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Rey, the New Feminine Karen L. Donoghue & Kamaljit Chirom

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Rey, the New Feminine Karen L. Donoghue & Kamaljit Chirom P: ISSN NO.: 2394-0344 RNI No.UPBIL/2016/67980 VOL-3* ISSUE-10* January 2019 E: ISSN NO.: 2455-0817 Remarking An Analisation Rey, The New Feminine Abstract The action heroine presents an insightful lens through which to examine changing gender roles and their representation. They can be viewed from two standpoints - regressive symbols of male fantasy or challengers of established cultural codes of gender. While Star Wars has traditionally been celebrated as an epic space opera with a timeless theme, the introduction of a principal female character, Rey, has marked a significant shift in a mostly male-dominated storyline. This paper argues that Rey, unlike many of her predecessors, is a desexualized action heroine not pandering to the traditional male gaze. A close examination of the film also reveals several instances of gender role reversals that establish Rey as the dominant character whose decisions drive forward the narrative of the film. Finally, the paper looks at how Rey challenges the very constitutional elements of traditional femininity, defining herself as a new feminine in the process. Keywords: New Feminine, Male Gaze, Gender Representation, Star Karen L. Donoghue Wars. Assistant Professor, Introduction Deptt. of Journalism & Mass Star Wars is an epic space opera that was created by George Lucas and has been a part of American popular culture since the release of Communication, its first instalment in 1977. Since then, its fan base has spread globally and North-Eastern Hill University, characters like Yoda, associated with wisdom, are popular even among Umshing, Mawlai, those who may not have watched the series. The popularity of Star Wars Shillong, Meghalaya, has been escalating with the franchise developing into an enormously India lucrative merchandising industry. The main story of Star Wars is told in trilogies while there have been other related standalone films such as Rogue One: A Star Wars Story (2016) and related television series such as the animated series Star Wars: The Clone Wars. Although a majority of the Star Wars fan base were initially young, white males, the franchise has gained popularity with African-American, Hispanic and Asian fans while the number of female fans has increased too (Pianka, 2013). The present owners of the franchise have been sensitive to this development and have incorporated a principal female character in the latest instalment of trilogies, beginning with Star Wars: The Force Awakens (2015) where audiences are introduced to Rey who is poised to become a Jedi and follows a path rather similar to that of Luke‟s in A New Hope. The film passes the Bechdel test and seems to be an attempt at widening the scope of the narrative to allow for more gender diversity. This paper discusses the character of Rey as being an action heroine whose portrayal can be read as a new feminine in the symbolic world of film, where cultural codes of gender often dictate onscreen male and female subjectivities. Kamaljit Chirom It is something of a cliché to state that women are Assistant Professor, underrepresented in films and that their representations are largely Deptt. of Journalism & Mass sexualized, rarely challenging hegemonic representations of gender as demonstrated in various studies (Smith, Choueiti, Scofield, & Pieper, 2013; Communication, Smith & Beighley, 2015). In the present film scenario where characters North-Eastern Hill University, largely fulfil expectations of gender norms, the action heroine has been a Umshing, Mawlai, subject of much debate. Feminist film critics and academics attempt to Shillong, Meghalaya, grapple with such characters using mainly the binaristic perspective of India psychoanalysis. There is legitimate concern that action heroines such as Sonja in Red Sonja (1985), played by Brigitte Nielson and Lara Croft of the Lara Croft: Tomb Raider (2001) are sexualized and their characterization and outward appearance play to the male gaze – a man‟s fantasy of what a heroine should be. Pamela Anderson‟s titular character in Barb Wire (1996) is another often cited example of such heroines. Tasker (2002) says that they embody “the big-breasted sexualised fantasy woman of comic-book traditions.” However, this reductive tendency to view sexualised women as male fantasies having no agency is countered by MCaughey (2001) 261 P: ISSN NO.: 2394-0344 RNI No.UPBIL/2016/67980 VOL-3* ISSUE-10* January 2019 E: ISSN NO.: 2455-0817 Remarking An Analisation who argues that white male fantasies, which make up Hutt and is made a slave where she is shown in the for most of the images in Western culture, can also be notorious metal bikini that needlessly sexualises her, appropriated for feminism. Brown (as cited in an unequivocal example of catering