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2013 The Implications of Space and Mobility in James Cameron's Titanic Cindy Stewart
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COLLEGE OF COMMUNICATION AND INFORMATION
THE IMPLICATIONS OF SPACE AND MOBILITY IN JAMES CAMERON’S TITANIC
By
CINDY STEWART
A Thesis submitted to the School of Communication in partial fulfillment of the requirements for the degree of Master of Arts
Degree Awarded: Fall Semester, 2013
Cindy Maria Stewart defended this thesis on October 14, 2013 The members of the supervisory committee were:
Davis Houck Professor Directing Thesis
Jennifer Proffitt Committee Member
Michael Neal Committee Member
Stephen McDowell Committee Member
The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements.
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To my mom, Maria: thank you so much for all your sacrifice so that I could earn a good education, and for guiding me to make the best choices possible in my life. Also, thank you for discussing the themes of Titanic with me.
To my dad, Jim, and brother, Jose: thank you for ultimately acknowledging the relevance of the issues addressed in a “chick flick” like Titanic.
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ACKNOWLEDGMENTS
I would like to thank my thesis director, Professor Davis Houck, for his dedication to helping me think critically about my favorite movie, Titanic. I greatly appreciate the time he has taken to discuss my thesis topic with me, and continuously prompt me with questions and ideas that furthered the improvement of this project. It has been a long journey, and I am grateful for Professor Houck’s ongoing encouragement to consider Titanic’s meaning beyond its Hollywood pizazz—this project would not have come to fruition without Professor Houck’s guidance.
I would also like to thank Professors Jeanette Castillo, Jennifer Proffitt, and Michael Neal for serving on my committee. They have provided many insightful perspectives on my thesis topic, and been a vibrant group to bring together.
Also, thank you to Christine Willingham, Leah Hunter, and Wanda Fenimore for taking the time to give me feedback on an initial draft of one of my thesis chapters.
Thank you to Professor Stephen McDowell for stepping in to serve on my committee when Professor Castillo could no longer do so.
Many thanks to Ms. Natashia Hinson-Turner for helping me arrange the time and location of my defense.
Thank you to Jeff Norcini for making sure my thesis manuscript was correctly formatted.
Finally, thanks to Professor Mark Zeigler, who never ceased to give words of inspiration in regard to staying focused at the initial stages of this project.
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TABLE OF CONTENTS
LIST OF FIGURES ...... viii ABSTRACT ...... xi CHAPTER ONE: INTRODUCTION ...... 1 Literature Review ...... 2 Practical Applications of the Film ...... 4 Economics and the Film...... 4 Appeal of the Film ...... 6 Mythic and Story Origins...... 12 Production and Distribution ...... 21 Symbolism and Thematics in the Film ...... 23 Sentimentality in the Film ...... 29 Issues of Gender ...... 32 Issues of Class ...... 33 Space and Mobility ...... 37 General Concepts on Space and Mobility ...... 39 Methodology ...... 42 Chapter Outlines ...... 43 CHAPTER TWO: LIMITED SPACE AND MOBILITY ...... 44 Unlimited Mobility…Or So Jack Believes ...... 45 Restrained Visions of Life ...... 46 Mobility with the Titanic ...... 48 Gender and Power at Lunch ...... 49 Stepping Out for Some Air ...... 52 The Only Escape ...... 55 Conclusion ...... 60 CHAPTER THREE: UNLIMITED SPACE AND MOBILITY ...... 62 Anchor of Freedom and Restraint ...... 63 Men Call the Shots ...... 64 “It’s Overwhelming” ...... 65 “Powerless to Stop It!” ...... 67 Bonding on Deck ...... 69
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First Class Dinner Party and a Third Class Philosophy ...... 73 A Real Party ...... 80 A Threatening Breakfast ...... 82 Tightening the Corset of Rose’s Life ...... 83 Religion as a First Class Privilege ...... 84 Sneaky Stroll on First Class Deck—Rose, Follow Your Instincts!...... 86 The Decision to Fly ...... 87 “Will This Light Do?” ...... 90 The Wild Getaway ...... 92 Conclusion ...... 95 CHAPTER FOUR: NEW SPACE AND MOBILITY ...... 99 Cal’s Remaining Control ...... 99 Pondering the Situation ...... 101 Rose to the Rescue ...... 103 A Swing of Freedom ...... 108 Getting to a Lifeboat Round Two ...... 108 “You Jump, I Jump, Right?” ...... 111 Escaping the Flood Waters ...... 114 An Unexpected Choice ...... 116 Religious Words of Immobility to Mobility ...... 116 The Ship Goes Down ...... 119 Staying Afloat and Alive for the Lifeboats ...... 120 “I’ll Never Let Go” ...... 123 The Dawn of Complete Independence ...... 125 A Promise Fulfilled ...... 133 Conclusion ...... 138 CHAPTER FIVE: CONCLUSION...... 141 Chapter Summaries ...... 141 Chapter Two...... 141 Chapter Three...... 143 Chapter Four ...... 144 Changes in Mobility Compared ...... 147 Messages of Gender, Class, and Non-Traditional Lifestyles ...... 148
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Overall Summary ...... 150 Critique of the Message ...... 151 Recommendations for Future Studies ...... 153 Final Words ...... 154 BIBLIOGRAPHY ...... 155 BIOGRAPHICAL SKETCH ...... 161
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LIST OF FIGURES
2.1 Rose’s dress signifies her immobility ...... 45
2.2 Jack holds out his arms to simulate flying ...... 49
2.3 Rose’s dress is a symbol of both mobility and immobility ...... 55
2.4 A shot of Rose running on deck, cut short before reaching the set of stairs she runs toward ...... 57
2.5 A high-angle shot of Jack looking at the stars ...... 58
2.6 A low-angle shot of Jack looking at the stars ...... 58
2.7 A phallic symbol warns Rose of the demise of her mobility in first class...... 59
3.1 The anchor represents the strength of Jack and Rose’s bond, yet a sense of their present immobility ...... 63
3.2 The vanity mirror reflects the weight of Rose’s reality and immobility ...... 66
3.3 A third class woman appears to have the freedom that Rose lacks ...... 70
3.4 Rose closes Jack’s sketchbook as a first class male walks by, reiterating the status quo ...... 70
3.5 Cal is taken aback when Jack throws him a lighter, indicating that Cal has no energy to use his mobility the way Jack uses his ...... 78
3.6 Toasting to Jack’s life philosophy, the first class passengers raise their glasses to about eye level ...... 79
3.7 As Jack follows the toast to his speech, he raises his glass a little higher than everyone else ...... 79
3.8 Rose proves that she can be as mobile if not more so than men through this ballet pose ...... 82
3.9 Ruth and Cal continue to trap Rose, hindering her mobility ...... 84
3.10 Lovejoy tries to pay Jack a twenty in order to stay away from Rose, the amount offered to him when he rescued her from committing suicide ...... 86
3.11 Rose is blurred behind Jack as if to underscore a lack of mobility...... 88
3.12 Rose if “flying” above the restrictions of first class that keep her from being mobile ...... 89
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3.13 In gently holding the diamond, Jack holds to his experiences on the Titanic ...... 91
3.14 Rose’s decision to take control of her mobility is becoming more obvious as opposed to subtle ...... 92
4.1 Rose defies restrictions by going down the crew passage to find Jack ...... 105
4.2 The axe Rose retrieves to try and rescue Jack represents her newfound, assertive sense of mobility ...... 107
4.3 Jack’s taking down a gate indicates that his mobility will break boundaries ...... 110
4.4 Rose tries to hold on to her mobility before sitting in a lifeboat ...... 112
4.5 From Rose’s point of view, the rope by which the boat descends, and momentarily hangs her spirit of mobility ...... 113
4.6 A locked gate initially underscores Jack and Rose’s “lack” of mobility because of class and gender ...... 115
4.7 Jack and Rose (left corner) pause to hear the prayer for “sinners” whose mobility will help them survive ...... 118
4.8 The bubbling ocean water represents the transition from one world to another that Jack and Rose seemingly bring about ...... 120
4.9 The driftwood that Rose climbs on underscores class and gender superiority ...... 122
4.10 Rose gazes upward as if to gaze toward a continued mobility ...... 126
4.11 Rose’s entering the water to retrieve a whistle and gain the attention of a nearby lifeboat signifies her gain of independent mobility without Jack by her side ...... 128
4.12 Rose’s continued mobility is foreshadowed by the blanket, flashlight, rope, and her resting over a box reading “R.M.S. Titanic” ...... 129
4.13 Rose sees the waving of a green flare, a sign that the wealthy and powerful she must face are not far off ...... 129
4.14 Despite the threat of the wealthy, Rose’s mobility will overpower any obstacles to come because Nature is on her side ...... 130
4.15 Rose looks up from the lifeboat to the rescue ship, catching sight of a couple appearing wealthy as a reminder of what she left behind ...... 130
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4.16 Despite seeing the wealthy, Rose maintains mobility by choosing to be with steerage passengers ...... 131
4.17 The Statue of Liberty comes to be a powerful symbol of Rose’s mobility ...... 132
4.18 Old Rose looks at a symbol of a mobile past ...... 134
4.19 Rose discovers she has the diamond, a symbol of the adventures she shared with Jack on the ship, and what belongs to her ...... 134
4.20 The Heart of the Ocean spirals downward into the Atlantic, as if to signify that Rose and Jack’s mobilities continue even when their lives end ...... 135
4.21 Rose sleeps only to pass away as Jack predicted, with memories of mobility by her side...... 136
4.22 Rose enters Titanic Heaven, to meet Jack at the top of the Grand Staircase as she sees that all the kindest on the ship are together, regardless of class or gender ...... 137
4.23 Rose and Jack reunite in Titanic Heaven, to once again share the power of limitless mobility ...... 137
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ABSTRACT James Cameron’s Titanic was a monumental blockbuster when it was released in the late nineties, its story placing themes of class, gender, and tradition at the forefront. It tells the story of a first class woman who finds love with a third class passenger and abandons upper class society to live the life she wants. In this study, the story is examined through a rhetorical analysis of space and mobility, two key elements underscoring the empowerment of the film’s main characters. The analysis incorporates discussions of class, gender, and tradition as they affect and are affected by space and mobility within the film, and emphasize the film’s message that regardless of class or gender, people can go anywhere and be anyone they want. A critique of this message is offered following analysis of the film’s narrative as it develops.
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CHAPTER ONE
INTRODUCTION
I have loved the movie Titanic ever since it was released in 1997. Being obsessed with the film when it came out would have been an understatement, and I was only about nine years old. I was completely enamored by the love story between its principal characters Jack and Rose, not to say that I completely understood all aspects of their relationship back then. I simply aspired to find a love that expressed those kinds of feelings one day. No, my love for the love story was rather playful when Titanic first came out. I was completely addicted to the film, watching it every chance I could with my friends—at sleepovers, our movie of choice was Titanic. Instead of role-playing our own make-believe scenarios, we would role-play Titanic— Lion King toys Simba and Nala served as stand-ins for the characters Jack and Rose. I would always be Rose. I was definitely one to hop on the bandwagon for the Leonardo Dicaprio craze as well, proudly owning two books on the Titanic heartthrob. During this time, it was simply the love between Jack and Rose that captivated me. Yes, I knew they were from two different social classes, but I never really thought about it. I never really thought about the complications of their relationship because of the class divisions in which they lived their lives. Add to that Rose’s being a woman in an upper class society where men were the boss and didn’t want things to change. Rose was stuck in a world of tradition, only to be freed from it by Jack. I had never really considered these issues when I was little, but now I see that class, gender, and old-world tradition provide intersecting issues within the film. They intersect within the realm of space and mobility on the Titanic itself. What does the space of the ship and the mobilities it allows indicate about the film itself? What is the message given through an analysis of space and mobility in Titanic, as the forces of class, gender, and old-world tradition collide? One scholar notes the restraint that is placed upon third class passengers in the film as they are suffocated by the lack of privilege and mobility of their class.1 Another scholar claims that the film is centered on “male coded” mobility, as Rose’s feeling of entrapment by social class only
1 Ja es Ke d i k, Ma ist O e to es i Th ee Fil s Ja es Ca e o , Journal of Popular Film and Television 27 (1999): 41.
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changes when Jack enters her life.2 Mobility is thus pondered slightly by scholars, but the intertwining of class, gender, and old world versus new world is not considered. In other words, I would like to add to the arguments regarding mobility in Titanic, additionally analyzing space. I would like to argue that mobility gives power to Jack, a lower class passenger, as well as Rose, who is restrained by expectations of gender in a first class society. As it is mentioned in previous literature, Jack is restrained from certain spaces as a third class passenger, but his penchant for mobility changes that, and eventually lends Rose mobility as well. The implication of this narrative is that mobility is possible for anyone, and yet the real-life barriers to those of the working class, the female gender identity, and others remain untouched. An analysis of how class and gender barriers in the film are overcome through the use of space and mobility is merited to underscore how space and mobility are used to perpetuate unrealistic messages in the media, particularly film. In analyzing space and mobility and their intersections with class, gender, and tradition, I will use concepts from space and mobility literature to support my arguments. Using ideas from said literature, I will engage in a rhetorical analysis of Titanic, from the point at which the voyage begins to the end of the film. At this point, however, a review of the many perspectives and arguments regarding the meaning behind Titanic will lead the way toward those arguments regarding space and mobility which relate to my analysis. Literature Review In summarizing the reviews on Cameron’s Titanic, Matthew Bernstein underscores reviewers’ ratings of the film as reflective of its overall success. Bernstein outlines various sections of the film’s storyline and subsequently how reviewers perceived these elements to contribute to its success. The framing around Rose’s story—that of the treasure hunters’ interests in Titanic—was hailed as a rather intriguing part of the film by reviewers, as it framed the main story well and humbled the treasure hunters among other reasons.3 As far as the romance between Jack and Rose, many reviewers believed it be too cliché, when others claimed that being cliché was the point—losing yourself in romance in the midst of impending disaster was the
2 Lau ie Ouellette, “hip of D ea s: C oss-Class Romance and the Cultural Fantasy of Titanic, i Titanic: Anatomy of a Blockbuster, eds., Kevin S. Sandler and Gaylyn Studlar (New Brunswick, NJ: Rutgers University Press, 1999), 180. 3 Matthe Be stei , Floati g T iu pha tl : The A e i a C iti s o Tita i , i Titanic: Anatomy of a Blockbuster, eds., Kevin S. Sandler and Gaylyn Studlar (New Brunswick, NJ: Rutgers University Press, 1999), 16-17.
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idea.4 The acting was also a crucial element in bringing the plot to life. Bernstein thus mentions that both Kate Winslet and Leonardo Dicaprio’s performances in the film were regarded quite positively.5 Indeed, the two stars were hailed as appearing to carry the roles well, and encouraging the success of the film through their talents. In addition to the acting, Bernstein continues that the creation of the sinking itself was hailed as astounding by critics, underscoring “the profound meaning and gravity” of the film as a whole.6 The overall critique among reviews was mixed, but always appeared to uphold the strength of the film’s special effects, saunter back to classic Hollywood romance, and attention to characters’ emotions.7 While Bernstein appears to note that Titanic had both positive and negative reviews, Alexandra Keller critiques a negative aspect of the film. As Keller sees it, the film is supposedly an artful film filled with distinct issues that are supposed to make audiences think, but Keller argues that the film is actually more about spectacle.8 However, she contends that Titanic gains its appeal through the manner in which it addresses the issues of “romance, class, gender equality, technical prowess, and historical accuracy.”9 Although the film may be an offspring of previous films, it succeeded where the films that came before it did not. In comparing Titanic to the film Heaven’s Gate, Keller comments that the latter “was too political,” while Titanic presented issues of debate as commodity and paid attention to the authenticity of the time period in which it took place.10 Keller argues that history, feminism, and class, make the film appealing not through serious questions in the film, but by becoming spectacle.11 In reference to Rose’s rejection of the upper class, Keller notes it is not even wealth that she ultimately rejects—rather, it is just the “most obviously repugnant values” of the upper class from which Rose has run away.12 The emotion with which this narrative is presented, Keller contends, ultimately perplexes the audience such that what they see in the film appears to be what really happened. In other words, the emotional aspect of Rose’s story is made to be realistic because Cameron
4 Be stei , Floati g T iu pha tl : The A e i a C iti s o Tita i , -20. 5 Be stei , Floati g T iu pha tl : The A e i a C iti s o Tita i , . 6 Be stei , Floati g T iu pha tl : The A e i a C iti s o Tita i , -2. 7 Be stei , Floati g T iu pha tl : The A e i a C iti s o Tita i , -5. 8 Ale a d a Kelle , “ize Does Matte : Notes o Titanic a d Ja es Ca e o as Blo k uste Auteu , i Titanic: Anatomy of a Blockbuster, eds., Kevin S. Sandler and Gaylyn Studlar (New Brunswick, NJ: Rutgers University Press, 1999), 135-6. 9 Kelle , “ize Does Matte : Notes o Titanic a d Ja es Ca e o as Blo k uste Auteu , . 10 Kelle , “ize Does Matte : Notes o Titanic a d Ja es Ca e o as Blo k uste Auteu , -40. 11 Kelle , “ize Does Matte : Notes o Titanic and Ja es Ca e o as Blo k uste Auteu , -6. 12 Kelle , “ize Does Matte : Notes o Titanic a d Ja es Ca e o as Blo k uste Auteu , . 3
ensured the ship itself appeared realistic.13 He did so in order to not necessarily represent history accurately, but present the spectacle that made his film so popular. Practical Applications of the Film As is easy to note through a summary of reviews for the film, Titanic is not simply about a sinking ship, class and gender, and a love story—it has been treated as much more. David Baker and Tom Costello for instance, analyze the film from the perspective of the workplace.14 What they note is that just as the crew of the Titanic had so much faith in its workability that they did not foresee any problems, so too can a project at work appear so perfect to those working on it that it is not questioned.15 The point that Baker and Costello are making is that just because a project or a creation such as the Titanic seems infallible, this does not mean there should be no backup plans in case problems arise. Regarding the Titanic Baker and Costello state, “The crew fell to the marketing hype and ignored the dangers at sea.”16 Thus, emphasis is placed on the idea that within the workplace, a project can seem so good that it will be successful no matter what, when in reality, Baker and Costello argue that the entire life of a project from implementation to use should be considered. Similarly, Matthew A. Savage notes the scholarly lessons that can be taken from Titanic. In an effort to justify a field trip in school, Savage argues that students may learn several things from Titanic, from how the laws of physics work to practicing safe sex techniques, to making accurate mathematical calculations to solve problems.17 Economics and the Film While several elements of Cameron’s Titanic can be taken into account for workplace and educational purposes, one scholar discusses the economics of the film, both as a movie and within the narrative itself. Scott Cutler Shershow explains the concepts of restricted versus gift economies, and notes that there are displays of both types within Titanic’s story.18 Shershow claims the beginning of the narrative emphasizes a restricted economy, or the type in which
13 Kelle , “ize Does Matte : Notes o Titanic a d Ja es Ca e o as Blo k uste Auteu , . 14 David Baker and Tom Costello, You Holl ood Guide to A tipatte s, IT Professional 14 (2012): 62. 15 Bake a d Costello, You Holl ood Guide to A tipatte s, . 16 Bake a d Costello, You Holl ood Guide to A tipatte s, . 17 Matthe A. “a age, Out o es-Based Teaching—Oh, That “i ki g Feeli g, The Clearing House 73 (1999): 11- 12. 18 “ ott Cutle “he sho , Of “i ki g: Ma is a d the Ge e al E o o , Critical Inquiry 27 (2001): 469-470. 4
production and profit are both expected.19 However, as the narrative continues, the events that take place change the type of economy that exists within the film. Rose, after getting to know Jack, would seemingly do whatever she could to have the chance to be with him, and even runs away from her life as a first class socialite to do so. Thus, Shershow argues that this—all the way through the end of the film to the fact that Rose throws the Heart of the Ocean necklace into the ocean—signifies that the story glorifies a gift economy, or one in which sacrifices are made “in the expectation of loss without return.”20 These two distinct types of economies do not simply apply to the narrative however, for Shershow continues that they also characterize production of the film. In spending a vast amount of money and even spending his own money to make Titanic, Shershow comments that director James Cameron was working within the bounds of a gift economy.21 Then again, Cameron’s sacrifice was not to be blown on an investment without return. In other words, it is noted that Titanic as a blockbuster film that garnered an enormous amount of profit ultimately fits into the restricted economy.22 While a scholar could say that both Titanic’s narrative and the making of the film itself slide into both gift and restricted economies at certain points, the methods surrounding the economic success of the film are of importance to consider. Regarding this issue, Justin Wyatt and Katherine Vlesmas argue that “Titanic’s marketing, advertising, and news coverage were elemental to the film’s popularity, having a solid impact on its reception and commercial standing.”23 The budget for the film itself was rather enormous, and in using budget to market the film, Wyatt and Vlesmas state that “unparalleled size/scope and the vision of a commercial auteur” took center stage.24 These two elements surrounding the production of Titanic were in other words, those highlighted to push the film to spectacle status. Another tactic used to market the film was as Wyatt and Vlesmas note, the cost of the film itself, that being $200 million.25 Not only did the price speak for itself, but it was emphasized that the high-priced budget of the film
19 “he sho , Of “i ki g: Ma is a d the Ge e al E o o , . 20 Shershow, Of “i ki g: Ma is a d the Ge e al E o o , -70. 21 “he sho , Of “i ki g: Ma is a d the Ge e al E o o , -70. 22 “he sho , Of “i ki g: Ma is a d the Ge e al E o o , . 23 Justin Wyatt and Katherine Vlesmas, The D a a of ‘e oup e t: O the Mass Media Negotiatio of Titanic, i Titanic: Anatomy of a Blockbuster, eds., Kevin S. Sandler and Gaylyn Studlar (New Brunswick, NJ: Rutgers University Press, 1999), 29. 24 Wyatt and Vlesmas, The D a a of ‘e oup e t: O the Mass Media Negotiatio of Titanic, . 25 W att a d Vles as, The D a a of ‘e oup e t: O the Mass Media Negotiatio of Titanic, -5. 5
implied better promotions, better film, and thus better value at the movies.26 Wyatt and Vlesmas comment on how the advertising for the film, from website to previews, underscored the notion that the film’s budget stamped the film as quality.27 Thus, considering the ultimate success of the film and the publicity surrounding it, Wyatt and Vlesmas conclude that its budget was justified. Appeal of the Film Any good story will attempt an appeal to its audience’s values—Titanic is argued to be a film that does such. Although a period piece, Julian Stringer argues that Titanic “stages events from the past in a manner that resonates imaginatively with the widespread contemporary cultural fusion of nostalgia and consumerism.”28 In other words, Titanic presents 1912 in such a way that it grows on its audience. Indeed, Stringer comments that part of the reason Titanic is so appealing is because we are taken back in time to picture-perfect “images of the past.”29 This was just one of the many trends of the 1990s as it regards filmmaking, Stringer continues. She argues that Titanic is one of those films that takes contemporary audiences back in time to imagery appearing relevant.30 It is a heritage film—or period film of sorts—that audiences from all over the world can seemingly relate to.31 Stringer comments that it is different from other heritage films in a good way, a way that works to enhance the appeal of the film. This is so by the fact that Titanic includes a present-day story that encircles its dip back in time, rendering it more relatable to the audience.32 By contrast, other heritage films are noted to simply delve into the time period that they represent. However, Stringer argues that Titanic’s smooth shift from past to present makes it easier for audiences to connect with the emotional intensity of Rose’s story.33 It is Old Rose herself that assists in this connection, through her narration of the story. Stringer contends that the memories Old Rose ties to tangible objects from the shipwreck allow a global audience to invest itself in the narrative.34 The objects that connect Rose to her past remind audiences of how they can connect with theirs. They are thus pulled into the story of
26 W att a d Vles as, The D a a of ‘e oup e t: O the Mass Media Negotiatio of Titanic, -7. 27 W att a d Vles as, The D a a of ‘e oup e t: O the Mass Media Negotiatio of Titanic, . 28 Julia “t i ge , The Chi a Had Ne e Bee Used! : O the Pati a of Pe fe t I ages i Titanic, i Titanic: Anatomy of a Blockbuster, eds., Kevin S. Sandler and Gaylyn Studlar (New Brunswick, NJ: Rutgers University Press, 1999), 205. 29 “t i ge , The Chi a Had Ne e Bee Used! : O the Pati a of Pe fe t I ages i Titanic, . 30 “t i ge , The Chi a Had Ne e Bee Used! : O the Pati a of Pe fe t Images in Titanic, . 31 “t i ge , The Chi a Had Ne e Bee Used! : O the Pati a of Pe fe t I ages i Titanic, . 32 “t i ge , The Chi a Had Ne e Bee Used! : O the Pati a of Pe fe t I ages i Titanic, . 33 “t i ge , The Chi a Had Ne e Bee Used! : O the Pati a of Pe fe t I ages i Titanic, . 34 “t i ge , The Chi a Had Ne e Bee Used! : O the Pati a of Pe fe t I ages i Titanic, . 6
Titanic as Old Rose reminisces after viewing the things she owned, what Stringer argues makes a great deal of the film’s appeal. Among the narratives deserving credit for Titanic’s popularity, Vivian Sobchack focuses on particular strategies of presenting the narrative that make it popular. Sobchack argues that the frame story and the imagery between past and present lend the film its heartfelt appeal.35 The way in which it is constructed allows for the emotional elements that appeal to the audience. Sobchack notes the Titanic narrative implies “that historical existence (and narrative) is infinitely immense in meaning and transcendent power,” so much so that emotional, poetic connections with the film are intensified.36 This is to say that the film intends to connect its audience with history, but Sobchack notes that it really doesn’t—it only leaves them with the desire to live a world structured like the one they see in the film.37 The film is about emotional connections; Sobchack refers to the frame narrative or salvage crew set-up to make her argument. She notes that while writer José Arroyo criticizes the present-day salvage crew because it prescribes emotional reactions for the film’s audience, the salvage crew’s mission and motives are essential for Titanic’s audience to grasp the relationship between what happened on the Titanic and what happens in the present day.38 Sobchack points out that the frame story in other words, safely allows audiences who see Titanic “a mediated but seemingly ‘authentic’ experience, one that keeps real trauma, but not real emotion, at bay.”39 While other films also mean to capture an audience emotionally, Sobchack argues that Cameron’s film has an edge to achieving such a goal. The edge in question is simply the ocean, as its depth permits the imagination an escape for becoming emotionally wrapped in fantasy, thus rendering the narrative of Jack and Rose more captivating.40 To reiterate Sobchack’s argument, the power of Titanic’s appeal remains heavily in the framing narrative of the narrative. On the subject of framing, Gaylyn Studlar argues “that, in order to give greater meaning to…White Star Titanic’s maiden voyage…Cameron’s Titanic depends upon a formula of realism, history and genre filmmaking that combine to make the film-as-text less postmodern and
35 Vi ia “o ha k, Bathos a d the Bath sphe e: O “u e sio , Lo gi g, a d Histo i Titanic, i Titanic: Anatomy of a Blockbuster, eds., Kevin S. Sandler and Gaylyn Studlar (New Brunswick, NJ: Rutgers University Press, 1999), 191. 36 “o ha k, Bathos a d the Bath sphe e: O “u e sio , Lo gi g, a d Histo i Titanic, . 37 “o ha k, Bathos a d the Bathysphere: On Submersion, Longing, and History in Titanic, . 38 “o ha k, Bathos a d the Bath sphe e: O “u e sio , Lo gi g, a d Histo i Titanic, . 39 “o ha k, Bathos a d the Bath sphe e: O “u e sio , Lo gi g, a d Histo i Titanic, 93. 40 “o ha k, Bathos a d the Bath sphe e: O “u e sio , Lo gi g, a d Histo i Titanic, -8. 7
more classical Hollywood.”41 Thus, the appeal of the film hails from its classic Hollywood feel and imagery. This classification as a Hollywood classic rests on Titanic’s being categorized as a “‘monumental history film,’” a category of film originally described by Nietzsche.42 Said category of film is based around action and realism, both of which Studlar argues are hallmarks of Cameron’s film.43 They are additionally hallmarks of older Hollywood classics.44 As for Titanic, Studlar argues that every opposing force Rose is up against in the film, including the ship’s sinking, was necessary for the film narrative.45 Studlar continues that only through the conflicts with which Rose engages in the film is she able to transform, and eventually bring harmony to the once class-divided Titanic.46 The presentation of how she accomplishes this is classic Hollywood, and as such, a form capturing emotion effectively.47 This form of cinematic narrative is one that has proven successful over the years. The budget of Titanic concerns not only its overall marketing strategy, but rather how Cameron’s story was portrayed in light of cinematic trends and his target audience. In other words, there are specific elements of the film that enticed its audience through contemporary trends in film. As previously noted, the primary audience for Titanic was young females. Peter Lehman and Susan Hunt argue that breaking away from the stereotypically muscular hero while at the same time making a film that combined several narrative genres gave Titanic its mass appeal, “specifically to the repeat teenage girl audience.”48 Leonardo Dicaprio and his not-so- stereotypically masculine body type were both necessary to the film, Lehman and Hunt contend, as the point was to overthrow masculine power and whatever is considered masculine in the storyline.49 Dicaprio’s look was meant to be the center of the film, and one of the main reasons for its popularity. Lehman and Hunt note that this was achieved in part by “the casting of [Kate] Winslet as Rose,” given she was not the stereotypical female lead that would detract attention
41 Ga l “tudla , Tita i / Titanic’: Thoughts o Ci e ati P ese e a d Mo u e tal Histo , Interdisciplinary Literary Studies 5 (2003): 100. 42 Studlar, Tita i / Titanic’: Thoughts o Ci e ati P ese e a d Mo u e tal Histo , . 43 “tudla , Tita i / Titanic’: Thoughts o Ci e ati P ese e a d Mo u e tal Histo , . 44 “tudla , Tita i / Titanic : Thoughts o Ci e ati P ese e a d Mo u e tal Histo , . 45 “tudla , Tita i / Titanic : Thoughts o Ci e ati P ese e a d Mo u e tal Histo , -3. 46 “tudla , Tita i / Titanic : Thoughts o Ci e ati P ese e a d Mo u e tal Histo , . 47 “tudla , Tita i / Titanic : Thoughts o Ci e ati P ese e a d Mo u e tal Histo , . 48 Pete Leh a a d “usa Hu t, “o ethi g a d “o eo e Else : The Mi d, the Bod , a d “e ualit i Titanic, i Titanic: Anatomy of a Blockbuster, eds., Kevin S. Sandler and Gaylyn Studlar (New Brunswick, NJ: Rutgers University Press, 1999), 89-90. 49 Leh a a d Hu t, “o ethi g a d “o eo e Else : The Mi d, the Bod , a d “e ualit i Titanic, . 8
