Mad Max: Fury Road Challenging Narrative and Gender Representation in the Action Genre
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3 Mad Max: Fury Road Challenging Narrative and Gender Representation in the Action Genre Kyle Barrett eorge Miller redefined the ‘post- Theron), a character that at first appears threat of climate change, among Gapocalyptic’ genre with his Mad to be in league with, or at least working other predictors of doom and gloom. Max series (1979-2015). It appeared as for the antagonist, Immortan Joe (Hugh (Crewe 2016: 34) though the franchise was dead due to Keays-Byrne). However, Furiosa quickly the somewhat lacklustre response to the becomes the chief protagonist of the Miller developed and combined many concluding film of the original series,Mad narrative. This article will explore the of these fears of real-world disasters Max: Beyond Thunderdome in 1985. After key components that made the film to create his dilapidated environment. years of attempting to revive the series, a subversive text within the action/ Mad Max: The Road Warrior (1981), Mad Max: Fury Road began production post-apocalyptic genre. There will be a for instance, includes a prologue that in 2013 amongst a degree of scepticism discussion of the film’s narrative (or lack features ‘archive footage’ of a nuclear from fans of the series. Miller had moved of), Miller’s visual language and gender disaster, causing the ruin of the planet. away from post-apocalyptic worlds representation. Miller’s films also make effective use and turned ‘family-friendly’, giving us of their national landscapes, turning the adaptation of Babe (1995) and its Narrative and Genre the nightmare of the apocalypse into a underrated sequel Babe: Pig in the City The end of the world has been a site of believable reality when, ‘[ . ] filmmakers (1998) as well as Happy Feet (2006) and exploration throughout cinema history. choose to turn the streets of our cities its sequel (2011). However, when released, During the 1950s, a plethora of films and the dusty back roads of the outback Mad Max: Fury Road was met with critical was produced, blending the genre with into apocalyptic, dystopian worlds’ (Dunks and commercial success, re-establishing science fiction. Films such asThe War of 2015: 92). Miller embeds Fury Road’s Miller as the ‘road warrior’ of the post- the Worlds (Byron Haskin, 1953) and The narrative with many of the familiar apocalyptic genre. Invasion of the Body Snatchers (Don Siegel, tropes, utilising Australia’s outback as a 1956) saw society crumble from alien playground for his many extravagant set- Despite Miller’s departure from the invasion. The 1960s saw an adaptation pieces. franchise, the ‘post-apocalyptic’, ‘. has of Richard Matheson’s 1954 novel I Am become a genre in its own right, with all Legend in The Last Man on Earth starring Fury Road was noted for its minimalist the tropes and traditions that implies’ Vincent Price (Ubaldo Ragona & Sidney narrative. And indeed, Miller himself has (Crewe 2016: 37). Mad Max: Fury Road Salkow, 1964) and George A. Romero commented on this as it was his intent embraced the world that the genre unleashed his seminal zombie apocalypse from the start: ‘“I wanted to tell a linear suggests and not only was the film praised Night of the Living Dead in1968. All of story — a chase that starts as the movie for its visuals and breakneck pace but also these films within the post-apocalyptic begins and continues for 110 minutes.” its gender representation. The protagonist, genre reflect societal fears in a range of There are few digital effects and even played by Tom Hardy, becomes a secondary contexts: less dialogue’ (Sperling: 2014). Given figure within the narrative, which, the series’ prior success and its place “ . reinvigorates the Max Rockatansky To suggest that the ubiquity within popular culture, the film had character by acknowledging his vigilante of apocalyptic and dystopian blockbuster ambitions from the start, roots, but then developing his supporting stories represents a bubbling-up with a budget in excess of $150 million role amid the wider cast of characters of widely held fears about today (Lang 2015:). The narrative, as Miller in Fury Road, many of whom take centre and tomorrow – an expression of notes above, was meant to be as minimal stage over its nominal hero” (McLean anxiety motivated by increasing as possible to display the visual scope of 2017: 145). The central character then economic inequality, the spectre the environment and provide as many becomes Imperator Furiosa (Charlize of terrorism and the encroaching spectacular set pieces as possible. As media education journal 62 4 Max provides his backstory as a ‘road warrior’, a former cop, trying to survive. In many regards, the limited exploration of character in Act One relies heavily upon audiences’ familiarity with the franchise and Max’s