them (Tolan 322). The mother is still mourning the death of her son and wearing black and emphasises her dramatic actions (Suciu and Culea 49). In the close-up, her determined face is visible, which tolerate no dissent (Bordwell and Thompson 195).

Cersei taking control of Jaime (“The Children” 18:57)

In the last episode of the season, Tywin is murdered by Tyrion, who has escaped his prison with Jaime’s help (“The Children”). Cersei has lost her oldest son and her father; however, these two men were the only ones whose orders she had to obey, leaving her in the highest position in the hierarchy (Stutterheim 46, Larrington 33).

5.5. Season 5: Walk of Atonement At the beginning of the fifth season, Cersei has taken the position of the Hand of the King, even though she claims that “Clearly, it would not be appropriate for a woman to assume that role” (“The House of Black and White” 29:47-29:50) in front of her uncle, who does not support her decisions. All the other positions of the small council, she has filled with men loyal to her. Cersei decided to take the new High Septon as an ally as well, to join crown and church. She is wary of the High Septon as he differs from his predecessors. He is called High Sparrow by his followers the Sparrows, lives without splendour, and feeds the poor (“High Sparrow”). Cersei makes rational decisions as leader of the country and cautiously chooses her new allies (Armens viii). During the season Cersei can be seen leading the small council with her decisions and keeping Tommen from attending the meetings. She is responsible for Loras being arrested by the Sparrows, accused of having same-sex relationships. Cersei denies being responsible for it in front of Tommen, who wants to free Loras for Margaery, and states that she cannot release Loras as she is not the one holding him (“Sons of the Harpy”). Cersei has used the power of others to achieve what she wants – lessening the Tyrell’s power, and manipulating everyone around her (Blamires 236). Petyr returns to King’s Landing, and Cersei learns that Sansa is to be married to Roose Bolton’s son Ramsay Bolton. This means that the Bolton’s, warden of the North, have turned against king Tommen and thus the Lannisters (“Unbowed, Unbent, Unbroken”). After Loras’ trial, Margaery is accused of having helped Loras and participated in same sex sexual relationships, and she is arrested as well. Tommen begs Cersei to help him free Margaery as he is helpless. Cersei answers that she would do anything for him (“The Gift”), presenting the characteristics of the archetypical mother, on one hand (Frankel 38 f.). On the other hand, her son, the king, asks for her help because he thinks she is more powerful than her (Larrington 33). At the end of the episode, Cersei visits Margaery in her cell (“The Gift”).

Cersei visiting Margaery (“The Gift” 50:06)

Cersei is captured with a low angle shot while taunting Margaery, emphasising her domination over the young queen, who is sitting on the floor. Her dress is green and golden, the colours accentuating jealousy for Margaery’s position at Tommen’s side and her self-righteousness (Lancaster 52, 76). However, Cersei is also taken captive by the Sparrows as her cousin is now one of them and has confessed that she had intercourse with him during her marriage to Robert, giving proof for Cersei being adulterous (Tolan 327).

Let me go immediately. You will order her to let me go. I am the queen! I am the queen! Have you lost your mind? Let me go! Get your filthy hands off me! Have you lost your mind? I am the queen! Let me go! Look at me. Look at my face. It's the last thing you'll see before you die. (“The Gift” 54:47-55:27)

Cersei protests vehemently and uses her former authority as queen, even though Margaery has already been officially crowned. Nevertheless, she has no chance to escape. Cersei is also tortured in a cell below the Sept. She does not give in to confessing her sins even when she is denied water and food. Qyburn, a maester whom she chose for the small council, visits her and informs her that Tommen is not leaving his room with Margaery and Cersei both being imprisoned (“Hardhome”). Without Cersei and Margaery, the king is not able make decisions, being incapable of ruling without the two women in his life. During the torture scenes, Cersei is captured with high angle shots,

resulting in weakness and subservience emanating the imbalance of power. The medium close-ups show her pain and how dirty her face is. This and the grey clothes she has been given accentuate her sadness and the gloomy cell (Bordwell and Thompson 195; Lancaster 52, 76).

Cersei being tortured by a septa (“Hardhome” 07:04)

In the last episode of the season, Cersei confesses the affair with her cousin, but she denies the accusation of having a relationship with Jaime in front of the High Sparrow. She is allowed to return back home to the Red Keep. However, she has to take the walk of atonement, meaning that her hair is cut off and she has to walk the distance between the Sept and castle naked and barefooted. Arriving home, she falls into the arms of Qyburn and her personal guard Gregor Clegane, called the Mountain for his immense size and strength, who carries her to her rooms (“Mother’s Mercy”). This change in appearance, humiliating walk through the streets of King’s Landing, and Cersei having the church as her new enemy can be seen as rebirth (Campbell 42-72).

5.6. Season 6: Queen of the Seven Kingdoms At the beginning of the sixth season, Jaime brings back their daughter Myrcella’s body in a coffin (“The Red Woman”), and Cersei has to suffer loosing another child and the guilt of not having been able to keep her safe as the archetypical mother would (Frankel 38 f.). Cersei is kept in the Red Keep on Tommen’s orders, who has not visited his mother

since her return to the castle. Jaime persuades his son to go to his mother, and Tommen apologises for not being able to save her from the Sparrows (“Home”). Cersei seems to have lost her authority in the small council. All positions have been filled by people who do not support her (“Oathkeeper”). These are trying to find a way to bring back Margaery. Particularly Olenna is searching for a way without Margaery having to lose her dignity like Cersei did. For Tommen’s sake, Cersei is trying to help them, with revenge as her real motivator (“Book of the Stranger). Margaery saves herself by recruiting Tommen to announce an alliance between the Crown and the Faith, thus eluding the walk of atonement (“The Door”). The men in the Red Keep have used Cersei’s absence to reduce her authority because they would not have had the change with her being present, which shows how powerful her presence is (Stutterheim 46, Larrington 33). When the Sparrows come and want to get Cersei to bring her to her trial, Cersei tells them that the High Sparrow can always come visit her. She is protected by the Mountain, against whom the Sparrows have to succumb. The Queen Mother is not allowed to stand next to Tommen at court, during which Tommen announces that the trials of Cersei and Loras will be held in the Sept, and no trial by combat is allowed. The decisions seem to have been made against Cersei as she does not want to go back to the Sept and would have won a trial by combat by choosing the Mountain to fight for her (“No One”). No one dares to oppose Cersei directly, but her power is being taken from her in small steps, changing the power dynamics (Askey 51, 61). In the last episode of the season, the people of King’s Landing are seen preparing themselves for the trials of Cersei and Loras, which are to take place in Baelor’s Sept. A Sparrow is sent to bring Cersei from the Red Keep. Tommen is kept in his room by the Mountain, and Cersei observes how Baelor’s Sept burns down in the green flames of wildfire. She had given orders to hide the material for the fire below the Sept (“Winds of Winter”). Cersei is watching the fire from the Red Keep, which is situated high above the Sept, mirroring her superiority to the church. The Sept is depicted as small compared to her authority. Cersei is shown with a medium close-up, presenting her smiling at the death of all her enemies and drinking wine. Her prominent blonde hair accentuates her joy, the black dress her evil deeds, and the grey ornaments on her shoulders the intelligence behind her plan (Bordwell and Thompson 195; Lancaster 52, 76; Larrington 13-16).

Cersei watching Baelor’s Sept burn down (“Winds of Winter” 17:16; 17:26)

After the explosion, Cersei is in the castle, torturing the septa who tortured her when she was in the cells of the Sept (“Winds of Winter”).

You didn't do it because you cared about my atonement. You did it because it felt good. I understand. I do things because they feel good. I drink because it feels good. I killed my husband because it felt good to be rid of him. I fuck my brother because it feels good to feel him inside me. I lie about fucking my brother because it feels good to keep our son safe from hateful hypocrites. I killed your High Sparrow and all his little sparrows all his septons, all his septas, all his filthy soldiers, because it felt good to watch them burn. It felt good to imagine their shock and their pain. No thought has ever given me greater joy. (“Winds of Winter” 18:37-19:58)

Cersei confesses all her sins, her lust, her murders, and drinking habits. With pleasure, she is behaving the opposite of what would be expected from a woman (Larrington 13- 16, Tolan 327, Watanabe-O’Kelly 105). Meanwhile, Tommen has committed suicide after seeing what happened to the Sept. As all her children have died, Cersei is crowned the first queen of the Seven Kingdoms (“Winds of Winter”). Her children being taken away from her, the devouring mother has no weak points anymore and can extend her full power with characteristics of the Amazon, prioritising her career (Frankel 38 f.). Cersei is seated on the Iron Throne, captured in the highest position by the camera. The long shot shows her surrounded by her supporters and soldiers, presenting the strength of her forces (Bordwell and Thompson 195, Lancaster 52). The shot provides high energy as

darkness and light are contrasted, with the light emanating from Cersei on the throne (Lancaster 70).

Cersei being crowned Queen of the Seven Kingdoms (“Winds of Winter” 1:02:00)

Cersei turns the rites of the passage of the hero’s journey around. Her burning the Sept can be read as refusal to meet the gods after which she gains greater power. She has no temptation she has to overcome but confesses that she is relishing all of them. Even though she does not take her father’s position, her son, the king, has died and she crowns herself the queen (Campbell 81-148).

