Psychological Problem of Amy Elliot Dunne Character

Total Page:16

File Type:pdf, Size:1020Kb

Psychological Problem of Amy Elliot Dunne Character PSYCHOLOGICAL PROBLEM OF AMY ELLIOT DUNNE CHARACTER IN GONE GIRL FILM (2014) A Thesis Submitted to Faculty of Adab and Humanities In Partial Fulfillment of the Requirements for the degree of Strata One YUNIA SARI CHAIRUNNISA 1112026000073 ENGLISH LETTERS DEPARTMENT FACULTY OF ADAB AND HUMANITIES STATE ISLAMIC UNIVERSITY OF SYARIF HIDAYATULLAH JAKARTA 2019 ABSTRACT Yunia Sari Chairunnisa. Psychological Problem of Amy Elliot Dunne Character in Gone Girl Film (2014). A Thesis: English Language and Literature, Faculty of Adab and Humanities State Islamic University of Syarif Hidayatullah Jakarta, 2019. This thesis focuses on Amy Elliot Dunne as the main character in Gone Girl film. The aims of this thesis to observe the psychological problem of Amy’s character from the concept of characterization, personality structure, anxiety, and defense mechanism. This research employs descriptive analytical as the technique to analyze the data with the theory of Psychoanalysis by Sigmund Freud and also characterization by Petrie W. Dennis and Joseph M. Boggs. The data are collected from the narrative of scripts and several pictures in the film. From the analysis of this film, the writer concludes that Amy Dunne has some genuine characterization those are; emotional, manipulative, and lack of remorse. Her negative personality occurs because she suffers from neurotic anxiety. The antecedent of her anxiety based on the presence of Amazing Amy book who portrayed the life of a fictional perfect girl. Furthermore, unpleasant treatment from her parents and the shadow of the Amazing Amy makes her unconsciously has an obsession towards the Amazing Amy. Based on the research findings, the writer finds that Amy's obsession motivates her to always forces her life as perfectly as the Amazing Amy. When there is an object that prevents her from accomplishing her obsession and causes her in discomfort situation. Thus, she does not hesitate to act destructively to her obstacle. This action is due to an imbalance of the three parts of Amy's personality structure. Although her ego uses some defense mechanisms to protect against anxiety, these methods are not enough for her to eliminate her anxiety. Keywords: Personality Structure, Anxiety, Defense Mechanism, Trauma, Psychoanalysis. i ii iii DECLARATION I hereby declare that this submissions is my own work and that, to the best of my knowledge belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other diploma of the university or another institute of higher learning, except where due the acknowledgement has been made in the text. Jakarta, 7th May 2019 Yunia Sari Chairunnisa iv ACKNOWLEDGMENT In the name of Allah, the most Gracious, the most Merciful May peace and blessing of Allah be upon all of us First of all, the writer would like to give the most appreciation and eternal gratitude to Allah SWT, for his infinity guidance and blessing to the writer so she could accomplish her thesis. Then may peace be upon to our beloved prophet Muhammad SAW and all of his followers. This thesis is dedicated to the writer’s everlasting role models Sutikah and H. Chairun Anwar who always give their never-ending supply of love, energy, and patience for her in accomplishing this thesis. The writer also wants to express the highest gratitude to her great advisor; Inayatul Chusna M. Hum for her great patience, time, kindness and contribution in correcting and helping the writer to finish this thesis. Thanks for all of her advices that have been given to me. May Allah always bless her and her family. Another special gratitude is also dedicated to all writer’s anti stressors during her study - Rumpun Tawa member; Sharfina Shabirahannisa, Mita Ekasari, Fitri and Mustika Oktavia who always encourage the writer to finish her thesis. The writer is truly thankful that you are always being her daily dose of happiness. To Fita Megeta Sari for being her endorphins who always create positive synergy The writer also would like to convey her sincerity grateful particularly to: v 1. Saiful Umam, Phd., the Dean of Faculty of Adab and Humanities. 2. Drs. Saefudin, M.Pd., the Head of English Letters Department. 3. Elve Oktaviyani, M.Hum., the Secretary of English Letters Department. 4. Elve Oktafiyani, M.Hum, and Pita Merdeka, M.A, the writer’s thesis examiners. 5. All lecturers of English Letters Departments who could not be mentioned one by one. 6. Ika Chairina Nurul A, Septianto Arief, Permata Vyrna Andani and Berlianamora who always being the writer’s ultimate support system. 7. Riska, Tiara, Bella, and Indri who always cheers and gives support to the writer. 