backstory. The scene then shifts into its first prolonged chase sequences, where we are introduced to the ‘War Boys’, minions of the antagonist Immortan Joe. The very minimal first-act subverts our expectations as we barely have time to settle into the environment. We are The opening scene of Max atop a cliff introduced to Furiosa, who is dispatched Geoff King notes, ‘. narrative coherence dialogue, setting, or other visual by Immortan Joe for resupplies: of the blockbuster is often said to have or sound techniques, represents been undermined by an emphasis on the a moment when an important The film’s conflict ignites when provision of over-powering spectacle’ change has occurred that affects Immortan Joe discovers that not (2002: 179). Miller can certainly be a character or situation …Act only has Furiosa deviated from her seen to play within this convention. Three presents the dénouement, course on a routine supply mission However, King also comments that a series of events that resolves to the neighbouring citadel of Gas within blockbuster narratives, there is a, the conflicts that have arisen - Town, but she has also taken his gradual development of narrative events, not always happily. When the wives out of their vault and has building slowly and inexorably across the concluding moments of the film made off with them to a location length of a film towards a climax, often tie up all the loose strands, leaving only she knows. Thus, the extended spectacular in nature’ (2002: 185). Miller no unanswered questions, the film car-chase sequence begins. uses King’s notion to great effect, building is said to provide closure. (2005: (McLean 2017: 147) one chase sequence on another within a 38) conventional three-act narrative. Maria The set-pieces during Act Two build on Pramaggiore and Tom Wallis describe In the opening scene, we are quickly one another. The War Boys converge on conventional three-act structure as the introduced to Max, urinating atop of a Furiosa, with Max being used as a blood following: cliff. Through sparse voice-over narration, bag for Nux (Nicholas Holt), chained we are brought up to speed about the to the front of a car, face covered by a Act One introduces characters, environment in which he must survive, a metal mask. A ‘quieter’ moment occurs goals, and conflict(s) and ends with world of ‘fire and blood’. when Max is thrown clear of the car a first turning point, which causes that imprisons him and he discovers the a shift to Act Two. A turning point, Snippets of audio inform us of an oil war, oil tanker that Furiosa has hijacked. This which may be signalled through the result of which is the dystopian land. moment of relative peace is disrupted with a fight between Max and Furiosa, with Max just barely getting the upper-hand. This brief action sequence establishes the dynamics between the characters, and Miller uses these scenes to great effect. Max quickly realises he will need to rely upon Furiosa as he cannot start the oil tanker. Action is, obviously, central to the genre, however, ‘… like dance numbers in a musical, they can be integrated with long- running lines of action’ (Bordwell 2006: 105). More scenarios occur as Immortan Furiosa taking the oil tanker off course Joe pursues relentlessly, with his wives becoming more and more involved in the retaliation spearheaded by Furiosa. The concluding action sequence occurs after Furiosa learns that her home, the ‘Green Place’, no longer exists. Max decides to go his own way but changes his mind after realising their best chance of survival is to head back to the Citadel. Referring back to Pramaggiore and Wallis’ view on Act Three, many of A moment of ‘peace’ Furiosa and Max fight the conflicts are resolved during this final media education journal 62 5 chase, particularly for Furiosa rather than Max. Nux, now turned ally to Furiosa and Max, sacrifices himself to save the surviving rebels, thus achieving his place in the afterlife in Valhalla. Furiosa, rather than Max, confronts Joe and kills him. Max eliminates some of Joe’s minions and later, once again, becomes a ‘blood bag’ for Furiosa after she is critically wounded. The group finally arrive back at the Citadel, revealing to the citizens Joe’s body. The Citadel celebrates and Furiosa, with the remaining wives, ascend to take Furiosa discovers the ‘Green Place’ no longer exists control. Max, however, blends into the crowd and exchanges a respectful look The very few lines of dialogue spoken women—even tough ones—are often with Furiosa before departing into the by Max during the duration of the film relegated to the role of sidekick or unknown. The focus on resolving Furiosa’s demonstrate his reluctance to engage sex object. (Coning 2016: 175) conflicts again demonstrates Max as a with the world’s inhabitants as well as secondary figure and subverts the gender his distrust of this ‘new’ society and, ‘ .