5.7. Season 7: Finding Allies Cersei declines the marriage proposal of Euron Greyjoy at the beginning of the season and sends him to find her a gift (“Dragonstone”), marriage not being a thing she is focusing on (Gymnich, “The Genderi(ing)” 506). In the third episode, Euron brings Cersei Ellaria and Yara as captives, and thus Cersei now has Dorne and the Iron Islands under her control (“The Queen’s Justice”). In the scene below, she is looking down at Euron and her captives. Cersei is captured by a low angle shot, giving her the superior and dominant position when she is sitting on the Iron Throne. During the medium shot, which shows her disdainful look at her enemies, she is wearing a black dress, which underlines her elegance but also the mystery of what she will decide to do with her enemies. The colour of the grey swords of the Iron Throne emanate security and

conservatism, and their many diagonal lines accentuate her energy (Bordwell and Thompson 195; Lancaster 52, 73, 76).

Cersei on the Iron Throne (“The Queen’s Justice” 20:54)

Cersei and Jaime are interrupted during intimate moments by a knocking at the door. Jaime asks her to wait until he is not lying in her bed anymore, but she answers that “I am the Queen of the Seven Kingdoms. I'll do as I please” (The Queen’s Justice” 29:12-29:15). Cersei is confident in her role as queen, does not care what others think of her, and ignores Jaime. She has overturned the patriarchal values (Humm 5). Cersei has a meeting with the Iron Bank, and they compliment her on becoming the first ruling Queen of the Seven Kingdoms. They doubt that it would be lucrative for them to further support King’s Landing with money. Cersei, however, persuades them by providing them with facts contrasting herself and Daenerys, who has already cost the Iron Bank a lot of money by prohibiting slave trade (“The Queen’s Justice”). In the next episode, Cersei is able to pay back all the debts by giving the Bank the money she got from Highgarden, and she is praised as being more efficient than even her father (“The Spoils of War”). Cersei has surpassed her father in bargaining competences. Furthermore, the queen has defeated another house of Westeros, acquiring all their resources and proving her efficiency, intelligence, and rational decisions (Blamires 5, 236). Jaime returns from the attack on Highgarden and informs her about their losses in the fight against Daenerys, her dragons, and the Dothraki. Cersei tells him that they have to defeat

Daenerys so that their future child can live. She has decided to publicly announce Jaime as the father (“Eastwatch”). The queen’s qualities as protective mother are reinvigorated, and she does not conform to what is expected from her (Plosch 81). In the last episode of the seventh season, Cersei arrives at the meeting with Daenerys and Jon and denies to help them against the White Walkers as Jon has pledged allegiance to Daenerys. Tyrion visits her afterwards and seems to have persuaded her to send her army to support them in the fight against the White Walkers when she comes back to the gathering. In solitude, Cersei tells Jaime that she has no intention to send her troops north. Furthermore, she tells him that she commanded Euron only to pretend to leave and has actually sent him to buy an army for her (“The Dragon and the Wolf”). In the scene below, Cersei is monitoring Jaime’s plans of sending the Lannister army north to help defeat the White Walkers. She is portrayed above them, in the superior position, as she has made other plans, which are the ones that will be executed. The red of the Lannister armour is emanating strength, whereas Cersei’s presented in black underlining that her decisions are still a mystery to the men below (Lancaster 52, 76).

Cersei observing battle plans (“The Dragon and the Wolf” 57:14)

Cersei has proven herself in the field of men as an apt battle strategist. Nevertheless, she is also deceiving others as no one has realised that she was lying to the enemy, which can be read as her crossing the threshold as she is returning to manipulations after everyone thought she had agreed to support another cause than her own (Campbell 167-205). Cersei

has gained the higher knowledge of Daenerys and Jon having joined their armies, and Cersei changes her appearance as she ceases to wear black clothes at the beginning of the next season (Campbell 81-148).

5.8. Season 8: Defending King’s Landing At the beginning of the last season, Cersei observes how the fleet of Euron is returning to King’s Landing. He has destroyed some ships of Daenerys’ fleet, killed one of her dragons, and captured Yara and Misandei, whom he brings to Cersei (“Winterfell”). Cersei receives Daenerys and her followers at the gates of King’s Landing, who have come to take the Iron Throne. They try to persuade her to surrender now, or they will take the city with all forces. Cersei refuses and has Misandei executed in front of everyone, standing above her enemies (“The Last of the Starks”). Cersei is presented in a high angle shot to show the imbalance of power in the moment as she has got one of Daenerys’ confidants. The medium shot reveals that she is also standing above the men around her and that Cersei is looking down at the enemies below her as she is standing on the city walls surrounding King’s Landing. The queen has gone back to wearing red and gold, highlighting her strength, power, self-righteousness, and the danger she poses for Daenerys. Contrasted with the blue sky, which can stand for fear, the flag also mirrors the Lannister colours (Bordwell and Thompson 195; Lancaster 52, 76).

Cersei looking down at her enemies (“The Last of the Starks” 1:15:59)

Cersei is standing above King’s Landing in the Red Keep while the gates are being closed and no people are let into the capital anymore. She is watching from her chambers while Daenerys and her dragon destroy Cersei’s army and the city. After Daenerys’ army has taken down the barriers, the bells of King’s Landing are rung, signalling Cersei’s defeat and surrender. Qyburn comes to inform Cersei that the Unsullied have marched to the Red Keep and wants to bring her to a safe place until the worst is over (“The Bells”). On their way down, Qyburn is killed, and Cersei is left alone, walking through the ruins of the Red Keep. She is portrayed with an extreme high angle shot as she has lost all her power and Daenerys has defeated her. The extreme long shot makes her seem as lost in the picture as she is lost in the castle with nowhere to go. In this situation, her red dress mirrors the danger she herself is in, and the yellow and blue map show the unstableness and fear of the situation (Bordwell and Thompson 195; Lancaster 52, 76).

Cersei fleeing the castle (“The Bells” 1:06:36)

Cersei flees downstairs and Jaime finds her. Together they try to find an escape in the cellars of the Red Keep, but there is no way out. Cersei has a last conversation with Jaime (“The Bells”).

CERSEI: I want our baby to live. I want our baby to live. I want our baby to live. Don't let me die, Jaime. Please don't let me die. JAIME: It's all right. CERSEI: Please don't let me die. JAIME: It's all right.

CERSEI: I don't want to die. JAIME: Just look... Look at me. Look at me. CERSEI: Not like this. Not like this. Not like this. JAIME: Look-- Look-- Look me in the eye. Don't look away. Don't look-- Look at me! Just look at me. Nothing else matters. Nothing else matters. Only us. (“The Bells” 1:12:59-1:13:53)

In the last moments of her life, Cersei displays her strongest qualities as protecting mother (Frankel 38 f.). The powerful queen regresses to the damsel in distress who wants to be saved by her brother (Eder, Fotis and Schneider 38 ff.). As the helpless victim she is begging for mercy in the end (Watanabe-O’Kelly 105). Jaime is her “Rescue from Without”, who helps her come back to his side as the twins are strongest united (Campbell 167-205).

Cersei and her brothers (“The Iron Throne” 11:43)

In the last episode of Game of Thrones, Tyrion finds Cersei and Jaime buried in the ruins of the Red Keep. The long shot captures her in the middle of her brothers, which makes her the central character of the scene (Bordwell and Thompson 195). With the high angle shot their fatal inferiority is presented. The grey surrounding the characters is mirroring Tyrion’s sadness. Emphasising the imbalance and change that has been caused by the death of the queen, the edges or lines of the bricks are asymmetrical (Lancaster 52, 76). Ultimately, Cersei has to die for her evil deeds. The love for her children and the

unconditional love between her and Jaime were the qualities that defined Cersei (87 f.). The queen has conducted and ended her journey at home (Campbell 167-205).

6. Sansa Stark

Sansa is “perfectly adapted to a stereotypical femininity, a cliché of fanciful girlhood” (Larsson 31). Stutterheim argues that Sansa is a good, pretty, and feminine girl who is attributed with all characteristics connoted with femininity (80). Nevertheless, Sansa is surrounded by mystery as she learns to mask her true emotions (Frankel 73). She begins her development from being a little lady dreaming of chivalry and true love, with courtesy being her armour. She keeps her ethics and incorruptibility even though her illusions of the world are shattered and starts to monitor the deceptive skills of those around her (Larsson 31 f.). By developing schemes, forging alliances, and having secrets, Sansa starts to develop and tries to fight against her helplessness as a marriage pawn (Frankel 38). Naylor argues that despite Sansa’s “disillusionment, her growing necessary cunning, and her immersion in an amoral environment, Sansa’s own moral code remains unchanged and uncorrupted” (51). How this helps her in order to gain power in Westeros, will be analysed in the following subchapters, each again dedicated to one season of Game of Thrones.