8. ELD B 2012, Literature Class 2012, and KKN Prasasti 2015 members who cannot be mentioned one by one. Finally, the writer hopes this thesis will be useful for the readers or researchers who are interested to analyze the unit of analysis by applying Freud’s psychoanalysis theory. The writer realizes her thesis is far from being perfect. Thus, the writer welcomes any advice, criticism, and suggestion for better improvement. Jakarta, May 15th 2019 Yunia Sari Chairunnisa vi TABLE OF CONTENT ABSTRACT……………………………………………………………………. i APPROVAL SHEET………………………………………………………….. ii LEGALIZATION……………………………………………………………… iii DECLARATION………………………………………………………………. iv ACKNOWLEDGEMENT……………………………………………………... v TABLE OF CONTENT……………………………………………………….. vii CHAPTER I INTRODUCTION………………………………….…... 1 A. Background of the Research………………………… 1 B. Focus of the Research……………………………….. 4 C. Research Question…………………………………... 4 D. Significance of the Research…………………….…... 4 E. Research Methodology…………….………………... 5 1. The Objectives of the Research…………………. 5 2. The Method of the Research…………………….. 5 3. The Instrument of the Research…………………. 5 4. The Unit of Analysis…………………………….. 6 5. The Technique of Data Analysis………………… 6 6. Research Design…………………………………. 6 CHAPTER II THEORETICAL DESCRIPTION……………………. 8 A. Previous Research…………………………………… 8 B. Character Theory……………………………………. 10 C. Techniques of Characterization……………………... 12 D. Sigmund Freud’s Psychoanalysis…………………… 15 vii 1. The Structure of Personality……………………. 18 2. Anxiety…………………………………............ 22 3. Defense Mechanism……………………………. 24 CHAPTER III RESEARCH FINDINGS……………………………… 27 A. Character Analysis…………………………………. 29 B. Amy Dunne’s Psychological Problem……………... 40 C. Personality Structure of Amy Dunne………………. 53 CHAPTER IV CONCLUSIONS AND SUGGESTION……………… 61 A. Conclusions…………………………………........... 61 B. Suggestions..………………………………………. 62 BIBLIOGRAPHY……………………………………………………………. 64 APPENDICES………………………………………………………............... 66 viii CHAPTER I INTRODUCTION A. Background of the Research Presently, film is one of the media that are often used by the scriptwriter, and director to express their ideas about issues which related to the element of human life, such as political, social, and psychological problems. There are many characters in film who suffers from psychological problems, such as; Tyler Durden the main character in Fight Club (1999) film who suffers from dissociative identity disorder, he does not realize that he has two different personalities in his body, the character of Jerry Hickfang in The Voices (2014) film who has a schizophrenia problem, he cannot understand what is real and what is imaginary, and also obsessive-compulsive disorder in Nina character in Black Swan (2010) film. Another film that also deals with the psychological issue is Gone Girl. This film depicts the life of a woman, named Amy Elliot Dunne who looks perfect but actually has a psychological problem. She is a career woman and works in a women's magazine company as a writer questionnaire. Both of her parents are the author of a children's book Amazing Amy. This book tells about the life of a fictional girl character named Amy which is portrayed as a perfect girl. Amazing Amy has several series, that tell the life of Amy character from childhood to adulthood, and it ends with happiness when the character of Amy married with a perfect man. The book series of Amazing Amy is very popular and successful in America. As the effect of this book, Amy Elliot Dunne 1 2 who is the main inspiration behind this book is considered by American public as a perfect girl figure. At first, Amy Dunne is described as a smart woman, beautiful, and rich. She is the only child of her parents. Many people admire her because they believe that the character of Amy in Amazing Amy represents Amy Dunne whereas, behind all of her achievements, she has a dark side that is not known by people around her. She has a psychological problem that is caused by the pressures that she experienced when she was a child. Amazing Amy portrays herself as the perfect girl, and that perfect side is the strong pressure for Amy Dunne. Amy hates her parents because she has to be perfect image and live behind the shadow of Amazing Amy fictional character. Amy Dunne is married to a man named Nick Dunne. He works as a writer in a men’s magazine. Their married life is perfect, but after several years, their married life begins to deteriorate. One day, Amy Dunne discovers her husband having an affair with a young woman, Amy feels betrayed by her husband. She wants to take revenge on her husband by making herself disappear. Through a variety of evidence that has been prepared, Amy wants her disappearance to be a murder case, and make her husband as the murderer. To succeed her plan, Amy has no doubt to do anything such as kill someone or even herself. Besides her husband, Amy has also framed her ex- boyfriends, Tommy O’Hara, and Desi Colling. She reported to the police that Tommy has raped her, and she is also set Desi as the person who kidnaps her. The summary above indicates that the main character suffers has a psychological problem, she does many excessive actions to several persons who hurt 3 her. This is the main reason Gone Girl film is chosen as the object of this research. To find out the background of the main character actions, it required a study of psychology that related to the literary studies.