from Dicaprio based on looks.50 It is not simply the actors’ appearances that enticed audiences to Titanic, but Lehman and Hunt add that the narrative is no doubt important. The idea of a character from the working-class awakening the mind and sexual appetite of an upper-class character as presented in Titanic was inspired by a string of 80s and 90s movies, including Pretty Woman.51 There are those films focused on the lower-class man who satisfies a woman sensually, including Legends of the Fall, The Piano, and Moonlight and Valentino, Titanic following similarly.52 Part of Titanic’s appeal in other words, hails from a “mind/body split,” or the awakening of physical sensation as opposed to the purely intellectual.53 Thus, Lehman and Hunt note that the character Jack Dawson continues the tradition of a masculine hero who knows how to please a woman while he is also the “attractive ‘soft’ alternative to dominant masculinity.”54 Titanic’s blockbuster status is in part due to the duality of these elements. There is also the argument that Titanic holds an appeal by virtue of focusing on disaster. Indeed, Diane Negra argues that Titanic was one of a group of films focused on disaster in the 90s, trending because of actual talk concerning an imminent end to society as we know it— millennialism in other words, came to be a big deal.55 People bought into ideas about the end of the world coming, and Hollywood film utilizes such concerns. Thus, it is a belief in some sort of apocalypse that renders disaster films such as Titanic all the more popular.56 Survivalist rhetoric in the face of disaster revolves around the idea of self-sufficiency, an independence portrayed by Rose.57 The natural disaster she faces with Jack is foreshadowed—or more likely, prepared for— with other disasters, for example the life Rose does not want that Jack teaches her how to escape.58 Jack guides Rose, and together, they figure out a way to get off the sinking ship and continue an attempt at survival. However, Jack does not live, and it is only the ending wherein Rose sees him again in which redemption is achieved, a redemption typical of disaster films as a “cleansing” of sorts.59 Broader still is the appeal of movies based on actual events as a form of
50 Leh a a d Hu t, “o ethi g a d “o eo e Else : The Mi d, the Bod , a d “e ualit i Titanic, . 51 Leh a a d Hu t, “o ethi g a d “o eo e Else : The Mi d, the Bod , a d “e ualit i Titanic, . 52 Leh a a d Hu t, “o ethi g a d “o eo e Else : The Mi d, the Bod , a d “e ualit i Titanic, -6. 53 Leh a a d Hu t, “o ethi g a d “o eo e Else : The Mind, the Body, and Sexuality in Titanic, . 54 Leh a a d Hu t, “o ethi g a d “o eo e Else : The Mi d, the Bod , a d “e ualit i Titanic, . 55 Dia e Neg a, Tita i , “u i alis , a d the Mille ial M th, i Titanic: Anatomy of a Blockbuster, eds., Kevin S. Sandler and Gaylyn Studlar (New Brunswick, NJ: Rutgers University Press, 1999), 220-1. 56 Neg a, Tita i , “u i alis , a d the Mille ial M th, -5. 57 Neg a, Tita i , “u i alis , a d the Mille ial M th, -6. 58 Neg a, Tita i , “u i alis , a d the Mille ial M th, -6. 59 Neg a, Tita i , “u i alis , a d the Mille ial M th, -8. 9
commemoration, in other words, how do we remember disasters of the past that were overcome?60 Negra points out “debates over how best to memorializes sites such as the Branch Davidian compound in Waco and the Alfred P. Murrah Building in Oklahoma City…”61 She continues that it is not just the narrative story that contributed to Titanic’s commemoration of an event, but even its larger than life production and promotion.62 The point however, is that part of Titanic’s appeal lies in the contemplation of disaster and our abilities to survive disaster as individuals. In addition to the hype surrounding Titanic through its efforts to attract both women and men to the movies, there was also the theme song “My Heart Will Go On.” However, it was not simply this song that was popular, but the entire soundtrack for the film. Said soundtrack’s popularity was heightened by the success of the film, thus Jeff Smith argues that “it was the album’s function as a musical memento that made it such a cultural phenomenon.”63 The soundtrack was after all, created in correlation with the film Titanic, Smith commenting that the majority of the soundtrack was orchestra music, while only one pop song was added.64 The power behind the soundtrack’s success however, was a full proof marketing plan. It was released around the time the movie itself was released, but the one pop song on the album—Celine Dion’s “My Heart Will Go On”—was included on her album Let’s Talk About Love, also released along the timeline for Titanic’s release.65 In combination, the release of the Titanic soundtrack, movie, and Celine Dion’s album increased appeal for the film, and subsequently the soundtrack itself, which had sold “more than 10 million” copies by March 1998.66 As for the addition of “My Heart Will Go On” as a theme song for the film, the popularity of the latter resulted in an unstoppable amount of radio requests for the former.67 Considering that the soundtrack and Celion Dion’s theme for Titanic were both major hits, it is only reasonable to consider that this is
60 Neg a, Tita i , “u i alis , a d the Mille ial M th, . 61 Neg a, Tita i , “u i alis , a d the Mille ial M th, . 62 Neg a, Tita i , “u i alis , a d the Mille ial M th, -31. 63 Jeff “ ith, “elli g M Hea t: Musi a d C oss-Promotion in Titanic, i Titanic: Anatomy of A Blockbuster, eds., Kevin S. Sandler and Gaylyn Studlar (New Brunswick, NJ: Rutgers University Press, 1999), 47. 64 “ ith, “elli g M Hea t: Musi a d C oss-Promotion in Titanic, -1. 65 “ ith, “elli g M Hea t: Musi a d C oss-Promotion in Titanic, -3. 66 “ ith, “elli g M Hea t: Musi a d C oss-Promotion in Titanic, -3. 67 “ ith, “elli g M Hea t: Musi a d Cross-Promotion in Titanic, -4. 10
the result of an effective marketing campaign.68 Titanic’s soundtrack became a phenomenon because of the timing and content that coincided with the film itself. When talking about the film Titanic, yes there is the music and the soundtrack to consider, but two scholars focus on the fandom surrounding the film. Particularly, Melanie Nash and Martti Lahti argue that Leonardo Dicaprio was a primary reason for the film’s viewings among its main audience of young women, women who ultimately went beyond the film itself and used their own resources to reinforce adulation for Dicaprio and thus the film.69 Many from this female audience had not simply viewed the film and become enamored fans of Dicaprio, however. Nash and Lahti note that Dicaprio had a strong female fan base prior to Titanic, and Titanic producers simply utilized this admiration for benefit of the film.70 Dicaprio had starred in a modern version of Romeo and Juliet before Titanic, thus Nash and Lahti contend that he was already type-casted by fans as a romantic, lending more marketing power to Titanic.71 Indeed, the female fans of Dicaprio found his female costars to be very lucky, and wrote about their repetitive viewings of Dicaprio’s films.72 Nash and Lahti write however, that there was a problem with the heartthrob status Dicaprio was gaining, and his female fans had to find a way to reconcile the problem through their rhetoric. The issue was that Dicaprio himself did not enjoy his status as a heartthrob, and in order for his young female fans to continue watching and enjoying Titanic, they had to devise ways to still view Dicaprio in a romantic sense, among them claiming to separate his acting ability from his physical appearance.73 In short, Nash and Lahti write that much of Titanic’s success occurred as a result of young girls’ conflicting feelings over Leonardo Dicaprio and his romancing character in the film. Beyond blockbuster and fandom elements of the film lies the reception and appeal among relatives of those who were on the real Titanic. Indeed, Anne Massey and Mike Hammond focus
68 “ ith, “elli g M Hea t: Musi a d C oss-Promotion in Titanic, . 69 Mela ie Nash a d Ma tti Lahti, Al ost Asha ed to “a I A O e of Those Gi ls : Titanic, Leonardo Dicaprio, a d the Pa ado es of Gi ls Fa do , in Titanic: Anatomy of a Blockbuster, eds., Kevin S. Sandler and Gaylyn Studlar (New Brunswick, NJ: Rutgers University Press, 1999), 65. 70 Nash a d Lahti, Al ost Asha ed to “a I A O e of Those Gi ls : Titanic, Leonardo Dicaprio, and the Paradoxes of Gi ls Fa do , -7. 71 Nash a d Lahti, Al ost Asha ed to “a I A O e of Those Gi ls : Titanic, Leonardo Dicaprio, and the Pa ado es of Gi ls Fa do , . 72 Nash a d Lahti, Al ost Asha ed to “a I A O e of Those Gi ls : Titanic, Leonardo Dicaprio, and the Pa ado es of Gi ls Fa do , -70. 73 Nash a d Lahti, Al ost Asha ed to “a I A O e of Those Gi ls : Titanic, Leonardo Dicaprio, and the Pa ado es of Gi ls Fa do , -5. 11
on the film’s popularity among audiences in Southampton, the town from which Titanic set sail. In their article, Massey and Hammond argue that several reasons beyond an emotional connection with Cameron’s film account for the popularity it held in Southampton.74 They add that there is a difference between Titanic’s reception in the United States and Southampton, because of the local experiences of the latter as compared to the former.75 Quite often, the reception of a Hollywood film in the United States holds as much effect as the publicity surrounding the film offers, especially when based on an event like the Titanic sinking. However, the sinking of this ship and its portrayal in Cameron’s film was rather Disney-like according to British critics, or too Americanized to be accurate.76 How British characters were portrayed affected British reception of the film as well, given critics were not fond of Cameron’s characterization when it came to Cal, Lovejoy, and others.77 In addition, historical representations were pointed out to be inaccurate, including the fact that First Officer Murdoch shot himself within the film.78 The film also spawned memories of the event that were not exactly comforting, but rather resulted in negative views towards Cameron’s work.79 Massey and Hammond intend to say that Titanic’s reception in Britain—and more specifically South Hampton—depended on a variety of factors, from media synergies to personal memories. Mythic and Story Origins Application of ideas in and the economics of Titanic aside, Tammy M. Beazley summarizes the various ways in which the story of the real ship has been told since its sinking. Beazley documents the earliest films and books on the sinking, to music and theatrical productions, all the way to James Cameron’s film.80 Basically, Beazley documents the fact that
74 A e Masse a d Mike Ha o d, It Was T ue! Ho Ca You Laugh? : Histo y and Memory in the Reception of Titanic i B itai a d “outha pto , i Titanic: Anatomy of A Blockbuster, eds., Kevin S. Sandler and Gaylyn Studlar (New Brunswick, NJ: Rutgers University Press, 1999), 242. 75 Masse a d Ha o d, It Was T ue! Ho Ca You Laugh? : Histo a d Me o i the ‘e eptio of Titanic in B itai a d “outha pto , -3. 76 Masse a d Ha o d, It Was T ue! Ho Ca You Laugh? : Histo a d Me o i the ‘e eptio of Titanic in B itai a d “outha pto , -5. 77 Massey and Hammond, It Was T ue! Ho Ca You Laugh? : Histo a d Me o i the ‘e eptio of Titanic in B itai a d “outha pto , -8. 78 Masse a d Ha o d, It Was T ue! Ho Ca You Laugh? : Histo a d Me o i the ‘e eptio of Titanic in B itai a d “outha pto , 8. 79 Masse a d Ha o d, It Was T ue! Ho Ca You Laugh? : Histo a d Me o i the ‘e eptio of Titanic in B itai a d “outha pto , -3. 80 Ta M. Beazle , The Tita i i the a ts, Journal of the Minerals, Metals, and Materials Society 50 (1998): 15.
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several different productions of the event have been created to remember what happened.81 While the book A Night to Remember as well as several films have been produced on the Titanic, Beazley cites Cameron’s film as the attempt at the most realistic representation of the ship, at least appearance wise.82 This became so through Cameron’s hiring of historians who have studied the Titanic as well as his own journeys to the shipwreck itself.83 The focus of the article however, is the idea that the sinking of the Titanic will likely continue to be captured in several ways by the media. Although this is the case, it is obvious that the ship will always play a role in the story. Indeed, Alan Finlayson and Richard Taylor make a brief note of the character similarities existing beyond the ship in Titanic of 1953 and Cameron’s film, the beginning of Rose and Jack’s relationship compared to a few characters from the 50s version.84 Sarah Street comments on inspirations in A Night to Remember that were subtly used in the 1997 Titanic.85 Finlayson and Taylor underscore however, Beazley’s comment regarding several different representations of the story. Why has the story of the Titanic remained so captivating? Stephen Cox attempts to answer this question in his piece on myth and the Titanic. He makes several arguments, one of which is that myth arises not out of the collective imagination, but rather through the stories of many individuals.86 Regarding the Titanic, Cox claims “virtually everything that people know, or think they know, about the Titanic disaster can be traced to the press coverage of April-August 1912…”87 He then lists other sources from which our knowledge of the Titanic sinking comes, including survivor stories and the investigation of the sinking itself.88 However, Cox claims that many of the things we believe occurred surrounding the Titanic’s sinking have come to be an issue because of media representations of the event, for instance, the idea in Cameron’s film “that the Titanic hit an iceberg because White Star was trying to achieve a publicity-making
81 Beazle , The Tita i i the a ts, . 82 Beazle , The Tita i i the a ts, . 83 Beazle , The Tita i i the a ts, . 84 Ala Fi la so a d ‘i ha d Ta lo , ‘eadi g Tita i Politi all : Class, Natio , a d Ge de i Negules o s Titanic , i The Titanic in Myth and Memory: Representations in Visual and Literary Culture, eds., Tim Bergfelder and Sarah Street (New York, NY: I.B. Tauris & Co. Ltd., 2004), 140. 85 “a ah “t eet, Questio s of Authe ti it a d ‘ealis i A Night to Remember , i The Titanic in Myth and Memory: Representations in Visual and Literary Culture, eds., Tim Bergfelder and Sarah Street (New York, NY: I.B. Tauris & Co. Ltd., 2004), 148. 86 “tephe Co , The Titanic a d the A t of M th, Critical Review 15 (2003): 405-408. 87 Co , The Titanic a d the A t of M th, . 88 Co , The Titanic a d the A t of M th, . 13
speed record on her run to New York.”89 In other words, Cox finds issue with mistaking myth for reality, as some of the very specific occurrences that we associate with the sinking of the Titanic are often just make-believe. Cox adds that there is always some element of truth involved in a myth, for instance the appearance of the Titanic in the narratives that tell of the event, attempting to maintain authenticity.90 Nevertheless, Cox also maintains that a good myth contains literary elements, such as “drama, mystery, conflict, striking imagery, [and] vivid characters.”91 The story of the Titanic is noted to make a myth which contains said elements. Considering the tragedy of the Titanic’s sinking has become mythical, Cox dispels as doltish many of the myths regarding the ship. For instance, the idea that the ship’s sinking had much to do with capitalist greed. Cox claims that this argument is disputable because for this to be the case, this scenario would make the wealthy who had a say in the ship’s journey look quite foolish themselves.92 The problem of this myth, Cox adds, is quickly adjusted by making figures such as shipbuilder Thomas Andrews appear as heroes, while those of his class simply appear to be immoral.93 Mythologizing a story such as that of the Titanic is quite complicated however, for Cox writes that there are several facts regarding the ship that are simply not debatable.94 Despite this, what motivates retellings of the Titanic’s sinking is the fact that it is centered on an enormous amount of risk, as well as authenticity.95 While the story of Titanic makes for a good myth, one scholar argues that this is not necessarily a good thing. Richard Howells adds to the scholarship on James Cameron’s film, noting that this may be the only way audiences know about Titanic history, and that not all of it is accurate.96 For example, unrealistic elements in Cameron’s narrative include the story of Jack and Rose, as well as other fictional characters. Despite this, Howells argues that Titanic as a mythic story has been ongoing ever since the real tragedy, and reshaped to fit “the needs of the people telling the story.”97 Thus, although the story may not be a reflection of what actually occurred when the Titanic hit an iceberg in 1912, it is a reflection of the lives and culture of the
89 Co , The Titanic a d the A t of M th, . 90 Co , The Titanic a d the A t of M th, . 91 Co , The Titanic a d the A t of M th, . 92 Cox, The Titanic a d the A t of M th, . 93 Co , The Titanic a d the A t of M th, . 94 Co , The Titanic a d the A t of M th, . 95 Co , The Titanic and the Art of Myth, 425-7, 431. 96 ‘i ha d Ho ells, O e Hu d ed Yea s of the Tita i o Fil , Historical Journal of Film, Radio and Television 32 (2012): 73-4. 97 Ho ells, O e Hu d ed Yea s of the Tita i o Fil , . 14
story makers.98 This being the case, many of the films telling the story of Titanic’s sinking have included fictional characters. It is also noted that many of the films on Titanic—Howells points out the 1953 Titanic film, for example—are about much more than just the sinking, as some of the films contain “metaphorical content…for other concerns.”99 As Howells argues, some of these concerns include the cultural values of the time in which the Titanic film was made. Cameron’s version of the film for example, glorifies the rebelliousness of its main character Rose, a far step from the values glorified in films from years past.100 The overall idea is maintained however, that history and make-believe are brought together in the films based on the Titanic, and the make-believe portion is pertinent to the time in which the film is made. That the telling and re-telling of an event such as the Titanic’s sinking is reflective of the society in which it is told is also underscored by Steven J. Zani. His argument consists not only of the former idea, but the idea that the narrative elements presented in Cameron’s Titanic are those that have been culturally important for a long time and continue to be such.101 For example, the fact that Rose becomes a rebel against the restraints of the society in which she was raised is a relatable notion today just as it was in years past. Zani also notes the contrast between the first and third class passengers, commenting that the latter are the ones we relate to the most because they show more interest in living their lives than focusing on wealth.102 There is also the question of whether the film is feminist, to which Zani answers that it is not, for Rose simply takes actions that would be typical of her as a survivor who is able to climb the ropes of class again.103 Zani also claims that the roles Rose morphs into are those that are typical of Cameron films, and compares her to the likes of Sylvester Stallone’s John Rambo.104 That Cameron places Rose in such roles is rather unrealistic when referring to the actual sinking, and Zani comments that although Cameron had certain levels of authenticity in his film, the film’s main event differs dramatically from that “of the actual disaster.”105 Zani continues that this is not wholly blasphemous to the telling of the tragedy however, as claims of authenticity are characteristic of
98 Ho ells, O e Hu d ed Yea s of the Tita i o Fil , . 99 Ho ells, O e Hu d ed Yea s of the Tita i o Fil , . 100 Ho ells, O e Hu d ed Yea s of the Tita i o Fil , -88. 101 “te e J. )a i, T au ati disaste a d Tita i e upe atio : popula /histo i al ep ese tatio s of the Tita i , Journal of Popular Film and Television 31 (2003): 128. 102 )a i, T au ati disaste a d Tita i e upe atio : popula /histo i al ep ese tatio s of the Tita i , . 103 )a i, T au ati disaste a d Tita i e upe atio : popula /histo i al ep ese tatio s of the Tita i , . 104 )a i, T au ati disaste a d Tita i e upe atio : popula /histo i al ep ese tatio s of the Tita i , . 105 )a i, T au ati disaste a d Tita i e upe atio : popula /histo i al ep ese tatio s of the Tita i , -9. 15
all Titanic retellings.106 Authenticity is simply one element the film attempts to claim, while another is the idea that wealth does not matter, emphasized when Rose rids herself of the diamond towards the end of the film.107 Basically, the ideas Zani touches upon are those he claims represent who we are as a culture when we retell the story of the Titanic. We are in other words, attempting to understand the tragedy through our own cultural frames. Howells is not the only scholar arguing that the tragedy of Titanic’s sinking as we know it is truly just a retelling that fits our own ways of thinking. Indeed, Peter Middleton and Tim Woods note that: Titanic’s literary archive registers the transformation of social memory by emergent fantasies, narratives, and images of the past shaped by two converging forces: a growing acknowledgement of the aftershocks and responsibilities of historical traumas, and the adjustments made necessary by new landscapes of space and time in late modernity.108 The authors mention that it took time for Titanic to become a subject of interest, and it was many works of art such as novels regarding the event which gave it a spotlight.109 However, it was not simply these works of literature that gave the event its importance, but it was the loss that it represented. Middleton and Woods argue that the sinking of the Titanic has been recalled over and over because it provides an opportunity to discover new stories within the failure of the sinking itself.110 In other words, each retelling of the Titanic tragedy permits other points in the event to be brought to light. The points that are extracted from each retelling of the story are obviously dependent on memory, which Middleton and Woods argue is represented in Cameron’s film through “oceanic depth metaphors,” and is obvious in Titanic by virtue of the fact that it is the ocean from which Rose recalls her memories of being on the Titanic.111 Ultimately, Middleton and Woods simply note the way history is retold from a particular perspective, as Titanic is narrated through the—admittedly partial—memory of Rose.
106 )a i, T au ati disaste a d Tita i e upe atio : popula /histo i al ep ese tatio s of the Tita i , . 107 )a i, T au ati disaste a d Tita i e upe atio : popula /histo i al ep ese tatio s of the Tita i , . 108 Pete Middleto a d Ti Woods, Te tual e o : The aki g of the Tita ic’s lite a a hi e, Textual Practice 15 (2001): 510. 109 Middleto a d Woods, Te tual e o : The aki g of the Tita ic’s lite a a hi e, -5. 110 Middleto a d Woods, Te tual e o : The aki g of the Tita ic’s lite a a hi e, . 111 Middleto a d Woods, Te tual e o : The aki g of the Tita ic’s lite a a hi e, . 16
Continuing on the subject of myth and storytelling as it relates to Titanic, Janice Hocker Rushing and Thomas S. Frentz argue that Rose is imbedded in a story of technological power and the chaos that may ensue because of said power.112 The two authors contend that as technology and romance collide in Cameron’s narrative, the elements complement each other.113 Titanic not only touches upon this, but Rushing and Frentz note the inspiration for the movie came from such stories as “Pygmalion and Galatea,” “Tristan and Iseult,” and “Eros and Psyche.”114 As for “Pygmalion and Galatea,” the emphasis on a feminine ideal that originated in this story is presented in Titanic.115 Galatea was representative of the ideal woman in the myth of “Pygmalion and Galetea,” comparable to Rose being the ideal woman in Titanic. “Eros and Psyche” shines through Titanic’s narrative as the story recalls a transformation of Psyche as a woman guided by Eros—Jack Dawson being Eros in Titanic.116 Given the romantic and stereotypically female themes of the ancient myths on which Titanic is based, the film itself is bound to center on a female. Ultimately, this is what occurs, as Rose in her old age recites the story to her audience, having “sung over the bones” as Rushing and Frentz put it.117 In addition to the myths Rushing and Frentz mention as inspiration for Cameron’s Titanic, Robert von Dassanowsky notes a few other stories with which the film can be compared or by which it was inspired. Dassanowsky briefly touches upon the similarity between Titanic’s narrative and the late Princess Diana, as he comments that …both parables focus on an icon of the repressed woman in a period when feminism has faded from popular thought and pundits claim that either a ‘feminized’ world has already taken root or sexual equality is no longer an issue.118 Dassanowsky notes how powerful a connection female audiences built with the character Rose in Titanic, arguing that the fandom was as participatory as that of The Rocky Horror Picture Show,
112 Ja i e Ho ke ‘ushi g & Tho as “. F e tz, “i gi g O e the Bo es: Ja es Ca e o s Titanic, Critical Studies in Media Communication 17 (2000): 5. 113 ‘ushi g & F e tz, “i gi g O e the Bo es: Ja es Ca e o s Titanic, -5. 114 Rushing & F e tz, “i gi g O e the Bo es: Ja es Ca e o s Titanic, . 115 ‘ushi g & F e tz, “i gi g O e the Bo es: Ja es Ca e o s Titanic, -7. 116 ‘ushi g & F e tz, “i gi g O e the Bo es: Ja es Ca e o s Titanic, . 117 ‘ushi g & F e tz, “i gi g O e the Bo es: Ja es Ca e o s Titanic, . 118 ‘o e t o Dassa o sk , A Mou tai of a “hip: Lo ati g the Bergfilm i Ja es Ca e o s Titani , Cinema Journal 40 (2001): 18.
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and possibly in some way a result of Cameron’s study of the text Reviving Ophelia.119 Besides these two points of inspiration however, Dassanowsky argues for a larger, overarching comparison Titanic shares in storytelling. The argument he lays out tells of Titanic’s similarity to what is known as Bergfilm in Germany.120 Bergfilm is outlined in such a way that it indeed seems Titanic was inspired by the genre, as the summary provided notes Bergfilm plots of nature versus human drama and the powerful women placed in such situations.121 Indeed, Titanic’s Rose along with the iceberg of the story are both characterized as threats to men, similar to “women and nature” in Bergfilm.122 More specifically, Titanic’s love triangle framework is compared to that of the Bergfilm Tiefland in which a woman—just as in Titanic—is caught between the possessive love of a wealthy man, and the tender love of a poor man.123 Several elements of Titanic’s narrative are extremely similar to those of Tiefland, among other films in the Bergfilm genre. While Cameron’s story is noted to be inspired by ancient myths and past films, it is also about the dreams a girl has, specifically the dreams that the character Rose envisions. Peter Kramer expands on what Rose’s dreams are, indicating that she yearns for a life of adventure that the character Jack is able to show her, but that she also wishes for the destruction of the high-class society around her and everything it has built.124 This includes the destruction of the ship itself.125 Kramer argues that this wish for destruction provides “a cautionary tale about the destructive power women may unleash on an oppressive patriarchal order.”126 In another piece, Kramer also contends that given the fantasy of Titanic’s ending, the entire narrative on Titanic as Rose told it “was all her memory.”127 The last shot of the film into bright white transports us out of the memory, and yet the theme song that subsequently plays reminds us to recall Rose’s
119 Dassa o sk , A Mou tai of a “hip: Lo ati g the Bergfilm i Ja es Ca e o s Titanic, . 120 Dassa o sk , A Mou tai of a “hip: Lo ati g the Bergfilm i Ja es Ca e o s Titanic, -2. 121 Dassa o sk , A Mou tai of a “hip: Lo ati g the Bergfilm i Ja es Ca e o s Titanic, -2. 122 Dassa o sk , A Mou tai of a “hip: Lo ati g the Bergfilm in Ja es Ca e o s Titanic, . 123 Dassa o sk , A Mou tai of a “hip: Lo ati g the Bergfilm i Ja es Ca e o s Titanic, -6. 124 Peter Kramer, Women Fi st: Tita i , action-ad e tu e fil s a d Holl ood s fe ale audience, Historical Journal of Film, Radio and Television 18 (1998): 608-9. 125 Kramer, Women Fi st: Tita i , a tio -ad e tu e fil s a d Holl ood s fe ale audience, . 126 Kramer, Women Fi st: Tita i , a tio -ad e tu e fil s a d Holl ood s fe ale audience, . 127 Pete K a e , Fa A oss the Dista e : Histo i al Fil s, Fil Histo a d Titanic , i The Titanic in Myth and Memory: Representations in Visual and Literary Culture, eds., Tim Bergfelder and Sarah Street (New York, NY: I.B. Tauris & Co. Ltd., 2004), 163.
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journey.128 Kramer notes that whatever the plot, Cameron wants to connect audiences with his characters.129 Titanic accomplishes this through the journey of the lovers Jack and Rose as they connect to each other. The connection is made through Rose’s telling however, and the focus of the film on her liberation is reminiscent of themes from past Hollywood classics.130 Thus, the film is a hodgepodge of stories and wishes that categorize its narrative as classic Hollywood, but this time centered on women. Not only is the marriage of myth and history an issue in Cameron’s Titanic, but James S. Hurley explores the classic narrative of the film that clashes with new methods of production. Hurley argues that Titanic is actually an allegory for a drastic change in the film industry, one in which technological spectacle and the profit that follows is prized over the actual story of a film.131 The irony is that Titanic was such a huge film financially, and yet still contained aspects of film considered artful and less focused on profit. Hurley even goes as far as citing the fact that stars Leonardo Dicaprio, Kate Winslet, and Billy Zane have been in films on channels such as A&E that are considered more artful than profitable.132 There are several other factors within the film that claim irony to its story, said irony being that the film is meant to be high-art but tends toward spectacle. In addition to debates over the anachronisms of the main characters and their behaviors, Titanic attempts to place itself within two genres of film that target economically distinct audiences. Hurley claims that this phenomenon achieved by the film is similar to the narrative itself, as the class distinction is obvious.133 A divide is also noted in the way art is presented in the film, with Jack being characterized as an artist of realism, while the art of the upper class is presented as modernist.134 Hurley goes on to note that Titanic as a film has been compared to works by D.W. Griffith.135 This comparison ultimately makes Hurley’s point, which is that this conflict between spectacle and art in film is quite possibly resolved in the movie Titanic.136 In other words, Cameron brings back the imagery of classic films and provides the narrative through modern technology. The
128 K a e , Fa A oss the Dista e : Histo i al Fil s, Fil Histo a d Titanic , . 129 K a e , Fa A oss the Dista e : Histo i al Fil s, Fil Histo a d Titanic , . 130 K a e , Fa A oss the Dista e : Histo i al Fil s, Film History and Titanic , . 131 Ja es “. Hu le , Titanic Allego ies: The Blo k uste as A t Fil , Strategies: A Journal of Theory, Culture, and Politics 14 (2001): 93. 132 Hu le , Tita i Allego ies: The Blo k uste as A t Fil , . 133 Hu le , Tita i Allego ies: The Blo k uste as A t Fil , . 134 Hu le , Tita i Allego ies: The Blo k uste as A t Fil , . 135 Hu le , Tita i Allego ies: The Blo k uste as A t Fil , -7. 136 Hu le , Tita i Allego ies: The Blo k uste as A t Fil , . 19
contradiction between art and spectacle and their coming together is similar to what Hurley mentions as Hayden White’s “modernist historical event” argument, in which two contradictory forms ultimately come together as one.137 Thus, Hurley means to say that Titanic is a metaphor for the film industry’s move too soon to technology that does not necessarily guarantee quality art, but is focused on profit alone. The narrative that is reminiscent of classic Hollywood is simply the warning system before the film industry finally crashes. While Titanic has been compared to the classic films of Hollywood, there are other ways to analyze its form as a narrative. Susan Sydney-Smith for instance, argues that Titanic fits with “rites of passage films, narratives which enable us to cross over from one millennium to the next.”138 This is a genre of film in which social structures are questioned and restrictions are overcome, fitting to the narrative of Titanic. Sydney-Smith compares Titanic with other historical-event films, going so far as to parallel the fight against slavery in Amistad to Rose’s fight for freedom against her upper class upbringing.139 The fight that Rose takes on within the plot of Cameron’s film is also likened to several other films regarding “canonical figures or texts,” films underscoring some change against oppression, or in Rose’s case her own becoming a woman.140 Sydney-Smith mentions however, that Titanic’s narrative attaches itself to several other genres and origins. Although the film’s narrative articulates the British presence aboard Titanic, it is not a heritage film, but rather “post-heritage.”141 In this sense the film focuses solely on spectacle and art, although it is influenced by medieval tales of Romance and knighthood.142 Representations of class in the film are reflective of medieval narrative, the upper class in Titanic being constantly on display in light, while the lower class is darker and low-key.143 The idea Sydney-Smith intends to note however, is that the world that is deathly familiar to Rose ultimately comes to an end within the narrative. This is to say that it is a transformative film, with such narrative elements that have been used throughout time to underscore the intensity of Rose’s journey.
