Politics, Genre, and Duration in Kathryn Bigelow's Cinema Author(S): Caetlin Benson-Allott Source: Film Quarterly, Vol

Undoing Violence: Politics, Genre, and Duration in Kathryn Bigelow's Cinema Author(s): Caetlin Benson-Allott Source: Film Quarterly, Vol. 64, No. 2 (Winter 2010), pp. 33-43 Published by: University of California Press Stable URL: http://www.jstor.org/stable/10.1525/FQ.2010.64.2.33 . Accessed: 26/08/2013 11:53 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Film Quarterly. http://www.jstor.org This content downloaded from 132.235.79.133 on Mon, 26 Aug 2013 11:53:47 AM All use subject to JSTOR Terms and Conditions UNDOING VIOLENCE: POLITICS, GENRE, AND DURATION IN KATHRYN BIGELOW’S CINEMA CAETLIN BENSON-ALLOTT SURVEYS AN INNOVATIVE CAREER IN AND OUT OF HOLLYWOOD In her thirty years as a feature film director, Kathryn Bigelow wider context of Bigelow’s oeuvre, the film’s visible compro- has amassed an impressive oeuvre of films celebrated for their mises instead suggest a struggle to create new meaning from radical representations of race and gender as well as their in- Hollywood convention. novative cinematography and action sequences. These aspects In what follows, I explore Bigelow’s films chronologically often overlap, as when she encourages viewers to rethink and in terms of these recurring tensions and conflicts; I view action-hero masculinity by breaking with genre conventions her oeuvre as a set of questions and engagements rather than and slowing down cinematic violence in her first feature,The a predetermined auteurist statement. Too often, Bigelow’s Loveless (1982); her blockbuster, Point Break (1991); and her champions (of which she has and deserves many, in both the recent Oscar-winner, The Hurt Locker (2008). Bigelow’s work academy and the industry) impose an overly unified interpre- presents an ongoing engagement with Hollywood genres but tation of her filmmaking. This reflects an understandable is neither simply subversive nor easily classifiable as commer- desire for coherence, but at the same time it does the films a cial. Instead, her career has followed an unusual trajectory as disservice by downplaying their dynamism, not to mention she has been both insider and outsider in relation to main- the significant industrial and artistic challenges Bigelow has stream cinema. Along the way, her engagements with the faced throughout her career. Each film grapples with these U.S. film industry and its genres have been paradoxical and challenges uniquely, and it is only by recognizing their provocative. Her big-budget blockbuster for Twentieth respective struggles that an accurate image of Bigelow’s Century Fox, Strange Days (1995), flopped, whereasThe auteurism emerges. Hurt Locker was independently produced yet brought Bigelow many prestigious awards, including the 2010 Academy Awards THE LOVELESS AND NEAR DARK for Best Picture and Best Director. In the years leading up to her first feature, Bigelow studied Bigelow’s shifting relationship to Hollywood forms is also painting at the San Francisco Art Institute and New York’s reflected in the fact that she has repeatedly commissioned Whitney Museum. She was very involved with New York’s purpose-built camera equipment to create unique mobile conceptual art scene, particularly the 1970s artists’ collabora- shots within established generic conventions. Dynamic ma- tive Art and Language, which critiqued commodity culture. neuverings also characterize the plots of her films, which fea- Bigelow’s early work benefited from her apprenticeships with ture marginal or countercultural characters in conflict with Vito Acconi, Richard Serra, and Lawrence Weiner; she also social norms. Often valorizing an outsider position, the films acted in Lizzie Borden’s 1983 feature Born in Flames, a search for a balance between rebellion and social order in fictional account of a feminist revolution that blends genre both narrative and form—although some do fail to find it. and political filmmaking in what might be considered a This is especially the case in Strange Days, where a relatively model for Bigelow’s later work. While working with Art and bold treatment of police racism is ultimately subordinated to Language, Bigelow began a short film,The Set-Up (1978), a conventional romantic ending. Yet while an isolated read- which she submitted as part of her MFA at Columbia Uni- ing of Strange Days might conclude that progressive politics versity. A reflection on the fascistic appeal of screen violence, and generic formulae make uneasy bedfellows, taken in the The Set-Up laid the foundation for many of the production techniques that define Bigelow’s later work, including rigor- Film Quarterly, Vol. 64, No. 2, pps 33–43, ISSN 0015-1386, electronic ISSN 1533-8630. © 2010 by the Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press’s ous storyboarding and intensive collaboration with actors, edi- Rights and Permissions website, http://www.ucpressjournals.com/reprintinfo.asp. DOI: 10.1525/FQ.2010.64.2.33 tors, and other directors.