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Representations of Gender, Sexuality, and Sexual Violence in the Book Versions and Film Adaptatio

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Representations of Gender, Sexuality, and Sexual Violence in the Book Versions and Film Adaptatio ASSESSING INDUSTRY IDEOLOGIES: REPRESENTATIONS OF GENDER, SEXUALITY, AND SEXUAL VIOLENCE IN THE BOOK VERSIONS AND FILM ADAPTATIONS OF THE HUNGER GAMES TRILOGY, THE DIVERGENT TRILOGY, AND THE VAMPIRE ACADEMY SERIES A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY OF MEDIA AND COMMUNICATION by Stephanie J. Palmieri December 2016 Examining Committee Members: Jan Fernback, Advisory Chair, Media and Communication Fabienne Darling-Wolf, Media and Communication John Campbell, Media and Communication Talissa Ford, External Reader, English © Copyright 2016 by Stephanie J. Palmieri All Rights Reserved ii ABSTRACT In this study, I use social constructionist feminist and queer theory and narrative analysis to identify messages about gender, sexuality, and sexual violence in both the book versions and film adaptations of The Hunger Games trilogy, the Divergent trilogy, and the Vampire Academy series. These three series are representative of a major pop culture trend in which young adult novels are not only popular and financially successful, but in which these types of novels are being adapted into major films. In this study, I demonstrate that the book and film series all generally privilege whiteness, able- bodiedness, and heterosexuality, and in doing so, these texts reproduce a narrow worldview and privilege normative ways of knowing and being. However, while the films strictly reinforce normative understandings of gender, sexuality, and sexual violence, each book series reimagines gender in important ways, disrupts normative scripts that denigrate women’s ownership over their sexuality, and represents sexual violence in graphic but not exploitative ways that portray the real life consequences and complexity of sexual violence. My analysis of these texts reveals that the book series employ a variety of mechanisms that empower the women protagonists including establishing their narrative agency and representing them as gender fluid, while the film series utilize a variety of mechanisms that both objectify and superficially empower women including an emphasis on women’s sexualized physical bodies especially in times of vulnerability, the pronunciation of “natural” sexual differences, and the strict regulation of women’s bodies by dominantly masculine men. I argue that the significant alteration of the books’ original iii messages are a product of logistical, historical, cultural, and economic elements of the film industry, which has continually constructed women’s roles in terms of their sexual availability, victimization, and need to be rescued by heroic men. In this study, I address the institutional imperatives of the film industry that dictate specific representations of gender, sexuality, and sexual violence, and I address what these representations might mean for audiences. iv To my mom and dad who have always supported me, loved me, and encouraged me to get an education. And to my husband Brian, who has given me endless support throughout this process. v ACKNOWLEDGMENTS I want to thank my committee – Jan Fernback, Fabienne Darling-Wolf, John Campbell, and Talissa Ford – for their patience and their guidance throughout this process. This group of scholars has served as a model of the kind of researcher and professor I want to be as I embark on the next stage of my career. Working with Jan and Fab in my first year in the program and working as John’s teaching assistant helped to shape me into the scholar I have become. And without Talissa, who took a chance on me and agreed to serve on this committee, I would not have been able to complete this long journey. I also want to give a special thanks to my advisor, Jan Fernback, whose guidance throughout the last few years and throughout this process has helped me to produce a work of which I am enormously proud. Jan kept me sane as I grappled with research and writing, and she pushed me to engage with theory in meaningful ways. Jan also assigned me my first college teaching job seveal years ago, for which I am forever grateful. I also owe thanks to Nicole McKenna in the Media and Communications Doctoral Program office. When I arrived at Temple more than six years ago, it was Nicole, also in her first year at Temple, who helped me to enroll in my courses and made sure that I was ready to embark on this journey. Since that first day when she calmed this slightly panicked, fully terrified first year PhD student and her father, Nicole has always made sure I was on the right track and has helped to make it possible for me to finish this degree. vi In acknowledging those that have helped me in this journey, I would be remiss if I did not recognize and thank my cohort. The cohort of 2010 has always been supportive and welcoming. We have supported each other in our research endeavors and have provided each other with advice, solace, encouragement, and praise. I also want to thank my parents, who broke the cycles of abuse and poverty they experienced as children and instilled in me a love of learning. My mom and dad always supported me and my dreams, giving me confidence, helping me to work through failure, and always being willing to listen. Although my mom passed while I was an undergrad, I know that she would be immensely proud of what I have accomplished in my academic career and in obtaining this degree. Finally, I want to thank my husband Brian for all that he has done to support me throughout this dissertation journey. I could not ask for a better, more supportive, or more caring partner. vii TABLE OF CONTENTS ABSTRACT ....................................................................................................................... iii DEDICATION .....................................................................................................................v ACKNOWLEDGMENTS ................................................................................................. vi CHAPTERS 1. OUTLINING THE STUDY ............................................................................................1 Chapter Breakdown .................................................................................................2 Research Questions ..................................................................................................5 Examining Pop Culture Texts ..................................................................................6 The Theoretical Importance of this Study .............................................................11 Methods..................................................................................................................14 My Hopes for this Study ........................................................................................17 2. THE HISTORY OF YOUNG ADULT LITERATURE 1900-2016 .............................19 The Beginning of Young Adult Literature .............................................................19 The Rise of Hard-Edged Realism ..........................................................................24 Corporate Growth and Marketing Tactics: Changes in Young Adult Literature ................................................................................................................26 Young Adult Literature Resurrected ......................................................................30 Addressing a More Sophisticated Audience ..........................................................33 Young Adult Fantasy Fiction .................................................................................35 The Hunger Games, Divergent, and Vampire Academy .......................................39 3. FEMINIST AND QUEER THEORY ............................................................................41 viii Constructing a Theoretical Framework .................................................................41 My Theoretical Framework for this Study .............................................................43 Existing Literature .................................................................................................61 My Contributions to the Existing Scholarship and the Field .................................72 4. METHODS ....................................................................................................................74 Narrative Analysis as a Feminist Methodology .....................................................74 Narratives ...............................................................................................................76 Narrative Analysis .................................................................................................79 Sample Selection Criteria ......................................................................................83 Theme Selection and Analysis: Procedure ............................................................89 Moving Forward ....................................................................................................94 5. GENDER AND SEXUALITY IN THE HUNGER GAMES BOOK SERIES .............96 Research Question One ..........................................................................................96 Gender and Sexuality in the Book Series ..............................................................97 Expressions of Sexuality ......................................................................................116 Recapping the Research Question .......................................................................120
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