Recommended publications
  • Personality Disorder of Amy Dunne in Gone Girl by Gillian Flynn
    PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PERSONALITY DISORDER OF AMY DUNNE IN GONE GIRL BY GILLIAN FLYNN AN UNDERGRADUATE THESIS Presented as Partial Fullfilment of the Requirements For the Degree of Sarjana Sastra in English Letters By PATRICIA NADIA RAHMA PRATIWI Student Number: 144214075 DEPARTEMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2019 PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PERSONALITY DISORDER OF AMY DUNNE IN GONE GIRL BY GILLIAN FLYNN AN UNDERGRADUATE THESIS Presented as Partial Fullfilment of the Requirements For the Degree of Sarjana Sastra in English Letters By PATRICIA NADIA RAHMA PRATIWI Student Number: 144214075 DEPARTEMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2019 ii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI GOOD THINGS TAKE TIME vii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI This page is dedicated for: MY FATHER IN HEAVEN, MY LOVELY MOTHER, AND MY BIG SISTER. viii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ACKNOWLEDGEMENTS First of all, I would like to express my gratitude towards Jesus Christ for His grace and endless blessings so that I could finish my undergraduate thesis. For so many things that I have faced make me even stronger. Second of all, I would like to say thank you to my thesis advisor, Dr. Ga- briel Fajar Sasmita Aji M.Hum., who patiently help me to finish this undergradu- ate thesis and also always give the positive vibes and the spirit. I would like to thank my co-advisor, Sri Mulyani, Ph,D.
    [Show full text]
  • Leading Character's Sociopathic Behaviour In
    LEADING CHARACTER’S SOCIOPATHIC BEHAVIOUR IN FLYNN’S GONE GIRL A THESIS BY INTANTA A. MANURUNG REG. NO 130705094 DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2017 i Universitas Sumatera Utara ii Universitas Sumatera Utara iii Universitas Sumatera Utara iv Universitas Sumatera Utara AUTHOR’S DECLARATION I, INTANTA A. MANURUNG, DECLARE THAT I AM THE SOLE AUTHOR OF THIS THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT OF THIS THESIS. THIS THESIS CONTAINS NO MATERIAL PUBLISHED ELSEWHER FOR EXTRACTED IN WHOLE OR IN PART FROM A THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER DEGREE. NO OTHER PERSON’S WORK HAS BEEN USED WITHOUT DUE ACKNOLEDGEMENTS IN THE MAIN TEXT OF THIS THESIS. THIS THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF ANOTHER DEGREE IN ANY TERTIARY EDUCATION. Signed: Date: October 10th, 2017 v Universitas Sumatera Utara COPYRIGHT DECLARATION NAME : INTANTA A. MANURUNG TITLE OF THESIS : LEADING CHARACTER’S SOCIOPATHIC BEHAVIOUR IN FLYNN’S GONE GIRL QUALIFICATION : S-1/SARJANA SASTRA DEPARTMENT : ENGLISH I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR REPRODUCTION AT THE DISCRETION OF THE LIBRARIAN OF DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES, UNIVERSITY OF SUMATERA UTARA ON THE UNDERSTANDING THAT USERS ARE MADE AWARE OF THEIR OBLIGATION UNDER THE LAW OF THE REPUBLIC OF INDONESIA. Signed : Date : October10th, 2017 vi Universitas Sumatera Utara ACKNOWLEDGEMENTS Praise and great gratitude submitted to Almighty God, Jesus Christ who always gives his gracious mercy and tremendous blessing that has helped me finishing this thesis entitled: Leading Character‘s Sociopathic Behaviour of Flynn‘s Gone Girl.