6.1. Season 1: Betrothal to the Prince In the first episode, while still at Winterfell, Sansa is shortly pictured while attending to her needlework, and she expresses her fantasies about marriage (“Winter is Coming”), painting her the ideal, domestic princess or maiden, who is innocent and youthful (Frankel 98-110). Sansa has left her home in the second episode in order to travel to King’s Landing with her father Ned Stark, her sister Arya, and the king’s family because her father was appointed the Hand of the King, his closest advisor. Prince Joffrey and Sansa are to be married when they are old enough. During their journey, Joffrey shows himself gallant by defending his wife-to-be against his servants. In a fight between him and Arya, Sansa takes his side because she does not want their relationship to be impaired. She does this by not uncovering Joffrey’s lie to king Robert Baratheon and his queen Cersei Lannister. This leads to her own direwolf, instead of her sister’s, being killed (“The Kingsroad”). Sansa’s journey has begun as she is to be married to the prince. This fulfils the first parts of a hero’s journey, leaving home due to a request. Sansa’s direwolf being killed, can be read as her crossing a threshold and symbolising rebirth as her identity as a

Stark is reduced as her direwolf dies, who represents the North (Propp 26-36). Sansa still believes in chivalry. Even though Joffrey was unkind to her, she believes that if she meets his expectations he will care for her (Frankel 98-110). “The Road of Trials” (Propp 26-36) begins in King’s Landing, where Sansa voices her fear of only bearing girls when she is married to Joffrey and thus disappointing him (“Cripples, Bastards, and Broken Things”). She proves herself as naïve and romantic, focusing on marriage and motherhood (Gymnich, “The Gender(ing)” 506); and she is determined to behave the way men expect her to (Larrington 33). During a tournament, Sansa screams as she sees a man being killed (“Cripples, Bastards, and Broken Things”), which reinforces the stereotype of women recoiling from violence and blood (Gymnich, “The Gender(ing)” 506). Sansa and Joffrey reconcile, and when her father insists on sending his daughters back to Winterfell because he senses the difficulties ahead, Sansa protests and wants to stay with Joffrey (“A Golden Crown”). Sansa is content with her betrothal and does not want to end it as she sees Joffrey as her prince (Faithful 350). When Ned is imprisoned by Cersei after Robert’s death, Sansa swears loyalty to Joffrey and promises that “I’ll be a good wife to him” (“The Pointy End” 13:12-13:14). She does this in the presence of Cersei, and after being pressured, Sansa writes a letter to her oldest brother Robb Stark, begging him to come to King’s Landing and swear loyalty to the crown (“The Pointy End”). She defines herself through Joffrey and is persuaded by Cersei and her advisors to deny her father’s honesty, emphasising her naiveté and helplessness (Suciu and Culea 386). In the scene, Sansa is wearing a dark pink dress, which strengthens these connotations. A medium shot is used in the picture below, with Cersei and her advisors taking up most of the space, which highlights their superiority in the situation. This is also accentuated by the vertical lines positioned around them, which stand for power and strength and thus the lack thereof on Sansa’s side (Bordwell and Thompson 195; Lancaster 76).

Sansa writing the letter to Robb (“The Pointy End” 13:11)

In the last episode of the season, Joffrey shows Sansa his true self when he presents her Ned’s head on a spike, as well as other Northerners’ Sansa knew well, and by stating that “As soon as you have bled, I’ll make you a son” and “A king should never strike his lady” (“Fire and Blood” 10:40-12:10). With the first statement, he reveals that he only sees her as his object (Haarstrup 147). Even though he does not strike Sansa himself, Joffrey commands his guardsman to strike Sansa. There is a short moment during which the viewer is led to believe that Sansa will push Joffrey down the barricades (“Fire and Blood”).

Joffrey tormenting Sansa (“Fire and Blood” 12:20)

In this scene, Sansa is a helpless and emotional victim (Watanabe-O’Kelly 105), and Joffrey is the archetypical male character manifesting his control through punishment (Armens 10). She is kept from being active by a guard of Joffrey, as she wants to push him down the barricade (Tolan 320). Sansa is wearing a light pink dress, which again stresses her femininity, immaturity, and weakness; however, she is not presented inferior by the camera as a level angle is used, which presents the evenness of power (Lancaster 52, 76). Her once open hair is now resembling Cersei’s hairstyle, her new appearance linking her to the Lannisters (Propp 26-36). Summing up the first season, Sansa is embodying the romantic princess (Frankel 98-110), who wants to please those around her, especially men (Larrington 33), reinforcing stereotypes that present women as weak (Blamires 126). The chosen cinematographic devices also indicate her inferiority in the chosen scenes (Lancaster 76).

6.2. Season 2: Hostage The second season starts with Sansa attending Joffrey’s birthday celebrations where she openly defies him. After realising her mistake, she quickly changes the meaning of her words and, nevertheless, gets Joffrey to act to her wishes.

JOFFREY: See that he drinks his fill. SANSA: You can't. JOFFREY: What did you say? Did you say I can't? SANSA: I only meant it would be bad luck to kill a man on your name day. JOFFREY: What kind of stupid peasant's superstition. SANDOR CLEGANE: The girl is right. What a man sows on his name day, he reaps all year. JOFFREY: Take him away. I'll have him killed tomorrow, the fool. SANSA: He is a fool. You're so clever to see it. He'll make a much better fool than a knight. He doesn't deserve the mercy of a quick death. JOFFREY: Did you hear my lady, Ser Dontos? From this day, you'll be my new fool. SER DONTOS: Thank you, Your Grace. And you, my lady, thank you. (“The North Remembers” 03:24-04:32)

Sansa manipulates Joffrey by making him believe that he is intelligent and thus shows her own cunning in knowing how to wield Joffrey to do what she wants (Gymnich, “The Genderi(ing)” 506). In episode four, Joffrey abuses Sansa in front of his court by again commanding his guardsman to rip her clothes, kick and beat her.

Joffrey torturing Sansa (“Garden of Bones” 8:39)

Sansa is objectified. As the passive body she cannot control what is done to her (Chaudhuri 31). The male gaze is used in the scene, as Joffrey is looking down at Sansa (Elsaesser and Hagener 94). Joffrey is superior in this scene, standing on the platform of the Iron Throne, which the long shot emphasises as well as minimising Sansa on the ground and the bystanders, who dare not oppose the king (Bordwell and Thompson 195). He is clad in red and gold, presenting power and self-righteousness, whereas Sansa’s blue dress is emanating fear on one hand, but also loyalty, which she proves later on (Lancaster 76). Tyrion Lannister, Joffrey’s uncle, comes to rescue Sansa and leads her away from the throne room. Even after such maltreatment, Sansa promises to be “loyal to King Joffrey, my one true love” when Tyrion asks if she wants to end the engagement to Joffrey. By doing this, she seems to have made the right decision as Tyrion says, “Lady Stark, you may survive as yet.” (“Garden of Bones” 10:0-10:16). Sansa proves strength, as she does not give in as she knows that Tyrion cannot help her (Blamires 176). In the middle of the season, after almost being raped, Sansa starts to openly defy Joffrey, even if only to one of his guardsmen as she tells him how much she hates Joffrey, however, he quickly tells her to be quiet (“The Old Gods and the New”). Even though Sansa does not seem passive and enduring her pain quietly anymore, she is emotional and irrational when revealing how she really feels to a supporter of Joffrey (Blamires 236).

Before the Battle of Blackwater, Sansa sees Joffrey off and by feigning to be stupid, she provokes and embarrasses him because he is not planning on fighting at the forefront of the battle.

JOFFREY: Your king rides forth to battle. You should see him off with a kiss. My new blade. Hearteater, I've named it. Kiss it. You'll kiss it again when I return and taste my uncle's blood. SANSA: Will you slay him yourself? JOFFREY: If Stannis is fool enough to come near me. SANSA: So you'll be outside the gates fighting in the vanguard? JOFFREY: A king doesn't discuss battle plans with stupid girls. SANSA: I'm sorry, Your Grace. You're right, I'm stupid. Of course you'll be in the vanguard. They say my brother Robb always goes where the fighting is thickest. And he is only a pretender. (“Blackwater” 16:23-17:09).

Joffrey uses the idea that men have the active mind in contrast to women to downplay Sansa (Tolan 320). She decides to make use of the mask of womanliness (Frankel 101) and presents herself as stupid in order to mock Joffrey, who is expected to act as strong, courageous (Sainato 133 f.). During the battle, Sansa and the other ladies of the court are inside the castle, locked in a safe room. Before, but also after, Queen Cersei abandons them, Sansa starts to lead the other ladies in prayer and gives them hope (“Blackwater”). The women being locked away emphasises that they have to be protected by men (Tolan 321). Sansa takes an active role and tries to console the other women. On one hand, this paints her as caring for others and therefore as the archetype of the mother (Frankel 38); on the other hand, she takes the leading role amongst the women (Driver 91 f.) by using her intuition and feelings (Suciu and Culea 386). She is wearing a dark purple dress, which emphasises the spirituality in the scene. The medium shot is used to make her face visible. Furthermore, her face is highlighted in contrast to the other women, making her stand out in the dark cell (Bordwell and Thompson 195; Lancaster 70, 76).

Sansa leading the women in prayer (“Blackwater” 26:12)

In the last episode of the second season, Margaery Tyrell is presented to king Joffrey and their engagement is announced, releasing Sansa from hers. Sansa witnesses this from above the balcony in the throne room (“Blackwater”).

Sansa in the throne room (“Valar Morghulis” 07:02)

She is still wearing the same dress, but her hair has been pinned up again, like Cersei’s has. The purple dress can be read as mysterious in this scene and she is positioned above Joffrey, a low angle shot being chosen and thus her domination in the scene is shown (Lancaster 52, 76) even though she has been used as property for marriage purposes (Gies

and Gies 19). The light next to her presents clarity and the vertical lines emphasise her strength (Lancaster 70, 73). Petyr Baelish, an advisor of the king, however, confronts Sansa with the truth of her future:

PETYR: My lady. My sincerest condolences. SANSA: They're right. I'm not good enough for him. PETYR: You shouldn't say that. You'll be good enough for many things. He'll still enjoy beating you. And now that you're a woman, he'll be able to enjoy you in other ways as well. SANSA: But, if he's not marrying me… PETYR: He'll let you go home? Joffrey's not the sort of boy who gives away his toys. You have a tender heart, just like your mother did at your age. I can see so much of her in you. She was like a sister to me. For her sake, I'll help get you home. SANSA: King's Landing is my home now. PETYR: Look around you. We're all liars here. And every one of us is better than you. (“Valar Morghulis” 07:38-08:33)

Sansa pretends to be innocent and tries to conceal her true feelings. Petyr wants to help her escape the path lain out for her (Stutterheim 46). She, however, does not accept to be rescued (River and Ray 8). In the second season, Sansa is treated as property as she is used for marriage purposes and by Joffrey (Gies and Gies 19). She refuses twice to be rescued from her hardships, scared of betraying the Lannisters and risking a worse punishment (Faithful 350). The colour of her dresses has changed from connotations such as femininity, immaturity, and weakness to fear, spirituality, and mystery (Lancaster 76). She starts to be active and oppose her captivators, albeit hesitantly (Askey 51).