137 Hu le , Tita i Allego ies: The Blo k uste as A t Fil , . 138 Susan Sydney-“ ith, ‘o a i g Disaste : Titanic a d the ‘ites of Passage Fil , i The Titanic in Myth and Memory: Representations in Visual and Literary Culture, eds., Tim Bergfelder and Sarah Street (New York, NY: I.B. Tauris & Co. Ltd., 2004), 185. 139 Sydney-“ ith, ‘o a i g Disaste : Titanic a d the ‘ites of Passage Fil , . 140 Sydney-“ ith, ‘o a i g Disaste : Titanic a d the ‘ites of Passage Fil , -7. 141 Sydney-“ ith, ‘o a i g Disaster: Titanic a d the ‘ites of Passage Fil , . 142 Sydney-“ ith, ‘o a i g Disaste : Titanic a d the ‘ites of Passage Fil , -91. 143 Sydney-“ ith, ‘o a i g Disaste : Titanic a d the ‘ites of Passage Fil , . 20
Production and Distribution Computer graphics imagery is a large part of what rendered Titanic a blockbuster film. Additionally, Aylish Wood argues that computer graphics imagery not only enhances the human aspects of the story in Titanic, but often tells the ship’s own story alongside that of its human co- stars.144 This is coded as parallelism, which Wood acknowledges often occurs in film, but the narrative of human versus technological characters is often captured in separate scenes.145 In Titanic however, the stories of the technological and human characters are told simultaneously. Wood contends that from the beginning of Rose’s story back in 1912, her story also becomes the ship’s story.146 Specifically, as we are introduced to Rose for the first time, we are also introduced to the Titanic. Another example Wood points out is Jack’s becoming acquainted with the ship, standing at the bow while the ship is taken to new speeds. Placing emphasis on the speed of Titanic, the film cuts to images of the propellers and the ship moving faster, and then cuts back to Jack and his friend Fabrizio. There are also the images of the entire ship itself, and its moving through the ocean, which Wood argues are the effects of computer graphic imagery lending the ship its own character and life.147 Wood continues that it is easy to see the ship and its passengers come together as one in the narrative during the final moments of its sinking.148 The gist of Wood’s piece then, is that Titanic’s special effects are important to creating the character of the ship, or attaching viewers to the ship just as to the human characters. In this sense, the impact of the ship’s sinking is magnified. A more technical aspect of the film that one scholar analyzes is its tendency toward verticality, or using the vertical axis of the movie screen to tell a story. Kristen Whissel comments on this element of the film, emphasizing many examples from the narrative in which cinema’s vertical axis is utilized. Among the specific examples are Rose’s suicide attempt into the ocean, the towering iceberg, and of course, the ship itself as it sinks into the ocean.149 Whissel continues to note that these uses of verticality in Cameron’s film contribute to
144 A lish Wood, E pa ded Na ati e Space: Titanic a d CGI Te h olog , i The Titanic in Myth and Memory: Representations in Visual and Literary Culture, eds., Tim Bergfelder and Sarah Street (New York, NY: I.B. Tauris & Co. Ltd., 2004), 225-6. 145 Wood, E pa ded Na ati e “pa e: Titanic a d CGI Te h olog , . 146 Wood, E pa ded Na ati e “pa e: Titanic a d CGI Te h olog , -229. 147 Wood, E pa ded Na ati e “pa e: Titanic a d CGI Te h olog , -30. 148 Wood, E pa ded Na ati e “pa e: Titanic a d CGI Te h olog , . 149 Kristen Whissel, Tales of Up a d Mo ilit : The Ne Ve ti alit a d Digital “pe ial Effe ts, Film Quarterly 59 (2006): 26-7.
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transformed meanings of the elements within the narrative. For one, Whissel continues on the example of the ship sinking vertically, stating that through this sense the ship becomes completely classless, and whether passengers are first or third class, they are going to die if they are not holding on to the ship once it is vertically raised.150 When it comes to Rose, Whissel argues that she ultimately faces off with gravity on the stern of the ship, opposing its force towards the end of the film to in turn oppose going down with the high-class Victorian ways of the ship.151 Whissel appears to say that as the Titanic sinks, so too does the first-class society Rose was trying to escape, but then again, the third class remains vertically submerged. In other words, although high-class society may have disappeared with the ship, verticality still takes place when Jack falls dead into the ocean, emphasizing the fact that he will always be of third class status.152 Verticality is thus an important effect used within Titanic that underscores much of the conflict facing the characters. While the film industry flourishes because of blockbuster films like Titanic, some scholars mention what could be quite a problem for the industry. Barbara Klinger notes that piracy has been an issue for the film industry, and yet the pirating of films like Titanic has exposed Hollywood’s films to places all over the world.153 Titanic is a case in point, as it was pirated into Afghanistan where it was considered illegal and yet sets the stage for a discussion of the effects of piracy because of its profound impact upon the culture.154 The point in Klinger’s discussion is that piracy is not simply an illegal means of distributing film and such a means to be condemned, but can actually help expand the success of a Hollywood blockbuster.155 To make this case, Klinger writes that although Titanic was outlawed in Afghanistan due to the reign of the Taliban, many people still viewed smuggled copies of the film during the night.156 The movie gained extraordinary popularity within the culture, resulting in the production of “T-shirts, burqas, shoes, cosmetics, toothpaste, perfume, and wedding cakes” that were based on the film.157 Klinger also cites that even though it was outlawed so much so as to result in jail time for
150 Whissel, Tales of Up a d Mo ilit : The Ne Ve ti alit a d Digital “pe ial Effe ts, . 151 Whissel, Tales of Up a d Mo ilit : The Ne Ve ti alit a d Digital “pe ial Effe ts, . 152 Whissel, Tales of Up a d Mo ilit : The Ne Ve ti alit a d Digital “pe ial Effe ts, . 153 Ba a a Kli ge , Co t a a d Ci e a: Pi a , Titanic, and Central Asia, Cinema Journal 49 (2010): 106-109. 154 Kli ge , Co traband Cinema: Piracy, Titanic, and Central Asia, . 155 Kli ge , Co t a a d Ci e a: Piracy, Titanic, and Central Asia, . 156 Kli ge , Co t a a d Ci e a: Piracy, Titanic, and Central Asia, . 157 Kli ge , Co t a a d Ci e a: Piracy, Titanic, and Central Asia, . 22
barbers, demand for a haircut like Leonardo Dicaprio’s in Titanic was all the rage.158 Ultimately, the only way Titanic could have had this much of an impact and popularity in Kabul, Afghanistan, is through piracy.159 However, it was not just the film itself that gained even more popularity among the Afghan population, but Klinger argues that smuggling the film and being able to watch it in secret permitted the Afghan people a sense of rebellion and freedom.160 Transnationalism in other words, makes a statement about the culture of Afghanistan, a statement concerned with the influences of the film upon the people of Afghanistan and a tendency towards modernism.161 What this implies as Klinger argues, is that piracy is not necessarily harmful, but ultimately expressive of the popularity and power Hollywood has over different regions of the world.162 Piracy in other words, can be beneficial to Hollywood. Symbolism and Thematics in the Film While there have been a few discussions over class as it is represented in the film Titanic, some scholars analyze very particular elements in the film. Peter N. Chumo II for instance, outlines how the element of time works in Titanic.163 Chumo II notes how time is intricately woven into the film to not only take us back to 1912, but to also bring us back to the future.164 Much of this creation and use of time is represented through the characters of the film, states Chumo II. Jack for instance, is the forward-thinker of the film, ready for the future, and according to Chumo II, shows that he can fit in well with any time.165 As a matter of fact, Jack basically summarizes the idea when he is at dinner with Rose and her first-class counterparts.166 Time is a point of confusion for Rose herself, as she is expected to live in the past, but wants to be a forward-thinker like Jack.167 Less abstract is the symbolic power of the diamond in the film, the diamond given to Rose by her fiancé. In his discussion of class and the Marxist struggle as it is represented in Titanic, James Kendrick underscores the idea that Rose’s necklace comes to have many different meanings throughout the film. First, Kendrick writes that the necklace is
158 Kli ge , Co t a a d Ci e a: Piracy, Titanic, and Central Asia, -115. 159 Kli ge , Co t a a d Ci e a: Piracy, Titanic, and Central Asia, . 160 Kli ge , Co t a a d Ci e a: Piracy, Titanic, and Central Asia, . 161 Kli ge , Co t a and Cinema: Piracy, Titanic, and Central Asia, -120. 162 Kli ge , Co t a a d Ci e a: Piracy, Titanic, and Central Asia, -124. 163 Pete N. Chu o II, Lea i g to Make Ea h Da Cou t: Ti e i Ja es Ca e o s Tita i , Journal of Popular Film and Television 26 (1999): 158-164. 164 Chu o II, Lea i g to Make Ea h Da Cou t: Ti e i Ja es Ca e o s Tita i , . 165 Chu o II, Lea i g to Make Ea h Da Cou t: Ti e i Ja es Ca e o s Tita i , . 166 Chu o II, Lea i g to Make Ea h Da Cou t: Ti e i Ja es Ca e o s Tita i , . 167 Chu o II, Lea i g to Make Ea h Da Cou t: Ti e i Ja es Ca e o s Tita i , -2. 23
symbolic of the wealth and power Rose’s fiancé has, but as the film continues, the necklace comes to represent love and beauty.168 Kendrick additionally notes the weight of clothing in symbolizing class distinctions throughout the film, and argues that when Rose was drawn in the nude, she basically disowned her status as a first class passenger through ridding herself of first class clothes.169 Regarding the diamond and its symbolic nature within the film, Adrienne Munich and Maura Spiegel propose an argument about its symbolic meaning that is somewhat similar to that of James Kendrick. They argue that the diamond necklace comes to signify “democratic desire,” or the desire of “important fulfillments” beyond wealth.170 The diamond signifies the change in Rose’s character as well as “American fulfillment,” as it initially symbolizes the money-enslaved class and subsequently freedom in pursuit of desires beyond material belongings.171 Munich and Spiegel note that Cal, in telling Rose the diamond concerns royalty, is passing on the idea of lineage and monarchy so that it in turn reaches U.S. territory.172 However as the narrative continues, we find that the Heart of the Ocean does not represent wealth. Indeed, Munich and Spiegel comment that when Jack draws Rose, the diamond is simply “erotic adornment,” and years later it becomes Rose’s safe of memories from her voyage aboard the Titanic, hence her statement “a woman’s heart is an ocean of secrets.”173 It is also the reflection of the life Jack had in mind for Rose, or “an American epic” of adventure and love.174 Thus the diamond comes to be a symbol of ever-lasting memory and democracy rather than money. However, not only does the diamond represent sentimentality, but Vivian Sobchack contends the necklace is “the Titanic itself,” noting the “immensity” that the necklace recalls.175 Thus, the necklace ultimately takes on meanings that render it both spiritual and physical. Two opposing themes that are represented visually throughout the film are entrapment as well as freedom.176 Hunt and Lehman note many visuals representing the former, including
168 Ke d i k, Ma ist O e to es i Th ee Fil s Ja es Ca e o , -44. 169 Ke d i k, Ma ist O e to es i Th ee Fil s Ja es Ca e o , . 170 Ad ie e Mu i h a d Mau a “piegel, Hea t of the O ea : Dia o ds a d De o ati Desi e i Titanic, i Titanic: Anatomy of a Blockbuster, eds., Kevin S. Sandler and Gaylyn Studlar (New Brunswick, NJ: Rutgers University Press, 1999), 156. 171 Muni h a d “piegel, Hea t of the O ea : Dia o ds a d De o ati Desi e i Titanic, , . 172 Mu i h a d “piegel, Hea t of the O ea : Dia o ds a d De o ati Desi e i Titanic, . 173 Mu i h a d “piegel, Hea t of the O ea : Dia o ds a d De o ati Desi e in Titanic, -2. 174 Mu i h a d “piegel, Hea t of the O ea : Dia o ds a d De o ati Desi e i Titanic, . 175 “o ha k, Bathos a d the Bath sphe e: O “u e sio , Lo gi g, a d Histo i Titanic, . 176 Leh a a d Hu t, “o ethi g a d “o eo e Else : The Mind, the Body, and Sexuality in Titanic, . 24
moments of being in handcuffs, having to “break through locked gates, and open and relock a safe.”177 In contrast, the film focuses on a young woman who attempts to break away from entrapment. Rose falls into the arms of Jack Dawson because he is her escape from an oppressive life. According to Lehman and Hunt, scenes such as those in which Jack and Rose are “flying” and Rose’s standing “beneath the Statue of Liberty” signify “liberation.”178 Thus, Lehman and Hunt note these images to underscore themes that carry the narrative of Cameron’s film. The promotional aspect of Titanic was as important to the film as the film itself has come to be. One scholar analyzes the meaning of the posters that were used to promote the film, analyzing one in particular in which Rose looks down while Jack stands behind her in an embrace, and the Titanic itself is placed right in front of them.179 Several arguments are made about this particular poster, one being that the particular way in which the ship is positioned emphasizes the unity of the lovers while also threatening to tear “them apart.”180 The particular tag line of the poster in question—“‘Nothing on Earth Could Come Between Them’”—also comes to be of importance in the analysis, as the argument is made that this implied a lasting love because the sinking of the ship strengthened the main protagonists’ bond.181 As he did with this poster that promoted the film, Peter Kramer also makes note of very particular elements of the film that contribute to its overall meaning. One in particular is the white fade at the end of the film, which Kramer compares with “the white of the paper on which Jack drew her [Rose’s] picture,” concluding that this signifies the fantasy that not only Rose had of being together with Jack, but the story that the film presents to its audience.182 Among other elements of importance in Cameron’s Titanic, the paintings that Rose is fascinated with are another subject of analysis. Indeed, Richard Read argues that said paintings which Rose holds admiration for come to represent another aspect of entertainment that is enjoyed alongside tragedy.183 Another argument on the paintings regards their support of the film’s overall narrative. Indeed, Robert von Dassanowsky argues that the Modernist paintings
177 Leh a a d Hu t, “o ethi g a d “o eo e Else : The Mi d, the Bod , a d “e ualit i Titanic, . 178 Leh a a d Hu t, “o ethi g a d “o eo e Else : The Mi d, the Bod , a d “e ualit i Titanic, . 179 Kramer, Women Fi st: Tita i , action-ad e tu e fil s a d Holl ood s fe ale audience, . 180 Kramer, Women Fi st: Tita i , action-ad e tu e fil s a d Holl ood s fe ale audience, . 181 Kramer, Women Fi st: Tita i , action-ad e tu e fil s a d Holl ood s fe ale audience, . 182 Kramer, Women Fi st: Tita i , a tio -ad e tu e fil s a d Holl ood s fe ale audience, . 183 ‘i ha d ‘ead, Ap és Pi asso, Le Deluge o Wh the Lo e Boat Wo t Hold Wate : Ja es Ca e o s Titanic a d Joh ‘i ha dso s A Life of Picasso, The Cambridge Quarterly 28 (1999): 273. 25
and the fact that they sink with the ship in Titanic underscores the notion that Cameron displays a “rejection of modernist rationalism.”184 In addition to the analysis of promotional materials for and particular elements in Cameron’s Titanic, some scholars argue about the film’s potential to make a political statement. Patrick McGee for instance, mentions that the first few moments of the film—which transition from documentary-like footage to submersibles exploring the Titanic’s wreckage—solidify a representation of the past that highlights a nostalgia for the times and values of said past, while they also point out contradictions in a change that never really takes place.185 According to McGee, several contradictions are expressed throughout the film, and embodied by the main characters although they appear to be unaware of this. When noting the character Cal, McGee emphasizes that ironically enough, Cal is focused on demand but does not necessarily get what he wants through demand.186 Jack on the other hand, is focused less on demand and more on desire, or as McGee explains, Jack is not expecting Rose to fulfill his needs but rather enjoying who she is.187 Jack is a flaneur within the film, or one who is poor but also able to capture free time, and enjoy commodity but also return to desire, thus caring for Rose in such a way that he does not demand from her.188 The form of caring that Jack shows for Rose and vice versa, is ultimately in a sense, what creates a “structure of feeling” by which audiences become attached to the tragedy of the Titanic.189 The implications of this are much greater however, as the love between the characters Jack and Rose expresses not just the romantic element of the story, but social commentary. Indeed, McGee states that although initially a symbol of commodity, the Titanic becomes material for social change as expressed through Jack’s use of the ship to teach Rose to “fly” at its bow.190 As McGee notes to be typical however, the desire for social change is
184 Dassa o sk , A Mou tai of a “hip: Lo ati g the Bergfilm i Ja es Ca e o s Titanic, . 185 Patrick McGee, Bad History and the Logics of Blockbuster Cinema: Titanic, Gangs of New York, Australia, Inglourious Basterds (New York, NY: Palgrave Macmillan, 2012), 37-8. 186 McGee, Bad History and the Logics of Blockbuster Cinema: Titanic, Gangs of New York, Australia, Inglourious Basterds, 39-40. 187 McGee, Bad History and the Logics of Blockbuster Cinema: Titanic, Gangs of New York, Australia, Inglourious Basterds, 40. 188 McGee, Bad History and the Logics of Blockbuster Cinema: Titanic, Gangs of New York, Australia, Inglourious Basterds, 44-45. 189 McGee, Bad History and the Logics of Blockbuster Cinema: Titanic, Gangs of New York, Australia, Inglourious Basterds, 45-6. 190 McGee, Bad History and the Logics of Blockbuster Cinema: Titanic, Gangs of New York, Australia, Inglourious Basterds, 48-9.
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met by obstruction of some sort—in this case, the iceberg.191 The point overall is that Titanic’s narrative is rather political, in the sense that class alignments within the film become very distinctive and one appears to be favored over the other. McGee furthers the argument of contradictions within Titanic through an interpretation of Jack and Rose’s being able to interact. The redemption that the film appears to make for itself despite class divisions is the fact that the narrative finishes with no class division apparent, Rose and Jack becoming equals.192 McGee claims that this ultimately presents the narrative in such a way, that it becomes “an image of social desire in the present.”193 It is then necessarily unrealistic, McGee writes. In other words, Cameron’s Titanic is not giving us a realistic viewpoint of the division of class aboard the ship. In addition, McGee argues that the violence of the sinking as represented in Cameron’s film is unrealistic as well.194 This is no longer about representing the sinking of the Titanic realistically, but rather for McGee, the film continues to make political statements about change regarding social class. Jack and Rose certainly want to be together, but in order for that to happen, disaster must take place.195 In order for Rose to experience complete freedom, Jack must die.196 The arguments McGee makes regarding the connection Jack and Rose have ultimately come to signify that Cameron’s film represents a way in which class issues come to light, and issues that are ignored because they are considered unimportant are touched upon slightly, to possibly appear in future media. While class issues are obvious within Titanic, one problem that remains unaddressed is the question of race. Sean Redmond comments on race as it relates to the film, arguing that “whiteness is made ‘invisible’, and displaced by issues of social class, national identity and
191 McGee, Bad History and the Logics of Blockbuster Cinema: Titanic, Gangs of New York, Australia, Inglourious Basterds, 51-2. 192 McGee, Bad History and the Logics of Blockbuster Cinema: Titanic, Gangs of New York, Australia, Inglourious Basterds, 58-9. 193 McGee, Bad History and the Logics of Blockbuster Cinema: Titanic, Gangs of New York, Australia, Inglourious Basterds, 59. 194 McGee, Bad History and the Logics of Blockbuster Cinema: Titanic, Gangs of New York, Australia, Inglourious Basterds, 62-3. 195McGee, Bad History and the Logics of Blockbuster Cinema: Titanic, Gangs of New York, Australia, Inglourious Basterds, 63-4. 196 McGee, Bad History and the Logics of Blockbuster Cinema: Titanic, Gangs of New York, Australia, Inglourious Basterds, 64-5.
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gender.”197 To blame for the issue is the character Rose, “whose whiteness is hidden behind a melodramatic plot line and tokenistic liberal and quasi-feminist attributes and motivations.”198 Then again, the other main characters of the film come into play as well, although on differing levels. Redmond contends that when it comes to whiteness and the character Cal, he represents whiteness in its most heinous, intolerant form.199 At the same time, Rose and Jack are both tolerant individuals, yet Rose’s whiteness is of upper class society. In other words, she is a tolerant character of sorts, but has privilege and power as one of the upper class. Despite the fact that all main characters are white in this film, Redmond comments that their whiteness is as hierarchical as social class.200 He outlines the idea by noting Cal’s whiteness in contrast with Jack’s, the latter’s being “light and promise,” associating with the ethnic diversity of his third- class counterparts.201 One of Jack’s good friends is Italian; Redmond additionally notes that Jack’s philosophy “when you’ve got nothing, you’ve got nothing to lose” is reflective of African-American aphorisms from the 1960s, such as “‘I’ve been down so long, that down don’t bother me.’”202 Jack is also a roaming artist as well as sexual threat to “the figures of power in the film,” interpreted to have “had inter-racial sex with Rose.”203 Redmond’s point is that by the end of the narrative, whiteness comes to be interpreted differently. While the whiteness that reigned at the beginning of the film was of intolerant ideologies, whiteness toward the end of the film is more accepting of diversity. Another issue in Titanic is the manner in which the Irish are represented. In regard to this, K.J. Donnelly argues that although the Irish should be a part of the Titanic story, Cameron’s narrative simply renders the Irish “a colorful background” with “charged symbolism.”204 Donnelly continues to note that “Cameron’s film keys into the international commodification of Irish culture.”205 This commodification includes the quality of simplicity seeming to
197 “ea ‘ed o d, Titanic: White ess o the High “eas of Mea i g, i The Titanic in Myth and Memory: Representations in Visual and Literary Culture, eds., Tim Bergfelder and Sarah Street (New York, NY: I.B. Tauris & Co. Ltd., 2004), 197. 198 ‘ed o d, Titanic: Whiteness on the High “eas of Mea i g, . 199 ‘ed o d, Titanic: White ess o the High “eas of Mea i g, . 200 ‘ed o d, Titanic: White ess o the High “eas of Mea i g, -201. 201 ‘ed o d, Titanic: White ess o the High “eas of Mea i g, . 202 ‘ed o d, Titanic: White ess o the High “eas of Mea i g, -1. 203 ‘ed o d, Titanic: White ess o the High “eas of Mea i g, . 204 K.J. Do ell , ‘i e da i g as the “hip Goes Do , i The Titanic in Myth and Memory: Representations in Visual and Literary Culture, eds., Tim Bergfelder and Sarah Street (New York, NY: I.B. Tauris & Co. Ltd., 2004), 205. 205 Do ell , ‘i e da i g as the “hip Goes Do , . 28
characterize the Irish, as represented in the party scene on the Titanic. It is not just simplicity as it specifically pertains to being Irish however, but Connelly notes a similarity to “black characters in mainstream cinema,” as they too are rather characterized as being “‘primitive.’”206 One of the problems with this representation is made obvious through the Irish music used in the film. Said music is not actually authentic Irish music, at least not all of it is. Indeed, Donnelly contends that much of the music that makes up the sound track for Titanic is not wholly culturally representative of Irish music, but lends a new definition to the music used for commodification.207 Thus, some of the cultural associations we think we can make with the music used in Titanic are inaccurate. Sentimentality in the Film Other explorations of the film have focused on its general themes and messages as they relate to emotion. Todd F. Davis and Kenneth Womack for instance, make claims about the emotionality of the film that we see in its love story. One such claim is that Titanic’s narrative is so emotional as to categorize it as a classic Hollywood film, and yet one in which those in academia will tend to avoid.208 The conflict is that the cultural impact of the film is ignored, as Davis and Womack indeed note that Cameron’s story captured an enormous audience because of those elements for which the film has been criticized.209 They continue to add that Titanic contains elements of both aesthetic and nonaesthetic reading, credited to Louise M. Rosenblatt.210 These both imply readings of an ethical critic, the former being one that entails paying “particular attention to what occurs during the actual reading event”211 while the latter consisting of “attention on the traces of knowledge and data that will remain after the event.”212 In other words, Titanic manages to provide both an aesthetic and a nonaesthetic perspective through its emotional narrative as well as the event on which it is based. The film does this
206 Do ell , ‘i e da i g as the “hip Goes Do , . 207 Do ell , ‘i e da i g as the “hip Goes Do , . 208 Todd F. Da is a d Ke eth Wo a k, Na ati g the “hip of D ea s: The Ethi s of “e ti e talit i Ja es Ca e o s Tita ic,” Jour al of Popular Fil a d Televisio 29 (2001): 43. 209 Da is a d Wo a k, Na ati g the “hip of D ea s: The Ethi s of “e ti e talit i Ja es Ca e o s Titanic, 43. 210 Da is a d Wo a k, Na ati g the “hip of D ea s: The Ethi s of “e ti e talit i Ja es Ca e o s Titanic, 44-5. 211 Da is a d Wo a k, Na ati g the “hip of D ea s: The Ethi s of “e ti e talit i Ja es Ca e o s Titanic, 44. 212 Da is a d Wo a k, Na ati g the “hip of D ea s: The Ethi s of “e ti e talit i Ja es Ca e o s Titanic, 44-5.