    [Show full text]
  • Reading Group Discussion Questions – Gone Girl 1. Do You Like Nick Or
    Reading Group Discussion Questions – Gone Girl 1. Do you like Nick or Amy? Did you find yourself picking a side? Do you think the author intends for us to like them? Why or why not? 2. Does the author intend for us to think of Nick or Amy as the stronger writer? Do you perceive one or the other as a stronger writer, based on their narration/journal entries? Why? 3. Do you think Amy and Nick both believe in their marriage at the outset 4. Nick, ever conscious of the way he is being perceived, reflects on the images that people choose to portray in the world—constructed, sometimes plagiarized roles that we present as our personalities. Discuss the ways in which the characters—and their opinions of each other—are influenced by our culture’s avid consumption of TV shows, movies, and websites, and our need to fit each other into these roles. 5. Discuss Amy’s false diary, both as a narrative strategy by the author and as a device used by the character. How does the author use it to best effect? How does Amy use it? 6. What do you make of Nick’s seeming paranoia on the day of his fifth anniversary, when he wakes with a start and reports feeling, You have been seen 7. As experienced consumers of true crime and tragedy, modern “audiences” tend to expect each crime to fit a specific mold: a story, a villain, a heroine. How does this phenomenon influence the way we judge news stories? Does it have an impact on the criminal justice system? Consider the example of the North Carthage police, and also Tanner Bolt’s ongoing advice to Nick.
    [Show full text]
  • Sade Releases New Music “The Big Unknown”, Reveals Official Lyric Video Available Now
    SADE RELEASES NEW MUSIC “THE BIG UNKNOWN”, REVEALS OFFICIAL LYRIC VIDEO AVAILABLE NOW (November 9th, 2018 – Los Angeles, CA) – Sade releases a new original song entitled “The Big Unknown” from academy award winning British director Steve McQueen’s latest film, Widows. The song is HERE via Sony Music Entertainment. Widows, from Twentieth Century Fox, Regency Enterprises and See-Saw Films, is a feature-length adaptation of the UK television series of the same name. It opened in theatres across the UK on 6th November 2018. Sade wrote “The Big Unknown” specifically for Widows’ final scene. Over a series of conversations with Sade, Steve McQueen encouraged her to dig deep within to write a song about loss and survival. The song “The Big Unknown” speaks to the film’s spirit, but upholds the classic hallmarks of her sound, and stands out as another bold and brilliant work from the legendary songstress. In a recent Los Angeles Times interview McQueen was quoted: “It was an honour to work with such a legend. Sade is an incomparable talent and incredible artist who so rarely releases new material, but luckily the original series of Widows had deeply resonated with her.” “The Big Unknown” lyric video features McQueen’s cool contemporary Chicago scenes as a beautiful backdrop to lead character Veronica’s (Viola Davis) contemplation of a future unknown, and the dark times that led to that moment. The Widows’ Original Motion Picture soundtrack album features Sade’s “The Big Unknown” and Nina Simone’s “Wild Is The Wind” alongside an intimate score by Academy® Award winner Hans Zimmer.
    [Show full text]
  • Gone Girl Notes
    Film Extra Day School Gone Girl – the mystery of a marriage Introduction spend the money. Fincher has a reputation for David Fincher is one of the most celebrated endless re-shoots and for carefully auteur directors in contemporary Hollywood. choreographed scenes involving matte work/ His every film is an ‘event’ – something ‘bigger’ CGI and crowds/complex actions. in scope than the usual mainstream film, whether in terms of style, theme or story Our strategy today will be to consider Fincher treatment. ‘Auteur’ here implies a consistent as a director of adaptations and first we’ll study ‘authorial voice’ in the collective production of a how he set about working on a previous film. adaptation of a big bestselling crime novel, The Girl With the Dragon Tattoo, using the script by Fincher follows the tradition of the studio-based one of his regular collaborators, Steven Zaillian. auteurs of the 1950s who often worked with the We’ll do this by comparing three versions of the same creative teams on each film. Fincher’s last same narrative. The original novel (the first of a four directorial jobs have been The Social trilogy written by Stieg Larsson and known Network (2010), the biopic of Mark Zuckerberg, collectively as Millennium) was published in the adaptation of the Swedish bestseller The 2005. A Scandinavian film version was directed Girl With the Dragon Tattoo (2011), the first two by Niels Anders Oplev from a script by Nikolaj episodes of the inaugural Netflix production, Arcel and Rasmus Heisterberg in 2009. House of Cards (2013) and now Gone Girl.