6.3. Season 3: Key to the North At the beginning of the third season, Petyr repeats his offer to rescue Sansa. She and her handmaiden discuss what Petyr wants from Sansa in return, after he has saved her. The handmaiden opens Sansa’s eyes about Petyr’s desire for Sansa (“Dark Wings, Dark Words”), which stresses that Sansa is still naïve and believes in the goodness of people (Frankel 98-110). During the season, Sansa helps the Tyrells understand what Joffrey is really like, and they plan on marrying her, a Stark and thus heir to Winterfell and Warden of the North, to Loras Tyrell, the heir to Highgarden. Sansa is pleased because Loras seems like the knight she has been waiting for and turns Petyr’s offer to take her with him down. Tywin Lannister has also thought of Sansa’s importance to keep the North and

commands Tyrion to marry her (“Kissed by Fire”). Sansa is again used for marriage purposes (Gies and Gies 19), but this time she has been betrothed to the honourable and chivalrous knight she expected Joffrey to be (Sainato 133 f.). Sansa is still focused on marriage as the centre of her life accomplishments (Gymnich, “The Genderi(ing)” 506). Unaware of the Lannister’s plans, Sansa and Loras share a moment in the garden, being observed by Tyrion and Cersei.

Sansa and Loras in the Garden (“The Climb” 39:21)

Sansa is surrounded by nature, signalling a new beginning or life for her (Suciu and Culea 53). Her dress is again purple, emphasising nobility and wealth, her role as Ned Stark’s daughter. The yellow pattern reflects her joy about the engagement to Loras. The long shot makes the surroundings dominant, but the two characters are prominent. However, the dominating surroundings can also stand for the fact that the two are controlled by other characters. The level angle provides for intimacy as the two are equal in power (Bordwell and Thompson 195; Lancaster 52, 76). After learning that she is to be married to Tyrion, Sansa asks for Margaery’s advice, being older than her and a close friend.

MARGAERY: I remember the first time I saw you in the throne room. I'd never seen anyone who looked so unhappy. I want very much for you to be happy, Sansa, and so does my grandmother. You would have been happy at Highgarden. But women in our position must make the best of our circumstances.

SANSA: How do I make the best of my circumstances? I have to marry him. MARGAERY: Has Lord Tyrion mistreated you? SANSA: No. MARGAERY: Has he been kind to you? SANSA: He's tried. MARGAERY: You don't want him, though. SANSA: He's a Lannister. MARGAERY: Far from the worst Lannister, wouldn't you say? SANSA: I'm sorry. Here I am complaining to you. MARGAERY: My son will be king. Sons learn from their mothers. I plan to teach mine a great deal. And your son, if I'm not mistaken, your son might be the Lord of Casterly Rock and the North someday. (“The Bear and the Maiden Fair” 11:25- 12:28)

Margaery has accepted the roles women have to take on in the medieval society (Tolan 320 f.), and Sansa expresses her helplessness in the situation she cannot change (Suciu and Culea 386); nevertheless, she approaches Margaery, collaborates with her, and tries to change her own situation (Stuller 92). Her friend addresses another common stereotype of women becoming mothers, who take care of their offspring (Tolan 326). At the wedding ceremony of Sansa and Tyrion, instead of a father-figure, Joffrey gives Sansa to Tyrion and humiliates him by taking away the chair Tyrion needs to don the cloak on Sansa. Sansa has to kneel down to enable Tyrion to take her under his protection. At the feast, her now husband pretends to be under the influence of alcohol in order to shorten the festivities and keep Joffrey from abusing Sansa. When they are alone in their chambers, Tyrion refuses to consume the marriages until Sansa consents (“Second Sons”).

Sansa being accompanied by Joffrey (“Second Sons” 22:06)

Sansa cannot change that she has to marry Tyrion, who, nevertheless, seems kinder than Joffrey. She also shows compassion when kneeling down for him (Blamires 5). When entering the church, Sansa’s lack in control is emphasised as the church entrance seems to consume her (Bynum 25), and she is lost in the long shot. Even though a low angle shot is used, it emphasises the superiority of Sansa’s surroundings and her helplessness. This imbalance is also strengthened by the arrangement of the entrance’s lines. Her wedding dress is golden, accentuating the value she has as key to the North (Bordwell and Thompson 195; Lancaster 52, 73, 76). In the third season, Sansa still lacks control of her situation (Suciu and Culea 386). Nevertheless, she has found people who are kind to her, her position in society has been changed, and she is aware of her importance for the North.

6.4. Season 4: Escape After Sansa learns that her oldest brother and mother have been killed by Lannister men, Tyrion tries to cheer her up by talking nicely about her family. She endures it, and lets Tyrion know that she has stopped praying and only goes to the Godswood so that people will not talk to her (“Two Swords”). She proves to not do what is expected from her, but has found a rational way to use the resources she has (Blamires 236). During the second episode, Joffrey is murdered at his wedding, and Sansa flees with the help of Ser Dontos whom she saved from Joffrey at the beginning of the second season. He brings her to a

ship where Petyr waits for her (“The Lion and the Rose”), Sansa being rescued by him (Driver and Ray 8). In the middle of the season, Sansa and Petyr have made their way to the Vale, where Sansa’s underage cousin Robin Arryn and his mother Lysa Arryn are reigning. However, only they know who she really is as she is introduced as Petyr’s niece to the court. Lysa tells Sansa that she will marry Robin when he comes of age. Meanwhile Petyr and Lysa have been married (“First of His Name”). Sansa is again used for marriage purposes, and lets everything happen to her without taking an active role (Blamires 5, Gies and Gies 19).

Sansa arriving at the Vale (“First of His Name” 11:30)

When she arrives at the Vale, her future is still unsure. The superiority of Lysa Arryn on the throne and Sansa’s helplessness and imbalance of power are expressed by the high angle shot (Lancaster 52). Sansa seems lost in the picture as an extreme long shot has been used (Bordwell and Thompson 195). Sansa is building Winterfell in the snow, when Robin comes to join her. She slaps him when he ruins her snow castle. Petyr sees this and joins her after Robin runs to his mother. Sansa asks Petyr why he killed Joffrey. He answers that he did it for her mother, expresses that Sansa could have been his daughter, but now she is more beautiful than Catelyn ever was, and he kisses her. Lysa sees this and is about to kill Sansa in a later scene before Petyr comes to save her. He denies having feelings for Sansa, but when he has convinced Lysa of his love for her, he pushes her down the moondoor, the fall killing

her (“Mockingbird”). Sansa is not passive anymore; she defends herself and confronts men (Watanabe-O’Kelly 105); nevertheless, she is again the desired object of a man (Chaudhuri 31). Sansa and Petyr are being questioned about Lysa’s death by the high lords and ladies of the Vale. Sansa repeats Petyr’s lie of Lysa committing suicide but tells them her true identity. When left alone, Petyr asks her about her lie (“The Mountain and the Viper”)

PETYR: The first time I saw you, you were just a child. A girl from the North, come to the capital for the first time. Not a child any longer. Why did you help me? SANSA: They would have thrown you through the Moon Door if they'd found you guilty. PETYR: That's not an answer. SANSA: If they'd've executed you, what would they have done with me? PETYR: I don't know. SANSA: Neither do I. PETYR: Better to gamble on the man you know than the strangers you don't. Do you think you know me? SANSA: I know what you want. PETYR: Do you? (“The Mountain and the Viper” 32:14-34:59)

Sansa has started to use her mind, scheme, and learn from Petyr. In a way she found herself a male mentor even though he might not be teaching her consciously (Stuller 105). She was prepared for the interrogation and had her answer ready (Partner 2). Putting on the mask of a crying and begging little girl (Frankel 73), she deceives even Petyr. In contrast to passively waiting for others to decide her faith, she efficiently chose the path she wanted to take (Blamires 5). Petyr is now the Lord Protector of the Vale and also Robin’s guardian. He decides to leave the Vale with Sansa and Robin. For Sansa it is still too dangerous to travel with her red hair as she could be recognised and thus brought back to the Lannisters; therefore, she changes her appearance (“The Mountain and the Viper”). Sansa has tinged her hair black, which stands for protection, mystery but also evil (Lancaster 76). Her dress is now black as well, which underlines her elegance. Additionally, in contrast to before, Sansa’s dress is now figure-accentuating (Beaviour 292). She seems to have taken her sensuality into consideration and knows the effect she is having on Petyr (Frankel 101). The camera and thus Petyr are looking up at her, giving Sansa authority (Lancaster 52).

Sansa changes her appearance (“The Mountain and the Viper” 38:19)

All in all, Sansa has started to take matters into her own hand and decides which path she wants to take. The damsel in distress seems to have adopted characteristics of the Hetaera or femme fatale, using her femininity to achieve her goals (Frankel 38 f.)

6.5. Season 5: Lady Bolton Sansa seems to have changed, not only in appearance but also in attitude at the beginning of the fifth season. Lackadaisically, she watches Robin train to fight, questions Petyr’s decisions, and asks what he is planning next (“The Wars to Come”).

