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Women Road Omen and the Movie Genre He Movie Genre Feargal George Agard Student number - 11130253 [email protected] Claus van Amsbergstraat 77 1102 AZ Amsterdam NL (+31) 0612888573 Women and the Road Movie genre. An MA-Thesis in Film studies by FeargalAgard University of Amsterdam Date: 27th of January 2017 Supervisor: mw. dr. C.M. (Catherine) Lord Office Adress: Turfdraagsterpad 9, (BG1, Room?) 1012 XT Amsterdam, NL Second Reader: dhr. dr. E. (Eric) Laeven Office Adress: Turfdraagsterpad 9, (BG1, Room?) 1012 XT Amsterdam, NL Assignment: MA-Thesis Film Studies (I’ve got exactly 21.805 words) Agard 1 Foreword Women and the Road Movie genre is a thesis dissertation which seeks to investigate the Road Movie genre through ecological concepts in relation to women to an extend that goes even further than it has ever been done before. The Road Movie genre was from the dawn of its age a man’s genre. Lonesome men or buddies on the road, enjoying total freedom. Back in the 50’s and before, women were just background characters who only provided support, companionship and sex. Although later movies such as Russ Meyer’s exploitation classic Faster, Pussycat! Kill! Kill! (1965) and Steven Spielbergs The Sugarland Express (1974), slowly move women to the foreground, allowing them to sit in the driver’s seat and taking more control. And even though Ridley Scott’s Thelma & Louise (1991) moves women even further to the foreground, which could be seen as significant emancipation, it is still not enough. Considering the frequency that these particular emancipating films are produced, it becomes clear that these productions are not in the same abundance as road films with men in the lead roles (not even in percentages). Next to that the narratives in road films with women in a lead role tend to often be about escaping oppression that is implemented by men. This issue makes it paramount to address the need for radical changes which have to take place in the fields of scholarly and academic discussion. The aim in this discussion is to provide clear, well-illustrated analyses of a variety of contemporary film case studies and to research how women (with their companions or buddies, whether straight or LGBTQI) in these Road Movies make use of ecological notions to advance themselves during their trip and master insight of their own full potential. The Road Movie genre is about escaping the urban landscape to travel through nature and its wilderness. The time spend in nature possibly frees a person, maybe even to the extent that they will encounter a solution to the burdens of their urban life. This thesis volume will thoroughly discuss the experiences of women and the effects of their experiences, combining literature about ecological scholarly fields and their concepts and notions with textual film analyses. Each chapter will contain as part of its apparatus some indication of the direction in which the definition of particular notions is likely to move, as well as expanding the disciplinary boundaries within this discourse. This will involve the investigation of these notions within the larger field of ecological representation, and will introduce examples from the area of film in addition to examples from a variety of literary texts. Notes! - This paper is written according to MLA academic writing style. - The word count (21.805) shown on the front page only counts the words of the paragraphs, it does not include the table of contents, the chapter and paragraph titles, works cited, etc. - There are endnotes and no footnotes. - Chapter titles partially appear in italics. 1 Agard 2 Abstract This thesis is interested in the potential of ‘Road Movies’, in regard of women. It is the mission to describe the thematical dimensions of a relationship between the politics of gender, nature and sexuality, and to articulate the complicated display of ideas that come from these relationships. In this thesis, a selection of films are investigated that actively deconstruct specific constructions of nature, oppression, gender and sexuality (whether straight or lgbtqi). These deconstructions can show expressive modes, such as distrust, rebellion, escape, retaliation, solace, and by referencing certain literary forms, such as patriarchal self/other dualism (men oppressing women), self- discovery in the wilderness and feminist and queer theory concepts of inclusion and naturalizing as a solution. To assist this thesis’s research, I have chosen to investigate three films which enable the possibility to move contextually from an emblematic film from the nineties to contemporary films in the 2000’s. I read these films alongside of a selection of academic literary texts that inform each filmic text and analysis. The first film is Ridley Scott’s Thelma & Louise (1991). This is where