to the male gaze. Bampatzimopoulos, 2015) has also contended that As Mulvey (1975) points out, fetishism builds up the while the action heroine is a complex figure that can physical beauty of the object, turning it into something be viewed as a regressive symbol of male fantasy, satisfying in itself. Leia‟s character is graceful and they also have transgressive potential, at once there is an element of mystery that she exudes even pushing gender boundaries and traditional when she is first introduced in Episode IV: A New understanding of gender roles. Hill (2012) addresses Hope. The image of a beautiful, graceful and this divide by arguing against the sufficiency of mysterious princess further fuels fetishised readings binaristic frameworks to analyse female heroines. She of Leia. problematises psychoanalysis‟ positioning of males as In the prequel trilogy, which is mainly the essentially active and females as passive. Using story of Anakin Skywalker from his childhood till his Deleuzian notion of becoming, Hill proceeds to transformation into Darth Vader, we come across analyse the character of Ripley from Alien (1979), another strong female character: Padmé Amidala. But often categorized as a masculine figure, in a new and even here Padmé‟s character, in one of the Geonosis creative mode that is not constrained by the fighting scenes, is shown in a body hugging white suit limitations of psychoanalysis. enhancing her curves and showing her midriff. Aim of the Study Though not as sexualised as Leia in the metal bikini, This paper examines Rey as an action she is still the stereotypical princess who needs heroine whose being is more an assemblage of saving and protection by a knight, who in this case various qualities and actions, rather than as a female comes in the form of Anakin and with whom she with masculine qualities. We argue that through her eventually falls in love. Both Leia and Amidala are desexualisation and successful reversal of gender graceful in movement and appearance. In contrast, roles, Rey emerges as a new feminine. Rey is scavenging, fighting or piloting crafts, Rey is De-Sexualised completely self-aware but with seemingly no regard Hollywood has produced a number of films for how she looks or sounds. Her unrefined nature is that involve action heroines in the past. However, emphasised subtly by the similarity drawn between there has been much debate centred on their visual her and the vulture-like bedraggled bird that appears presence that is usually sexualised (Catwoman in in the foreground as Rey speeds towards Niima Catwoman (2004), Natasha Romanoff from The Outpost towards the end of her first scene in the film. Avengers (2012)). We argue that Rey is completely She is also not treated as a fragile thing by the male desexualized in how she is visually portrayed in the characters around her. Finn readily puts his feet and film. In the first shot that Rey appears on screen, her hand on Rey in a very inconsiderate manner as he face is completely covered. It is difficult to discern if climbs to take a look at what is capturing the Falcon. the character is female or male. The shot even makes Given the propensity of earlier instalments of it difficult to know if she is human or a humanoid alien the Star Wars franchise for undertones of creature as has been seen in the previous Star War sexualisation of their principal female characters, Rey films. The few scenes that follow showcase an athletic is distinctly desexualized. Her clothing, for instance, and capable scavenger at work. It is only when Rey throughout the film is pointedly modest. Her costume exits the ruins and removes her headgear that her is an assemblage of light coloured, dirtied and worn gender is revealed. In other words, Rey is introduced out cloths and rags that cover most of her body. She as a de-gendered character and this is the neutral has been given a costume that is more practical than bedrock upon which impressions of Rey as a revealing. An argument can be made that this is character will be fashioned in the minds of the viewing because she is a scavenger while Leia and Padmé audience. are princesses. However, if the elements of This is a big shift from the other Star War exorbitance and glamour are overlooked and only the films in the franchise. Princess Leia‟s introduction in amount of skin revealed is examined, Rey‟s outfits Star Wars Episode IV (1977) was as a damsel in throughout the film are not only constant but also distress who was inserting that iconic bit of modest. At any point in the film, only her calves, face, holographic information into R2-D2. While no overt neck and a small bit of her arms are seen apart from sexualisation of Leia is detectable in the scene, she is her face. There is nothing provocative about how she still a beautiful damsel in distress with an aura of dresses. In addition no make-up can be traced on Rey mystery around her.
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