Sansa observing Petyr (“The Wars to Come” 22:41)

She does not act as is expected from her, i.e. pretending to be attentive and watching what Robin is doing (Stutterheim 46), but shows interest in what Petyr is planning as she observes him getting a letter (Watanabe-O’Kelly 105). The low angle shot presents Sansa in control of the situation, and the medium close-up makes her sceptical expression more visible. She is still wearing black, emphasising her elegance. Her almost white face in this scene not only stands for innocence but also emptiness and isolation (Bordwell and Thompson 195; Lancaster 52, 76). The nature around her presents her newly gained freedom (Suciu and Culea 53). Sansa demonstrates her boldness and observational skills when she is having lunch with Petyr at a tavern.

SANSA: Before we left, a maester gave you a raven's scroll. PETYR: You are becoming an observant young lady. SANSA: My mother used to say "dark wings dark words". PETYR: An old saying. Inaccurate in this case. SANSA: So it's good news. PETYR: My marriage proposal has been accepted. SANSA: I thought you still mourned the death of my beloved Aunt Lysa. (“The House of Black and White” 07:26-07:48)

She openly confronts Petyr about his plans and proves herself as rational and active (Blamires 236), which also attributes the mind to her (Partner 2). In the third episode, Sansa learns that the marriage proposal was for her. Petyr has arranged that she is to marry Ramsay Bolton. Sansa protests first, but Petyr persuades her by stating that with consenting to this marriage she will be able to revenge her family and return home as Ramsay’s father Roose currently holds Winterfell. She believes that she has made the decision herself and agrees (“High Sparrow”). Sansa has again been a pawn in the marriage game; however, even though Petyr manipulated her decision, she made it herself and could have refused the offer (Bynum 25). By choosing to go home, she acts according to her own desires (Larrington 33). Back at Winterfell, Petyr tells Sansa that king Stannis Baratheon, who is claiming the Iron Throne for himself, has named Sansa the wardeness of the North (“Sons of the Harpy”). In the middle of the season, Sansa learns that she has loyal Northerners among the servants, who offer their services to her. However, she also gets to know a confederate of Ramsay, who tells Sansa how brutally Ramsay has killed other girls; Sansa answers

And how long have you loved him, Myranda? Did you imagine that he would be with you forever, is that it? And I came along and ruined it. I'm Sansa Stark of Winterfell. This is my home and you can't frighten me. (“Unbowed, Unbent, Unbroken” 42:29-42:53)

For the first time, Sansa formulates who she is without relating herself to a man (Stevens 5). In a way, Sansa ridicules the notion of eternal love, which she herself has believed in. However, she has started to accept reality (Stuller 87 f.). She makes her position in the hierarchy clear and shows no fear when Myranda tries to scare her with brutal stories (Gymnich, “The Genderi(ing)” 506). Sansa does not want to marry Ramsay for the purpose of marriage itself, but she wants to gain back her position at Winterfell.

Sansa marrying Ramsay (“Unbowed, Unbent, Unbroken” 45:28)

Theon Greyjoy, Sansa’s father’s ward who has been tortured by Ramsay, walks Sansa to the wedding. Sansa is wearing a white wedding dress, stressing her purity and virginity, which was a central concept in medieval times (Bernau 95). The rear shot used above is emotionally distant as Sansa’s feelings are hidden, creating tension (Lancaster 52). The long shot shows her future husband waiting for her (Bordwell and Thompson 195). Myranda’s cautious tales prove to be true as Ramsay rapes Sansa after the wedding and commands Theon to watch them (“Unbowed, Unbent, Unbroken”). In the last episode of the fifth season, Sansa escapes her room where Ramsay has kept her by jumping down from the walls of Winterfell with Theon (“Mother’s Mercy”). On one hand, a low angle

shot is used to show superiority in the situation as Sansa takes control of her situation and escapes; on the other hand, the high walls and thus the danger of the situation are also accentuated, which is also demonstrated by the extreme long shot in which the characters are tiny. During the escape, Sansa is wearing blue and grey, expressing trust in Theon, but also fearing Ramsay, and sadness because she has to leave her home again (Bordwell and Thompson 195; Lancaster 52, 76).

Sansa and Theon escaping from Winterfell (“Mother’s Mercy” 19:01)

In the fifth season, Sansa has learned not to trust blindly and observes what is going on around her (Partner 2). She has also stripped off the notion that she will marry for love (Frankel 98-110). Sansa identifies as a Stark more than anything else and is set on getting her home back (Haarstrup 147).

6.6. Season 6: Lady of Winterfell Sansa is fleeing from Winterfell through the winter scenery with Theon, where they have to cross icy rivers in order to escape Ramsay’s hounds. She is saved from the pursuers by Brienne of Tarth, who vows to keep Sansa save (“The Red Woman”).

Sansa is rescued by Brienne (“The Red Woman” 17:54)

The white landscape surrounding the group emphasises the goodness of the situation and the bond between Sansa and Brienne. A long shot has been chosen to show this. The side angle is used, and it pulls away, allowing the women intimacy (Bordwell and Thompson 195; Lancaster 52, 76). A woman is the knight who saves Sansa from Ramsay’s men and hounds (Sainato 133 f.), and the two swear an oath to protect each other, Sansa taking the role of protecting Brienne with her name, and the second is the Amazon, a fighter, content in the world of war (Frankel 98-110). Sansa’s “Road of Trials” seems to be over. After overcoming all the barriers, she unites and bonds with the goddess, Brienne, and gains her support (Campbell 81-148). Sansa is escorted to Castle Black, where her presumed bastard half brother Jon Snow is the former leader of the Night’s Watch. When they are talking about what has happened since they last saw each other at Winterfell, Sansa asks him to help her get their home back (“Book of the Stranger”).

SANSA: Where will you go? JON: Where will we go? If I don't watch over you, Father's ghost will come back and murder me. SANSA: Where will we go? JON: I can't stay here, not after what happened. SANSA: There's only one place we can go. Home. JON: Should we tell the Boltons to pack up and leave? SANSA: We'll take it back from them. JON: I don't have an army.

SANSA: How many wildlings did you save? JON: They didn't come here to serve me. SANSA: They owe you their lives. You think they'll be safe here if Roose Bolton remains Warden of the North? JON: Sansa. SANSA: Winterfell is our home. It's ours and Arya's and Bran's and Rickon's. Wherever they are, it belongs to our family. We have to fight for it. JON: I'm tired of fighting. […] I fought and I lost. SANSA: If we don't take back the North, we'll never be safe. I want you to help me. But I'll do it myself if I have to. (“Book of the Stranger 06:03-07:32)

Sansa has a goal she wants to achieve, no matter the cost, and she does not rely on a man to help and rescue her (Wattanabe-O’Kelly 105). Sansa writes to Robin to ask him for his support in the fight against Ramsay, who has killed his father and is now Warden of the North. Furthermore, Sansa and Jon get a raven, informing them that Ramsay has got their youngest brother Rickon, whom he will kill if he does not get Sansa back (“Book of the Stranger”), forming an additional complication. In medieval terms, Rickon is worth more than Sansa as he is a male heir to Winterfell (Bynum 226), but Sansa does not allow anyone to treat her as object for marriage purposes anymore (Gies and Gies 19). In the middle of the season, Petyr comes to find Sansa in secret, and they discuss what has happened

PETYR: When I heard you had escaped Winterfell, I feared the worst. You have no idea how happy I am to see you unharmed. SANSA: Unharmed? What are you doing here? PETYR: I rode north with the Knights of the Vale to come to your aid. They're encamped at Moat Cailin as we speak. SANSA: To come to my aid? Did you know about Ramsay? If you didn't know, you're an idiot. If you did know, you're my enemy. Would you like to hear about our wedding night? He never hurt my face. He needed my face, the face of Ned Stark's daughter. But the rest of me, he did what he liked with the rest of me as long as I could still give him an heir. What do you think he did? PETYR: I can't begin to contemplate. SANSA: What do you think he did to me? BRIENNE: Lady Sansa asked you a question. PETYR: He beat you. SANSA: Yes, he enjoyed that. What else do you think he did? PETYR: Sansa, I... SANSA: What else? PETYR: Did he cut you? SANSA: Maybe you did know about Ramsay all along.

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PETYR:I didn't know. SANSA: I thought you knew everyone's secrets. PETYR: I made a mistake, a horrible mistake. I underestimated a stranger. SANSA: The other things he did, ladies aren't supposed to talk about those things, but I imagine brothel keepers talk about them all the time. I can still feel it. I don't mean in my tender heart it still pains me so. I can still feel what he did in my body standing here right now. PETYR: I'm so sorry. SANSA: You said you would protect me. PETYR: And I will. You must believe me when I tell you that I will. SANSA: I don't believe you anymore. I don't need you anymore. You can't protect me. You won't even be able to protect yourself if I tell Brienne to cut you down. And why shouldn't I? PETYR: Do you want me to beg for my life? If that's what you want, I will. Whatever you ask that is in my power, I will do. SANSA: What if I want you to die here and now? PETYR: Then I will die. SANSA: You freed me from the monsters who murdered my family and you gave me to other monsters who murdered my family. Go back to Moat Cailin. My brother and I will take back the North on our own. I never want to see you again. (“The Door” 2:37-04:58)