    [Show full text]
  • Emotion of Dominance Depicted by Amy Elliot Dunne of Gone Girl Film
    e-ISSN 2549-7715 | Volume 4 | Nomor 3 | Juli 2020 | Hal: 553-567 Terakreditasi Sinta 4 EMOTION OF DOMINANCE DEPICTED BY AMY ELLIOT DUNNE OF GONE GIRL FILM Maisyara Andina, Surya Sili, Nita Maya Valiantien English Department, Faculty of Cultural Sciences Mulawarman University Email: [email protected] ABSTRACT The purposes of this research were to find the dominance emotion and the ideal characteristics for woman Based on radical liBertarian feminism perspectives in the character of Amy Elliot Dunne of Gone Girl film. This research was categorized as descriptive qualitative research and used content analysis approach. The researchers used Gone Girl (2012) film and its film script as the sources of data. The data were taKen from the narrations, monologues and dialogues of Amy and other characters that indicating Amy’s dominance emotion and her characteristics and compared with the ideal characteristics for woman Based on radical liBertarian feminism perspectives using Marston D.I.S.C. theory and radical liBertarian feminism theory. The findings reveal that Amy indeed posseses dominance emotion that maKes her as an androgyny to overcome her Bad experiences and her characteristics fulfill the ideal characteristics for woman according to radical liBertarian feminists. The film showed that Amy presented a woman who no longer Became the inferior group in the society and can Be free in the male-ruled realm By having status, education, and money which are the purposes of radical liBertarian feminism. However, the researchers came to the conclusion that she does not fit to Be a role model of radical liBertarian feminism as she originally created as a villain character of the film that she presented her Bad Behavior at some point through the film.
    [Show full text]
  • Feminism in Gillian Flynn's Novels: Violence, Malice and Amorality As the Basis of a Post-Feminist Agenda
    Universität Duisburg-Essen American Literary and Media Studies Feminism in Gillian Flynn’s Novels: Violence, Malice and Amorality as the Basis of a Post-Feminist Agenda Inaugural-Dissertation zur Erlangung des akademischen Grades Doktor der Philosophie (Dr. phil.) der Fakultät für Geisteswissenschaften der Universität Duisburg-Essen vorgelegt von Enes Gülderen aus Duisburg Betreuer: Prof. Dr. Josef Raab, Universität Duisburg-Essen Essen, im August 2019 Gutachter: Herr Prof. Dr. Jens Martin Gurr Herr Prof. Dr. Florian Freitag Tag der mündlichen Prüfung: 06.05.2020 Diese Dissertation wird über DuEPublico, dem Dokumenten- und Publikationsserver der Universität Duisburg-Essen, zur Verfügung gestellt und liegt auch als Print-Version vor. DOI: 10.17185/duepublico/71787 URN: urn:nbn:de:hbz:464-20200519-130231-2 Alle Rechte vorbehalten. Table of Contents 1. Introduction 5 1.1 Gillian Flynn’s Novels as Contemporary Vehicles for Post- Feminist Perspectives 13 1.2 Gillian Flynn’s New Kind of Gender Trouble 27 2. Historical and Theoretical Parameters of the Feminist Movements 36 2.1 The First Wave: Claiming Equal Rights 37 2.2 The Second Wave: Claiming Freedom from Gender-Based Role Models 39 2.3 The Third Wave: The Construction of Gender 42 2.4 “The Fourth Wave”: Hashtag Activism 45 2.5 Each Movement’s Influential Feminist Literature 47 2.5.1 Margaret Fuller’s Woman in the Nineteenth Century 48 2.5.2 Betty Friedan’s The Feminine Mystique 55 2.5.3 Judith Butler’s Gender Trouble 68 3. Gender, Sex, Identity and Equality in Gillian Flynn’s Novels 78 4. Gone Girl: Gender-Based Identity Conflicts in a Typical American Marriage 84 4.1 The Perception of the Characters’ Delusions in Gone Girl 87 4.1.1 Nick Dunne, the Failing American Husband 88 4.1.2 Amy Elliott Dunne’s Feminist Perspective on Marriage and Power 96 4.2 The Setting as a Main Factor of the Characters’ Frustrations in Gone Girl 101 4.3 Media Influence on Preconceived Gender Roles 105 4.4 The Cool Girl as a Modern Concept of Phallocentrism and Male Domination 111 2 5.