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through a variety of factors, Davis and Womack note, including characters, narration, and several events in the plot that occur throughout the film.213 Ultimately, what Davis and Womack argue the film does is present us with narrative elements that allow for both aesthetic and nonaesthetic readings by virtue of bringing together narrative romance and historical truth. These readings encourage comment on the social issues at hand in Cameron’s film. In addition to Davis and Womack’s comments regarding the romance in Cameron’s Titanic, Brian McFarlane also offers his reading. He does not have a positive argument for the romance between Jack and Rose, arguing that the romance between the two characters is doltish and takes attention away from the actual event.214 McFarlane comments that it is not the romance of the film that is personally captivating, but rather, it is other, more technical aspects. Such aspects include “the funnel falling, [and] the ship breaking in two” among others that made an impression.215 McFarlane argues that the romance is simply too emotional for the film, and that such a narrative is only so because it is an opportunity for profit.216 Again, it should be all about the event—instead, McFarlane adds that Cameron’s version of the Titanic is simply another item in the line “of hugely expensive (and commercially lucrative) Hollywood blockbusters.”217 Kent Jones appears to be of a similar opinion, dismissing any quality to the romantic aspect of Titanic’s narrative, and claiming that the only reason Jack and Rose’s romance has any merit at all is because of the digital enhancement of the film.218 The romance between Jack and Rose is characterized as rather cliché, being reflective of “‘period’ TV shows” in which the plot focused on the poor guy who brings life to the rich girl who is trapped by society.219 Thus, some scholars cement the opinion that it is the technology in creating the film Titanic that ultimately made it popular. Although many scholars are not fond of the romance between Jack and Rose, one scholar seems to justify its presence in Cameron’s Titanic. Indeed, Frank Thompson glorifies the authentic detail with which Titanic was made while at the same time praising the story that carried this film. Thompson’s initial comments surround the authenticity of many of the elements
213 Da is a d Wo a k, Na ati g the “hip of D ea s: The Ethi s of “e ti e talit i Ja es Ca e o s Titanic, 45-8. 214 B ia M Fa la e, This “hip s U si ka le! : The Titanic o Fil , Screen Education 60 (2010): 53-4. 215 M Fa la e, This “hip s U si ka le! : The Titanic o Fil , . 216 M Fa la e, This “hip s U si ka le! : The Titanic o Fil , . 217 M Fa la e, This “hip s U si ka le! : The Titanic o Fil , . 218 Ke t Jo es, C iti s Hea t Is A O ea of Lo gi g, Film Comment 34 (1998): 22. 219 Jo es, C iti s Hea t Is A O ea of Lo gi g, -3. 30
in the film, from its music as played aboard the ship to everything else on the ship.220 The sinking of the ship is noted to be rather authentic as well.221 Finally, when it comes to Jack and Rose’s romance aboard the ship, Thompson does not dismiss the narrative as easily as other scholars for being too overbearing or emotional. Rather, Thompson seems to regard the romance element as necessary to the film, for he comments that it brings together many bits of life that had possibly occurred aboard the ship.222 To be precise, Thompson states that “Cameron has simply telescoped the experiences, real or imagined, of many different passengers, in many different parts of the ship, into the adventures of Jack and Rose.”223 This being the case, Thompson is rather optimistic about the plot of Cameron’s film. The story itself does not just include fantastic special effects, but according to Thompson is enjoyed through the experiences of the film’s love birds. Mark J.P. Wolf has resorted back to an argument which parallels that of McFarlane, Jones and Thompson. While Wolf admits appreciation for the romantic narrative around which Titanic is centered, he argues that the special effects of the film, or what he calls “invisible effects,” are its most praiseworthy element.224 Given the point of the film was to connect audiences with the experience of being on the Titanic, the tragedy could not have been well represented visually without special effects.225 In turn, Wolf contends that an emotional connection to the story would not have been easily created. Wolf points out that the emotion of Rose’s story is not even logically sound unless we know the character of the ship Titanic.226 There are several ways in which the technical aspects of the film paved the way for the emotional, including the realistic appearance of the movie set—the ship—that becomes so familiar that the sinking is bound to spawn emotional reactions.227 The set of the movie was hydraulic as well, creating a space in which the actors’ performances would be enhanced by their surroundings, in combination with small-scale models.228 Not only that, but special effects
220 F a k Tho pso , Tita i Mo ies ‘e led, Film Comment 34 (1998): 67. 221 Tho pso , Tita i Mo ies ‘e led, . 222 Tho pso , Tita i Mo ies ‘e led, . 223 Tho pso , Tita i Mo ies ‘e led, . 224 Ma k J.P. Wolf, The Te h i al Challe ge of E otio al ‘ealis a d Ja es Ca e o s Titanic, i The Titanic in Myth and Memory: Representations in Visual and Literary Culture, eds., Tim Bergfelder and Sarah Street (New York, NY: I.B. Tauris & Co. Ltd., 2004), 215-6. 225 Wolf, The Te h i al Challe ge of E otio al ‘ealis a d Ja es Ca e o s Titanic, . 226 Wolf, The Te h i al Challe ge of E otio al ‘ealis a d Ja es Ca e o s Titanic, . 227 Wolf, The Te h i al Challe ge of E otio al ‘ealis a d Ja es Ca e o s Titanic, . 228 Wolf, The Te h i al Challe ge of E otio al ‘ealis a d Ja es Ca e o s Titanic, . 31
render emotional realism more complex when it comes to acting—actors’ performances are “divided into…component parts,” meaning voice, movements, etcetera are recorded separately and later combined in smooth sequence.229 Wolf’s overall idea is that the technical aspects of the Titanic play as much of a role in provoking emotion throughout the film as the narrative itself does. Issues of Gender Regarding the social issues that Titanic presents to its audience, gender appears prominently within the film, even with its audience. Peter Kramer notes that “the promotion of female characters to the status of main protagonist” has been key to garnering a female audience for Hollywood films.230 Indeed, quite a few of Cameron’s films have featured female protagonists in the middle of action-adventure narratives that have spawned other films in this genre.231 Titanic is different in that the action-adventure of the film is portrayed in such a way that it is meant to entice both male and female viewers, not just male viewers.232 However, it appears to place emphasis on the power of a woman to carry a narrative, as Kramer underscores the fact that although the male character Brock Lovett and director James Cameron hold their own fascinations with the Titanic, it is ultimately Rose who takes control of sharing the event.233 Kramer continues that the power of narrating the story is thus shared with a female audience. Indeed, Kramer makes the overall point that although Titanic contained action sequences geared toward a male audience, it also contained elements of romance and a female protagonist that made female audiences a primary target.234 He claims that this “returns the cinema to women, declaring them to be the most important audience and expecting males to go along with their female partners, rather than the other way round.”235 Titanic is simply one of those films that have given women a chance to be Hollywood’s primary audience, whereas men are usually said audience. Some scholars are not simply focusing on the issue of whether women are presented as inferior to men in Titanic. David Gertsner for instance, focuses on how masculinity is
229 Wolf, The Te h i al Challe ge of E otio al ‘ealis a d Ja es Ca e o s Titanic, -3. 230 Kramer, Women Fi st: Tita i , a tio -ad e tu e fil s a d Holl ood s fe ale audience, . 231 Kramer, Women Fi st: Tita i , a tio -adventure films and Holl ood s fe ale audience, . 232 Kramer, Women Fi st: Tita i , a tio -ad e tu e fil s a d Holl ood s fe ale audience, . 233 Kramer, Women Fi st: Tita i , a tio -ad e tu e fil s a d Holl ood s fe ale audience, . 234 Kramer, Women Fi st: Tita i , a tio -ad e tu e fil s a d Holl ood s fe ale audience, -3. 235 K a e , Wo e Fi st: Tita i , a tio -ad e tu e fil s a d Holl ood s fe ale audie e, . 32
represented in Titanic, arguing that the film in a sense sends a message which encourages control over “feminine excess.”236 That is to say that even though one of the protagonists of the film is a female who overcomes various obstacles, she remains under the control of male power. Gertsner opines that Cameron’s story continues a tradition of art in which there is a struggle to prevent mass feminization of art itself.237 Particularly in film, filmmakers continuously feel the need to overcome the many exaggerated instances of femininity that play out in various narratives of cinema—Titanic is an example of such a narrative.238 Gertsner argues that in Titanic, the feminine excess of the film is controlled by both the character Jack Dawson and Cameron himself, as they are both artists who ultimately influence the portrayal of Rose DeWitt Bukater.239 Said influence comes across through such elements as Jack’s drawings and the effect they have upon Rose, for Gertsner notes that they influence her to think about how she wants to live her life.240 Jack in other words, holds the power to transform Rose into the person that she ultimately becomes in the film. Gertsner argues that the transformation prevents the male artist from being considered too feminized, because of the control he exerts upon the femaleness of the film.241 This resolves the issue of masculinity becoming overwhelmed by the feminine in film, as Jack the character and Cameron the director maintain the power to assert their masculinity within the narrative of Titanic. Indeed, the film is ultimately carried under the reigns of men, as Rushing and Frentz point out that not only is the director among others with important roles male, but even the discovery of the real Titanic was inspired by the “masculine story of the Golden Fleece.”242 Issues of Class Considering the story of Titanic, class is a prominent issue within the film. Nelson Lichtenstein discusses class in the film, stating that Rose, Jack and the rest of the third-class passengers on the ship are all in opposition to the bourgeois aboard the ship. Lichenstein appears to note that even though they are in opposition, they are at the same time complementary to the
236 Da id Ge st e , U si ka le Mas uli it : The A tist a d the Wo k of A t i Ja es Ca e o s Tita i , Cultural Critique 50 (2002): 1. 237 Ge st e , U si ka le Mas uli it : The A tist a d the Wo k of A t i Ja es Ca e o s Tita i , . 238 Ge st e , U si ka le Mas uli it : The A tist a d the Wo k of A t i Ja es Ca e o s Tita i , -5. 239 Ge st e , U si ka le Mas uli it : The A tist a d the Wo k of A t i Ja es Ca e o s Tita i , -7. 240 Ge st e , U si ka le Mas uli it : The A tist a d the Wo k of A t i Ja es Ca e o s Tita i , . 241 Ge st e , U si ka le Mas uli it : The A tist a d the Wo k of A t i Ja es Ca e o s Tita i , . 242 ‘ushi g & F e tz, “i gi g O e the Bo es: Ja es Ca e o s Titanic, . 33
snobbish first class characters, particularly Rose’s fiancé.243 There is also another way in which the class division in Titanic could be noted as being complementary. David Bordwell and Kristin Thompson argue that there is actually more focus on the first class during the first part of the film, while third class takes the spotlight in the second half.244 The class division among other factors aboard the ship also permitted a number of interpretations as to what happened and what was to be done afterward.245 Just as several views as to what happened aboard the real Titanic abounded, the same can be said about interpretations of class when it comes to the film itself. As a matter of fact, Marxism is said to be a key theme of Cameron’s Titanic, considering the way in which the division of class is staged and the idea that the third class is ultimately the heroic class within the film.246 Titanic is one of a few films by James Cameron that are notably Marxist in nature—his films The Abyss and Aliens contain similar conflict.247 It is simply that Titanic makes this class conflict the most obvious of the three films. Cameron’s Titanic presents the Marxist class struggle in various ways, for instance in the division of the ship among classes as well as the overreaching ambitions of the wealthy characters in the film.248 More specifically, main characters Jack, Rose, Rose’s fiancé Cal, and her mother Ruth are noted to be stand-ins for proletariats all the way to “dependent beings,” concepts of importance in Marxist ideology.249 Thus, Kendrick basically notes the Marxist elements present in Titanic, in other words the elements that clearly stand out and call attention to class issues within the film. A few scholars disagree that Titanic’s tale is Marxist. Janice Hocker Rushing and Thomas S. Frentz assert that Titanic cannot be Marxist, for if it were a Marxist narrative, Rushing and Frentz claim “‘Working men of all countries, unite’!” would be a major motto for Jack Dawson.250 Laurie Ouellette concurs with Rushing and Frentz as well, arguing that the
243 Nelso Li hte stei , Class “t uggle A oa d the Tita i : Tita i ; A Ja es Ca e o fil f o Pa a ount Pictures a d T e tieth Ce tu Fo , sta i g Leo a do Di ap io a d Kate Wi slet, Working USA, April 30, 1998, para. 11. 244 David Bordwell and Kristin Thompson, Minding Movies: Observations on the Art, Craft, and Business of Filmmaking (Chicago, IL: The University of Chicago Press, 2011), 134. 245 Li hte stei , Class “t uggle A oa d the Tita i : Tita i ; A Ja es Ca e o fil f o Pa a ou t Pi tu es a d T e tieth Ce tu Fo , sta i g Leo a do Di ap io a d Kate Wi slet, pa a. -17. 246 Ke d i k, Ma ist O e to es i Th ee Fil s Ja es Ca e o , . 247 Ke d i k, Ma ist O e to es i Th ee Fil s Ja es Ca e o , . 248 Ke d i k, Ma ist O e to es i Th ee Fil s Ja es Ca e o , . 249 Ke d i k, Ma ist O e to es i Th ee Fil s Ja es Ca e o , -3. 250 ‘ushi g & F e tz, “i gi g O e the Bo es: Ja es Ca e o s Titanic, . 34
manner in which the film portrays class issues is “pleasurable—but…hardly subversive.”251 As a matter of fact, Ouellette asserts that Titanic “promotes the illusion that the United States is now a classless society.”252 She adds that this illusion is a result of “the growing dissonance between myth and reality.”253 In other words, part of the reason for Titanic’s mass appeal is its love story that defies all odds when it comes to class issues. Ouellette takes note of how the film does this, rendering possible a “classless love, without questioning the capitalist forces working against equality, mobility, and middle-class security.”254 It is not a surprise Ouellette notes, for class and the notion of classlessness is widespread in the United States through several mythologies.255 These mythologies perpetuate the idea that anyone can become an upper class member of society, but Ouellette writes that this is not really the case. Indeed, Ouellette continues that “industrial capitalism fundamentally subverted the possibility of class equality by concentrating vast wealth in the hands of the few, and by creating a deskilled working class with little chance for mobility.”256 Following Ouellette’s brief explanation of the various mythologies which emphasize classlessness in the United States, Ouellette proceeds to outline how this relates to film and Titanic itself. Several popular films are noted to thematically center on the idea of classlessness, including Good Will Hunting, Great Expectations, and Bed of Roses.257 As the notion of classlessness pans out in Titanic, Ouellette first outlines the idea that class is a European, and thus not an American characteristic—Titanic’s villain Cal Hockley is associated with European wealth while Jack Dawson is very American, furthering the idea that America is indeed classless.258 Ouellette additionally takes note of Titanic’s theme that there exists the possibility of moving upward when it comes to social class, the characters Molly Brown as well as Jack Dawson both exemplifying this idea.259 Within the narrative, Jack is presented as unconcerned with his social status, appearing to believe that it “is an adventure.”260 The Titanic narrative in other words, “glamorizes poverty, affirms the possibility of class mobility, and soothes audience
251 Ouellette, “hip of D ea s: C oss-Class Romance and the Cultural Fantasy of Titanic, . 252 Ouellette, “hip of D ea s: C oss-Class Romance and the Cultural Fantasy of Titanic, . 253 Ouellette, “hip of D ea s: C oss-Class Romance and the Cultural Fantasy of Titanic, . 254 Ouellette, “hip of D ea s: C oss-Class Romance and the Cultural Fantasy of Titanic, . 255 Ouellette, “hip of D ea s: C oss-Class Romance and the Cultural Fantasy of Titanic, . 256 Ouellette, “hip of D ea s: C oss-Class Romance and the Cultural Fantasy of Titanic, . 257 Ouellette, “hip of D ea s: C oss-Class Romance and the Cultural Fantasy of Titanic, . 258 Ouellette, “hip of Dreams: Cross-Class Romance and the Cultural Fantasy of Titanic, -8. 259 Ouellette, “hip of D ea s: C oss-Class Romance and the Cultural Fantasy of Titanic, . 260 Ouellette, “hip of D ea s: C oss-Class Romance and the Cultural Fantasy of Titanic, 179. 35
worries of involuntarily falling from a secure middle-class livelihood.”261 That the lower-classes are presented in such a manner is sensed by the film’s lead female Rose, who wants to escape a restraining upper class. More than that, love ultimately stokes the flame underscoring the message that classlessness is a possibility. Ouellette argues that the love between these two characters from differing social backgrounds erases the idea of class and inequality.262 Even when Jack dies, the idea that class does not matter is strengthened by the fact that Rose takes his last name for her own.263 Rose even shows that she can fit in with the working class, as Jack shows that he can fit in with upper class people, again emphasizing class as superficial veneer rather than reality.264 Ouellette’s ultimate argument is that Titanic, rather than encourage a Marxist viewpoint of class, reinforces the myth that no matter your social class, you can accomplish anything you wish in life. While Laurie Ouellette contends that Titanic is not a Marxist film, David Anshen argues that “the film functions as an expression of anti-capitalist sentiment…and warns of social turbulence to come.”265 Indeed, Anshen continues that this film is a warning to beware of the consequences of capitalism. Basically, the movie “signals a collective uncertainty about the possibility of looming economic, political, and social instability operating just beneath the surface of the society.”266 Anshen mentions Ouellette’s piece and notes where she is correct in her arguments, namely pointing out that class issues are not at the forefront of the film. The core reasons for class inequality are not in other words, elaborated upon, resulting in a film that does not necessarily emphasize class above all else in the narrative. However, Anshen notes that there is a critique of capitalism within the film, as the critique Rose lends her upper class society as “ennui and mundane” parallels a critique of capitalism by Baudelaire.267 In addition, there is the significance of the final scene in Titanic, in which first and third class passengers stand united by the ship’s grand stair case. The marks of wealth in a capitalistic society are downplayed at this
261 Ouellette, “hip of D ea s: C oss-Class Romance and the Cultural Fantasy of Titanic, . 262 Ouellette, “hip of D ea s: C oss-Class Romance and the Cultural Fantasy of Titanic, . 263 Ouellette, “hip of D ea s: C oss-Class Romance and the Cultural Fantasy of Titanic, . 264 Ouellette, “hip of D ea s: C oss-Class Romance and the Cultural Fantasy of Titanic, -5. 265 Da id A she , Out of the depths a d th ough the post ode su fa e: histo a d lass o figu atio i Titanic, Cine Action 51 (2000): para. 3. 266 A she , Out of the depths a d th ough the post ode su fa e: histo a d lass o figu atio i Titanic, para. 12. 267 A she , Out of the depths a d th ough the post ode su fa e: histo a d lass o figu atio i Titanic, para. 19.
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point, as the wealthy and the poor come together to celebrate Jack and Rose meeting again.268 Capitalism is thus threatened by the iceberg, as it destroys the social structure of the ship, warning us “that our current moment may also not be so permanent as appearances would suggest.”269 Titanic is thus hailed as a film that inspires change through its presentation of class and disaster. Space and Mobility Class issues as well as the previously examined topic of gender within the film will be important in my analysis, however the core of the analysis will be based on spaces and mobilities in the film. Referring to the work of Lichtenstein as it regards the film, the third class is considered “the lively, multi-ethnic working class.”270 Additionally, Rose is noted to be in a “suffocating embrace” by her first class posse, while Jack and his third class companions are restrained by “locked gates” during the ship’s sinking.271 Mobility thus becomes an issue for the first class heroine of the film as well as her third class love interest and his fellow counterparts. Indeed, James Kendrick also notes the visuals that trap the lower class, in other words the gates that restrain them as the ship sinks.272 Kendrick adds that the only reason Jack is able to mingle with first class passengers is because of Cal’s invitation to dine with him and the other first class passengers.273 Thus, Jack appears restrained by class, and Rose by gender, yet she is freed through her relationship with Jack so much so that she eventually makes the choice to remain with Jack.274 Despite the fact that Rose is eventually empowered enough to make her own choices, the restraints of class and gender are so well-defined aboard the ship that Laurie Ouellette asserts the obvious division between first and third class simply through the differences in space. As Ouellette notes, “Titanic’s first-class setting is far removed from…the ship’s minimalist steerage
268 A she , Out of the depths a d th ough the post ode su fa e: histo a d lass o figu atio i Titanic, para. 23. 269 A she , Out of the depths a d th ough the post ode su fa e: histo a d lass o figu atio i Titanic, para. 26. 270 Lichtenstein, Class “t uggle A oa d the Tita i : Tita i ; A Ja es Ca e o fil f o Pa a ou t Pi tu es a d T e tieth Ce tu Fo , sta i g Leo a do Di ap io a d Kate Wi slet, pa a. . 271 Li hte stei , Class “t uggle A oa d the Tita i : Tita i ; A Ja es Ca e o fil from Paramount Pictures and T e tieth Ce tu Fo , sta i g Leo a do Di ap io a d Kate Wi slet, pa a. -10. 272 Ke d i k, Ma ist O e to es i Th ee Fil s Ja es Ca e o , . 273 Ke d i k, Ma ist O e to es i Th ee Fil s Ja es Ca e o , . 274 Kendrick, Ma ist O e to es i Th ee Fil s Ja es Ca e o , . 37
accommodations…”275 Then again for Ouellette, mobility turns out to be a different story in the film. Ouellette claims that as far as mobility is concerned, Jack easily crosses class boundaries.276 In parallel, while Rose is already a part of the upper class elite and so does not struggle when it comes to class, she is restrained by gender expectations. In effect, she is inspired to adopt Jack’s free spirit, or as Ouellete calls it, “historically male-coded freedom.”277 Not only does Rose follow in Jack’s footsteps however, but she is able to fit in with his third class counterparts just as he maneuvers smoothly through first class.278 While Jack leads the way to Rose’s gaining a flexible mobility of her own, the spacing of the ship is rather constraining. Indeed, David Anshen elaborates on the fact that Titanic presents the differences between first and third class as well as boiler room settings, for instance, through the parties each class hosts.279 Bordwell and Thompson add a comment referring to space as well, that being the division of the film into halves as a narrative, namely a focus on first class passengers during the first part of the film, while third class passengers take center stage in the second half.280 These rigid divisions of space appear to parallel a rigid, strictly defined concept of mobility aboard the ship, at least according to Kristen Whissel. Whissel argues that the shots of Titanic at the beginning of its journey emphasize the ongoing power of the ruling class, for they underscore the ship’s length and luxury.281 This does not last long however, for the ruling class is just as doomed as the lower class once the ship plunges into the ocean, and yet Rose escapes the plunge.282 Although space and mobility is strictly defined in the beginning of Titanic’s journey, Whissel implies that this changes by the end of the film. As it is rather obvious, there are a variety of arguments regarding Titanic’s meaning and social issues within the film. In my study, I would like to focus on space and mobility, and the meaning that takes form when spacing and mobility affects issues of class, gender, and breaking away from tradition towards new ways of living. As noted above, I argue that the narrative of the film places emphasis on the empowerment of Jack and Rose through mobility, thus allowing
275 Ouellette, “hip of D ea s: C oss-Class Romance and the Cultural Fantasy of Titanic, . 276 Ouellette, “hip of D ea s: C oss-Class Romance and the Cultural Fantasy of Titanic, -181. 277 Ouellette, “hip of D ea s: C oss-Class Romance and the Cultural Fantasy of Titanic, . 278 Ouellette, “hip of D ea s: C oss-Class Romance and the Cultural Fantasy of Titanic, -4. 279 A she , Out of the depths a d th ough the post ode su fa e: History and class configuration in Titanic, para. 19. 280 Bordwell and Thompson, Minding Movies: Observations on the Art, Craft, and Business of Filmmaking (Chicago, IL: The University of Chicago Press, 2011), 134. 281 Whissel, Tales of Up a d Mo ilit : The Ne Ve ti alit a d Digital “pe ial Effe ts, . 282 Whissel, Tales of Up a d Mo ilit : The Ne Ve ti alit a d Digital “pe ial Effe ts, -7. 38
them to maneuver between spaces aboard the Titanic. This argument follows most closely along the lines of Whissel’s comments regarding the use of verticality in the film, yet it will be focused on more detailed description and observation of scenes commenting on space and mobility and the implications for class, gender, and tradition within the film. The overall implication of the argument will be that Titanic renders mobility easy for anyone no matter their class or gender. In order expand on this argument, I will perform my analysis of Titanic through the use of some of the literature regarding space and mobility, summarized below. General Concepts on Space and Mobility In this work, I will apply some very specific concepts concerning space and mobility to my rhetorical analysis of Titanic. Before outlining those concepts however, a general overview of space and mobility literature is necessary. In a piece by Kevin Hannam, Mimi Sheller, and John Urry, mobility is very broadly defined. Hannam and colleagues write that mobility refers to any global and local movement “of people, objects, capital, and information…”283 Their very broad definition of mobility is underscored in another work by Mimi Sheller and John Urry, in which mobility includes “physical movement…[as well as]…movement enhanced by technologies…”284 Peter Adey emphasizes that it isn’t simply about physically moving however, for what appears immobile—an airport for instance—is “made up of thousands, millions, billions of movements that interact with one another in many different ways.”285 As is obvious from the above explanations of what defines mobility, general thoughts on the topic vary. Socially and politically, space and mobility set the stage for several implications. The perception of someone’s mobility depends on how they are defined as a person, for example, a female tramp.286 Both space and mobility have an impact not only on how people are viewed, but where they can go. Anne Jensen and Tim Richardson discuss this in their work, elaborating on the potential impact of new borders and mobility as imagined in Europe.287 In referring to new mobilities aside from the influence a government may have, Sven Kesselring finds that the
283 Ke i Ha a , Mi i “helle , a d Joh U , Edito ial: Mo ilities, I o ilities, a d Moo i gs, Mobilities 1 (2006): 1. 284 Mi i “helle a d Joh U , The e o ilities pa adig , Environment and Planning A 38 (2006): 212. 285 Pete Ade , If Mo ilit is E e thi g The it is Nothi g: To a ds a ‘elatio al Politi s of I o ilities, Mobilities 1 (2006) :90 286 Tim Cress ell, E odi e t, po e a d the politi s of o ilit : the ase of fe ale t a ps a d ho os, Transactions of the Institute of British Geographers 24 (1999): 190. 287 A e Je se a d Ti ‘i ha dso , Ne ‘egio , Ne “to : I agi i g Mo ile “u je ts i T a s atio al “pa e, Space and Polity 11 (2007): 147-8.
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various forms of modern mobility permit us a sense of belonging whether we are on the move or not.288 In experiencing mobility, Pentti Haddington and Tiina Keisanen underscore how intentional movement from one place to another provides those moving an ever-changing interaction.289 Technologies providing mobility also inspire people to be more mobile themselves, Nigel Thrift argues.290 It is not only technology influencing the movements people engage in, but the routes of mobility in any given place. For example, Ole B. Jensen finds that the mobility routes available in a city are responsible for changing social identities on an individual and group level.291 Thus, space and mobility are simply a part of the world, but influence and are influenced by how people perceive them. Concerning space itself, there are several arguments on how it is constructed. At its most basic, space is defined as “the structural, geometrical qualities of a physical environment.”292 Although this may imply that space is an immobile form, Peter Adey notes that because space is always reconstructed it is rather mobile.293 Michel Foucault and Jay Miskowiec argue that space can be divided into two forms depending on what is real versus unreal, or heterotopian versus utopian and “perfected.”294 Some of the factors in the construction of space include “social and cultural thought,” which influence several aspects of the way space is viewed in any given location.295 Additionally, the perception of a space can be influenced by how it is labeled.296 Depending on who is in control of a space, said space will be used according to the decisions of those in control. Tim Richardson elaborates on this argument when he outlines how space is envisioned in Europe, noting it is linked to the politics of European government.297 Considering
288 “ e Kessel i g, Pio ee i g o ilities: e patte s of o e e t a d otilit i a o ile o ld, Environment and Planning A 38 (2006): 277. 289 Pentti Haddington and Tiina Keisanen, Lo atio , o ilit a d the od as esou es i sele ti g a oute, Journal of Pragmatics 41 (2009): 1957-1958. 290 Nigel Th ift, D i i g i the Cit , Theory, Culture & Society 21 (2004): 54. 291 Ole B. Je se , Fa e o k , Flo a d the Cit : “i el, Goff a , a d Mo ilit i the Co te po a Cit , Mobilities 1 (2006): 162. 292 Paul M Il e , Mathias B oth, a d Pe tti Haddi gto , Co u i ati g pla e, spa e a d o ilit , Journal of Pragmatics 41 (2009): 1879. 293 Ade , If Mo ilit is E e thi g The it is Nothi g: To a ds a ‘elatio al Politi s of I o ilities , . 294 Mi hel Fou ault a d Ja Misko ie , Of Othe “pa es, Diacritics 16 (1986): 24. 295 Tho as Os o e a d Nikolas ‘ose, “patial phe o e ote h i s: aki g spa e ith Cha les Booth a d Pat i k Geddes, Environment and Planning D: Society and Space 22 (2004): 213. 296 A Kapla , Ho ela d I se u ities: “o e ‘efle tio s o La guage a d “pa e, Radical History Review 85 (2003): 90. 297 Ti ‘i ha dso , The Thi “i plifi atio of Eu opea “pa e: Da ge ous Cal ulatio s? Comparative European Politics 4 (2006): 214.
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how space comes to be perceived and used, it holds much influence over the societies in which we live. Although there is much to be said regarding space and mobility, in analyzing Titanic, two concepts are of importance. The first comes from Anne Jensen, who writes that mobility is about power and those who are able to decide what kind of mobility is acceptable.298 Those with governing power are given as an example. Indeed, Margo Huxley states that government “mentalities” shape the layout of space.299 In a piece by Vincent Kaufmann, Manfred Max Bergman, and Dominique Joye, having the ability to be mobile—ability known as motility— depends on “access to different forms and degrees of mobility, competence to recognize and make use of access, and appropriation of a particular choice, including the option of non- action.”300 The authors comment that much of our mobility has to do with what is socially acceptable. On the subject of space, Kaufmann and colleagues comment that space is created based on “social structures and dynamics.”301 These concepts will be most prominent in my analysis because they describe key ideas from the space and mobility literature. Kaufman and colleagues also address mobility from the viewpoint of how people make choices to be mobile. This fits a rhetorical analysis of space and mobility as Jack and Rose experience these dimensions most readily, for these characters need each other to make the most of their mobility, and eventually give Rose the power to move forward and upward with her life. This upward movement underscores the film’s message that mobility is possible for anyone regardless of class or gender, a message which disregards other factors affecting mobility. While there are a number of arguments as to what entails space and mobility, and the arguments of Jensen as well as Kaufmann and colleagues are at the forefront of my analysis, an outline of how I see space and mobility in the film will prove useful. As far as space, I will refer to any physical space aboard the ship through which the characters traverse. Therefore this is a very general definition of space, similar to those in the literature on space, yet we will find that space has different meanings in Titanic—beyond its physical form—depending on which part of the ship is referenced. The same applies to mobility, which in the context of the film will be
298 A e Je se , Mo ilit , “pa e a d Po e : O the Multipli ities of “eei g Mo ilit , Mobilities 6 (2011): 267-8. 299 Ma go Hu le , “patial atio alities: o de , e i o e t, e olutio a d go e e t, Social and Cultural Geography 7 (2006): 783-4. 300 Vi e t Kauf a , Ma f ed Ma Be g a , a d Do i i ue Jo e, Motilit : Mo ilit as Capital, International Journal of Urban and Regional Research 28 (2004): 750. 301 Kauf a , Be g a , a d Jo e, Motilit : Mo ilit as Capital, . 41
defined as any thought, choice, or physical action lending the main characters Jack and Rose more ability and power to go where they want. Methodology In analyzing space and mobility as it represents class and gender in Titanic, I will engage in rhetorical criticism. This is a method of analysis through which I will be able to discern the persuasive possibilities of the film regarding class and gender, and therefore the overall idea that the film tells us mobility is possible for anyone. According to Thomas W. Benson, rhetorical criticism concerns “a close reading of a text…,” one in which the intent of the author of the text being analyzed is questioned, and the possible meanings the text sends an audience are extracted.302 In analyzing a text through rhetorical criticism, its potential effects “…that might otherwise go unnoticed…” are highlighted.303 The questions at hand for a rhetorical critic in other words, center around the persuasive potential of a text. Adding to an understanding of rhetorical criticism as a method, James R. Andrews, Michael C. Leff and Robert Terrill provide an overview particularly as rhetorical criticism applies to public speaking. They state that rhetorical criticism allows for multiple interpretations of a text and therefore contributes to further understanding the text.304 Just as Benson emphasizes that the rhetorical critic studies the effect of a text on its audience, Andrews and colleagues add that rhetorical criticism entails focusing “on human efforts to influence human thought and action.”305 Rhetorical criticism is thus the study of a text’s persuasive potential and effect on an audience. Indeed, the rhetorical critic produces an analysis of the “rhetorical dynamics” of a text in an effort to elaborate on what it means for an audience.306 In regard to an analysis of space and mobility in Titanic, the concern is the message that the film sends through how space and mobility are portrayed. What is the presentation of these dimensions in the film telling audiences? In answering this question, rhetorical criticism proves useful.
302 Tho as W. Be so , The “e ses of ‘heto i : A Topi al “ ste fo C iti s, Central States Speech Journal 29 (1978): 239. 303 Be so , The “e ses of ‘heto i : A Topi al “ ste fo C iti s, . 304 James R. Andrews, Michael C. Leff, and Robert Terrill, Reading Rhetorical Texts: An Introduction to Criticism (Boston, MA: Houghton Mifflin, 1998), 6. 305 Andrews, Leff, and Terrill, Reading Rhetorical Texts: An Introduction to Criticism, 6. 306 Andrews, Leff, and Terrill, Reading Rhetorical Texts: An Introduction to Criticism, 10.
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Chapter Outlines The next three chapters of this text will focus on a rhetorical analysis of Titanic from the moment that the voyage begins. These analyses will underscore the argument that Jack and Rose ultimately gain mobility and thus power throughout the film in order to move through the various spaces of the ship. Thus the overall argument that the film sends a message of the power to be mobile regardless of class or gender is maintained. Chapter Two focuses on the first part of the voyage up until Jack and Rose meet. It will delve into the limited mobility Jack and Rose experience, while also acknowledging the fact that Jack feels he is extremely mobile regardless of restrictions. How this happy-go-lucky demeanor paves the way for Jack’s gaining further mobility throughout the ship will also be discussed. In Chapter Three, the focus will be space and mobility as it is represented from the point Jack and Rose meet up until the ship hits the iceberg. Space will be a heavy focus in this chapter, as both Jack and Rose lend each other a sense of mobility, thus changing the spacing of the ship. In other words, how the boundaries of the ship are crossed and in effect transformed by Jack and Rose will be addressed. In Chapter Four, the final changes in space and mobility as they play out in Titanic take the stage. This chapter focuses on the film from the point at which Titanic hits the iceberg to the closing scene of the film. How spaces are fully transformed and influence both Jack and Rose will be discussed in this chapter. The implications for mobility as Jack and Rose attempt to survive the sinking, Rose succeeding, are of importance as well. The final chapter of this work will consider the major implications of representations of space and mobility in the film as a whole. The meaning implied through the film for issues of class and gender will be discussed. What this implies for audiences will also be addressed. I will end this chapter with recommendations for future studies, as well as a final note on the implications of the film.