Petyr has come to offer Sansa his support (Driver and Ray 8). Sansa has learned her lesson and realises her mistake in trusting Petyr (Frankel 98-110). For the first time, the viewer learns what Ramsay has done to her and how he objectified her (Faithful 349 f.). Sansa has ceised to believe that a shining knight can protect her from harm (Sainato 133 f.), cast off the passive, ignorant role (Blamires 5), and the image of helpless, fainting, and sensitive women (Frankel 73). Sansa is seen discussing battle tactics with Jon, when their advisors mention that he has not got the right name to rally followers, Sansa answers that she has got the right name (“The Door”). Sansa and the others travel from one house to the other find supporters. On Bear Island, they are received by Lyanna Mormont, who states that the island will only follow a king whose name is Stark, and Jon Snow does not have that name. When Sansa’s family name is brought forward, Lyanna argues that she heard that Sansa was a Lannister or Bolton. Sansa answers that “I did what I had to do to survive, my lady. But I am a Stark. I will always be a Stark”. Lady Mormont agrees to support them (“The Broken Man” 23:37-23:42). After a fight with Jon about the small number of their army, Sansa is shown writing a letter (“The Broken Man”). Once again, Sansa identifies as Stark and not through her former spouses (Naylor 47). She takes part in the

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planning process and also acts on her own (Faithful 350). When meeting with Ramsay before the battle, Sansa insists on accompanying Jon. After it, Sansa is again present during the discussion of battle strategies, and she tries to make Jon see that she knows Ramsay, and he should have listened to her advice about needing more men. Jon promises her that he will protect her and never let Ramsay touch her again. She answers that “No one can protect me. No one can protect anyone” (“Battle of Bastards” 18:36-18:40). Sansa proves herself as being active, judging the situation, and reasoning, in contrast to expected feminine characteristics. She is in control of her emotions and does not shy from meeting Ramsay (Blamires 179, 236). Another time, Sansa stresses that she cannot and will not be protected by men (Tolan 321), refusing to be victimised (Gymnich, “The Genderi(ing)” 506). When the battle seems lost, and Jon and his men are surrounded by Ramsay’s army, Sansa comes to save the remaining Northmen, win the battle, and get back Winterfell. She wrote to Petyr to support them with the knights of the Vale when she realised that they were inferior in numbers (“Battle of Bastards”). In the picture below, Sansa is on her horse above the battle, taking a superior position. The knights she recruited are seen in the background of the medium shot, making her satisfaction in defeating Ramsay visible. The Stark emblem can be seen on her chest, emphasising her ancestry and the grey fur around her shoulders presents her intelligence. The natural colour of her hair stands for strength and power, but can also be seen as anger and warning in the current situation (Bordwell and Thompson 195; Lancaster 52, 76).

Sansa wins the battle (“Battle of Bastards” 46:29)

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Ramsay is locked up with his hounds in a cell, and Sansa is left with the decision on what to do with him. She lets the hounds loose, whom Ramsay has not fed in a week, and they devour their master (“Battle of Bastards”). In the last episode of the season, Sansa assures Jon that she does not trust Petyr, and both promise to not keep secrets from each other anymore. Furthermore, Petyr declares that he wants to sit on the Iron Throne with her by his side. He stresses that she is the heir to Winterfell, the last Stark whom the North will rally behind. Afterwards they both witness how the Northmen crown Jon the King in the North (“Winds of Winter”). With Ramsay’s execution, Sansa proves the conception of women being hysterical when it comes to violence wrong (Cixous 21). She is the one who saved hundreds of Northmen in the season (Faithful 350) and used her mind and not her body to get back Winterfell (Partner 2).

6.7. Season 7: Ruling Winterfell At the beginning of the seventh season, Sansa is advising Jon in all matters, reminding him that he has to be wiser than the other men in their family (“Dragonstone”). Jon also asks her opinion on the invitation of Daenerys for him to come to Dragonstone (“Stormborn”). Sansa is wary and warns that it could be a trap.

SANSA: You're abandoning your people! You're abandoning your home. JON: I'm leaving both in good hands. SANSA: Whose? JON: Yours. You are my sister. You're the only Stark in Winterfell. Until I return, the North is yours. (“Stormborn” 39:51-40:10)

Sansa has gone from counselling Jon, being his closest confidant, to ruling Winterfell and thus the North herself (Frankel 161). While Jon is travelling to Dragonstone, Sansa takes care of Winterfell and manages the preparations for winter, as was also common when men went to war in medieval times (Driver 91 f.). Petyr tries to counsel her, but she dismisses him. Sansa’s little brother Brandon returns to Winterfell. He refuses to be the lord of Winterfell as he is now the Three Eyed Raven, a magic being without gender (“The Queen’s Justice”). In the next episode, Sansa’s little sister Arya also returns home (“The Spoils of War”). Sansa is careful about whom she trusts, proving her self-knowledge and knowledge in relationship matters, which presents the

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archetype of the Hetaera (Frankel 98-110). The lords at Winterfell are starting to show their discomfort with Jon having left them (“Eastwatch”):

LORD 1: The King in the North should stay in the North. LORD 2: We did not choose you to rule us, my lady, but perhaps we should have. (all murmuring ) LORD 3: The Knights of the Vale came here for you, Lady Stark. SANSA: You are very kind, my lords, but Jon is our king. He is doing what he thinks is best. SANSA: [to Arya] I warned Jon this would happen. That he couldn't leave the North and expect it to just sit and wait for him like Ghost. ARYA: He didn't. He trusted you to hold it for him. SANSA: Well, he's not making it easy. The Northern lords are proud. (“Eastwatch” 25:44-26:26)

This can be seen as Sansa’s “Woman as Temptress”. Even if no woman is tempting her, she is given the opportunity to take complete control of the North. She refuses the temptation and shows dedication to the overall goal; in this case the defeat of the White Walkers and peace in the North, which proves to be the knowledge she gains. In some way this is also the “Atonement with the Father” as she has taken her father’s place as lord in the hierarchy (Campbell 81-148).

Sansa holding court (“Eastwatch” 26:14)

While the Northmen are declaring for her, Sansa sits in front of them, again wearing the grey fur around her shoulders, emanating security, reliability, and intelligence. The warm

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light of the fire behind her stands for strength and courage (Lancaster 76). The medium shot makes her calm expression visible (Bordwell and Thompson 195). Arya doubts Sansa’s intentions to give Jon the North back when he returns; however, in front of Petyr, who is trying to turn the sisters against each other, Sansa defends Arya. Another scene is shown where Sansa questions what Arya has done and learned while she was away (“Beyond the Wall”). The viewer is left with the feeling that Sansa and Arya do not trust each other anymore. In the last episode of the season, Petyr is further feeding Sansa suspicions about Arya being dangerous for her. Sansa holds court, Arya stands at the front, and Sansa accuses an unnamed person of murder and treason. When Petyr is named, Sansa lists all the people he has murdered and betrayed. Brandon, who can travel back and forth in time, provides the evidence on how many times Petyr betrayed the Starks. Sansa thanks Petyr for all the lessons on deception he has given her and asks Arya to execute him (“The Dragon and the Wolf”).

Sansa condemning Petyr (“The Dragon and the Wolf” 56:41)

In the scene, Sansa is standing above Petyr and looking down at him, which is emphasised by the low angle shot. The horizontal line behind her emanates her balance (Lancaster 52, 73). For a last time, Sansa has proven superior to Petyr by using his own weapons (Stuller 105) and deceiving him together with Arya, proving that their bond is stronger than Petyr’s schemes. Sansa strays from being the lone wolf and collaborates with her family (Stuller 87, 92).

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6.8. Season 8: Queen in the North At the beginning of the season, Daenerys comes to Winterfell, and Sansa has to abandon her post as leader; nevertheless, during the discussions about supplies for the winter, Sansa is the one leading the discussions amongst the high lords. Later, Sansa warns Tyrion that he should not have trusted Cersei to send her army north. Furthermore, Sansa confronts Jon about falling in love with Daenerys and thus bending the knee to her (“Winterfell”).

Sansa confronting Jon (“Winterfell” 39:25)

When talking to Jon, Sansa is shown with a low angle shot, supporting her superiority and decisions. The medium close-up shows her affection for Jon and their intimacy. Her face being highlighted also emphasises the clarity of her words and what she stands for (Bordwell and Thompson 195; Lancaster 52, 76). Sansa decides to pardon Jaime for the fight as he has come to Winterfell against Cersei’s will and does not ask for Daenerys’ permission at court. Later, Daenerys confronts Sansa because of this ignorance. Like Tyrion, Sansa tells the queen that she should not have trusted Cersei (“The Knight”), again proving her knowledge in relationship matters (Frankel 38 f.).

DAENERYS: I thought he knew his sister. SANSA: Families are complicated. DAENERYS: Ours certainly have been. SANSA: A sad thing to have in common.

