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Frauendarstellung Als Genrekonvention in TV-Serien“ DIPLOMARBEIT Titel der Diplomarbeit „Frauendarstellung als Genrekonvention in TV-Serien“ verfasst von Christina Schober angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, 2015 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Diplomstudium Theater-, Film- und Medienwissenschaft Betreut von: Mag. Thomas Ballhausen Danksagung Zu Beginn möchte ich meinen Eltern danken, die mir schon als Kind die Freude fürs Theater "geschenkt" haben und die durch geistige und finanzielle Unterstützung dieses Studium möglich gemacht haben. Spezieller Dank geht an meinen Diplomarbeitsbetreuer Mag. Thomas Ballhausen, der dieses Thema gerne angenommen, konkretisiert und mir mit dem Vorschlag die Serie Sopranos einzubauen, meine bis dato unübertroffene Lieblingsserie empfohlen hat. Auch sei ihm für sein immerwährendes Verständnis und seine Motivation gedankt, wenn der Spagat zwischen Mutterschaft und Studentin beinahe zu groß wurde. Ein weiterer Dank gebührt meinem Mann für Ermutigung und Zuspruch wann immer nötig. Für technische Hilfe möchte ich meinem Freund Patrick Koller danken. Inhaltsverzeichnis 1. PROLOG ........................................................................................................................... 1 2. GENRES – GRENZEN FÜR DIE WIEDERERKENNUNG ................................................ 7 2.1 RICK ALTMAN .................................................................................................................... 8 2.2 THOMAS SCHATZ ............................................................................................................. 10 2.3 STEVE NEALE .................................................................................................................. 11 2.4 GENRE – EIN UNFASSBARER BEGRIFF .............................................................................. 13 2.5 FILMGENRE = SERIENGENRE? .......................................................................................... 15 3. DIE ENTWICKLUNG DER FERNSEHSERIE ................................................................. 17 4. DIE FERNSEHSERIE UND IHRE CHARAKTERISTIKA ................................................ 20 5. DIE FERNSEHSERIE UND IHRE GENRES ................................................................... 23 6. DIE VERBINDUNG VON GENRE UND GENDER .......................................................... 27 7. ANALYSE DER TV-SERIEN ........................................................................................... 33 7.1 DR. QUINN – MEDICINE WOMAN ....................................................................................... 33 7.1.1 EINHALTUNG DER GENREKONVENTIONEN? ..................................................................... 34 7.1.2 INHALTSBESCHREIBUNG ................................................................................................ 37 7.1.3 ZIELPUBLIKUM ............................................................................................................... 39 7.1.4 STARKE FRAUEN – STARKE MÄNNER? ........................................................................... 40 FIGURENANALYSE UND FRAUENDARSTELLUNG .............................................................. 40 7.1.5 REALISTISCHE FRAUENBILDER? ..................................................................................... 58 7.2 ALLY MCBEAL ................................................................................................................. 60 7.2.1 EINHALTUNG DER GENREKONVENTIONEN? ..................................................................... 60 7.2.2 INHALTSBESCHREIBUNG ................................................................................................ 64 7.2.3 ZIELPUBLIKUM ............................................................................................................... 65 7.2.4 STARKE FRAUEN – STARKE MÄNNER? ............................................................................... FIGURENANALYSE UND FRAUENDARSTELLUNG ............................................................... 70 7.2.5 REALISTISCHE FRAUENBILDER? ..................................................................................... 84 7.3 THE SOPRANOS ............................................................................................................... 87 7.3.1 EINHALTUNG DER GENREKONVENTIONEN? ..................................................................... 88 7.3.2 INHALTSBESCHREIBUNG ................................................................................................ 91 7.3.3 ZIELPUBLIKUM ............................................................................................................... 