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CHAPTER TWO
LIMITED SPACE AND MOBILITY
The film begins with an excavation crew’s search for a treasure on Titanic’s shipwreck, namely the Heart of the Ocean necklace. The search is broadcast on television where the crew shares a drawing of a naked woman—wearing the Heart of the Ocean—that they found on the shipwreck. An old woman named Rose contacts the crew to say it was her, and is swiftly welcomed to the excavation crew ship. She decides to share her experience on the Titanic, and thus begin the portion of the film that is analyzed in this thesis. To begin, this chapter covers the point from Rose’s boarding the Titanic to her meeting her love interest Jack Dawson. I argue that Rose’s mobility as a young woman is extremely limited until she meets Jack, while he is fairly mobile and yet restrained from being such because of his class status. I will support my argument through a rhetorical analysis of scenes highlighting Rose’s wish to escape oppression as well as those showing Jack’s mobility and the restraints against him because of his class status. The predicaments Jack and Rose face at the beginning of the journey emphasize that they lack a full capacity to be mobile, Rose more so than Jack. In demonstrating this argument, first I will analyze mobility as it plays out for Jack and Rose when they board the ship. Following that, I will explore Rose’s extreme lack of mobility and Jack’s seemingly unlimited mobility as they explore the ship. Finally, I will analyze Rose’s breakdown when she takes drastic action due to her lack of mobility as a first class woman, and Jack’s opportunity to be more mobile. To start the analyses underscoring my argument, we begin with Old Rose’s transition to the story. Upon entering Rose’s story on her experience aboard the Titanic, there is an overview of the ship preparing to set sail. There is subsequently a focus on young Rose Dewitt Bukater, preparing to board the ship with her mother and fiancé as she delicately exits a Renault. Limited mobility is the idea, emphasized by Rose’s ensemble she dons when boarding—it emphasizes her lack of physical mobility at this point. Indeed, a fancy, long dress with long sleeves, the white coloring appears to symbolize Rose’s engagement. In other words, she is trapped by a commitment to marry the wealthy Cal, an engagement we learn about before Old Rose tells her story. The dress underscores this in its color, appearing to have either blue or violet stripes. Blue is color often tied to feeling melancholy, and that is exactly how Rose feels. She notes this through voiceover as Old Rose, stating, “outwardly I was everything a well brought up girl
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should be. Inside, I was screaming.”307 Thus, Rose’s clothing is a representation of her immobility.
. Cameron 1997. Figure 2.1 Rose’s dress signifies her immobility
Unlimited Mobility…Or So Jack Believes Following Rose’s arrival before the Titanic sets sail, we are introduced to Jack Dawson. Through an analysis of his quest to board and settle onto the ship, I argue that he is very mobile with the exception of being a third class passenger. According to the mobility literature, how much mobility we have depends on how much power we have, or whether we are of the “higher” echelon of society.308 For Jack however, power doesn’t seem to be a problem regarding travel to and fro. Although he is a third class passenger on the Titanic, from the first point we see him, we see someone who is not hindered by the rules of society. Playing poker, Jack tells his friend Fabrizio, “When you’ve got nothing, you’ve got nothing to lose.”309 Jack is a rebel, not at all restrained by the bounds of his class. Having nothing doesn’t discourage Jack, but motivates him to achieve the goal in front of him, which in this case is winning the ticket aboard Titanic. As far
307 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 308 Je se , Mo ilit , “pa e a d Po e : O the Multipli ities of “eei g Mo ilit , -8. 309 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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as class power, Jack contradicts the argument on mobility that it is those in power who decide what acceptable mobility is.310 Jack himself decides how far he goes and what he does to get there, and the chance he takes proves worthwhile when he wins tickets onto the Titanic. In search of their room aboard the ship, Jack looks for the room 360. When we think about this, the room number itself explains Jack’s mobility in just that: a number. Three-sixty isn’t just any number—it happens to be the circumference of a circle. This is crucial to the idea that Jack is extremely mobile, and foretells his climb to meet Rose, have the opportunity to be in the company of her first class counterparts, and yet toward the end of the film, remain a third class passenger. Jack however, defies class restrictions and befriends the likes of Rose, a future predicted by the room number 360. It isn’t just the room number predicting this future however, but the use of the room. Jack is quite flexible about going with the flow, as demonstrated with a friendly greeting to his roommates aboard the ship. Additionally, he doesn’t mind someone taking first call on what might be a more comfortable choice while staying in third class quarters—his friend Fabrizio quickly makes himself at home by picking the top bunk of the beds he and Jack use. Jack in turn jokingly exclaims, “Who says you get top bunk huh?!?”311 Indeed, Jack’s use of space implies his penchant for treating others equally, simply respecting a “first come, first serve” principle for simple things like picking the better choice of beds in his room aboard the ship. Space in third class then, is not used based upon which third class passengers are better than others, at least as Jack portrays its use. To him, he is an equal with his Italian friend, and therefore not one to act superior through conflict over the use of space. Jack simply tries to experience his life as a set of opportunities for mobility. Restrained Visions of Life While Jack appears to experience limitless mobility at the beginning of Titanic’s voyage, Rose is quite the opposite. The interior of the first class cabin in which she stays with her fiancé and mother is as luxurious as expected for first class passengers. Upon a shift to their suite, the camera lingers upon a fireplace in the room. What we understand from Old Rose’s comments and young Rose’s walking toward the ship is that Rose was indeed restricted from having a mobility of her own creation given the expectations of her class and gender. She indicated
310 Je se , Mo ilit , “pa e a d Po e : O the Multipli ities of “eei g Mo ilit , -8. 311 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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through voiceover “inside I was screaming,”312 or in other words wasn’t satisfied with the way she had to behave to fit in with those of her class. The focus on the fireplace as the first shot of their luxurious space aboard the ship highlights Rose’s dilemma quite well. Rose’s immobility is in other words, represented through the fireplace in the first class suite. It is obviously stationary—it’s a structure stabilized by the construction and layout of the first class cabin itself, meant to serve first class passengers staying in the suite. In a parallel sense, Rose is not to escape the life planned for her, but is expected to be Cal’s wife and serve him in whatever way he wishes. Rose is not able to roam as she would like to because she is expected to marry Cal and be a “good” wife. Her lack of mobility is like the fireplace itself, and the lack of spirit it causes is in the coal that remains unlit. The fireplace foreshadows Rose’s state if she does not escape the life she does not want, which is exactly what Jack tells her later in the film. Although Rose is expected to be immobile, she gives hints of rebelling, despite pressure from Cal. She thus experiences what Peter Adey describes as a sense of mobility while seemingly remaining immobile.313 Indeed, once the camera focuses on the interior of the first class suite, Rose takes the liberty of decorating the room with finger paintings. Cal himself scoffs, “Not those finger paintings again. They certainly were a waste of money,” as Rose decorates the suite with Trudy’s assistance.314 Rose comments that the paintings are “like being in a dream or something. There’s truth but no logic.”315 The paintings follow no required structure or rule like Rose does, but are different expressions of life that inspire Rose. They give her a vision of life or at least art that is mobile and unrestrained by conventions of class. She is particularly intrigued by the painting “with a lot of faces on it,” a painting which seems to be of naked women.316 Thus, the sense of mobility Rose wishes to have would go against the standards of her upper class upbringing, in which women are expected to be modest. Rose hopes for a life that is the complete opposite, in which she can behave without restraint or expectations of maintaining a certain image. Her means of mobility at this point are simply expressing her taste for art and using art to keep her hopes of a better life alive. At this point however, all those hopes remain unfilled, and Rose therefore remains quite immobile.
312 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 313 Ade , If Mo ilit is E e thi g The it is Nothi g: To a ds a ‘elatio al Politi s of I o ilities, . 314 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 315 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 316 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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Mobility with the Titanic Kaufmann, Bergman, and Joye state that mobility depends on “access, competence and appropriation.”317 In the analysis thus far, Jack certainly has the competence to be mobile in the spaces in which he finds himself, and thus easily evaluates his chances to be mobile as appropriate in order to successfully maneuver through said spaces. He continues to do so, exploring the Titanic in its beginning phases of the journey across the Atlantic, and as the ship speeds up, he and his friend Fabrizio make their way to the prow of the ship. Jack continues to be very mobile in the spaces to which he is limited. He climbs the railing of the ship as it moves swiftly through the ocean, almost to say he is the sort to move forward at a quick pace—Jack won’t stay put when there is no one to reprimand him. He and the ship move in unison as he stands at the prow, looking forward to a new destination. The kinetic energy is heightened further through the dolphins Jack and Fabrizio see swimming just ahead of the ship—as one dolphin jumps out of the water, Jack’s exclamation about the sight emphasizes the joy he finds in being mobile. Jack takes joy in an exploration of the ship and its moving toward its destiny: New York. Even Fabrizio joins the fun, stating “I can see the Statue of Liberty already,” and Jack exclaims, “I’m the king of the world!”318 Thus, it is the sense of movement Jack has that gives him a sense of power. He possesses competence and the know-how for moving around the ship easily. As Jack is at the prow of the ship with his friend, he climbs onto the railing and stretches his arms—this simulates flying, which he and Rose experience together later in the film. It is his opportunity to board the Titanic and the fact that he can access the front of the ship that allows him to experience “flying.” Jack in other words, gives himself wings at the front of the ship. Not only that, but he shows openness to different kinds of mobility while he “flies” for the first time. Jack does not simply say “I’m the king of the world” and stretch his arms out like a bird, but he also shouts “Yee-haw” and howls like a wolf. This tells us that Jack identifies with moving freely like a cowboy or a wolf, and that he seeks adventure experienced by both. Both cowboys and wolves stereotypically exhibit the competence to be as mobile as they want, and use it to create “access and appropriation” of further mobility.319 Jack does the same in running around
317 Kauf a , Be g a , a d Jo e, Motilit : Mo ilit as Capital, . 318 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 319 Kauf a , Be g a , a d Jo e, Motilit : Mo ilit as Capital, . 48
the deck of the Titanic. The space itself is not just a ship anymore, but a place where kings, cowboys, and wolves roam, and where adventure is found.
Figure 2.2 Jack holds out his arms to simulate flying. Cameron 1997.
Gender and Power at Lunch Jack Dawson obviously seems to move quite freely in the beginning stages of his journey aboard the Titanic. On the other hand, Rose is very immobile, and remains so in this first portion of the journey. In the analysis that follows, I argue that Rose maintains physical immobility because of the restrictions for women of her class, but she expresses some mobility through verbal communication—this is one of her only forms of being mobile at this point in the film. It is rather clear that Rose has very limited mobility through an exchange at a luncheon described below. While Jack freely explores the Titanic, Rose attends tiresome luncheons with her “high- life” fiancé and mother. While self-absorbed first class passenger Bruce Ismay chatters obsessively about the size of the Titanic, Rose takes the liberty of lighting a cigarette, an action her mother disapproves of and fiancé stops. Once again, Rose is denied a sense of power or mobility of her own, restrained by the expectations of those around her. It is those around her who decide what she does with her life, just as the ship Titanic is controlled by men. Bruce Ismay gloats about Titanic, “She’s the largest moving object ever made by the hand of man in all
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history.”320 The ship is referred to as female, and is an object, but it is a female-defined object that men control. Men are in charge of “her” mobility, parallel to how at this point, Cal decides how mobile Rose will be. Once Rose’s mother mentions her disgust with Rose’s smoking, Cal simply pulls the cigarette away from Rose. In this instance, it is without a doubt the powerful who dictate Rose’s mobility. This is what the men at the luncheon speak of—controlling Titanic’s mobility while labeling the ship female. Cal clearly repeats that role when he denies Rose the freedom to smoke, or even decide what she would like to eat. In disapproving Rose’s attempt to smoke, it is implied that she cannot smoke because she is a woman. The cigarette itself has become a symbol of phallic power, a power which Rose is not permitted to enjoy. The cigarette consumes and burns away energy, a mobility all its own that Cal has and Rose lacks. It is a symbol of being able to do whatever you want because you are in a privileged position, and although Rose is first class, gender expectations in first class deny her the chance to do what she wants, or in other words, enjoy the power of mobility. Thus, Rose doesn’t experience the passion and privilege to explore what life has to offer as freely as she would like. Rather, she is expected to remain the “well-mannered” woman that she was raised to be. This further implies the lack of mobility Rose experiences as a first class woman. Rose’s immobility isn’t just in denying her the privileges of first class men, but also Cal’s making choices for her. When it is time to order lunch, Cal decides that he and Rose will both “have the lamb,” rendering his power over Rose not simply physical, but such that it denies her the chance to think for herself.321 Rose’s mother doesn’t even disapprove of Cal’s making this decision for Rose, thus demonstrating how much power Cal has because he is the rich man that Rose is supposed to marry. Rose is thus held back from thinking the way she wants to think. First her cigarette is taken away, followed by the choice of what to eat for lunch. This limit on mobility thus goes beyond physical mobility for Rose, and is a reflection of upper class male power over her. This overpowering force is made clearer in Rose’s constrained facial expression to Cal when he states her approval and taste for eating lamb. Rose does not verbally respond to Cal, simply lending him a tense, sarcastic smile. As she passively agrees with Cal however, her mother whispers the word “sausage.”322 That this happens in sync—Rose’s scoffing at Cal through her smile and her mother’s ordering sausage—indicates further the phallic power Rose
320 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 321 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 322 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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wishes to have. Expecting Rose to be a well-bred lady however, her mom simply whispers the word sausage to possibly avoid giving Rose any ideas, and demonstrates that Rose does not have a voice when it comes to being with Cal. Cal is the patriarchal male in this situation, and therefore in charge of any move Rose makes. Rose’s current social role defines her mobility, or lack thereof, as Tim Cresswell notes social roles do so.323 Thus, any desire on Rose’s part to have the power held by men in her upper class society will simply remain a whisper overpowered by Cal’s command. Not only does Rose scoff at Cal during lunch to undermine his control over her, but she mocks Bruce Ismay’s obsession with the ship’s “stability, luxury, and strength.”324 She does so by telling Ismay about Sigmund Freud, and that “his ideas about the male preoccupation with size” are “of particular interest.”325 Rose tells Ismay that although he may seem powerful through his being male and an association with the construction of the ship, he hasn’t amounted to much as a man. All Ismay seems to think about is the ship itself and its grandeur, while through Freud, Rose points out that it is probably to make up for lack of a successful personal and sexual life. Cal is in reality this kind of man as well, and although he believes he controls how Rose thinks and where she goes, her mention of Freud shows that she is not surrendering her own ability to think. She thus maintains her own sense of mobility even if she is immobile. However, her mother’s disapproval along with Cal’s threat to censor her reading reaffirms the power that Cal holds over her. Given the disapproval regarding Rose’s Freud comment, she leaves lunch. This gives the sense that she has some freedom to venture away from her crowd, and will not surrender easily to everything Cal expects of her. First class passenger Molly Brown points this out to Cal, exclaiming that Rose is “a pistol.”326 Rose is in other words a spitfire not to be easily dominated—she finds subtle ways of using her own power to be mobile. Indeed, a pistol is typically another symbol of male power, thus Brown points out that Rose has an unstoppable power of her own in the way she thinks and uses what she knows to outwit others. Rose possesses her own masculine strength which lends her the courage to voice her opinion around those trying to dominate her. Like a pistol, Rose shows no hesitation in giving Cal and other
323 C ess ell, E odi e t, po e a d the politi s of o ilit : the ase of fe ale t a ps a d ho os, 90. 324 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 325 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 326 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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uppity first class snobs a slice of her mind. This is a power that is supposed to be reserved for Cal, but Rose’s will to have at least a small sense of mobility is too strong to respect that—she continues along the lines of Peter Adey’s argument that although something appears immobile, it may also be mobile.327 That is, through her strong opinions, she overcomes the suppressive power of others at least a little, and enough to be compared with the power of a pistol. Stepping Out for Some Air Leaving the first class lunch scene, we come upon Jack drawing on the poop deck, surrounded by fellow third class passengers. In contrast to the stillness of the first class lunch, where everyone simply sits, talks, and eats, the third class passengers roam about the deck, talking, playing, and exploring the ship. At first sight then, it appears that those in third class experience a greater sense of mobility than those in first—people walk to and fro on the deck, kids kick a ball around, and a father looks at the ocean with his young daughter, among other movement. Given the sharp contrast in mobility between the luncheon of first class and the time spent on deck by third class passengers, it is underscored that Jack maintains a great deal of mobility. At the same time, the following analysis will demonstrate that although Jack is very mobile, he remains somewhat immobile due to class status. Jack’s ranking aboard the ship is compared to that of dogs, or at least their doing their business. Particularly when Tommy sees four dogs being walked on deck, he remarks, “That’s typical. First class dogs come down here to take a shit.”328 Jack responds, “It lets us know where we rank in the scheme of things,” and Tommy quickly adds, “Like we could forget.”329 This moment in the film comments on both space and mobility for Jack, as it emphasizes how low first class passengers believe a third class ranking to be, and yet emphasizes a mobile spirit. That dogs are walked on the deck where third class passengers spend their time, and are noted to be excreting waste, underscores the small worth and value with which third class passengers are viewed. The first class passengers aboard the ship are treated with the utmost of luxury, which means the messes that pets make are relegated to third class spaces. Even Jack gets the point and acknowledges the fact that third class space is reserved for what is considered lowly to first class passengers, including the defecation of their pets’ waste. The comparison of these dogs with the ship’s third class passengers does not stop there however, as first class passengers are all about
327 Ade , If Mo ilit is E e thi g The it is Nothi g: To a ds a ‘elatio al Politi s of I o ilities, . 328 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 329 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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having control over those “below” them. Dogs are naturally restrained from expressing their full forms of mobility through leash control, as the dogs that walk on the third class deck certainly are. This parallels the third class passengers and their controlled mobility under the reign of their first class counterparts, as they are expected to remain in certain spaces aboard the ship. Even in such circumstances however, the third class passengers are characterized with more energy than those above them—Jack himself has a carefree energy that the dogs being walked display. These pets appear to want to roam freely, but obviously cannot because they are on leashes. Jack himself explores new territory and enjoys new experiences aboard the ship, only restrained by the control of the social classes above him. He thus defies the argument that Rose reiterates at this point—Tim Cresswell’s comment that social roles define mobility.330 The control that first class passengers have over third class passengers is uniquely presented in the subsequent moment of Jack’s time on deck. For the first time, he spies his first class love interest Rose as she floats toward the railing of the first class deck to observe space beyond that which she knows. Jack appears completely entranced by the vision of Rose above him, as he ignores the question posed by fellow passenger Tommy, “Do you make any money with your drawings?”331 It is as if Jack’s moving through life is not about the money he can make, but sights that inspire and enchant him as Rose does. What is most important to Jack is adventure, and this is easy to note when he plays poker, as it is not even money he plays for, but the chance to board the Titanic and go to North America. In other words, Jack’s ability to move to and fro depends on his thirst for adventure and not so much the money he has with him. Thus, he is not even concerned about Tommy’s question regarding money, as Rose captures his attention through her beauty. Not only does this capture Jack’s habit of looking towards inspiration as opposed to money to get him through life, but it places emphasis on the difference in space that exists between third and first class passengers. There is the obvious difference that those of first class status are higher aboard the ship than those below them, but then there is also the idea that first class is supposed to be more luxurious, apparent through Rose’s clothing and gait. Jack is not captivated by the beauty of a third class passenger, but rather the sight of Rose in her first class apparel. It is the power first class passengers have over third class passengers that
330 C ess ell, E odi e t, po e a d the politi s of o ilit : the ase of fe ale t a ps a d ho os, . 331 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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captivates Jack when he first sees Rose. Her gaze atop the first class deck makes Jack look up, emphasizing the difference between first and third class space. The luxury of first class space is indeed emphasized by the clothing Rose wears— Kaufmann and colleagues note the idea that space depends on social standards.332 Thus, clothing comes into play as well, and for the first class passengers aboard the Titanic, luxurious clothing accents the exclusivity of first class space. The dress Rose wears as she walks toward the railing of the first class deck underscores her status as a first class woman. Rose’s dress is gold with white, transparent lace as overlay. This signifies how much value the sight of Rose has for Jack—she is a golden light that has caught his attention. The white on her dress is significant of color that appears when something is almost unreal, and simply a fanciful blur. Because Rose is first class, she is supposedly out of reach for Jack and so would appear to be just a luminescent dream for him to gaze upon. First class space itself is the same—unreachable for Jack and his third class counterparts, and the division of not only the space, but the people, things, and the clothing they wear send this message as well. Jack’s new friend Tommy gently teases, “Ah, forget it boyle. It is like if angels fly out of your arse gettin’ next to the likes of her,” verbalizing the supposedly obvious fact that Jack could never mingle with first class passengers, let alone have a first class girlfriend.333 First class space is thus made out to be such that it is impossible to reach unless if you are already first class. Accordingly, Jack is meant to remain in his third class environment with third class status, but he looks beyond these restrictions. His fixation on Rose’s appearance as she looks beyond the first class deck gives the hint that he controls his own mobility, and will not give in to the standards set by those above him. Despite Jack’s hopeful gaze upon a first class woman, Rose walks on deck to escape her mother’s disapproval of her comment to Ismay. Her only escape at all at this point is to walk away from her mother, fiancé, and any other haughty first class people who disapprove of the way she behaves. The clothes she wears as she gazes beyond first class space may accent her beauty, but it also represents the restraint placed upon her in first class society. Indeed, Rose’s gold dress emphasizes this fact that the society in which she lives is suffocating; to Rose, the people around her—those of the first class crowd—are simply concerned with material possessions, and having the greatest of the greatest, as she points out to Ismay when he brags
332 Kauf a , Be g a , a d Jo e, Motilit : Mo ilit as Capital, . 333 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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about the Titanic. Rose’s fiancé wants to control her as if she is a commodity, or someone who is beneath him. Her commodification as Cal’s fiancé is readily noted in the golden shade of the dress. Gold itself is a commodity of great value, used to flaunt status, and Cal thinks he can use and control Rose to do the same. In this sense, Rose is not supposed to have a form of mobility all her own, but rather follow and obey Cal as he sees fit for his future wife. Unlike Jack, Rose has a limited sense of mobility at this point, even if she lives in a society of luxury. Cal walks out to escort Rose away from the railing as a case in point.
Figure 2.3 Rose’s dress is a symbol of both mobility and immobility. Cameron 1997.
The Only Escape Rose’s immobility reaches a threshold that she no longer bears, as is obvious in the remaining analysis of this portion of the film. Rose continues to experience such immobility that she takes drastic action to try to end her state, lending Jack the opportunity to become more mobile than he has been thus far. The depletion in mobility that Rose experiences, and the gain that Jack experiences, is clear through the point at which Jack and Rose meet—their lives collide following Rose’s escape from a first class dinner. While Rose sits at dinner with her first class counterparts, she appears very pensive. Her disgust with her limited sense of mobility and the people who enforce it—her mother, her fiancé, and first class society itself—is expressed by Old Rose in the following:
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I saw my whole life as if I’d already lived it. An endless parade of parties and cotillions, yachts and polo matches. Always the same narrow people, the same mindless chatter. I felt like I was standing at a great precipice, with no one to pull me back, no one who cared…or even noticed.334 Given Rose feels her life has been “lived,” there is nowhere else for it to go. She has seen everything first class living has to offer, and feels trapped by what it does not offer, or what it restricts. Being a woman, Rose knows she is only permitted to live up to the expectations of a first class woman, nothing less and nothing more. This renders the kind of mobility she wants to have out of reach, limited by gender expectations within her class ranking. Rose does not have a say in how mobile she is—that is left up to a male counterpart who has power over her—in her case, her fiancé Cal. Rose claims that her life thus far has been “an endless parade of” events—there is mobility, but it is the same throughout Rose’s life, and nothing that stimulates her. The events Rose must attend are a parade of infinite dream killers, because they do not make up the life she wants. For Rose, this ongoing sense of mobility that is not to her liking only makes her feel “like [as she states, she is] standing at a great precipice,” thus she is on the edge of what she feels is not first class, but simply nonsense.335 She has no mobility all her own while involved in this parade of upper class society, but is forcefully moved by others around her. At worst, the “precipice” Rose mentions is the fall of any force of her own mobility that she might have, because she is put in place by those who have power—in other words, an end to her life. At best, this precipice is a diving board for Rose’s escape to a life of greater mobility. Rose soon enough escapes the first class dinner, running in emotional desperation toward the back of the ship. She is seen from bird’s eye view descending a flight of stairs onto a lower part of the deck. The camera follows her right up until she is about to run up another flight of stairs. It is significant that the pan of the camera captures Rose running down stairs and cuts to another scene right before she climbs another set. This implies that if Rose tries escaping to search for her own sense of mobility, she will only send herself down the status ranks—her financial security seems to depend on support from a man at this point. Not only is this implied by the clip, but the panning of the camera also foreshadows what will happen to Rose very
334 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 335 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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soon—she will mingle with Jack and his third class crowd. Thus in a sense, viewing Rose go down a flight of stairs without seeing her go back up is both negative and positive. The negative aspect of Rose’s descent is that it affirms her own mobility will not consist of climbing up the social classes, or bettering herself independently—she needs Cal for that kind of mobility. However, the life that this snippet of the film foreshadows for Rose is what she wants, because it will allow for own mobility. Of course she moves down a few social rankings, but Jack inspires her to find the strength to live the life that she has dreamed of, meaning a life in which she is freely mobile because she is not held back by standards set for women. Thus, moving downward on the stairs is a sign that Rose will defy the power structures set over her—her future with Jack and eventually on her own is predicted by this snippet of the scene.
Figure 2.4 A shot of Rose running on deck, cut short before reaching the set of stairs she runs toward. Cameron 1997.
While Rose makes a dazed move toward jumping off the back of the ship—death seems to her the only choice, although her trot in that direction foreshadows hope—Jack is also on deck, not in motion, but lying on a bench and gazing up at the stars. The first shot we see of him right after the scene transitions from Rose is a high-angle shot arguably emphasizing his status as a third class passenger. However, as previously noted, he does not at this point feel the weight of discrimination from those who have higher social status—Jack is in control of his mobility with the exception of being a third class passenger. In this first shot, it is noticeable that for the most
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part Jack indeed controls his life, as he simply enough relaxes, and smokes a cigarette. His lower class status supposedly lends him the liberty of doing whatever he wants within the bounds of third class areas of the ship. The next shot of Jack strengthens the idea that he is very much in control of where he goes and what he does, as it is a low-angle shot—it places Jack in a position of power. From below, we see Jack resting and looking up at the stars, while also blowing smoke from his cigarette. Despite his third class status, Jack lives the life, and the fact that he blows smoke in the direction of the stars even hints that he will do what he wants regardless of those who are above him on the social ladder. Similar to Rose’s descent down the deck stairs as well, our viewing Jack from a low angle shot as he gazes at the stars implies what is to come for him. He is so freely mobile already—looking forward to change—that he will end up meeting Rose and therefore going into first class quarters. Thus, despite the fact that at this point Jack simply settles within the space he is restricted to, the gates are about to open to several other spaces aboard the ship.
Figure 2.5 A high-angle shot of Jack looking at the stars. Cameron 1997.
Figure 2. 6 A low-angle shot of Jack looking at the stars. Cameron 1997.
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Rose continues running toward the back of the ship, and when she is almost there she is stopped by a device aboard the ship that appears to be a post for steering of some sort. On this object, there is what seems to be a handle, perpendicular to the deck, and erect. The handle is a phallic symbol, and given Rose is constrained to her life because of the power men have over her as a first class woman, this implies quite a bit about her mobility. It is the last item warning her, as if Cal reminds her that without his support, she will lack any mobility, because she will no longer be a part of first class society if she runs away. Rose knows that her mobility is limited— as privileged as it may seem by virtue of having first class status through Cal—so for her sake she leaves behind the luxury that she is given, because the gender restrictions of first class society overshadow the type of person she is and would like to be. Given the restraints on her mobility due to patriarchal power, Rose hopes for something beyond the life she lives, although for now that hope appears to be just a dream. Even so, once Rose crashes into this specimen with the handle appearing as a reminder of first class male power, she lifts her head and looks beyond for something else. She tries stretching the bounds of her mobility, and the only way she thinks she can do that now is by climbing over the railing at the back of the ship, to say goodbye to a restrictive life she feels she cannot escape.
Figure 2.7 A phallic symbol warns Rose of the demise of her mobility in first class. Cameron 1997.
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Conclusion At the beginning of this journey, Jack and Rose experience opposite senses of mobility. Within his own class space, Jack is extremely mobile, moving about rather easily. On the other hand, Rose is constrained to first class space because of gender restrictions placed upon her. Regardless of their differences in mobility, both of these characters dream of something more. For Jack, this is simply exploring new ways of being mobile and adventurous, while for Rose, it is escaping the suffocation of first class to find her own mobility. In this first part of the journey, escape is not at all easy. As for Jack, he easily explores the spaces not restricted to him, but he and Rose have yet to experience the consequences for pushing boundaries too far. Not only does the start of Jack and Rose’s journey comment on how mobile they are within their class rankings, but foreshadowing occurs frequently as well. From Jack’s room number 360 to Rose’s running down a flight of stairs to Jack’s looking at the stars among other incidences, the shots in this first part of the journey foretell these characters’ future sense of mobility. For both of them, the predictions are mostly positive, with the exception of what ultimately happens to Jack. He does however, make the most of his chance to be adventurous, and will get to do so with Rose for a while. Rose herself will ultimately find the escape she has been looking for, through Jack’s help, and gain the mobility she yearns for in this first part of the voyage. It is all a matter of time before the changes in mobility predicted by this first part of the voyage actually occur. At this point, Jack defies the argument that the powerful define the mobile, with the exception of not yet crossing class boundaries. In contrast, Rose is under the control of those who are in power, particularly her fiancé Cal. Those controlling Rose not only have monetary wealth which lends them the power to regulate mobility, but they are also of European aristocratic tradition. Cal himself appears to be of British descent, and although Rose is American, she seems to have adopted the mannerisms of those whose society she wishes to reject. As for Jack, he is portrayed as American, accenting this characterization with laidback mannerism and ideals. Considering this as well as the portrayal of Jack and Rose’s mobilities thus far, the film indicates that Americans are forward-thinking and free to go anywhere they want regardless of class. It is the restrictions of old traditions that hold those of the lower class from achieving what they want, but that is not how being American is characterized within the film. Instead, Jack roams the ship without the feeling that he is inferior to anyone just yet, while
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Rose lives under old tradition and thus a restrained life because of gender expectations. Thus, the ability to roam and do what one wants is presented as lower class male-American during the beginning of Titanic’s journey. Given Rose is destined to marry a first class man, she doesn’t have the privilege of roaming the ship as Jack does. For now, she continues dwelling on her predicament as a first class woman, climbing over the railing at the back of the ship to consider jumping off.