    [Show full text]
  • AN ANALYSIS of AMY DUNNES's PSYCHOPATH PROBLEM in GONE GIRL MOVIE VIEWED from PSYCHOANALYSIS THEORY by SIGMUND FREUD Mukhammad
    AN ANALYSIS OF AMY DUNNES'S PSYCHOPATH PROBLEM IN GONE GIRL MOVIE VIEWED FROM PSYCHOANALYSIS THEORY BY SIGMUND FREUD Mukhammad Teguh Azis Virayuda1, Teguh Kasprabowo2 Faculty of Language and Cultural Studies, Stikubank University email: [email protected], [email protected] ABSTRACT The study aimed to analyze psychopathic problem of Amy Dunnes, the main character of Gone Girl movie, viewed from psychoanalysis theory by Freud. This study, employing qualitative method, explained the personalities of the main character in general and her psychopathic problem that she had. The dialogs and the scenes were analyzed to unfold the personalities and the psychopathic problems of the main character. The result showed that the main character had the following personalities: The main character wanted to have the perfect personality, Amy wanted revenge when she was hurt, experiencing anxiety and being afraid of being punish, and Amy has paranoid thoughts about defeat.. The result also showed that the psychopathic problems of the main character were: Amy has a complicated behavior, Amy behaves manipulatively while planning revenge, Amy has a lack of empathy, Amy behaving sadistically to her husband, and Amy often lie to protect herself. Keywords : Amy Dunnes, Psychopath, Gone Girl Movie, Psychoanalysis, Sigmund Freud. 1.INTRODUCTION Movie is a communication medium that is audio visual to convey a message to a group of people who gather in a certain place. (Effendi, 1986: 134). In this modern era, movie has developed into an attractive industry people who want to express their creative thinking and skills. Most of cineaste considers movie as a medium for sharing their ideas and opinions about several phenomena in real life.
    [Show full text]
  • “I'm the Bitch That Makes You a Man”: Conditional Love As Female
    “I’m the Bitch that Makes You a Man”: Conditional Love as Female Vengeance in Gillian Flynn’s Gone Girl By Patrick Osborne, Florida State University, USA Abstract Gillian Flynn’s Gone Girl presents a satirical response to violence against women perpetuated by patriarchal simulations in the media. Her goal throughout the novel is to provide an outlet for female violence and presents revenge as a response to a consumer culture that impedes female happiness through the construction of emphasized femininity, inequality in marriage, and ‘raunch culture’. Amy Dunne breaks under the pressure generated by hyperrealities and narcissistic desires of America’s consumer culture that suffocate the traditional bonds of marriage, and her deviance is a reaction to a patriarchal social structure that reinforces gendered illusions of self-actualization and allows male entitlement to remain unchallenged. 1 In the summer of 2012, Gillian Flynn’s Gone Girl captured the world’s attention with a caustic and transgressive satire concerning the dissolution of marriage within America’s contemporary culture of narcissism. The novel focuses on the disappearance of Amy Dunne who has gone missing on her fifth wedding anniversary to her husband, Nick Dunne. Following a series of diary entries serving as red herrings to misdirect the audiences’ attention, Amy reveals herself in the second half of the novel to be the mastermind of a malicious plot to frame her husband for murder in response to his infidelity. David Itzkoff deemed the novel “the year’s biggest literary phenomena for a book not containing the words ‘Fifty Shades’ in the title” (“New Two-Book Deal), and, with the aid of its 2014 cinematic adaptation, Gone Girl spent over 130 weeks on the New York Times Bestseller List (“Praise for Gone Girl”).