† However, Bigelow’s recent interviews FILM QUARTERLY 33 This content downloaded from 132.235.79.133 on Mon, 26 Aug 2013 11:53:47 AM All use subject to JSTOR Terms and Conditions suggest ambivalence toward the film’s overtly philosophical quiet highway. When “Relentless” eventually recommences framework. In a 1995 Film Comment interview with Gavin (about halfway through the shot), it no longer seems to refer Smith, reprinted in Deborah Jermyn and Sean Red mond’s to the biker; instead it comments on the shot itself. Relentless collection, The Cinema of Kathryn Bigelow: Holly wood duration characterizes The Loveless’s cinematography and its Transgressor (Wallflower Press, 2003), Bigelow coyly encour- anti-narrative. Whereas most road movies dare the spectator ages viewers to regard The Set-Up as a “politically literal” text to keep up, The Loveless challenges her to endure, to sit about violence (29). This reductive account of the film belies through shots that—like the bikers themselves—seem to be its real violence, as Bigelow asked her actors to actually beat going nowhere. For nothing much happens—but this noth- and bludgeon each other throughout the film’s all-night shoot. ing much nonetheless produces abrupt, brutal, and devastat- More recently, she has affirmed critic Amy Taubin’s view that ing violence. The Set-Up “contains in embryo everything that would preoc- Setting therefore becomes very important for The Love- cupy Bigelow through the seven feature films that followed,” less, most of which takes place in an economically depressed thereby recuperating the project even if she now rejects the truck-stop town where Dafoe’s Vance and his gang undertake way she executed it (Film Comment, May/June 2009). some minor mechanical repairs. While in town, the gang That critical distance from her own work is already vis- does everything movie bikers are supposed to do: they intimi- ible in her 1982 feature, The Loveless, co-directed with Monty date the local boys, flirt with the waitresses, threaten the patri- Montgomery. It is a sedate, almost anti-narrative homage to archs, and spout impossibly cool, cryptic slang. The mundane post-war biker films such as Laslo Benedek’s classic, The Wild familiarity of their behavior enables the film to spend more One (1953). Whereas The Set-Up supplements its gory on- time contemplating the gang’s boredom than advancing the screen violence with voiceover commentary from two Co- plot. What plot there is seems to progress almost by chance, as lum bia University professors—a somewhat didactic technique when an androgynous young woman, Telena (Marin Kanter), —The Loveless offers only the most clichéd narration by its happens into the gas station, flirts with Vance, then takes him central character. His trite asides provide no key to the film’s for a ride to a local motel. In a mid-drive anecdote, Telena re- interpretation, so the viewer is obliged to confront the film’s veals that her father has been sexually abusing her since her visual style without pedagogy or guidance. Bigelow’s first fea- mother’s suicide, yet when her father later drags her from the ture is no less philosophical in its approach to questions of motel, Vance barely moves, as if resisting the call of a representation than The Set-Up as it invites us to reconsider Hollywood revenge plot. Telena subsequently takes her own familiar subject matter. Through deliberately stilted dialogue revenge by showing up at her father’s favorite bar with a gun, and slow camera movements, it creates critical distance but the film presents the timing of this reprisal as almost arbi- between spectator and narrative that throws the film’s still trary. It could just as easily have happened another evening, landscapes and shut-down lives into stark relief. In this lan- or not at all. Indeed, the pace of the film makes its violent guorous atmosphere, nothing much happens, so the viewer conclusion feel without context, because without a narrative starts to ask where violence will come from and why she is arc supporting it, it cannot bear any larger social or symbolic waiting for it. significance. In short, by manipulating the rhythm of the The film begins at dawn in a nondescript Southern biker genre, Bigelow and Montgomery divest it of its conven- bayou.

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