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CHAPTER THREE
UNLIMITED SPACE AND MOBILITY
It is clear that Titanic’s Jack and Rose have a desire for adventure, and the adventures they seek have not all come to fruition. Sadly for Rose, it seems they will never happen, from what we see on the first part of the journey. Cal seemingly looks over her shoulder whatever she does, making sure he has a hold on her and that she is molded into the wife he expects her to be. Rose obviously has a problem with that, and so instead of complying with Cal’s every command, she runs to the stern of the ship, climbs over the rail, and is about to jump into the Atlantic to end her troubles. That is, until Jack shows up to stop her. Once he and Rose meet, they are both on a journey to greater mobilities—Rose will learn that she doesn’t have to let gender expectations define her, and Jack will move beyond the boundaries of class that contain him as a third class passenger. Thus, in this chapter I argue that Jack and Rose’s mobilities increase so much so that they defy the standards of the society in which they live. I will support this argument through an ongoing rhetorical analysis of the film, paying particular attention to instances in which Jack and Rose increasingly defy the class and gender expectations by which they are restrained. First, I will elaborate on how Rose opens up to Jack as they become friends, and that Jack thus experiences an increase in mobility. Then, I will address Rose’s conflicting dilemma in which she ponders whether to maintain her first class status, or reach out to Jack. Finally, I will touch upon the fact that Rose decides to follow Jack’s lead and become more mobile, while Jack maintains mobility as well. To reach that point however, we must first observe Jack’s assistance to Rose as she ponders jumping off the back of the Titanic. A startled Rose turns around as she hangs on to the railing at the back of the ship, Jack coming into the scene pleading, “Don’t do it!”336 This is the point at which Jack and Rose’s lives will be forever changed, as they meet and eventually make enough of a connection that it influences both of their mobilities. Rose however, is determined to run away from her immobile life, and doesn’t budge from the back of the ship, simply screaming to Jack, “Stay where you are. I mean it. I’ll let go!”337
336 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 337 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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Anchor of Freedom and Restraint While Jack commits himself to rescuing Rose and therefore starting their interaction that leads to drastic changes for both of their lives, an anchor further cements the connection they will build. When Rose tells Jack to “go away” in response to his observation that she ultimately won’t jump off the ship and he responds that he “can’t,” the scene includes an anchor on its side, in between both of them. The anchor itself reiterates that Jack cannot turn away from Rose at this point, and that they are bound to form a relationship of some sort. In other words, the anchor reiterates the idea that Jack maintains mobility, and that he will in some way affect Rose’s mobility. The anchor is a symbol of Jack and Rose being tied down to each other, so much so that their life experiences will change. Then again, the relationship that forms between them will be troubling considering their class differences, and the anchor itself signifies this through its lopsided positioning. The fact that Cal and Rose’s mother Ruth are in the way, overpowering Rose as a means of forcing her to behave “appropriately,” is represented by the weight of the anchor that rests between Jack and Rose. It is a sign that right now Jack and Rose have much to overcome if Rose wants her freedom and Jack expects better treatment despite his social status. . From the first time they meet however, Jack shows Rose that he will be committed to her, as an anchor firmly steadies the weight of a ship.
Figure 3.1 The anchor represents the strength of Jack and Rose’s bond, yet a sense of their present immobility. Cameron 1997.
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Men Call the Shots Jack ultimately convinces Rose to climb over the railing and back onto the ship. As the analysis of this scene will demonstrate, it isn’t just Jack who maintains his mobility, but first class men who maintain power over Rose. Rose will demonstrate that she has some mobility in interacting with Cal when he arrives in the scene, but she remains physically immobile because of the societal power structure around her. Once Jack pulls Rose back to safety, he is caught on top of her by some of the ship’s crew, and assumed to have assaulted her. Cal is brought into the matter, outraged that Jack was even near Rose, when Rose steps in to say that she simply wanted to see the ship’s propellers and leaned over too far, leading to Jack’s rescuing her. Another first class man then interjects to comment that “women and machinery do not mix.”338 This comment emphasizes the power that men have over women, especially the first class men. Machinery can often provide a better mobility than that which we normally experience, for example walking compared to the vast power of a moving ship. Yet, this first class male states that the kind of mobility that propels the ship—or machinery in general—does not work with women. Rose makes up the story that motivates this observation, but it ultimately affirms that those in power—men in this case—are the ones who remain dominant because they know how to deal with new kinds of mobility. That Rose “slipped” while “trying to see the propellers” indicates her weakness in seeking a new form of mobility, at least from the view point of the first class men. Rose is perceived as weak because she cannot move beyond the boundaries of first class gender restrictions. So much for “women and machinery” not “mixing”—in the first place women simply lack a voice on the Titanic, as least from the perspective of first class men. The small confidence these men have in women if any, is apparent when they ask Jack to confirm the story Rose told about how he ended up on top of her. Jack tells the concerned group that Rose’s report of the incident “was pretty much it,” sharing a glance of secrecy with Rose.339 Regarding mobility, this exchange is important on a few levels, the first being that on the surface it reiterates the fact that Rose is controlled by the men around her—her state of mobility remains tied to her social role.340 Rose’s account of why she ended up on her back with Jack over her doesn’t seem to be enough for the men who discuss the issue, and so they ask for Jack’s confirmation. Thus, Rose’s voice
338 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 339 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 340 C ess ell, E odi e t, po e a d the politi s of o ilit : the ase of fe ale t a ps a d ho os, . 64
does not matter—she is simply the damsel in distress, or the one who needs help. She therefore remains almost completely immobile. Being a male, Jack seems to have a little more authority than Rose in the eyes of the other men, and she is yet again relegated to a position of one who is simply present to live up to a man’s expectations. On the other hand, the story Rose made up represents a new kind of mobility that she has not experienced, in which she slips but Jack is there to catch her. In her mind, she stretches the boundaries of her mobility without Cal or any other man present to stop her—Jack is simply there to keep her out of danger. Not only that, but Jack’s following along with Rose’s story signifies his acceptance of a woman having a mind of her own, and following her own sense of mobility. Once the issue of why Rose had “an accident” at the back of the ship is resolved, it is suggested that Cal reward Jack. Initially offering a twenty of some monetary value, Rose insists on something else with the question, “Is that the going rate for saving the woman you love?”341 Thus as Rose did before, she proves that she is not completely shut off by the men who think they can control her, and especially her own fiancé. Questioning Cal’s judgment as to what a decent reward is, Rose continues showing Cal that she at least has a vocal sense of mobility that he will not overpower. At this point, she questions her value as a commodity, seemingly pointing out that she is worth more than something to be bought—she is not simply a commodity belonging to Cal. Cal at least seems to get the point, and instead of offering Jack money, invites him to dinner. It may just be another show of his power and a chance to humiliate a third class passenger, but Rose does not object to the idea. This is as if to say that she should be treated more like a person and have a chance to make social connections. When Cal initially offers money to Jack, he implies that Rose is like an object, simply in his life to live up to his expectations and therefore has no need for a mobility beyond what she already experiences. Rose contradicts this idea vocally, hinting that regardless of the standards keeping her from being completely mobile, she maintains some mobility of her own. “It’s Overwhelming” Despite being vocally mobile, the fact that Rose is generally immobile as a first class woman is consistently underscored in the first half of this portion of the film. Indeed, Cal continuously hinders Rose from finding a sense of mobility that suits her inner spirit, demonstrated after the mishap at the back of the ship. Back in her room, Rose’s vanity mirror
341 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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reflects that she cannot escape the clutches of those in power at this point. Cal has walked in to give her a necklace called the Heart of the Ocean, and stands behind her as if to block her from the door leading outside her room. What the vanity mirror reflects seems in other words inescapable—there is no way Rose is moving beyond first class life because Cal is in her way. Through the vanity mirror, Rose is completely stationary, and even weighed down further with another material object—the necklace—in the social class she wishes to escape. Cal even underscores his sentiment that the material belongings he gives Rose should secure her commitment to him. It is only because she is with him that she has the luxury of sitting in this suite at a vanity, privileges with the cost of being controlled by Cal and expected to act like a first class woman. The vanity mirror underscores this fact, as Cal stands behind Rose looking into it while carving out the idea that she will always have a luxurious life if she serves him.
Figure 3.2 The vanity mirror reflects the weight of Rose’s reality and immobility. Cameron 1997.
Admiring the diamond necklace “Heart of the Ocean” that Cal has just placed around her neck, Rose comments that “it’s overwhelming.”342 Cal is not one to forget to remind her that “it’s for royalty….we are royalty Rose.”343 Following this, Cal tells Rose he will provide her with anything she wants if she promises to love him. This idea of “royalty” then—if Rose cares to
342 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 343 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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want it—implies that Rose will stay put as she is if she wants diamonds and other riches, in exchange for doing whatever pleases Cal. If Rose intends to remain a person of royalty in other words, Cal will maintain his power over her, and she will not gain the sense of mobility to lead the life of adventure that she wants. Her comment that the necklace is overwhelming means much more than the fact that the necklace is extraordinarily luxurious—if she allows, the necklace will have a power over her that lends Cal even more dominance. The necklace itself is a material item made of costly diamonds that are considered rare and top notch, as Cal considers himself to be top notch within the first class milieu. As a symbol then, the “overwhelming” feeling emanated from the necklace refers to not only its literal appearance and value, but Cal’s control over Rose’s life. “Powerless to Stop It!” In the midst of taking the path that will make her Cal’s bride, Rose takes the time to speak with Jack the next day on deck, regarding his rescuing her at the back of the ship. Rose’s immobility continues to be highlighted, while Jack’s mobility will not only be underscored but appear to empower him as he interacts with a first class woman. This interaction is the first opportunity for Rose to become more mobile as she would like, but she is hesitant. At the beginning of the scene, Rose listens to Jack talk a little bit about his life. Jack mentions that he left his childhood home because he no longer had family there, and shares, “I lit on outta there and haven’t been back since. You can just call me a tumbleweed blowin’ in the wind.”344 Their dialogue in other words, continues to underscore the argument that Jack is very mobile. Despite Rose’s feeling as if she is not headed where she wants to be, she learns that Jack travels practically wherever he wants. In stating that he “lit on outta” where his childhood home was, Jack underscores the fact that his way of living is very mobile. In addition, “lit” indicates light or fire, an energy and passion Jack has had to move from place to place. Jack says that he had the energy to move on from what he started off with, even though he lost his family. While for Rose exploring new places is a problem because of her position as a first class woman, Jack had the freedom to begin a journey to new places. This penchant for being mobile is obvious now, as Jack roams the ship as far as his third class ticket allows, and even walks the first class deck with Rose. His sense of mobility is growing because of the calling he felt to travel once he no longer had family. As he says himself, Jack is like a tumbleweed—he travels wherever he
344 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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feels he should go, and as a tumbleweed moves without losing much of its form, so too does Jack explore various places without getting into trouble, or getting hurt. He is one for always being on the move, and is ready for whatever comes, quite the opposite of Rose who only moves within the bounds of first class space. Rose confesses to Jack that it is within strict first class boundaries and expectations that she lives, as she thanks him for helping her at the back of the ship the night before. Rose confides in Jack that the problem she has with her life is “the inertia of my life, plunging ahead of me, powerless to stop it.”345 As Rose says this, she shows Jack her engagement ring. Everything in her world—first class society—is moving, and her own life moves around her, but she is not ready for the plans others have made for her. Indeed, she exclaims that her life is “plunging ahead of” her, indicating that it charges downward—a weight on Rose that drags her with it. Given she has no power over Cal or the other men in first class, Rose is thus being pushed into a life that she does not want. Indeed, this plunge that her pre-planned life is taking keeps Rose from moving anywhere beyond the expected behavior of a first class wife to be. Rose is doomed to be pulled down into the plans outlined for her, and the weight of her engagement ring is proof. Jack even adds to the concern upon seeing her ring and comments, “God! Look at that thing. You would’ve gone straight to the bottom.”346 Just when Rose starts confiding in Jack and explaining her concerns about being engaged to Cal, Jack dares to ask, “Do you love him?”347 Rose does not take this question well, marking it as rude and a reason to avoid further conversation with Jack. She even tells him to leave the first class deck, claiming that she does not want to speak with him further and that the first class deck is her “part of the ship.”348 Jack plays along, pointing out that she is the rude one—it is his relaxed demeanor that has led him to Rose and taunt her as such. In contrast with Rose, he is not weighed down to remain in a particular environment with various demands upon him. Rather, Jack experiences a very flexible form of mobility, going from point A to B and C and so on and so forth. Jack’s spirit for being mobile and having almost nothing that weighs him down has taken him far, yet Rose clearly distinguishes for the first time the difference in their class status. Clearly Jack has always known that he is poorer on the social scale, while the likes of Rose and
345 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 346 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 347 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 348 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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her fiancé are of an upper echelon; for instance, Jack was not about to argue with anyone when Cal initially accused him of attempting to assault Rose. However, when Jack has the opportunity to explore new territory, he takes the opportunity regardless of his class status. By pointing out that as a first class passenger the first class deck is her territory however, Rose claims a power that Jack lacks. He is not one of the first class folk and therefore does not belong on the first class deck unless a first class passenger permits. In this particular instance, Jack’s mobility is defined by his social class.349 This is the first time someone questions the power of his mobility, simply because of the difference between first and third class space. Just as Rose is powerless to stop the gender expectations of her social class, so too is Jack powerless to claim equality because of class status at this point. Bonding on Deck Jack has definitely come to the point where his status differences with Rose will be pointed out, but not so harshly just yet. Regardless, Jack’s ability to be very mobile is made obvious to Rose. Indeed, she finds herself dumbfounded when Jack says she is just as rude as he is, and changes the topic of discussion to Jack’s drawings. Jack’s status as a third class passenger does not simply imply his own spirited mobility so long as he does not upset the upper class, but women with a lower social status appear to have this freedom as well. When Jack and Rose continue talking on deck, they look through his drawings and see this sense of freedom in the “one-legged prostitute” he drew.350 Unlike Rose, this woman is able to pose for Jack without clothes, and thus underscores that there are no rules to hold her back from doing what she wants. The woman in Jack’s drawing is not expected to behave in a prim and proper manner, and even smokes a cigarette, something Rose cannot do. Through this drawing, it is apparent that women of lower class status experience phallic power that is reserved for men in first class. Women of Jack’s class in other words, have the opportunity to behave in ways they want to as opposed to ways they are expected to—they adopt what Laurie Oullette terms “male-coded” mobility in the film.351 It is at this point Rose witnesses for the first time, the freedom that being poor offers to women. They experience the same mobility that first class men get to enjoy, in the sense that they can do what they want without
349 C ess ell, E odi e t, po e a d the politi s of o ilit : the ase of fe ale t a ps a d ho os, . 350 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD 351 Ouellette, “hip of D ea s: C oss-Class Romance and the Cultural Fantasy of Titanic, . 69
someone telling them they are misbehaving. The only problem is that they would be restricted as Jack is, by class boundaries aboard the ship.
Figure 3.3 A third class woman appears to have the freedom that Rose lacks. Cameron 1997.
While Jack’s drawings indicate greater freedom among women who are not first class and therefore not restricted by certain expectations, they are scandalous enough among those in first class for Rose to be discrete while she looks through the sketchbook. Indeed, as a first class
Figure 3.4 Rose closes Jack’s sketchbook as a first class male walks by, reiterating the status quo. Cameron 1997.
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man walks by while Jack and Rose look at his drawings of naked women, Rose closes the book a little. She thus maintains the standard under which she lives—third class women get to experience the mobility that allows them to do whatever they want including posing naked for pictures, while first class women simply prepare for marriages of servitude. They are not supposed to show signs of indecency—least of all pose naked for a drawing—and Rose reiterates the expectation when she closes the sketchbook. It is not only the adventures of third class women that come to life when opening sketchbook, but it is the idea of Rose’s being liberated to follow her own path. So far though, Rose is not quite moving past her position as a first class bride to be. After a few moments of looking at Jack’s drawings, Rose praises him on his gift to “see people.”352 He uses this gift on her to spill the thought that she “wouldna jumped.”353 Taken literally, this is a positive statement because it means that Rose would not have hurt herself by jumping off the back of the ship—Jack sees her as the type who was not actually going to take that chance. However, his statement also comments on Rose’s mobility, and the fact that she has hardly any of her own. She is not brave enough to escape first class life, and pursue the life of adventure that she dreams of. She lets her social role as a first class woman continue to define her mobility, as Tim Cresswell would say.354 Indeed, Jack’s statement implies that Rose is very much immobile in her current position as a first class woman. Thus, Jack’s comment that Rose would not have jumped off the railing at the back of the ship emphasizes her lack of motion that will bring her what she wants out of life. To jump for something is to take a chance, and so far Rose has not taken much of a chance to escape Cal and her mother. Aside from demystifying his ability to “see people,” Jack tells Rose about some of the things he did in California as an artist. After sharing his adventures, Rose responds enthusiastically, “Say we’ll go there sometime to that pier. Even if we only ever just talk about it.”355 Jack replies with a “no, we’ll do it,” and lists some of the things he and Rose can do together when they are finished with the voyage.356 Rose’s comment yet again emphasizes her role as a first class woman, and her own state of immobility. Being under Cal’s control as his fiancé, all Rose can currently do is imagine what life would be like if she could explore the
352 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD 353 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD 354 C ess ell, E odi e t, po e a d the politi s of o ilit : the ase of fe ale t a ps a d ho os, . 355 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 356 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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interests and places that captivate her. When she tells Jack “even if we only just talk about it” in regard to trying the things Jack has done, she reinforces the fact that as a first class woman, all she will ever do is ponder what it would be like to live life as she sees fit. Jack however does just the opposite—he encourages Rose to take a chance and make their adventures happen. He in other words, defies the standards that hold Rose in her place, influencing her to also defy first class standards. Jack indeed brings about the change Rose needs in her life far sooner than she thinks. Once they talk about what they can do together following the voyage, Jack pulls Rose along to start one new thing: learning how to “spit like a man.”357 Rose however, shows that she is still not ready to change her mobility, as she is reluctant about spitting lessons. As Jack pulls her along to another side of the deck where he can show her how to spit, she acts as if it is not a good idea. Just like with everything else at this point, Rose still appears of the mindset that she is a part of first class society, and therefore must behave according to the standards for women. The image her mother wants her to maintain for Cal’s sake is thus reinforced, and Rose prevents herself from learning to decide what she wants to do with her life. When Jack starts the spitting lesson by spitting onto the decks below, Rose even claims that it is “disgusting.”358 With the attitude Rose has, she surely remains immobile through reinforcing the status quo, but Jack encourages a rejection of this attitude by pulling her along for a spitting lesson. Through getting to know Jack in other words, Rose physically faces the tension between behaving as her mother and fiancé expect, and behaving the way she chooses. While Jack makes the most of his flexible sense of mobility on the Titanic and uses it to his advantage thus far, he remains at the point in which his social difference with Rose is made obvious for the both of them. As Jack continues teaching Rose how to spit, Rose notices her mother coming along and lets Jack know. Through voiceover, Old Rose tells of how her mother stared at Jack in that moment on deck as if he were “a dangerous insect which must be squashed quickly.”359 This piece of dialogue itself not only diminishes Jack’s mobility, but a shot of him with spit on his chin as he faces Rose’s mother and other first class ladies threatens his mobility and place in first class. Jack is well on the journey to making the most of any mobility he can muster while being friends with Rose aboard the ship, but the spit on his chin reiterates his place
357 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 358 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 359 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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as a lower class passenger when he meets Rose’s first class companions. Despite the setback, one first class woman who is seemingly empathic with all experiencing a struggle be it because of class, gender, or something else—Molly Brown—motions to Jack that he needs to wipe the spit off his chin. She also comments, “Well Jack sounds like you’re a good man to have around in a sticky spot” once Rose has introduced him, in effect acknowledging his mobility that can take him anywhere he wants to go.360 As a matter of fact, Brown’s statement that Jack’s help is handy when you are “in a sticky spot” implies that he has such mobility that he can help others escape their immobility. Rose’s mother Ruth may not acknowledge Jack’s power, but his mobility not only gives him the opportunity to mingle with a first class woman, but also encourage Rose to escape her own “sticky spot,” or the life she lives under Cal and Ruth’s watch. First Class Dinner Party and a Third Class Philosophy As the other ladies who accompany Rose’s mother become acquainted with Jack, dinner is announced. Jack is about to attend the dinner courtesy of Cal’s invitation the night before, and he will prove yet again that he is extremely mobile. He will also give Rose another chance to become more mobile. When Rose, her mother, and one of the other ladies leave to prepare for the evening, Molly Brown warns Jack that he is “about to go into the snake pit.”361 At the dinner, Jack will be reintroduced to Cal and Rose’s mother among other wealthy passengers, and Brown simply tells him that he must be ready to blend in, for the mobility that matters in first class is defined by monetary wealth. Brown even takes Jack along as he gestures to her that he only has the clothes he wears in which to attend dinner. Thus, she gently yet firmly indicates that Jack’s clothes are not appropriate for the first class dinner. If your mobility depends on your social role as Tim Cresswell points out, then Brown is simply assisting Jack in playing the part of a first-class dinner attendee.362 Indeed, Brown only increases Jack’s ability to be mobile, as she lends him a tuxedo for the first class dinner. Once Jack dons the tuxedo, Brown comments that he is “about the same size” as her son and points out that he shines “like a new penny.”363 This reaffirms the trek he has made into first class society, and that he will easily fit in with the first class passengers, for he now appears as wealthy. Jack’s ease of mobility is thus underscored with
360 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 361 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 362 C ess ell, E odi e t, po e a d the politi s of o ilit : the ase of fe ale t a ps a d ho os, . 363 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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Brown’s help, as she simply accents his skill to maneuver through new places and with new people. Jack indeed has the spirit to successfully navigate through the first class dinner, and continue befriending Rose. Once he arrives at the first class dining hall and sees Rose descend the steps of the hall’s grand staircase, Jack gazes in awe as he meets her and proceeds to plant a kiss on her hand, a sign that not only has Jack made it to the first class quarters, but easily adopted the mannerisms of first class folk. Indeed, Jack admits to Rose that he “saw that [the kiss] in a nickelodeon,” and had an itch to mimic the action—Jack moves around through places and spaces rather easily because he is a quick learner.364 His ability to adapt to his environment—in this case the first class dinner—lends him more skill and power to interact with others who may or may not be higher in social status than he is. Thus, Jack’s mobility goes beyond being able to make it into any place he wants, as he observes the details of becoming one with his environment. He not only swiftly learns to navigate the first class environment however, but strengthens his connection with Rose through a display of the mannerisms he picks up on. Unlike Cal who seemingly has no idea how to connect with Rose, Jack beams at her, politely greeting and escorting her as soon as she makes her way down the grand staircase. This only appears to make Rose’s fondness for Jack’s company grow, as she smiles at his politeness and laughs at his mockery of first class male posture. The bond Jack and Rose have begun to create is therefore strengthened by Jack’s ability to become one of the first class men for the night, and therefore seals his connection to first class even further. For the sake of fitting in, Jack indeed adopts the behavior of the first class men at dinner, with the exception of not treating Rose as an inferior. While Jack at least mimicks the mannerisms of the men as they mingle in the first class dining hall, he maintains a sense of pride in his own life. Molly Brown reminds him, “Remember they love money so just pretend like you own a gold mine, and you’re in the club.”365 Taking this advice, Jack is not afraid to stick to his roots, as he does when John Jacob Astor—“the richest man on the ship”—asks if he is one “of the Boston Dawsons” when they are introduced, to which he replies that he is of the “Chippewa Falls Dawsons actually.”366 Chippewa is where Jack grew up and became motivated to explore the sights life offered; thus by admitting his roots in Chippewa, Jack asserts a power in where he
364 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 365 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 366 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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started, which has brought him to the exact point he is in. Jack puts forth the idea that just because first class passengers are much wealthier than himself, this does not mean they are superior to him. His flexible sense of mobility permits him to be discreet about how much he divulges about himself though, given Brown’s advice. Using said advice, Jack maintains a balance between putting on a show of rigidity that the first class men do all the time, and remaining outside their obsession with money. By maintaining a sense of self while speaking to Astor, Jack maintains his own power to smoothly navigate any space in which he happens to be—he contradicts Cresswell’s idea that mobility is defined by where you stand in society.367 It is his own thirst for seeing new places that has thrown Jack toward newfound adventures, and so by using his own skills he continues the adventure of becoming acquainted with first class society. Once everyone is seated for dinner, Ruth inquires as to how Jack is able to travel when he is a third class passenger. Jack shares, “I work my way from place to place. You know, tramp steamers and such. But I won my ticket on Titanic here at a lucky hand at poker. A very lucky hand.”368 In other words, Jack’s being able to travel is not simply a joyride, but he affirms that he usually works to get from “place to place.” It is not only Jack’s looking forward to new opportunities and actually taking those opportunities that has brought him to the very point he is at, but finding work that allows him to travel. Through working on tramp steamers, the natural inclination Jack has for being mobile is fed through work. It is the work Jack has done that fuels his spirit for moving about and allows him to become more mobile. Then again, Jack also attributes how mobile he is to a matter of luck, stating it was luck brought him on the ship. He thus underscores the idea that his very mobile life is a matter of his work and the chances he takes, which is why he eats dinner with first class passengers. The work that he does along with the opportunities he seizes allows him to give momentum to his mobility, so that he lends himself as much power as the first class men inherently believe they have. Following Jack’s comment that his boarding the ship was a matter of luck, one of the men at the table adds that “all life is a game of luck.”369 Once again attempting to insult Jack, Cal quickly responds, “A real man makes his own luck actually. Right Dawson?”370 Not only does
367 C ess ell, E odi e t, po e a d the politi s of o ilit : the ase of fe ale t a ps a d ho os, . 368 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 369 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 370 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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Jack respond calmly to this statement, but the irony in Cal’s bashing is that Jack has made his “own luck.” Indeed, Jack is his very own driving force in working to be able to travel and making the bet in poker that put him on the ship. His mobile life is of his own making because he has the willingness to seek out opportunities, such as helping Rose give herself a second chance before committing suicide. Jack has not necessarily been lucky in all that he has made of his life—he shared with Rose about how he worked as an artist and tells the dinner party that he works in order to be able to travel—but he is an ambitious type who takes the chances his life offers. If the work Jack has done to sustain his life is combined with some of the “lucky” breaks he has had, then Jack is indeed the type of guy who makes “his own luck.” Whereas Cal is simply lucky because of an inheritance, Jack’s openness to new experiences creates the momentum that takes him into seemingly lucky circumstances. This lends him the power to move about and make things happen in his life that are seemingly a matter of luck. Once Jack tells the first class dinner party a little about his life, Ruth negatively terms this a “rootless existence.”371 Although from her perspective Jack does not measure up to much because of his third class status and the way he lives, being “rootless” actually enhances Jack’s mobility. Unlike Rose, Jack is not tied down to anything or anyone, and although he is poor, people do not expect him to behave a certain way for their own benefits, aside from being stereotyped as a certain kind of person because of his class status. Part of Jack’s power to be as mobile as he is hails from the fact that he does not live the life of very particular expectations that Rose does. In other words, Jack’s life was not planned for him—it indeed appears to be “rootless,” but in a good way, and Jack himself defends how his way of being benefits him. He loves that his life gives him the experience of “waking up in the morning not knowing what’s gonna happen,” and thus he is afforded the opportunity to plan his life as it moves along.372 His “rootless existence” allows him to hone the skills necessary for making the most of whatever he does. It is because of Jack’s attitude in looking forward to new experiences and having a “rootless existence” that he stretches the boundaries of his mobility. In being as mobile as he is, Jack enlightens everyone at the table that all he needs is “air in [his] lungs and a few blank sheets of paper.”373 His momentum in other words, comes not from the material wealth that the first class passengers rely on, but the simple fact of living. Jack
371 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 372 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 373 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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has “air” anywhere and so is not bound by any manmade ideas of wealth and society, but is open to what the world itself offers him. That Jack credits his “rootless existence” to his gratefulness for air indeed points out something much greater than anything the first class passengers could offer him, as this is a reference to nature. No one has control over nature and the air that Jack breathes, and therefore nature has the most control over Jack—the only control Jack faces from others are class restrictions. Beyond that, he admits the adventures his life has afforded him are a matter of being able to breathe. It is the admission to appreciating something the first class passengers seem to take for granted that keeps Jack on the move. Jack’s deep appreciation for being alive and being able to breathe lends him the calm demeanor that led him to Rose, and thus, the first class dinner. Not only does nature’s gift of air inspire Jack to live the way he does, but “a few blank sheets of paper” do the trick as well.374 Given Jack says “a few” sheets will suffice, he means to say that he can get by on very little. Indeed, that is exactly what he does aboard the ship—all he came on board with was one bag of personal belongings and his unstoppable spirit that pushes him to explore as much of the ship as possible. More importantly, Jack underscores these sheets of paper are “blank”—this makes sense on the surface so that Jack can draw while on the Titanic, but “blank” is also how Jack describes the future he looks forward to. The exciting thing for Jack comes from not knowing what will happen to him in the future and facing it as it comes along. This also implies that Jack does not have the future cut out for him as Rose does, and he can therefore make it whatever he wants, just as he can draw something new on a blank sheet of paper. With the exception of the class restrictions placed upon him, Jack is a go-getter who improvises into the future as he sees fit. At this dinner itself, Jack even goes so far as sharing his life philosophy in such a way that he wins over the majority of the guests at dinner. Part of Jack’s ability to be mobile thus hails from not just literally drawing what he wants as an artist, but presenting his life to others in such a way that it also becomes an intriguing art. Jack indeed proves that being as mobile as possible hails from an unrestricted mindset, and his case is strengthened when he tosses Cal a lighter for a cigarette because the latter cannot find one. Cal considers himself a powerful man because of his wealth and dominance over Rose, but his flimsiness in lighting a cigarette because he cannot find a lighter suggests otherwise. The cigarette is a symbol of masculinity, especially given first class women are not permitted to
374 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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smoke while men are. Cal however, has trouble lighting his cigarette while Jack speaks on the wonders of his freestyle living—Cal cannot find a lighter, and so Jack throws one to him across the table. This indicates that although Cal has the wealth that may give him masculine power, Jack is the one who can actually use that power. Jack is the lighter of his own life, seeing the good in every part of it even if it is a life of lower status. Jack’s ability to see the good and use his energy to further the adventures that he hopes for is exactly what comes in handy for him while Cal and Ruth try to insult him. Whereas Ruth simply wants to put him down, Jack tells everyone how positively he sees his own life because he is bound by nothing and therefore does whatever he wants. That he looks at this way of living so positively personifies the lighter he throws to Cal, because he lights up his own life despite his class status, and his ability to light his life brought him to the first class dinner. Cal has never gone as far as first class boundaries or even considered giving Rose an opportunity to live the way she wants, and thus Cal does not have the ability to add light to anyone’s life. Jack however has overpowered Cal by way of his attitude, winning over many at the first class dinner.