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DAENERYS: We have other things in common. We've both known what it means to lead people who aren't inclined to accept a woman's rule. And we've both done a damn good job of it, from what I can tell. And yet, I can't help but feel we're at odds with one another. Why is that? Your brother. SANSA: He loves you. You know that. DAENERYS: That bothers you. SANSA: Men do stupid things for women. They're easily manipulated. DAENERYS: All my life, I've known one goal: The Iron Throne. Taking it back from the people who destroyed my family, and almost destroyed yours. My war was against them. Until I met Jon. Now I'm here, half a world away, fighting Jon's war alongside him. Tell me, who manipulated whom? SANSA: I should have thanked you the moment you arrived. That was a mistake. DAENERYS: I'm here because I love your brother and I trust him and I know he's true to his word. He's only the second man in my life I can say that about. SANSA: Who was the first? DAENERYS: Someone taller. [BOTH CHUCKLE] SANSA: And what happens afterwards? We defeat the dead. We destroy Cersei. What happens then? DAENERYS: I take the Iron Throne. SANSA: What about the North? It was taken from us, and we took it back. And we said we'd never bow to anyone else again. What about the North? (“The Knight” 17:22-19:54)

Even though the women also talk about men, they include other topics in their conversation. Both are aware of their exceptional role as female leaders (Sainato 133 f.). Sansa even states that women are superior to men as they are manipulated by women (Gymnich, “The Genderi(ing)” 506), which Daenerys contradicts by stating that she was manipulated. Sansa shows characteristics of the femme fatale. However, she also presents the Amazon, not because of her bodily strength, but as she is independent, stubborn, and driven to reach her goal, peace in the North (Frankel 38 f.). In terms of the hero’s journey, Sansa refuses to return to Westeros without the North being independent (Campbell 81-148). During the celebrations after the White Walkers have been defeated, Sansa continues to be sceptical of the relationship between Daenerys and Jon. During a conversation she states that “without Littlefinger, and Ramsay, and the rest, I would have stayed a Little Bird all my life” (“The Last of the Starks” 21:54-22:00). Even though Sansa does not endorse of what has been inflicted on her, she is able to admit how much she has developed due to it (Askey 51). When Daenerys wants the armies to travel to King’s Landing, Sansa defends the soldiers and says that they need time to rest. The remaining Starks gather at the Weirwood tree to confront Jon and tell him that they do not trust his queen. Jon tells

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them the truth about his origin. Sansa does not keep it a secret and confides in Tyrion that Daenerys is not the rightful heir to the throne (“The Last of the Starks”). She is once again the one pulling the strings and does not keep to what is accepted from her – being quiet and passive (Powrie 79). After Jon has killed Daenerys, Sansa travels to King’s Landing to decide how Westeros will be ruled in the future with the other great houses. Her uncle offers to be king, but Sansa dismisses him and orders him to sit down. Brandon is chosen as king for Westeros and it is agreed upon that Westeros will be ruled by an oligarchy (“The Iron Throne”). Sansa, however, has other plans

I love you, little brother. I always will. You'll be a good king. But tens of thousands of Northmen fell in the Great War defending all of Westeros. And those who survived have seen too much and fought too hard ever to kneel again. The North will remain an independent kingdom, as it was for thousands of years. (“The Iron Throne 53:54-54:18)

Sansa is the one commanding men in this scene and fighting the system (Gymnich, “The Genderi(ing)” 506). She has finally achieved her goal of freeing the North (Frankel 98). When Jon, Arya, Bran, and Sansa say goodbye, Jon insists that the North has not lost its king, as he has been sent back to Night’s Watch for killing Daenerys, but “Ned Stark’s daughter will speak for them. She’s the best they could ask for” (“The Iron Throne” 1:00-57-1:01:04).

The Queen in the North (“The Iron Throne” 1:15:43)

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When she has returned home, Sansa is crowned Queen in the North. During the ceremony, she is wearing a grey dress, accentuating again her reliability and intelligence. Her hair falls behind her back without any braiding, showing her freedom from other influences. The glow from the fire behind her highlights her strength and courage. Raised in her honour, the diagonal swords, signify change and energy (Lancaster 73, 76). Sansa has completed her journey. Instead of gaining a husband, she gains a crown, thus a kingdom (Schubart 110), “The Freedom to Live” and chooses to reign” (Campbell 167-205).

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7. Discussion and Conclusion

The three leading ladies of Game of Thrones achieve their high position in the patriarchal hierarchy without sharing this position with a man (Whelehan 148). Against their subordination, they form alliances to achieve their goals (321). Each of them passes steps of the hero’s journey, marking them as extraordinary characters (Campbell 23). Askey argues that

[h]owever flawed the show, its popularity is important because it exposes people to non-traditional ways of imagining power in relation to gender. The characters in Game of Thrones who undermine normative conceptions of gender and sexuality highlight the way in which eunuchs and women are forced to fight for an identity not based on sexual organs in a world where power is defined by manhood […]. (65)

Daenerys Targaryen is used for marriage purposes right at the beginning of Game of Thrones and is thus objectified by men. Her weakness and femininity are accentuated by cinematographic devices. She is the passive and erotic spectacle before embracing her power as queen, rejecting feminine stereotypes, and receiving her three dragons (Elsaesser and Hagener 94, Watanabe-O’Kelly 105). Cersei is used to a power position as her husband is the ruling king of Westeros. Her egotistical character is mirrored through the cinematographic devices. The queen expresses her dissatisfaction with the allocated gender roles in society openly (Stevens 5, Zoonen 30). In the first season, Sansa is a domestic princess, who cannot wait to marry her knight in shining armour and does whatever is expected from her, objectifying herself (Frankel 98-110, Larrington 33, Haarstrup 147). During the first season, the three leading ladies are oppressed by patriarchal values and objectified by men. In the second season, Daenerys has begun her voyage of conquest, insisting on her authority and ancestry, not backing down when someone questions a woman in a power position. She rejects marriage proposals and patriarchal values, not abstaining from violence if it brings her nearer to her goal, the Iron Throne (Stutterheim 46, Larrington 33). Cersei is presented as having a higher position than most of the men around her in the second season. She threatens those who question her authority and sees herself as equal to men (Askey 51, Faithful 350). Sansa starts to manipulate those around her and

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leaves her passive role in some instances. She does not want to be rescued by men, but chooses her faith for herself. Still being emotional and irrational, Sansa is not yet embracing her identity as a Stark. Her cinematographic portrayal shows her development from presenting weakness and immaturity to spirituality and mystery (Gymnich, “The Genderi(ing)” 506; Blamires 236; River and Ray 8; Lancaster 76). Daenerys and Cersei know the value of their familial background and use it to gain authority. Sansa still has to learn how to act without having to put on the mask society wants her to wear (Frankel 73). The power of Daenerys and her dragons has grown in the third season, which helps her to start extending her army. Proving to be as calculating and rational as men, she proves those wrong who do not accept a woman as leader (Stuller 83 f., Blamires 236, Humm 5). Cersei’s power and strength are reflected by the colours she is wearing and the camera perspectives, even though she is used for marriage purposes. In addition to the femme fatale, she also is the archetypical mother who wants to keep her children safe (Frankel 38 f., 50). Sansa is used for marriage purposes in the third season, this still being her ultimate goal in life. Helplessly, she is married to a man she does not desire, embodying the damsel in distress. Nevertheless, Sansa has found people who are kind to her (Gies and Gies 19; Gymnich, “The Genderi(ing)” 506). Daenerys has freed herself from patriarchal values, but Cersei and Sansa are still used and need to comply with what is expected from them. In the fourth season, Daenerys rationally chooses to stay true to the rules she has made herself, even if it means acting against her desires. She proves herself an able ruler (Irigaray 4 f.). Cersei has lost her oldest son, whom she could not control. Now she wants to protect her second son and threatens her father, the patriarch of the family, in order to stay with her son. She puts herself above men and does not accept to being treated as an object anymore (Blamires 236, Tolan 322). Sansa escapes her prison in King’s Landing and is brought to a safe place. Nevertheless, the camera still captures her as being lost. When Sansa starts to make decisions for herself and chooses the people she wants to trust, she fulfils her role as key to the North. Her appearance also changes, presenting as more powerful in her position (Watanabe-O’Kelly 105). All three women start to embrace the power that is inherent in them and call the patriarchal values into question openly.

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Daenerys has to overcome obstacles in the fifth season; the quest to conquer Westeros has come to a halt. Ruling proves more difficult than expected as her authority is not accepted by everyone. Her faith is left open at the end of the season as she has flown away to the lands of the Dothraki (Campbell 81 f., Armens viii). Cersei has put herself in the leading position in the capital and uses schemes and her position in hierarchy to get what she wants. However, she is denied her position and has to humiliate herself in order to gain back what she has lost. Sansa has stopped pretending to be the person society expects her to be and has become observative and bold. She chooses to marry a man in order to get back her home Winterfell and not for the sake of marriage. However, her husband proves to objectify and torture her. Sansa and a childhood friend escape the home that has become a prison (Stutterhiem 46, Frankel 98-110). The fifth season is filled with trials for the main female characters of Game of Thrones, and they have to prove that they are worthy of taking the leading roles in society. Daenerys starts the sixth season as captive, but she proves more powerful than her captors and rallies their army behind her by making her own rules. Furthermore, she gains control over those who were defying her in the preceding season. Daenerys sets sail to Westeros, focused on her goal again (Tolan 320, Stevens 5). Cersei is assessed as a threat by the commanding forces in the capital, and thus her authority is taken away from her bit by bit. Nevertheless, she finds a way to destroy all her enemies by burning them alive, relishing the violence. As all her children have died, she is seated on the Iron Throne and crowned the first ruling queen of the Seven Kingdoms. Her superiority is captured by camera perspectives. Sansa is saved by a woman in shining armour. Getting back her home is now her goal, but she does not take the easy way to get it back. She has stopped being the helpless damsel in distress, refuses to be victimised, and uses her mind to get back her childhood home and legacy. This she does and saves her brother and other soldiers in the battle for Winterfell (Sainato 133 f.; Blamires 5, 236). Having had to overcome obstacles, the three women have all found their high position in the hierarchy by fighting against their subordination. Daenerys has arrived in Westeros and is gathering allies around her. She believes that she is the rightful heir to the Iron Throne, and she believes in her potential as a female leader. The cinematographic devices surround her with darkness and mystery. Her and Cersei are holding the two highest positions in the hierarchy of Westeros. Cersei is