93 7.3.4 STARKE FRAUEN – STARKE MÄNNER? ............................................................................... FIGURENANALYSE UND FRAUENDARSTELLUNG ............................................................... 95 7.3.5 REALISTISCHE FRAUENBILDER? ................................................................................... 111 8. AUSBLICK .................................................................................................................... 113 QUELLEN ............................................................................................................................ 115 ABSTRACT .......................................................................................................................... 119 LEBENSLAUF ..................................................................................................................... 121 1. Prolog Janice: You’re depressed, aren’t you? Carmela: Depressed? I leave that to others. I’m just realistic. Because in a year, tops, you’re gonna have to accept a goomar. Janice: Oh, yeah? Is there a goomar that lets him hold a gun to her head when they fuck? Carmela: You let him hold a gun to your head during sex? Janice: If that gets him off. It’s the same as garter belts and uniforms. Carmela: Well, it’s a gun, Janice. I thought you were a feminist?1 Dieser Dialog zwischen den beiden hier agierenden Protagonistinnen in der amerikanischen Fernsehserie The Sopranos ist nicht untypisch. Carmela Soprano, die Frau der Hauptfigur, dem Mafiaboss Toni Soprano und dessen Schwester Janice versuchen, in der emanzipationsfeindlichen und konservativen Gesellschaft der Mafia feministische Ansichten durchzusetzen – offensichtlich nicht mit Erfolg. Doch dank der seriellen Erzählform, die den Figuren die Möglichkeit bietet sich über einen längeren Zeitraum zu entwickeln, zu lernen und auch, sich durchzusetzen, haben die weiblichen Protagonistinnen die Chance ihren männlichen „Gegenspielern“ ihre Anliegen zu vermitteln, sie eventuell davon zu überzeugen und auch der Rezipient erkennt eine veränderte Einstellung in den Figuren. In den klassischen Filmgenres sind die Erwartungen an die Figuren, ihre Charaktereigenschaften, ihre Entwicklungsmöglichkeiten und die mögliche Bandbreite ihrer Handlungen mit den daraus folgenden Konsequenzen, bereits unumstößlich eingeschrieben. Der Handlungsbogen eines Spielfilms umfasst ca. 90 Minuten und die Entwicklung der Protagonisten ist am Ende des Films meist abgeschlossen. Anders sieht es bei den weiblichen Charakteren in Fernsehserien aus. „Die Fortsetzungsserie besitzt eine offene, zukunftsorientierte Erzählweise, die im Prinzip auf Endlosigkeit hin angelegt ist. Die Geschichten gelangen also nicht zu einem endgültigen erzählerischen Abschluss.“2 Durch dieses Charakteristikum des Erzählmediums Fernsehserie ist eine beinahe unendliche Figurenentwicklung möglich. Der Rezipient verfolgt die gesamte Entwicklung der Charaktere, anders als beim Spielfilm, bei dem einzelne herausragende Ereignisse interessieren. Natürlich müssen sich auch die Produzenten von Fortsetzungsserien an die vorherrschenden, 1 The Sopranos. Season 2, The Knight In White Satin Armor. 00:18:56 - 00:19:21 2 Höpel, Anja Kristina: Realismus in Fortsetzungsserien: Konzept und Verwirklichung. Eine Untersuchung ausgewählter Folgen der „Lindenstraße“. Marburg: Tectum 2005. S. 17 1 üblichen Genrekonventionen halten. „Mainstream-Genres repräsentieren verschiedene Erzählwelten, die darauf basieren, dass wir sie mit dem ersten Ton oder Bild unmittelbar wiedererkennen.“3Eine Untersuchung der Möglichkeiten innerhalb derer sich die Figuren in einer bestimmten Gattung von Fernsehserie entwickeln „dürfen“, „können“ und „müssen“, schließt diese Analyse mit ein. Um Zugang zu dem Begriff Genre und der damit einhergehenden Konventionen zu erhalten, werden die Werke von Rick Altman, Thomas Schatz und Steve Neal als primäre Ratgeber und Bezugsquelle zu Rate gezogen. In jedem Genre werden unterschiedliche Frauencharaktere etabliert. Die feministische ideologische Filmkritik konzentriert sich auf das Wiedererkennen von Genrekonventionen und ihre Verweise auf die Normen und Werte der außerfilmischen Welt.4 Eine Konzentration auf die Frauenfiguren in Fernsehserien wirft folgende Fragen auf: Hat die emanzipierte Frau in die fiktionale Welt der Fernsehserie Einzug gefunden oder werden hier klischeehafte, tradierte Rollenbilder propagiert? (Ist die Forderung der Frauenbewegung für mehr Gleichberechtigung der Frau bis zu den Drehbuchschreibern amerikanischer Fernsehserien durchgedrungen?) Wie werden die Frauenfiguren im fiktiven gesellschaftlichen Kontext wahrgenommen? Wie viel Macht haben sie auf die männlichen Figuren? Wie spielen sie diese Macht aus? Setzen sie die klischeehaften Vorurteile zur Durchsetzung ihres Willens ein? Wie werden die Beziehungen
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