Figure 3.5 Cal is taken aback when Jack throws him a lighter, indicating that Cal has no energy to use his mobility the way Jack uses his. Cameron 1997.
Jack wraps up his speech about life by emphasizing that it is important “to make each day count.”375 All with the exception of Ruth and Cal applaud his life philosophy, and Rose even instigates a toast “to making it count.”376 While the toast is indeed what one would expect of a
375 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 376 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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toast—raised glasses to mark the celebration of something, which is in this case is Jack’s reasoning for his free-spirited life—upon a close look at how everyone raises their glasses, Jack raises his quite higher than the others do. The guests who join the toast raise their glasses to about eye level, while Jack raises his last and a little above his head. It is almost as if to say that Jack has easily elevated himself to a place of power that is actually higher than that occupied by these first class passengers, because Jack has explained that through his lifestyle, there are no limits to what one can do. In first class society however, even the men have restricted mindsets in such a way that they only live their lives for wealth. Their wealth and snobbery create a plethora of restrictions upon them and especially first class women, but also in their mealtime mannerisms—everyone who raises their glasses at the toast does so rather weakly compared to Jack. It is a sign that looking toward a new kind of mobility has led Jack to first class and beyond, as the first class passengers marvel at Jack’s spirit for traveling and he underscores that it is not about money, but taking chances when you can.
Figure 3.6 Toasting to Jack’s life philosophy, the first class passengers raise their glasses to about eye level. Cameron 1997.
Figure 3.7 As Jack follows the toast to his speech, he raises
his glass a little higher than everyone else. Cameron 1997.
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Once the first class dinner quiets down, and the men leave to discuss “business and politics” in the “smoking room,” Jack invites Rose to leave the stuffiness of first class by giving her a note stating: “Make it count. Meet me at the clock.”377 That Jack gives her this note to begin with is a sign that he hopes to influence Rose in some way, a way that Ruth would not approve of. To actually invite Rose to join him after the dinner, Jack gives her a chance to make a choice about the fate of her mobility, a chance that is of her own will more so than earlier, when Jack pulled Rose along to teach her how to spit. For Rose, this indicates a chance to attempt defying her mother’s expectations, and experience a part of what she wants for herself. As for meeting “at the clock,” it is not only fitting because it is probably the easiest way for Jack and Rose to meet in the dining hall, but it represents a matter of time and life. Will Rose spend her life wasting energy as Cal’s wife and attending dinner parties with which she is exhausted, or will she spend the time taking chances to experience new things as Jack has? Thus, the note Jack gives Rose begins the chance for Rose to adopt the philosophy that has brought Jack to her. A Real Party Jack’s note turns out to be an invite “to a real party,” or a dance party Jack’s fellow third class passengers enjoy. The party highlights Jack’s ongoing mobility, while giving Rose a chance to become more mobile. While Rose enjoys the crowd and music, beer in hand, the music changes, and Jack pulls her up to dance. She is rather timid about dancing, admitting to Jack, “I don’t know the steps.”378 He responds, “Neither do I. Just go with it. Don’t think,” and so begins Jack’s transferring his way of thinking to Rose, reminding her that all she needs to do is move and she will get somewhere.379 That Jack confesses he too has no idea what the dance steps are signifies he lives up to his word from dinner, enjoying the moment as it comes to him. In inviting Rose to also do the same, she not only sees spirited mobility, but experiences a small bit of it, even if only through dancing. Jack initially leads Rose in improvised dancing around the space and people at the party, to eventually step up onto a platform and show Rose a tap dance of sorts. Rose follows, and although she does not appear to be as skilled as Jack, he smiles at her after a moment as she improvises her own steps to the music. This is as if to say through dance that Rose does have the ability to be mobile in her own way, and thus create her own life as she sees fit. As Jack has defied the argument that mobility is determined by social roles, Rose begins to
377 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 378 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 379 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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do so when dancing, for she allows herself a sense of unrestricted mobility at this party, while this is not the case in first class.380 Although Jack initially looks at Rose a bit strangely as she improvises her own foot dance with no shoes on, he does not do anything to change the way she moves. In other words, Jack respects Rose’s own sense of mobility, unlike her mother and fiancé; Rose therefore begins to physically find her own rhythm for being mobile. Rose becomes extremely mobile at the third class party, making Jack look at her in surprise when she gulps down almost a full glass of beer. To Jack’s look of amazement, Rose responds, “What? You think a first class girl can’t drink?”381 At this party, Rose not only explores how mobile she can be, but she disregards the social standards of her class. Just as with dancing, Rose’s drinking is not a snap decision to leave her first class status behind just yet, but it is defiance through behavior that Ruth would disapprove. She makes a small claim over her own sense of movement since Jack encouraged her to dance, and in parallel claims power in choosing to drink. In asking Jack “What? You think a first class girl can’t drink?” Rose makes the gender divide obvious, especially as it exists in first class. She knows that drinking beer— just as smoking—is probably prohibited for her when she is in first class, so being able to drink at the third class party levels the playing field. It is Jack’s lifestyle and that of the other third class passengers that allows Rose to become an equal. Not only is Rose slowly beginning to let her hopes of become freely mobile come through in dancing and drinking beer, but the fact that she asserts herself to be a man’s equal is again underscored by her next move at the party. Interrupting a round of elbow wrestling between Jack’s friend Tommy and another man, Rose takes Tommy’s cigarette from his mouth, placing it in her mouth for a brief second—this alone asserts that Rose feels she is equal to the men at the party, and that she has as much power to be mobile as they do. Then again, her next move questions how much dominance men actually have over women’s abilities, as she says, “So, you think you’re big tough men? Let’s see you do this,” and commences to show off a ballet move in which she rises to her toes.382 Thus, Rose not only adopts the behaviors limited to men of her social class, but she uses a move from something appearing more feminine to undermine the power that men have over her. Rose’s power to be mobile then, not only burgeons from the desire to be as freely mobile as the men of her social class if not more so, but it also hails from
380 C ess ell, E odi e t, po e a d the politi s of o ilit : the ase of fe ale t a ps a d ho os, . 381 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 382 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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the sense that her mobility does not have to be the same as those who already have power. Indeed, at this particular moment in which Rose demonstrates a ballet move, she does so in an effort to show the men who drink that just because they can fight each other does not necessarily mean they can do everything. Rose’s mobility has simply been limited throughout her life, but she can be mobile and therefore powerful in a way that men cannot, if given the chance. The fact that Rose rises to her toes and falls into Jack’s arms a second later also signifies that she is working toward being able to map out the mobility of her life, but still needs some time before she can completely turn away from first class life—she has to slowly escape the mobility of being immobile that is her life as a first class woman, her mobility as defined in first class, Tim Cresswell would note.383 At this point, she simply experiments with how mobile she can be, bringing her hopes of being more mobile to life one step at a time.
Figure 3.8 Rose proves that she can be as mobile if not more so than men through this ballet pose. Cameron 1997.
A Threatening Breakfast While Rose lived a part of her dream life at the third class party, the next morning her breakfast with Cal proves that she is still on lockdown—it proves that she remains immobile for the most part. Before Cal violently lashes out at Rose for attending the third class party the night before, she bravely defends her behavior through stating, “I’m not a foreman in one of your mills
383 C ess ell, E odi e t, po e a d the politi s of o ilit : the ase of fe ale t a ps a d ho os, . 82
that you can command. I’m your fiancé.”384 Despite the fact that she is not supposed to mingle with anyone Cal does not approve of, she shows remnants of the strength to be mobile that the party gave her. The argument that she is an equal to men continues, as Rose’s assertion that she is Cal’s fiancé signifies that she expects better treatment as an equal. Rose finally expresses her desire to actually have control over her own life, even if she is to marry a first class man. Cal has just treated her like a child, saying “you are not to behave like that again Rose,” and so she reacts in such a way that his inferior treatment is negated.385 Cal however, lives his life in such a way that Tim Cresswell’s idea of mobility depending on your social role is exemplified—Rose is expected to be his wife and life servant.386 Despite this, Rose means to tell Cal that as he gets to do what he wants, the same should apply to her. It is a chain of power to be mobile that Rose has started, from dancing with Jack to undermining the arm wrestling fellows at the party, and back to her first class life where she now challenges Cal. The challenge is still too early and backfires however, as Cal reasserts his control over Rose’s mobility. He staunchly affirms to Rose, “You will honor me,” signifying that Rose will not go beyond the bounds of her first class mobility again.387 Tightening the Corset of Rose’s Life Beyond Cal’s anger at breakfast, Rose sparks an outburst from her mother when preparing to dress. This moment underscores yet again Rose’s immobility as a first class woman. Initially, Trudy ties a corset Rose is to wear—the working class spirit attempts to take a hold of Rose. Rose experienced life as she would like to have it at the third class party, and the joy and attitude she had there fights the life she is expected to live. As Rose’s help on board, Trudy fairly enough stands in place of the spirited third class passengers, tying Rose’s corset. The lifestyle Rose saw while at the third class party in other words, envelops her being simply because she enjoyed it, and tried things she would not be able to as a first class woman. Indeed, Trudy is fairly gentle in tightening Rose’s corset, as if to underscore the ease with which Rose fits in with the third class passengers and becomes involved in their world. Rose stands at the crossroads of two worlds she lives in—one she has known much longer and despises, while the other allows her to enjoy life and be freely mobile. The latter clutches onto her with ease, Trudy tying the
384 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 385 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 386 C ess ell, E odi e t, po e a d the politi s of o ilit : the ase of fe ale t a ps a d ho os, . 387 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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corset on Rose without hurtful force. On the other hand, when Rose’s mother walks in and excuses Trudy, she continues tying Rose’s corset with a force that suggests first class society still has a powerful hold on Rose. As of the current moment, Rose still cannot make any sudden decisions to leave first class, and therefore remains mostly immobile. Her mother strongly asserts the grasp that first class life has on Rose through tying the corset rather roughly and tightly. Per Ruth’s tying the corset then, Rose will not move past her first class life with simply her quick- witted remarks to Ruth and Cal. Religion as a First Class Privilege The strong hold that first class has over Rose not only follows her as she eats and dresses, but a church service reinforces the idea—anywhere Rose goes in first class space when Cal and Ruth are near, she is certain to be up against a force intent on keeping her in the life she already has. As Rose, Cal, and Ruth sing a religious hymn at a church service, Rose stands in between her mother and fiancé. The religious service thus reinforces how much control Cal and Ruth have over what Rose does aboard the ship. They abide by what tradition outlines for them as first class passengers, and so they join all other first class passengers in attending the religious service. That Rose is in attendance as well signifies not only that she continues to follow first class expectations, but that she chooses immobility placed upon her by first class religion. It is not just Ruth and Cal on either side of her during the service that renders her immobile again, but the religious song, which she reads through as carefully as Cal and Ruth themselves. They maintain their hold over Rose because of the influences of first class tradition.
Figure 3. 9 Ruth and Cal continue to trap Rose, hindering her mobility. Cameron 1997.
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While keeping Rose on lockdown as usual, Jack is denied first class interaction, obvious when he makes his way toward the church service and is turned away before he can get in. Jack protests and maintains the point that he needs “to speak to someone”; Cal’s henchman Lovejoy notices Jack and walks out of the religious service to also remind him that he should not be in first class.388 Even though he is singing, Cal notices the issue as well, while Rose remains oblivious. Jack was able to walk into first class and try reaching Rose through the religious service she is at, but is suddenly held back. The religious hymn transforms the first class passengers into something that Jack absolutely cannot reach—his agile mobility is impeded because they are now made out to be Godly. As part of a godly group, Rose is now untouchable for Jack, and the unlimited mobility Jack has is now cut off. Jack’s mobility is surely defined by his social status in this particular instant.389 That Cal notices this while Rose does not, not only reinforces how much more mobile Cal is than Rose but also signifies his power over Jack, as he looks down upon the problem while still singing with the other first class passengers. Jack and Rose however, are at somewhat of a standstill in their abilities to be mobile, for Jack roams anywhere except this one dining hall, and Rose is once again under the impression that she should behave according to the expectations set for first class women. The religious traditions that the first class passengers take part in have rendered Rose immobile, and prevented Jack from having contact with her. As Jack pleads with Lovejoy for a chance to talk with Rose when she is singing, Lovejoy offers Jack a twenty. Jack refuses. For Rose, it is not just the religious service that seemingly recreates her first class mindset, but the money itself that has her chained. By attempting to give Jack a twenty—the same amount Cal offered when Jack rescued Rose from jumping off the ship—not only is everything else Ruth and Cal do reinforcing the fact that Rose cannot decide for herself what to do with her life, but she is once again so immobile as to be an object of exploitation. The twenty Lovejoy offers Jack in other words, characterizes Rose as a commodity. Indeed, when Rose sings the religious hymn with the other first class passengers, she appears so focused and dazed as if to not even care what her future holds. Unlike Jack who at least crosses class borders while the first class church service occurs, the hymn Rose sings brings her to a complete halt, in which only her mouth voices the words of a first class tradition. Rose appears
388 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 389 Cresswell, E odi e t, po e a d the politi s of o ilit : the ase of fe ale t a ps a d ho os, . 85
to be a singing figurine at the moment, thus Lovejoy tries to pay Jack for Cal to keep her to himself. The chorus of the first class religious music has hypnotized Rose to remain in her place as deemed by first class.
Figure 3.10 Lovejoy tries to pay Jack a twenty in order to stay away from Rose, the amount offered to him when he rescued her from committing suicide. Cameron 1997.
Sneaky Stroll on First Class Deck—Rose, Follow Your Instincts! Despite being rejected at the first class religious service, Jack continues trying to contact Rose. Following the religious service, Rose and her first class companions take a stroll on deck, and Jack finds his way onto the first class deck as well. He thus continues breaking the boundaries of mobility—strengthening his ability to be mobile—as he catches up with Rose to try and convince her that she must continue fighting for the mobility she wants. The ongoing struggle for both characters to be as mobile as they can continues in the following analysis. Following the first class religious service, Rose and her mother walk on deck while Jack climbs to the first class deck to try and find Rose. Rose demonstrates vocal mobility when speaking to the ship’s architect Mr. Andrews telling him—in front of Ruth and Cal—that through a little math, she figured that the ship does not have enough lifeboats for everyone if there is a disaster. Mr. Andrews affirms that she is correct, noting her mental acuity, but reassuring her that the ship is too sturdy for anything to happen anyway. At this point, even if Rose is no longer allowed to see Jack, she still demonstrates that she at least has a voice in matters that she finds troubling, underscoring Peter Adey’s argument that the immobile is always
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somewhat mobile.390 Cal himself doesn’t even point out the fact that there are not enough life boats for everyone, thus Rose beats him in disaster preparedness. This indicates that despite his power over Rose, Cal does not necessarily have one hundred percent control over Rose’s mobility. She is the one who thinks outside the expectations of the first class milieu, and therefore uses a mental sense of mobility that remains unrestrained. Rose thus continues speaking up for herself to the point where she seems more intelligent than Cal, and proves that her own form of mobility remains. As Rose considers what Mr. Andrews just told her about the lifeboats and the ship, Mr. Andrews, Cal, and Ruth walk on ahead of her. Jack stands nearby in an overcoat and hat he took after sneaking onto the first class deck, and escorts Rose into a gymnasium when Mr. Andrews and the others have walked far enough away. He pleads with Rose to consider that if she listens to Cal and Ruth and walks the path to marriage, her “fire’s gonna burn out.”391 Rose responds that “it’s not up to you to save me Jack,” to which he replies “you’re right—only you can do that.”392 First of all, Jack reaffirms that Rose indeed has “fire” within her that will not be in use if she marries Cal. Rose’s “fire” is a sense of mobility similar to Jack’s—a penchant for not taking herself too seriously and exploring new adventures. This is the crux of the problem when Ruth and Cal tell Rose that she needs to “behave” herself, because Rose wants to live a life similar to Jack’s, and it is not possible when she is expected to marry Cal. Jack simply reminds her that she will never be very mobile at all as Cal’s wife, something she fears—thus, any hope she has for a life of her own will vanish. However, Jack asserts that she can do something about it, and that she must do something about it. It is at this very moment that all of Rose’s ability to be as mobile as Jack is placed in her hands. The Decision to Fly Following Jack’s spiel to leave her first class life, Rose is lost in thought in a dining room as her mother chatters away with other first class women. Ruth tells the ladies about plans for Rose’s wedding, while Rose is oblivious, and focused on a little girl being taught first class mealtime manners. This is a critical moment for Rose, as her view of the little girl allows her to see the cycle that she has grown up in. It is at this point that Rose takes a chance to become more
390 Ade , If Mo ilit is E e thi g The it is Nothi g: To a ds a ‘elatio al Politi s of I o ilities , . 391 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 392 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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mobile. Indeed, after witnessing the continuance of the cycle she grew up in, Rose looks for Jack, and finds him at the prow of the ship, admitting that she thought about what he said earlier. When she first appears in the shot, Jack is at the very front of the ship, while Rose stands behind him and to the left. Jack leans on the railing of the prow, while she is a few steps behind. His being at the very front of the ship as it moves forward indicates that he is always ready to move forward as well. Rose on the other hand has just made the choice to take control of her mobility—she has yet to completely step up to the idea of letting go of her restrictive past. She is even blurred as she stands behind Jack, indicating that she comes to claim control on her own mobility, but that it will take time.
Figure 3.11 Rose is blurred behind Jack as if to underscore a lack of mobility. Cameron 1997.
Rose’s control over her own mobility will indeed take time, and the next few shots at the ship’s prow underscore this. After she interrupts Jack’s pensive state at the prow, Jack takes her hand and has her close her eyes as he guides her at the front of the ship. He tells Rose to “step up onto the rail” at the prow, and she trembles as she does this.393 This is another sign that although living a life of practically unlimited mobility is something that Rose wants, she is not at all used to it. She is used to voicing her opinion about first class dining guests, inquiries about the ship and the like, but Rose has not yet had the power to fully decide where she will go and what she will do with her life. This is something she just now learns—now that Rose has been persuaded by Jack’s words from earlier however, she makes the choice to further free herself from the
393 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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clutches of Cal and her mother. When she does “step up onto the rail,” Rose takes a step upward toward a freer sense of mobility, in which her life will be less restrictive because she will not be living under the expectations of her mother and fiancé. She will learn to contradict the argument that the way people are perceived defines their mobilities.394 It is as if Rose is physically making a change from her regular routine of preparing to wed Cal, and therefore finding her own means of mobility. Standing on the railing at the prow of the ship is just the beginning of a symbolic transition to empowered mobility for Rose. Indeed, Jack stands behind her on the railing and extends her arms out to the sides, and upon opening her eyes, Roses exclaims, “I’m flying, Jack!”395 A shot above Jack and Rose, in which her arms are stretched seemingly above the ocean, captures what Rose talks about—she indeed appears to be flying. She appears to have been taken above anyplace or anybody she has known, where being mobile allows her to escape the usual pattern of first class routine. In addition, she has escaped class division altogether, as nothing else is in sight but the ocean while Jack stands behind her. Rose’s decision to come out to the prow and meet him proves that the lifestyle he lives allows her to be whatever she wants— even a bird. This is the opposite of the life that is expected of her, in which she must join other first class women in “mindless chatter” and prepare for a life as Cal’s wife. She has no power to do as she pleases in that lifestyle, but in the simple choice to listen to Jack’s words, she is able to fly.
Figure 3.12 Rose is “flying” above the restrictions of first class that keep her from being mobile. Cameron 1997.
394 C ess ell, E odi e t, po e a d the politi s of o ilit : the ase of fe ale t a ps a d ho os, . 395 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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While Rose is “flying,” Jack takes her hands in his and they begin to run their fingers together. This is as if Jack transfers his spirit for unlimited mobility to Rose. During their twiddling of each other’s fingers, Jack repeats the lyrics of a song: “Come Josephine in my flying machine, and it’s up she goes, up she goes.”396 Jack seems to forecast the mobility Rose obtains through defying the expectations of her class, as she does something that would be frowned upon by her mother and Cal. At the same time, the choice to go against what is expected of her permits Rose to take a chance and let Jack lead her to feel as if she is flying. Jack gives her more encouragement to lead the life that she wants through showing her that she can “fly.” It also seems Jack encourages Rose not to be afraid at the prow of the ship despite being balanced on the railing, where she becomes mobile enough to bring Jack’s arms in so that they are standing closer together. Rose has taken the small amount of guidance Jack gives her while at the prow, and used it to control not only her mobility, but even Jack’s. Now that Rose sees that she can “fly,” she makes a choice that renders her as mobile as Jack. The song he whispers to her simply emphasizes the fact that her mobility is increasing. “Will This Light Do?” As Jack and Rose “fly” for a continued moment, the ship fades to become its shipwreck form of modern times. The camera pulls back from sunken footage so that those listening to Old Rose’s story can make brief commentary on her journey. Then we are taken back into the journey, as young Rose and Jack enter the “sitting room” of the suite in which she, Cal, and Ruth stay. From this point forth, both Rose and Jack experience an increase in their mobilities, as Rose completely defies the standards of her class, and Jack further explores first class space. In the sitting room, the ongoing transformation of Rose and Jack’s lives and mobilities continues. Jack realizes this, and when Rose asks “Don’t artists need good light?” he replies, “That is true, but I’m not used to working in such horrible conditions” in what appears to be a French accent.397 As he says this, he also feigns to wipe dust off the mantle of the fireplace. All joking aside, Rose not only finds the strength to control how mobile she is through her relationship with Jack, but he earns the chance to explore first class through his relationship with Rose. His mockery of the fact that he has a chance to draw in a first class sitting room is his admission to experiencing a luxury that his social status usually would not allow.
396Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 397Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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Jack has been so mobile on the ship that he gets a personal showing of the Heart of the Ocean, and even holds it in his hand. At this point, the diamond becomes a symbol of the place where he uses his agile mobility to not only woo a first class woman, but mingle with her and the highest of society aboard the ship. The ship is the place where Jack’s entire social rise has occurred, but on a grander scale it is on the ocean where Jack has experienced a variety of social class customs. When Jack holds the Heart of the Ocean necklace, he holds it gently around its boarders, as if holding on to his own heart. Jack is spirited as ever when it comes to being mobile, and being in the ocean on the ship has permitted him a seemingly infinite amount of mobility. The entirety of the kind of life that Jack values exists aboard the ship, and therefore it is as if the things that happen to him are those that have been in his heart, or those dreams of most value to him. The diamond emphasizes Jack’s journey going from place to place aboard the ship, for he has reached a high level of mobility and experienced dreams that he could only hope for.
Figure 3.13 In gently holding the diamond, Jack holds to his experiences on the Titanic. Cameron 1997.
Jack is not the only one whose greatest adventures are caught in the Heart of the Ocean— they are Rose’s too, and motivate her choice to request Jack draw her wearing only the necklace. This is a bold choice indicating Rose’s rapidly ascending power to choose for herself what mobility means. The diamond indeed indicates the value of being on the Titanic, in the ocean, with Jack: Rose has made use of the ability to decide how mobile she will be on the ship. Her power to decide how much mobility she will have in her life starts in the ocean, and so the value that this power holds is within the ocean—the values she has in her heart are a part of the ocean, and therefore imbedded in the necklace. The value of being able to control how mobile she is is
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all she needs when Jack draws her. Rose’s first class clothing doesn’t matter now, as her newfound sense of mobility allows her to slowly do away with the society that she has been raised in. She moves toward a sense of unlimited mobility similar to Jack’s and so does not need to hold on to the fashions of first class that define the role of a first class wife. Indeed, Rose gains quite a bit of control over her mobility that she does just the opposite—she feels free to try something as rebellious as have Jack draw her naked. Her choice to do so probably would not fit well in Cal’s vision of who Rose should be—his reaction when he finds the drawing later confirms this—but it is a sign that Rose creates a sense of unlimited mobility all her own, as Jack does. The Wild Getaway Once Jack is finished drawing Rose, she changes into a pastel-colored dress, and as soon as she meets Jack in another room in the suite, hears Lovejoy calling her. She and Jack go through the rooms of the suite until they exit into the hall, Lovejoy just steps behind them. They run to the elevators and descend just in time with Lovejoy watching them in annoyance. Rose thus continues to gain mobility as she leads Jack away from Lovejoy. Once she and Jack are on the elevator, Rose gives Lovejoy the middle finger, yet another behavior signifying her mobility is no longer within the boundaries of first class control, and she now does what she wants. This only adds to the fact that Rose just had Jack draw her naked, and
Figure 3.14 Rose’s decision to take control of her mobility is becoming more obvious as opposed to subtle. Cameron 1997.
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that she truly turns away from the behavior expected of a first class woman. Rose also defies someone who is supposed to watch out for Cal, and therefore also his fiancé. That Lovejoy cannot catch Rose is further evidence that she is escaping the control of her fiancé and mother. The signs that she does not want to be a first class bride and wife anymore are not just subtle, but easily noticeable as Rose takes on behavior representative of the lifestyle she wants. Rose doesn’t appear to care much at this point about the possible repercussions for making an obvious rejection of her first class lifestyle. Rather, she seems to have such an ease of being mobile at this point that her rebellious behavior does not matter. However powerful Rose may feel through controlling her mobility, the issue now is defining her social status. When she and Jack escape Lovejoy’s chase by getting on an elevator, their only choice is to go down—this signifies that Rose moves downward to a place of social status where there is not as much privilege as afforded to first class. There is not at least, much material or financial wealth. That said, the fact that Rose moves downward as opposed to remaining in her typical station gives the impression that she at least takes a chance to move away from the world where she is not very mobile. Rose has adopted much the same spirit and zest for mobility that Jack has, and therefore focuses more on being able to go anywhere she wants rather than having material wealth. Moving downward indeed means that Rose moves downward as far as material wealth, but it also means that she travels in the direction in which the spirit to be mobile originates—Rose witnessed how mobile the third class passengers are while at the third class party. In other words, escaping Lovejoy by boarding the elevator that goes down implies a few things: that Rose leaves the material society holding her back from being mobile, loses material wealth, and yet continues gaining a wealth of control over where she goes. Once Rose and Jack step off the elevator on one of the lower floors of the ship, they continue to outrun Lovejoy, running into people and dishes throughout the hallways. They pause for a brief second and sprint away once again when Lovejoy spots them, only to end up trapped in a room connected to the powering of the ship’s movement. Their only way out and away from Lovejoy is down into the boiler room of the ship, where one of the men working inquires as to how they are down there when they should not be. Jack and Rose shrug this off and run through the boiler room, Jack shouting, “Carry on. Don’t mind us, you’re doing a great job—keep up the
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good work!”398 For Jack the scene is symbolic of how his being mobile plays out from day to day; he often places himself in stressful situations that might be of harm to him—when he was almost punched in the face for his poker bet, or accused of hurting Rose for instance. In this scene, he is not so directly threatened, but he and Rose are both told that “it could be dangerous” for them in the boiler room.399 Jack is not the type to let the possibility of danger faze him very much though, and as he has done throughout his adventures that brought him to Rose, Jack simply makes the steaming conditions of the boiler room seem a little more jovial with his comment. It is Jack’s obligation to do this for his own well-being, as he experiences his own boiler room of sorts through overcoming the stereotypes and insults thrown at him by people who are of higher social status. He has proven that he can do this too, through his love of being able to go from place to place and looking forward to new experiences. By joining Jack in this run through the boiler room, Rose shows that she can make it through an uncomfortable situation with him. After running through the boiler room, Jack and Rose end up in the cargo hold of the ship, where they step into a Renault. While Jack pretends to drive the Renault and asks Rose, “Where to miss?” she replies, “To the stars,” and pulls Jack into the backseat of the car to have sex with him.400 Rose thus continues tarnishing the idea of living her life as a first class wife-to- be, and adds to her rebel spirit by initiating this act with Jack. Although Rose is engaged to a first class man and therefore only supposed to remain in first class quarters and serve his beck and call, she does the exact opposite, reinforcing her will to have power over her own mobility. Her fiancé did not even consider Rose’s attendance at the third class party to be appropriate, which would render sex with someone other than himself far beyond too much freedom for Rose. Beyond falling in love with Jack however, having sex with him is an assertion that just because she is engaged to Cal, that does not mean she is his possession. Therefore, she doesn’t give in to the idea of being immobile, but seeks a mobility which allows her to make choices that make her happy. By doing this, she defies the gender expectations that form first class society on the ship, as she is claiming to have as much right to do what she wants as Cal has. In this sense, sex with Jack leaves no boundaries at all on the mobility Rose has obtained.