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confident in her role as queen, which is also reflected by the men around her as they are surprised about how competent she is. Overturning patriarchal values, she proves herself as an apt battle strategist. Ruling over Winterfell in Jon’s stead, Sansa proves to be a capable leader. Her superiority over the men in her service is also shown with cinematographic devices and proves how much she has learned, defeating her enemies. Strategic planning and deceiving enemies are to the fore during the seventh season, and all three excel in keeping their power positions (Driver 91 f., Blamires 236). In the last season of Game of Thrones, Daenerys has fallen in love, saves Westeros from the White Walkers, and destroys her last enemy Cersei. However, by taking the Iron Throne with “Fire and Blood”, the words of her house, her admirers start to be sceptical if, after all, she is the right queen for Westeros, and she is murdered by the man she fell in love with. As the two queens are battling for the Iron Throne, Cersei has to succumb to the force of Daenerys’ dragon. Nevertheless, even in the last season, Cersei is controlling the men around her, and the queen’s strength and self-righteousness throughout the series are not diminished even though she dies in the arms of the man she considers part of herself (Humm 5, Lancaster 76). Sansa is the one who sees through the manipulations of others and takes a leading role during battle strategy discussions, and even putting herself above those higher in hierarchy. She is the one freeing the North from the rule of the Iron Throne. Sansa gains a crown at the end of her journey (Gymnich, “The Genderi(ing)” 506; Frankel 98, Campbell 167-205). During the last minutes of the show, the audience is shown how the journey of Jon, Arya, and Sansa continues. King’s Landing, the Iron Throne, and the king of Westeros are not central. Even though Brandon Stark is crowned king and thus the Northeners could have stayed part of the Seven Kingdoms and under the rule of a male Stark, they choose Sansa Stark. The last words that can be heard in Game of Thrones are “Queen in the North” (“The Iron Throne” 1:15:28), prioritising one of the leading ladies of the series. Heroines and heroes alike inspire us through their stories, freeing them from appropriate female or male behaviour and letting them explore unprecedented heroic journeys, will define human heroics (Stuller 161 f.). Daenerys, Cersei, and Sansa change the male-dominated system of Westeros, forming alliances in the men-made businesses and demonstrate that not only men possess a mind. The female characters of Game of Thrones enjoy and affirm their individuality, overcoming the hierarchy of gender.

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Therefore, they change the society and show a distribution of emotions and body, moving towards equality. Daenerys, Cersei, and Sansa do not cast aside all characteristics considered feminine, but they choose from the range provided to them no matter if the characteristics are termed feminine or masculine. Neither are they portrayed as hysterical when they welcome violence to adapt the means to the end, nor are they punished when they embrace their sexuality. They combine aspects of various stereo- and archetypes, refusing to be given one label. Daenerys, Cersei, and Sansa embrace their individuality, reject predefined gender roles, and choose to define themselves to become who they are – leading ladies.

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List of Episodes: Season 1 “Winter Is Coming.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Sean Bean, Mark Addy, and Nikolai Coster-Waldau. Season 1, episode 1, HBO Entertainment, 2012. DVD. “The Kingsroad.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Sean Bean, Mark Addy, and Nikolai Coster-Waldau. Season 1, episode 2, HBO Entertainment, 2012. DVD. “Lord Snow.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Sean Bean, Mark Addy, and Nikolai Coster-Waldau. Season 1, episode 3, HBO Entertainment, 2012. DVD. “Cripples, Bastards, and Broken Things.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Sean Bean, Mark Addy, and Nikolai Coster-Waldau. Season 1, episode 4, HBO Entertainment, 2012. DVD. “A Golden Crown.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Sean Bean, Mark Addy, and Nikolai Coster-Waldau. Season 1, episode 6, HBO Entertainment, 2012. DVD. “You Win or You Die.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Sean Bean, Mark Addy, and Nikolai Coster-Waldau. Season 1, episode 7, HBO Entertainment, 2012. DVD. “The Pointy End.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Sean Bean, Mark Addy, and Nikolai Coster-Waldau. Season 1, episode 8, HBO Entertainment, 2012. DVD. “Baelor.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Sean Bean, Mark Addy, and Nikolai Coster-Waldau. Season 1, episode 9, HBO Entertainment, 2012. “Fire and Blood.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Sean Bean, Mark Addy, and Nikolai Coster-Waldau. Season 1, episode 10, HBO Entertainment, 2012. DVD.

Season 2 “The North Remembers.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 2, episode 1, HBO Entertainment, 2013. DVD. “The Night Lands.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 2, episode 2, HBO Entertainment, 2013. DVD.

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“What Is Dead May Never Die.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 2, episode 3, HBO Entertainment, 2013. DVD. “Garden of Bones.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 2, episode 4, HBO Entertainment, 2013. DVD. “The Ghost of Harrenhal.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 2, episode 5, HBO Entertainment, 2013. DVD. “The Old Gods and the New.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 2, episode 6, HBO Entertainment, 2013. DVD. “A Man Without Honour.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 2, episode 7, HBO Entertainment, 2013. DVD. “Blackwater.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 2, episode 9, HBO Entertainment, 2013. DVD. “Valar Morghulis.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 2, episode 10, HBO Entertainment, 2013. DVD.

Season 3 “Valar Dohaeris.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 3, episode 1, HBO Entertainment, 2014. DVD. “Dark Wings, Dark Words.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 3, episode 2, HBO Entertainment, 2014. DVD. “Walk of Punishment.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 3, episode 3, HBO Entertainment, 2014. DVD. “And Now His Watch Is Ended.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 3, episode 4, HBO Entertainment, 2014. DVD. “Kissed by Fire.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 3, episode 5, HBO Entertainment, 2014. DVD.

121

“The Climb.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 3, episode 6, HBO Entertainment, 2014. DVD. “The Bear and the Maiden Fair.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 3, episode 7, HBO Entertainment, 2014. DVD. “Second Sons.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 3, episode 8, HBO Entertainment, 2014. DVD. “Mhysa.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 3, episode 10, HBO Entertainment, 2014. DVD.

Season 4 “Two Swords.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 4, episode 1, HBO Entertainment, 2015. DVD. “The Lion and the Rose.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 4, episode 2, HBO Entertainment, 2015. DVD. “Breaker of Chains.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 4, episode 3, HBO Entertainment, 2015. DVD. “First of His Name.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 4, episode 5, HBO Entertainment, 2015. DVD. “The Laws of Gods and Men.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 4, episode 6, HBO Entertainment, 2015. DVD. “Mockingbird.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 4, episode 7, HBO Entertainment, 2015. DVD. “The Mountain and the Viper.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 4, episode 8, HBO Entertainment, 2015. DVD. “The Children.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 4, episode 10, HBO Entertainment, 2015. DVD.

122

Season 5 “The Wars to Come.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 5, episode 1, HBO Entertainment, 2016. DVD. “The House of Black and White.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 5, episode 2, HBO Entertainment, 2016. DVD. “High Sparrow.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 5, episode 3, HBO Entertainment, 2016. DVD. “Sons of the Harpy.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 5, episode 4, HBO Entertainment, 2016. DVD. “Kill the Boy.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 5, episode 5, HBO Entertainment, 2016. DVD. “Unbowed, Unbent, Unbroken.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 5, episode 6, HBO Entertainment, 2016. DVD. “The Gift.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 5, episode 7, HBO Entertainment, 2016. DVD. “Hardhome.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 5, episode 8, HBO Entertainment, 2016. DVD. “The Dance of Dragons.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 5, episode 9, HBO Entertainment, 2016. DVD. “Mother’s Mercy.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 5, episode 10, HBO Entertainment, 2016. DVD.

Season 6 “The Red Woman.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 6, episode 1, HBO Entertainment, 2016. DVD.

123

“Home.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 6, episode 2, HBO Entertainment, 2016. DVD. “Oathkeeper.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 6, episode 3, HBO Entertainment, 2016. DVD. “Book of the Stranger.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 6, episode 4, HBO Entertainment, 2016. DVD. “The Door.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 6, episode 5, HBO Entertainment, 2016. DVD. “Blood of My Blood.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 6, episode 6, HBO Entertainment, 2016. DVD. “The Broken Man.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 6, episode 7, HBO Entertainment, 2016. DVD. “No One.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 6, episode 8, HBO Entertainment, 2016. DVD. “Battle of Bastards.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 6, episode 9, HBO Entertainment, 2016. DVD. “The Winds of Winter.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 6, episode 10, HBO Entertainment, 2016. DVD.

Season 7 “Dragonstone.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 7, episode 1, HBO Entertainment, 2017. DVD. “Stormborn.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 7, episode 2, HBO Entertainment, 2017. DVD. “The Queen’s Justice.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 7, episode 3, HBO Entertainment, 2017. DVD.

124

“The Spoils of War.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 7, episode 4, HBO Entertainment, 2017. DVD. “Eastwatch.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 7, episode 5, HBO Entertainment, 2017. DVD. “Beyond the Wall.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 7, episode 6, HBO Entertainment, 2017. DVD. “The Dragon and the Wolf.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Nikolai Coster-Waldau. Season 7, episode 7, HBO Entertainment, 2017. DVD.

Season 8 “Winterfell.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Emilia Clarke. Season 8, episode 1, HBO Entertainment, 2019. Amazon Prime. “A Knight of the Seven Kingdoms.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Emilia Clarke. Season 8, episode 2, HBO Entertainment, 2019. Amazon Prime. “The Long Night.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Emilia Clarke. Season 8, episode 3, HBO Entertainment, 2019. Amazon Prime. “The Last of the Starks.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Emilia Clarke. Season 8, episode 4, HBO Entertainment, 2019. Amazon Prime. “The Bells.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Emilia Clarke. Season 8, episode 5, HBO Entertainment, 2019. Amazon Prime. “The Iron Throne.” Game of Thrones. Creators David Benioff and D. B. Weiss. Perf. Peter Dinklage, Lena Headey, and Emilia Clarke. Season 8, episode 6, HBO Entertainment, 2019. Amazon Prime.