    [Show full text]
  • Seduction, Manipulation, and Rejectionin Gillian Flynn's Gone Girl
    © 2019 JETIR March 2019, Volume 6, Issue 3 www.jetir.org (ISSN-2349-5162) Seduction, Manipulation, and Rejectionin Gillian Flynn’s Gone Girl M R ANCILIN, M.Phil Scholar,Dept. Of English, St.Joseph’s College of Arts and Science for Women, Hosur. Abstract: Gillian Schieber Flynn, is an American writer known for her psychological thriller novels. In her novels, she gives a strange and suspicious tone to her characters and to her writing. This tone makes the novel more interesting and it attracts the reader’s attention. Gillian Flynn is the author of three successive novels: Sharp Objects, Dark Places, and Gone Girl. Flynn’s novel, Dark Places won Dagger Award and the novels Sharp Objects and Gone Girl were the New York Times bestsellers. Gillian Flynn's third novel Gone Girl is a thriller, mysterious and psychological entertaining tale. The novel tells the story of a Missouri couple Nick and Amy. Amy, the central character grew up in New York with her wealthy parents. She is a beautiful, manipulative, seductive and self-centred psychopath. She could have a narcissistic personality disorder which reveals from her actions. Throughout the novel, she uses strategic calculations on how to deceive other characters and manipulates their behaviour. Amy's manipulations are repeatedly successful because she is very seductive and charming. This paper tends to analyse the narcissistic traits: seduction, manipulation, and rejection of the central character in the novel. Keywords: narcissism, manipulation, rejection, seduction. Narcissists are lovers of power and control. To attain power, they use several traits. The narcissistic traits include three levels: seduction, manipulation, and rejection.
    [Show full text]
  • Discussion Questions for Gone Girl by Gillian Flynn
    Discussion Questions for Gone Girl by Gillian Flynn These discussion questions were prepared by the National Network to End Domestic Violence (NNEDV) for the Reader with a Cause book club on Goodreads. If you like our questions please feel free to use them – and don’t forget to join the conversation online at https://www.goodreads.com/topic/group_folder/200204 1. The Myth of the Intergenerational Cycle of Violence: Near the end of the book, Amy quasi-defends her actions as follows: “’I just want you to be happy, Amy.’ How many times did he say that and I took it to mean: ‘I just want you to be happy, Amy, because that’s less work for me.’ But maybe I was unfair. Well not unfair, but confused. No one I’ve loved has ever not had an agenda. So how could I know?” (394) NNEDV’s VP of Development & Innovation, Cindy Southworth, decries the “intergenerational cycle of violence” as follows: “When you think that one in three girls, one in six boys will be a victim of child sexual abuse before they’re 18; one in three women, or one in six men are not perpetrating crimes against people every day. So the majority of victims are resilient and strong and fabulous and live wonderful lives and don’t hurt anyone. [Abusers] make intentional choices to do these horrific acts, and while I feel bad for the small child [they were], there’s no excuse.”* What do you think about “the intergenerational cycle of violence”? Do you think abusers are victims of their past, or do they make choices to harm others? -- * All In with Chris Hayes http://video.msnbc.msn.com/all-in-/52648253#52648253 (August 1, 2013) 2.
    [Show full text]
  • TESTIMONY March 5, 2015 on FILM TAX CREDITS
    TESTIMONY March 5, 2015 ON FILM TAX CREDITS By Michael Rathbone and Jessica Stearns Testimony before the Economic Development and Business Attraction and Retention To the Honorable Members of enact this type of tax credit. Its purpose the Committee: was to stimulate the growth of the film industry in Missouri by reducing Ladies and gentlemen, thank you for the film studio’s tax liability incurred the opportunity to testify today. My within the state. The credit applies to name is Michael Rathbone, and I am tax liability incurred from expenditures a policy researcher for the Show-Me on payroll and goods and services Institute, a nonprofit, nonpartisan purchased within the state. Missouri-based think tank that supports free-market solutions for state The original film tax credit program policy. The ideas presented here are included a sunset provision that my own. This testimony is intended required reauthorization every six to provide information on film tax years. It was reauthorized in 2007 but credits and their impact on economic allowed to sunset in November 2013. development, specifically in regards During that period the credit helped to the proposed House Bill 803 (HB finance major motion pictures such 803). as Up in the Air and Gone Girl. The success of Gone Girl at least partially Introduction inspired calls for reauthorizing the film tax credit program.2 Film tax credits are not a new phenomenon within state economic Most Missourians want a thriving film development policy. Missouri first industry. However, the key question is enacted the film tax credit program whether film tax credits will generate in 1998.1 At the time, Missouri was enough economic activity in Missouri one of the first states in the nation to to justify their use.
    [Show full text]