Greg Garrard’s, Steve Cohan’s and Patrick Brereton’s Ecocriticism theories come in. The second is George Miller’s post-apocalyptic film, Mad Max: Fury Road (2015), which I analyze alongside of Greta Gaard’s and Catriona Mortimer-Sandilands Ecofeminist theories. And finally for my third chapter I turn to Abe Sylvia’s work Dirty Girl (2010). This final filmic text prompts questions of both gender (men and women) and sexuality (straight and lgbtqi). This is where Catriona Mortimer-Sandilands and Greta Gaard’s Queer ecology and Ecofeminism can shed light on the subject. The following specific notions from the academic areas mentioned above will be discussed; ‘self/other dualism’, ‘first and second spaces’, ‘third space’, ‘otherness’, so-called ‘unnatural’ or ‘degenerate’ sexuality, ecoqueer sensibility, global democratic community, biotic community, a sense of place/planet and of course ‘Road Movie’ genre theory. Key terms: Nature, Wilderness, Feminism, Gender, Sexuality, Ecology, Ecocriticism, Ecofeminism, Masculinity, Femininity, Queer, Cinema, Queer ecology, Patriarchy, dualism, self/other, first space, second space, third space, Matriarchy, ecoqueer sensibility, global democratic community, biotic community, inclusion, Male, Female, heteronormativity, Homosexuality, Miller, Scott, Sylvia. 2 Agard 3 Table of contents Front (Title) Page 0 Foreword/notes 1 Summary/abstract 2 Keywords (research areas) 2 Table of Contents 3 Introduction 4 Theoretical framework: Fields of study 5 Methodology: Case studies and chapters and utilizations of notions 12 Chapter 1: The ‘Road Movie’ genre 18 Space: The Female gender oppressed 20 Third Space: Wilderness and self-discovery in the ‘Road Movie’ 24 Sense of place/planet interrogates male myths about women 27 Chapter 2: Ecofeminism 32 Ecofeminism’s undesired vision 34 A matriarchic self-discovery 36 Ecofeminism’s ultimate vision 41 Chapter 3: Queer Ecology 47 Both oppressed: ‘Unnatural’ and ‘other’ 50 A queer ecological self-discovery in the form of sensibility 54 Biotic community as solution: Allies, wholeness, and inclusion 56 Conclusion 62 End notes 65 Works cited/Bibliography 68 Filmography 71 Electronic references 71 3 Agard 4 Introduction I. The concept of Wilderness in female regard: the ‘Road Movie’ genre, Ecocriticism, Ecofeminism, Queer Ecology. There is an ecological association between masculinity,i the road trip with a mythological odyssey, self-discoveryii and escapism. The ‘Road Movie’ genre portrays a vast amount of landscape, nature and wilderness. Nature’siii omnipresence in ‘Road Movies’ cannot be denied, it has the affect to romanticize the environment in which a character’s journey eventuates. This ‘journey’ - traditionally made by men- romanticizes them as challengers of nature and its wilderness. As from the 90’s –for example Ridley Scott’s Thelma & Louise (1991)-, with a few exceptions,iv have women acquired their own ‘Road Movies’ that concerned their experiences in the ‘wilderness’, their gender, sexualities and ‘womanhood’.v A profuse amount of motivations compelled the decision to write this thesis that regards ecologyvi and the ‘Road Movie’ genre. The incentive originates from a statement posited by Katie Mills, a professor of English “that the road genre features men and marginalizes women” (Mills 2006, 10). Her observation confirms this marginalization, because men are overtly featured in these films and women not. The fields of Ecocriticism, Ecofeminism and Queer ecology convey a vision in which naturevii functions as a mechanism that advocates a space of equality for both men and women and their (Queer) sexualities, free from dominant oppressive constructs. However dominant groups often rhetorize on a ‘nature-based’ opposition that justifies their dominance over others. Next to that there are scholars who believe that Ecofeminists and Queer ecologists maintain essentialistviii erroneous theoretical findings. This leaves Ecofeminism and Queer ecology vulnerable to invalidation or a facetious treatment. They problematize these academic fields that could have a remedial effect in equalizing all normativities (man, women, straight and lgbtqi).ix These Scholarly fields together with Ecocriticism and ‘Road Movie’ genre theory hold the key to researching how the ‘wilderness’ benefits women. ‘Wilderness’ provided men with adventure, discovery and ‘masculine’ challenges. This is equally possible for women. 4 Agard 5 To substantiate the issues that this thesis addresses, it is paramount to explore women’s experiences through gender and sexuality perspectives in the ‘Road Movie’ genre.x Do they manifest femininity, masculinity or a mix of both? Do their sexual desires, comfortability, orientation, sensuality and forms of powers benefit or impact them? Which specific patriarchal notions
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