34 October 1984 Marxism Today made for a mass market, there are definite differences between these products and they use the role-reversal format in very SUPERGIRL different ways. Programmes such as Cag­ ney & Lacey and Tenko (especially the first Tessa Perkins series) are considerably more radical (chal­ lenging, provocative, disturbing) than Wonder Woman, Juliet Bravo or - Super- girl. That the mass media has found it necessary Supergirl is a good example of a film and profitable to take account of feminism which while appearing to accept a change has been evident for several years now. in the status quo (by having a woman in the Although this can be seen in a wide variety role of a traditionally male hero) in fact of films and in all sorts of different ways reinforces the status quo and reassures its one of the most obvious ways of doing this audience that any apparent challenge to is by using a role-reversal format - putting the status quo is probably illusory and women, or less often men, in roles or anyway containable. Any disturbance to environments traditionally or conven­ the social order which a female super hero tionally associated with the opposite sex. might potentially pose is almost complete­ Wonder Woman, Juliet Bravo, Cagney & ly neutralised. I say almost because Lacey, Tenko, Kramer vs Kramer, Tootsie, although as far as the film's narrative is Victor Victoria are all examples of this concerned the suppression of feminism is form. total, the film nonetheless offers women a There is of course nothing particularly pleasure which comes close to being sub­ new about the role-reversal form - the versive. career woman movies of the 30s are In order to see how the narrative neut­ another instance. But it is a form which ralises the potential threat it is useful to particularly lends itself to the exploration compare Supergirl with Superman - always and expression of ideas about gender remembering that however naturally one identity and it is no coincidence that the event or aspect of the story seems to follow gender identity which is being explicitly from another, stories are constructions and investigated is virtually always the the choices (conscious or otherwise) that woman's. are made in the telling of the story and how In giving women (or men) roles normal­ it is told are significant. ly associated with the opposite sex it might Although there are similarities between seem that the media are responding to the two Supers these are relatively unim­ feminists'women's criticisms of their pro­ portant - the source of an occasional joke ducts - and of course in a sense they are - and a useful reference point for the audi­ film producers can not afford to ignore any ence. Perhaps the most important similar­ social movement which has significance ity is that both Superman and Supergirl are for their audiences. But the question is characterised as being somewhat wimpish what function do these products perform? in their earthly roles (as Clark Kent and Does putting a woman in a man's role Linda Lee). But the 'innocence' or naiev- challenge the status quo - by suggesting an ity which is part of this is far more explicit acceptance of the change and providing and central to the Linda Lee character. new models for us and our children; or do Within the films' realities this is 'ex­ they somehow manage to reinforce the plained' by the initial personality given to status quo by robbing feminism of its guts. Supergirl and by what is different between It is important to recognise that even the two film's narratives. Superman has though all the examples listed above are grown up as an earthling and therefore October 1984 Marxism Today 35 knows how to behave on earth (despite sieres. The first humans she sees happen to nasty, Nigel, when the omegatron lands in minor problems about concealing his be adolescent girls playing baseball - and the pate. Abandoning Nigel, whom she no identity and superpowers); he is destined so she transforms herself and masquerades longer needs, Selina seizes the omegatron to remain on earth and has a mission to use as a new pupil-Linda Lee . .a girl, mark which will give her the power she needs to his powers to help (American) humanity. you, not an adult woman. And as a girl she perfect her magic and dominate the world Supergirl is only a temporary visitor to experiences her first kiss and back in her - except that Supergirl keeps spoiling her earth. She will return to her planet once room we watch her moon in front of the fun. But what really infuriates Selina is she has regained the omegatron. It is mirror narcissistically gazing at herself and that Ethan, the young woodcutter to significant also that Superman is on earth caressing her lips - a reassuringly stereoty­ whom Selina has given a potion so that he through no fault of his own but rather as pical view of adolescent female sexuality. will fall in love with her, goes and falls in love with 'the wimp'/Linda Lee (ie, Super­ girl). Three brief points: firstly, innocent adolescent female sexuality is counter- posed to the rampant, castrating, sexuality of a mature woman - as a mature woman of course Selina can only get a man by trickery; secondly, note that when a the consequence of the failure of the council of Krypton to take the advice of Superman's father. By contrast Supergirl's visit to earth is necessitated by her own carelessness and romanticism (and by the irresponsibility of the disillusioned but By making Supergirl an adolescent girl woman wants to dominate the world (a) idealistic Zoltar). Note also that what who is sexually naive, much of the threat of she gets distracted by personal issues of caused the destruction of Krypton was a a strong woman is taken away - it is worth vanity and jealousy and (b) uses witchcraft failure in scientific knowledge compared noting that tomboy characters are conven­ rather than science. Superman's oppo­ to the idle game (Zoltar and Cara/Supergirl tionally shown as being sexually naive. nents are men with computers and bombs. were playing with the omegatron) and Another major difference between the Thirdly, much of the threat to the patriar­ nostalgia which threatened to destroy Su- Supergirl and Superman films is in the chal status quo of having a female super­ pergirl's planet and caused her visit. opponent and the nature of the opposition. hero is neutralised if her opponent is a From this initial difference other differ­ Supergirl's opponent is Selina (played woman also. ences follow 'naturally' within the film's wonderfully by Faye Dunaway). Selina is In many respects Selina poses more of a reality - although other choices could have to all intents and purposes a witch with a threat to the patriarchal order than Super­ been made. When Supergirl arrives on considerable command of black magic and girl who after all only wants to fetch her earth she is full of wonderment at what she a desire to dominate the world. Selina 'toy' and go home and make amends - finds from daisies to bunnies, to bras- happens to be picnicking with another while Selina uses men for her convenience - manipulates and dismisses them as it disturbance caused by feminism (repre­ in Supergirl's strength (especially with the suits her. And so it is ultimately reassuring sented here by two powerful women) is rapists) and grace and her evident pleasure that it is a woman (Supergirl) who finally purely temporary. in flying and jumping; there is also con­ destroys Selina - and having destroyed her Many more examples could be given to siderable, though contradictory pleasure, leaves earth to return home with the power show how Supergirl functions to reproduce in seeing so many male wimps - all the men source which caused all the disturbance. It the status quo and to neutralise any poten­ in the film are more or less ineffectual, is of course additionally significant that tial threat posed by role-reversals. But while the four women are all significantly Supergirl leaves earth (as she arrived) although the narrative suppresses femin­ more forceful and effectual. But there is a through the water, ie her planet appears to ism the film nonetheless does offer women sting in the tail of this last pleasure be­ be in the bowels of the earth (suggesting a some mildly subversive pleasures. There cause, while it may appeal to women and female turning inward) rather than in is, for example, considerable pleasure in fit in with a female sub-cultural view of outer space with its expansive and limitless seeing a truly wicked and competent men, we must also recognise that it repro­ connotations. The status quo is re­ woman using men in the way men so often duces an important theme in patriarchal established and the audience can go home treat women; and Faye Dunaway seems to ideology - namely that strong women with the reassuring knowledge that any relish the role of Selina. There is a pleasure render men powerless. .