398 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 399 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 400 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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While having sex with Jack empowers Rose’s sense of mobility, some of the ship’s crew seem rather close to finding the couple. Cal also claims a plan of retaliation for the nude drawing of his fiancé. Despite the efforts of those trying to separate Rose and Jack, the men who look in the car the lovers were just in do not find them there. Together, Jack and Rose’s mobilities are not simply more powerful, but allow them to escape getting caught in a rebellious act rather quickly. With the wit Jack has had since he has been on his own and Rose’s newly found ability not to care what her first class comrades think of her choices, the two of them slip out of the car before being found. This is not only an indication of how quick Jack and Rose’s mobilities have become, but the fact that Rose slips farther and farther away from the grip of her fiancé and mother. Quite a number of people look for her as well as Jack, yet it is their focus on simply being mobile and moving to and fro rather than focusing on material wealth that lets Jack and Rose move in stealth. They have both learned to outwit a hunting party together through their joy in being mobile. In escaping capture in the Renault, Jack and Rose make it out onto the deck of the ship, laughing and moving about as Jack says, “Did you see those guys’ faces?”401 Rose quiets him as they embrace each other and asserts, “When the ship docks, I’m getting off with you.”402 This is the very moment that completely changes Rose’s class alignment, as she commits to staying with her third class lover. It is a decision firmly cementing her rebellion against her mother and fiancé, an ambition to live out the mobile adventures she has only talked about. Her commitment permits her to openly reject her mother and Cal later in the film, for the promise of a life as freely mobile as Jack’s. Conclusion While Anne Jensen argues that mobility depends on who is in power,403 Jack and Rose both disrupt the idea by the end of this portion of the movie. Both characters also contradict Tim Cresswell’s argument that mobility depends on who you are in society.404 From the point that he meets Rose, Jack gives the impression that he has no fear in shaking up the status quo, so long as he does not cause too much trouble. Jack is not supposed to be one to prove he has more power than first class passengers—especially the men—as those in first class see it. However, through
401 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 402 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 403 Je se , Mo ilit , “pa e a d Po e : O the Multipli ities of “eei g Mo ilit , -8. 404 C ess ell, E odi e t, po e a d the politi s of o ilit : the ase of fe ale t a ps a d ho os, . 95
Jack’s winning over Rose as well as many other first class passengers with the exception of Rose’s fiancé and mother, Jack proves that those who have power or wealth as defined by society do not necessarily control everyone’s mobility. Despite objections from Cal and Ruth, Jack maintains a relationship with Rose and therefore also maintains the chance to see what first class is like, and even become a first class man himself for an evening. Through Jack’s help, Rose also defies the argument that the powerful control mobility, as she learns to take control of her own mobility even though she is not supposed to have this power because she is a first class woman. As for the three keys to mobility—Kaufmann and colleagues’ “access…competence…and appropriation”405—Jack and Rose’s efforts help them both gain all three. Throughout Jack’s life since being on his own, he has demonstrated competence to get around and therefore be very mobile. He does so on the ship as well, wooing Rose and other first class passengers into understanding his perspective on life. Throughout this portion of the film, Jack indeed uses the skill of observation to adapt to any given situation before making any sudden choices. This renders him capable of creating the opportunity to explore any part of the ship, as he uses skills he has gained to enchant Rose as well as others. In doing so, Jack continues evaluating his chances to be mobile as appropriate, for he takes the chance to experience first class life once he has crossed paths with Rose. When it comes to access however, Rose helps slightly, as she is Jack’s connection to the first class world. Thus, up to the point where Rose makes the choice to get off the ship with Jack, Jack proves to maintain “access, competence,” and a sense of appropriation for moving throughout the ship, with the first class church service being an exception.406 Religion contrasts with being as mobile as Jack is however, for religions themselves create worlds in which restrictions on mobility are always present— believers are expected to behave in certain ways to avoid punishment. Jack appears to know when to simply observe his life and stop himself from doing something that may get him into trouble, but not in a religious capacity. His momentum seems to stop when it comes to religion because he does not place limits on his lifestyle, as religions do for their followers. While the first class passengers including Rose act as if they are religious and therefore follow rules when
405 Kauf a , Be g a , a d Jo e, Motilit : Mo ilit as Capital, . 406 Kauf a , Be g a , a d Jo e, Motilit : Mo ilit as Capital, . 96
singing a religious hymn, Jack breaks what is also a seemingly religious rule for the first class passengers of keeping lower class passengers out of their territory. Overall Jack’s mobility is only strengthened through this portion of the film, and through building a greater mobility, Jack helps Rose find her own. She seemingly has access to a world of wealth on the surface, but truly lacks access when it comes to being mobile, all due to the gender expectations of her class. Throughout the first half of this portion of the film, Rose continues asserting her role as a woman who will obey her fiancé’s commands even though she knows that is not what she wants. This changes by the time she decides to be with Jack, and the choice in itself proves the idea. In choosing to be with Jack and ignore her role as a first class woman, Rose finally allows herself access to a life of mobility. Competence and appropriation then, are all that need work—Rose proves to be competent in asserting the right to voice her opinions in front of Cal, but becoming competent enough to take action toward leaving for a life of mobility takes some time. Appropriation of opportunities for mobility—evaluating that said opportunities are appropriate—requires time to develop as well. It is only through Jack’s encouragement that by the end of this portion of the film Rose actually takes chances that assert her own self-defined sense of mobility. She finally obtains a sense of “access, competence and appropriation” for mobility, by the time she tells Jack she wants to get off the ship with him.407 Because of their shifting mobilities, by the time Rose makes the choice to stay with Jack, the lovers reshape the spaces that are new to them. Kaufman and colleagues note that “social structures and dynamics” influence space, and Jack and Rose surely affect the argument.408 To Cal and Ruth, first class space is only open to people of this social ranking, yet Jack disproves the idea as he gains popularity among dinner guests in first class. Rose challenges third class men as well—in a friendly manner—and makes the point that their differences are what make them equally powerful. In first class, Rose would not be able to assert this, but has the chance in third. While Jack is humbling enough to get along with most first class passengers, Rose does the same in third class—thus, both prove to have mobilities that adapt to new situations. That Rose is reluctant to become more mobile at the beginning of this chapter indicates that she has some level of value for the traditions she claims to despise—she at least does not want to bear the consequences of attempting to rebel against Cal. Jack demonstrates a carefree
407 Kauf a , Be g a , a d Jo e, Motilit : Mo ilit as Capital, . 408 Kauf a , Be g a , a d Jo e, Motilit : Mo ilit as Capital, . 97
penchant for mobility that she eventually adopts however, and in becoming more mobile, Rose leaves behind the mannerisms and traditions of first class life. She instead finds freedom in beginning to follow a path similar to that of her third class American lover. That she is able to be more mobile by the end of this portion of the film—while Jack also continues to do so—further underscores the film’s message that America is the place where those of any social class can be as mobile as they wish. Since Rose is a woman who gains more mobility through following in Jack’s footsteps, the film also sends the message that those of either gender can be as mobile as they wish in America. Indeed, by the end of this portion of the film, it appears that anyone of lower class status in America can make it anywhere they want. In spite of Rose taking a little more time to be as freely mobile as Jack, she is on her way there when making the choice to be with him as opposed to maintaining her first class lifestyle. Jack becomes mobile enough to encourage her to take action for herself as well. Together they have thus far defied the socially upheld standards of space and mobility that have held Rose hostage, but the ship’s sinking will test how far their defiance will go.
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CHAPTER FOUR
NEW SPACE AND MOBILITY
While Rose chooses to get off the ship with Jack upon arrival in New York, the plan is unable to come to fruition. Just a short moment following Rose’s decision, the ship strikes an iceberg. Jack and Rose look in awe as the ship continues sailing past the iceberg, and water begins to fill the bottom of the ship. After overhearing a conversation involving Mr. Andrews about what has happened to the ship, they go “tell mother and Cal.”409 From this point on, a mobility of survival ultimately becomes the mobility that sets Rose up to continue life without Jack. In other words, in this chapter I argue that mobility empowers Jack and Rose to survive the ship’s demise, and ultimately empowers Rose to carry on the spirit of mobility as an independent woman after Jack dies. This underscores the film’s idea that anyone in America regardless of class or gender can make it anywhere. I will support my argument by first analyzing scenes that portray Rose’s ever- growing mobility. Then I will analyze scenes which underscore Jack’s mobility as Rose follows his lead. Finally, I will conclude this analysis through scenes depicting Rose’s complete independence and mobility as she continues life without Jack. Said analysis continues in a rhetorical fashion. To begin the analysis, we must transition back to Jack and Rose’s paying a visit to “mother and Cal” about the ship’s hitting an iceberg. Cal’s Remaining Control As Rose and Jack walk toward the first class suite where Rose is staying, Lovejoy finally sees them. He slyly walks behind them before they enter the suite, placing the Heart of the Ocean diamond in Jack’s coat pocket to make it appear as though he stole it. If the literal meaning for the diamond’s being in Jack’s pocket is actually detrimental to him, so too is its possibly representing Rose herself—it becomes a symbol of Rose’s immobility with Cal, and mobility with Jack. Earlier in the film, Cal placed the diamond around Rose’s neck declaring that it is hers if she acts like a wife toward him. He was in other words, paying her to be with him as if to buy her. The necklace itself comes to represent Rose, and so whoever has the diamond has a hold on Rose. This indicates that because Jack has the privilege of Rose’s company, he is also the one who controls Rose’s life now. Yet although Jack has guided Rose to the point where she decides to abandon her life with Cal, Jack does not try to control her every decision as Cal tries. Jack has
409 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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however, given Rose a chance to get to know him and therefore fall in love with him, and in that sense has some influence over Rose. Rose is not being possessively controlled though, and has been able to not only dream of hopes for a mobile future, but make the beginning of those hopes come to fruition through Jack’s guidance. Thus, as the diamond is placed in Jack’s pocket—the diamond being the symbol of Rose’s love—it becomes another sign of Rose’s commitment to follow Jack’s lead so that she can find her own sense of mobility. That her worth is connected to that of the diamond renders it only natural that it ends up in Jack’s possession for a moment, as it accentuates his ability to be mobile. At this critical point in the film, both Rose and Cal play tug-of-war with her freedom. Indeed, once Jack and Rose enter the first class suite to tell Ruth and Cal about the iceberg, Cal declares, “Two things dear to me have disappeared this evening. Now that one is back, I have a pretty good idea where to find the other.”410 When Cal says “now that one is back…” he glances at Rose, implying that she is the first “thing” he was talking about; the second item to which Cal refers is the Heart of the Ocean necklace. Through these statements, Cal declares yet again that Rose is simply a possession just like the necklace, and his possession at that. This reinforces the idea that Cal still expects Rose to be his wife despite her objections—he attempts to maintain the expectation that because of her social status in first class, Rose will remain a first class wife-to- be.411 Regardless of how far she has gone to discover the opportunity there is for her to have the life she wants, Rose is still simply Cal’s future wife, or so Cal tries to tell her as well as Jack. It is an indication that Rose still cannot go wherever she wants, and must remain as immobile as other first class women. Cal’s calling Rose a “thing” in parallel with the necklace strengthens this idea, as the Heart of the Ocean necklace is a fragile piece of jewelry, only to be out for occasions of “royalty.” Rose is thus simply an incarnation of royalty to Cal, and to be used as such. Indeed, he places emphasis on his demand that Rose only live the life he expects her to. Following Jack’s being arrested for “stealing” the necklace, Cal slaps Rose across the face and precautions for the sinking are made on deck by the captain and crew. Cal, Rose, and Ruth enter the grand dining hall, waiting with other first class passengers for more news on the ship. Rose takes initiative when she sees the ship’s architect Mr. Andrews, taking him aside to
410 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 411 C ess ell, E odi e t, po e a d the politi s of o ilit : the ase of fe ale t a ps a d ho os, . 100
tell him, “I saw the iceberg, and I see it in your eyes. Please tell me the truth.”412 She indeed gets the truth, as Mr. Andrews responds that “the ship will sink” and that she should “get to a boat” as soon as possible.413 In simply asking Mr. Andrews what is happening, Rose yet again undermines Cal’s power to take charge of her life, and continues to defy the idea that social status defines mobility.414 Despite what happened back in the suite—his slapping Rose across the face—Rose continues exercising her right to have some form of mobility all her own. Like before, she vocally proves that she thinks for herself and her own concerns, and that Cal cannot take this form of mobility away from her. At this point, Rose is even more aggressive in obtaining Mr. Andrews’ attention, as she tugs at him to ask her question regarding the ship. This is an additional indicator that Rose maintains a sense of mobility all her own despite Cal’s increasingly aggressive objections. That she tells Mr. Andrews she “saw the iceberg, and I see it in your eyes” underscores the fact that Rose is more mobile and aware of what is happening in her environment, for she was even aware of the ship’s hitting an iceberg before Cal himself. Indeed, Rose makes an obvious display of her will to outwit Cal in matters of concern, and therefore give herself the opportunity to figure out what she will do given the circumstances. Pondering the Situation Jack’s arrest for the accusation that he stole the Heart of the Ocean places him in a situation of temporary immobility—physically at least. While he’s in greater trouble than other passengers not only because of the sinking but because of his arrest, his third class counterparts face the issue of not being able to get to the upper decks of the ship and into a boat. The first class passengers are the first to get onto the lifeboats, while those below them have to wait. The scene is indicative of more than the restrictions that are immediate for these third class passengers however, as it parallels Jack’s arrest below deck. Indeed, Jack’s arrest in addition to the restraint of his fellow third class passengers places him back in the third class milieu. While Cal and Ruth’s attempts to demean Jack because of his status were only vocal assertions that he is inferior to them, the locked gates and hand cuffs make it clear that Jack is far different from them because of his social ranking. His handcuffs are as overpowering as the gates that restrain his third class counterparts, for he cannot escape his tie to the pipe around which he is bound.
412 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 413 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 414 Cresswell, E odi e t, po e a d the politi s of o ilit : the ase of fe ale t a ps a d ho os, . 101
Jack’s mobility and that of his third class friends has come to a halt, threatening the worry free atmosphere that allows Jack to seek adventure. Back on deck, Rose maintains a sense of mobility—quite the opposite of Jack at the moment—as she reluctantly waits for a lifeboat with Ruth and Cal. Given some comments Ruth makes regarding the third class passengers, in addition to a comment from Cal that “the better half” will survive, Rose acts on instinct and turns away from the boat her mother boards.415 Cal figures that Rose is going to look for Jack, commenting that she will be “a whore to a gutter rat” if she goes to him.416 Rose retorts, “I’d rather be his whore than your wife” as she struggles to get away from Cal.417 Cal holds tightly to Rose and commands repeatedly that “no!” she cannot go find Jack and must board the lifeboat with her mother. Aside from Rose’s physical struggle to escape Cal’s grasp, her comment that she would rather be a “whore” indicates that she found the opportunity to experience the freedom she has always wanted. She would rather be characterized as a whore because from what she learned through knowing Jack, a woman of this kind can do whatever she wants. The term “wife” as Cal intends it on the other hand, indicates a woman who is subservient to her first class husband. Rose is at this point clearly letting Cal know that she does not want to play that role. On the contrary, Rose has found that her freedom is in being a woman not to be defined by a prim and proper role, but instead choosing to be whoever she wants. Rose knows that despite the judgment of a first class male like Cal, a woman considered a “whore” by first class standards is really someone who lives the way she wants to without judgment in the lower social milieu. By telling Cal she would rather be a “whore” then, Rose is saying she would rather have the opportunity to be as mobile as she pleases than to be told how to act by a first class husband. Not only does Rose make an obvious statement that she does not want to be with Cal, but she physically rebels. When Cal attempts to hold on to her and make her go back to the lifeboat with her mother, Rose spits in his face. This is not only an obvious physical defiance of Cal’s demand to get into a boat, but a sign that the things Rose has learned from Jack have literally helped her become more mobile. Indeed, Jack gave Rose a spitting lesson when they were just getting to know each other, and now that Rose truly escapes Cal’s hold, that lesson proves useful. Indeed, spitting has become symbolic of the forces that allow Rose to grow into her own
415 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 416 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 417 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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mobility—Jack’s persistence to get to know Rose and Rose’s change of heart about truly pursuing the life she wants have all added up to actually using what Jack taught her in an effort to be freely mobile. Rose is not simply spitting in Cal’s face either, but is once again taking an action that would be disapproved among her first class counterparts. This is exactly the point, as Rose has already broken any expectations of being the standard first class woman by befriending Jack, letting him draw her naked, and then having sex with him—spitting in Cal’s face is simply the final weapon used to make him physically let her go. This weapon permits Rose to literally run away from Cal to find Jack, and continue to be as mobile as she has always hoped. Rose to the Rescue As soon as Rose frees herself from Cal’s protests, the scene changes to Jack who remains trapped to the pipes far below deck. Given Rose has just freed herself from Cal’s grip, and Jack remains imprisoned below deck, there is a temporary reversal in their mobilities. Indeed, at this point Rose continues to be quite mobile, and must find Jack to help him maintain his mobility by releasing him from his arrest. While Rose is determined to find Jack, Jack notices the water rising outside the ship, indicative of its inevitable plummet into the ocean, and is not about to give up on fighting to be physically free from his imprisonment. As a matter of fact, Jack not only shouts loudly to try and get someone’s attention for help, but he uses the handcuffs to make more noise against the pipes. This indicates that despite being trapped by the handcuffs, Jack maintains mobility in the sense that he makes an attempt to try and get someone to help him out of the handcuffs—he uses vocal mobility as Rose had to express her struggle beneath Cal’s power. Even if the key to the handcuffs is not within reach, the handcuffs have become one of the keys to being physically free again. The handcuffs themselves have not only trapped Jack around the pipes below deck, but have become Jack’s mobility—the clanking Jack makes with the handcuffs is his pent-up mobility, simply waiting for release. Rose’s determination to rescue Jack takes her to find the ship’s architect Mr. Andrews, to ask him how she can find Jack. Despite Mr. Andrews’ concern that she should get into a lifeboat, Rose asserts, “No! I’m doing this with or without your help sir. But without will take longer.”418 Rose means that at this point, no one is going to stop her from doing what she wants, least of all find the man she loves. She has thus not only learned from Jack what it means to be freely
418 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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mobile, but embodies a freely mobile persona in the midst of crisis aboard the ship. Rose has not simply defied first class standards by disregarding her fiancé’s commands and leaving her mother’s side, but makes the choice to do something that is irrational for all passengers aboard the ship. Rose is not just adopting the ways of living she witnessed through befriending third class passengers, but she is also being as mobile as she must to place herself in a dire situation and save Jack’s life. While Jack is held captive around the pipes, Rose simply asserts that for her being mobile means going in the direction of what or who she values the most. It is not about being defined by gender, class, money, or anything else, but simply being able to look for what brings the most happiness. Rose knows that this means she has to find Jack, and she officially gives herself the freedom to do so despite what Cal or Mr. Andrews say to her. Jack struggles to free himself from the handcuffs that keep him so well bound below deck, but Rose is simultaneously on her way to help. She even manages to force one of the crewmen who control a lift to go down to the floor Jack is on. When the crewman initially tells Rose that he cannot take her down to any other floor, she bursts, “I’m through being polite goddammit—now take me down!” and pushes him into the lift.419 Through this act, Rose yet again defies the standard not only for first class, but for anyone caught in the disaster of a sinking ship. However, at this point Rose literally does something that is unexpected from anybody experiencing the ship’s sinking—she uses her newfound freedom to go below deck where water is quickly filling the ship. Rose is not simply free and extremely mobile now that she has officially cut herself off from Cal, but she is wildly mobile. She risks her life to find and save Jack, yet she is doing exactly what she wants to do. The expected behavior was for her to follow Ruth and Cal so that she could board a lifeboat and sail out of harm’s way, but Rose ends up on the other end of the spectrum, tossing any idea of following expectations. Rose is not only claiming a right to do what she wants at this point, but physically pushing people out of her way to accomplish what she wants. Thus far, she has become as mobile as Jack and then some, even showing men that she is not afraid to push them out of her way if need be. Even though the ship is sinking, class boundaries still matter quite a bit, as the lower class passengers have not been allowed to seek safety in the lifeboats on deck. For Rose however, class boundaries no longer matter, and the boundaries between passengers and the ship’s crew do not seem to either. This became obvious when Rose escaped into the boiler room with Jack, and
419 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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into the cargo hold when they ran away from Lovejoy, but now Rose is passing through a “crew passage” by herself in order to find Jack. The mobility she has sought for herself then, has truly become boundless, for she treks through what would normally be restricted access areas aboard the ship. She is intent on finding Jack and as such, breaks any real physical boundary in order to
Figure 4.1 Rose defies restrictions by going down the crew passage to find Jack. Cameron 1997.
find him. Rose is no longer the dainty first class woman she was expected to be by virtue of this newfound mobility. Rose has learned not to care for boundaries through knowing Jack, definitely does not care while the ship is sinking, and allows herself to venture into areas where some of the ship’s crew were working before the disaster. In the middle of Rose’s figuring out a way for Jack to escape his cuffed imprisonment, the ship continues to sink rather quickly. After Rose finds Jack, who tells her to look for a silver key to the cuffs, she must try to seek help nearby because she cannot find the key. She leaves the room where Jack is imprisoned and climbs one flight of steps to the next floor, shouting to see if there is anyone around. At one point as Rose looks through the halls of the lower level floors of the ship, we see shots of three different passageways from her point of view. It is critical that we see these shots from her point of view three times, as three represents the official class status of her love interest. In renouncing her connections to Cal and her mother, Rose has joined Jack as if to become a third class passenger. Her sense of mobility has thus changed as she had hoped,
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although it renders her someone whom first class passengers such as Cal shun. From a first class perspective, this may not be good, but for Rose it has seemingly given her so many options as far as pursuing the life she wants. The third class designation may seem all the more harmful considering the ship is sinking, but it has helped Rose see the various options she has for living her life. Now that she has completely aligned herself with Jack, Rose literally looks for an experience that she really wants—in this case saving her love interest—and in this particular moment looks in many directions where she might see someone who can help her save Jack. Thus, Rose’s search down three passages from her point of view represents not only her claim to a status like Jack’s, but the ability she has gained to seek the life she wants. Rose knows time is limited as she tries to find help for Jack, and when there is finally a man who might be able to assist her, he maintains the perception that she needs help. As Rose follows this man while explaining the fact that “a man” is trapped on a floor below, he does not appear to be listening but simply interprets her talk to be “panic” and pulls her along to help her find her way.420 Rose asserts that she is not panicking, and demands that he try helping her and letting her go, ultimately punching him in the face in an attempt to make him “listen!”421 The man responds “the hell with you” and leaves, Rose having to fend for herself yet again in finding help.422 This is another example of how mobile Rose has become, and the fact that her mobility allows her to defy the standards dictated for first class women. When the man Rose seeks help from pulls her along because he appears to believe she needs guidance in the midst of the ship’s sinking, he automatically defines her as a weak, helpless woman. It is not about class status and therefore class expectations regarding women at this point, but the fact that Rose is a woman looking for something below deck. The man she finds not only perceives that she is scared because of what is happening to the ship, but controls the direction in which she moves, telling her to follow him. This is a means of control that Cal used with Rose, expecting her to follow his every move instead of demanding her own direction in life. Given Rose is no longer under Cal’s control however, Rose asserts that she has her own sense of direction which happens to be trying to help Jack in this particular moment of the film. Her mobility is yet again presented as currently boundless, even though she is a woman.
420 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 421 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 422 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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Rose certainly defies the gender expectations of first class society in choosing to align herself with Jack and therefore become more mobile. She thus does things that were generally restricted to the men of her class, and even as she tries to find someone or something to help Jack, she proves to be just as tough if not more so than the men who asserted power over her. After punching the man who pulled her along, Rose spies an axe in a case on the wall and breaks it with a hose. She grabs the axe and immediately runs to help Jack—the axe becomes a symbol of masculinity that is not leisure such as a cigarette, or provokes danger from a distance such as a gun. The axe emphasizes that when Rose faces conflict, she may be in a state of fear, but she also
Figure 4.2 The axe Rose retrieves to try and rescue Jack represents her newfound, assertive sense of mobility. Cameron 1997.
finds the strength to be up front and assertive about what she wants. She did this in escaping Cal, and telling the man who could have helped her save Jack to listen to her, in addition to punching him in the face. An axe has this same power to directly and sharply impact whatever it is used to cut, just as Rose has not only been verbally assertive since allowing herself to be more mobile, but also underscores her point with physical aggression when necessary. Her now boundless mobility has permitted her the ability to assertively seek what she wants, as sharply as an axe can cut.
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A Swing of Freedom When Rose finds Jack and they agree that the axe will have to do in trying to break the cuffs that imprison Jack, Rose takes “a few practice swings.”423 Rose continues to display mobility, and is about to free Jack so that he will be completely mobile again. She takes one swing to cut the cuffs, closing her eyes while doing so, but doing so successfully. The axe cutting through the cuffs is crucial to a description of how mobile Rose has become, for the axe represents her assertiveness and masculine toughness. Rose is no longer just mobile in her own right, but breaks the standards that imprison those like Jack because they are limits to his mobility as well as hers. Even though the handcuffs are on Jack, they indirectly hold Rose back from being mobile for the better because they impede Jack’s mobility. This impediment is something Rose does not want, as Jack is now an important part of her life—he influenced her to keep searching for the limitless mobility she always wanted. Thus, in cutting through the handcuffs with the axe, Rose continues cutting through the boundaries that threaten to hold her and Jack back from being as mobile as they want. It is not only Rose’s boundless mobility symbolized by the cutting of the handcuffs with the axe, but Jack’s a well. The fact that Jack is freed from the handcuffs emphasizes yet again that nothing hinders Jack from living his life. The handcuffs are a symbol of entrapment that first class passengers like Cal seem to believe is Jack’s rightful place, but this has not stopped Jack from taking advantage of exploring the ship and caring for Rose. When the axe breaks the handcuffs, it parallels the facts that yes Jack is a third class passenger, but he does not let that deny him the chance to experience several different ways of living. Jack is quick-witted, as the axe is sharp, and therefore breaks the impression that he is of third class status. He is a third class passenger, but not of the stereotype that Ruth and Cal hoped to make everyone believe at the first class dinner—Jack is instead the type to understand how life works for different people, and therefore share their experiences with them. His status as a third class passenger simply defines how the first class passengers aboard the ship have treated him, but not how mobile he can be. Jack cuts through class standards of mobility as easily as the axe cuts through his handcuffs. Getting to a Lifeboat Round Two As Jack and Rose find a way to reach the uppermost deck of the ship, the boarding of the lifeboats is a bit chaotic with first class women leaving behind their husbands, and some trying to
423 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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take luggage onto the boats. Cal continues looking for Rose, asking for a report from Lovejoy, and also showing concern for boarding a lifeboat himself. All the while Jack and Rose have made it from the flood water on the lowest floors of the ship. Since Rose cut through the middle of the handcuffs that imprisoned Jack, he regains his ability to be very mobile. Indeed, in this section I argue that the following scenes demonstrate both characters being mobile again. In escaping the flood waters, Jack busts a locked door over to continue heading toward the ship’s upper deck. A member of the ship’s crew sees Jack and Rose burst through the door, and exclaims “What do you think you’re doing? You’re gonna have to pay for that you know. That’s White Star Line property!” to which they simultaneously respond “Shut up!”424 In the midst of the ship sinking, Jack and Rose ignore any restrictions that are held against them, and simply hold on to moving forward to find a way off the ship and survive the sinking. Jack’s bursting through the door so that he and Rose can find a route to the ship’s upper deck proves that despite how poor he may be and the restrictions placed upon him because of this, he breaks anything in his way that prevents him from surviving. He is similar to what Peter Adey notes as an object appearing immobile, but actually being very mobile.425 In this case, he literally breaks down a door that is locked to Rose and himself, restricting their access to the lifeboats, and yet he has also broken restrictions of social class in order to pursue Rose. He did this from the very beginning of the journey, from rescuing Rose to making small talk with most of the first class passengers at dinner to helping Rose become someone she wants to be. Jack simply continues using his will to break through boundaries, and that Rose is behind him as he breaks the door underscores her following his lead. She continues adopting the strength he has so that she can be as mobile as she would like. Jack uses this sense of mobility to help them survive the sinking. The lifeboats continue to be launched and Cal takes the Heart of the Ocean necklace and some money from the safe in his suite. Meanwhile Jack, Rose and other passengers below deck struggle to find a route to the top of the ship. They are hindered by locked gates and ship’s crew unwilling to let them pass through the gates. Finally, an infuriated Jack shouts “Goddammit son of a bitch,” violently shaking the gate holding him and other passengers trapped.426 He proceeds to tear a bench from the floor with help from his friends Fabrizio and Tommy, in order to knock
424 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 425 Ade , If Mo ilit is E e thi g The it is Nothi g: To a ds a ‘elatio al Politi s of I o ilities, . 426 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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the gate down. Indeed, Jack’s shaking the gate highlights his redefining class division and expectations altogether. Although there have been class boundaries holding him back from achieving what he wants or needs to, Jack quickly knocks them out of the way be it through mesmerizing people with his communication skills, or literally shaking a gate to imply that class division will be no more in just a matter of time. This is what Jack has done with Rose and many others within the first class milieu—he has lessened his divide with them by being honest about himself and at the same time acknowledging that it is nice to experience a different kind of lifestyle from day to day. He thus creates a commonality with others who are different in social status, ultimately threatening the divide between classes similar to his shaking of the gate that keeps him as well as others from getting to the lifeboats. The scene thus underscores how Jack defies expectations by being mobile enough to fight for his life despite class restrictions holding him back.
Figure 4.3 Jack’s taking down a gate indicates that his mobility will break boundaries. Cameron 1997.
Once Jack and Rose move past the gates restricting passengers below deck, Rose continues making a joint effort to look for a lifeboat with Jack, and asks one of the first class passengers, “Colonel, are there any boats on that side?” receiving the reply, “No Miss, but there are a couple a boats all the way far end. This way, I’ll lead you.”427 With that tip on where to find
427 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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a boat, Jack and Rose dodge in the direction pointed out to them, as opposed to following the colonel. Rose’s verbal interaction with the colonel again shows that her sense of mobility is very strong vocally, as she always interacts in such a way as to gain information for being on the move, and then physically moves in the direction of her goal. She is up to speed with Jack in being mobile, and they both run to look for a boat as soon as the colonel tells them where to find one. In addition, the fact that Jack and Rose dodge away from the colonel underscores that just because the first class passengers are the wealthiest, this does not indicate that they are the most mobile. They may have the greatest ability to be mobile because of their wealth, but their social etiquette has rendered them immobile compared to the likes of Jack. It all comes back to the fact that although he is a lower class passenger, Jack has no restrictions that determine who he is or where he goes for the most part. That Rose keeps up with Jack indicates that she too no longer has a specified etiquette to follow and therefore will look for the lifeboats as quickly as possible. “You Jump, I Jump, Right?” When Jack and Rose find a boat to board, Cal finds them. It turns out Jack cannot board the boat with Rose, and must convince her to board on her own. At this point, Rose will temporarily lose her mobility, as Jack maintains his. As a case in point, Cal unintentionally elevates Jack’s power to be mobile in trying to persuade Rose to board the lifeboat. When Rose hesitates to board the boat because Jack cannot join her, Cal claims to have made arrangements so that both he and Jack can board another boat. Jack’s mobility has in other words, reached such a zenith of power that even Cal has to lie to comfort Rose, who loses Jack due to a women-and- children-first policy for boarding the boats. Jack however reassures Rose that “see, I’ve got my own boat to catch,” aiding Cal in persuading her to board a lifeboat.428 This is not all Jack’s statement does however, for it also maintains the idea that Jack is mobile enough to find his way out of anything and toward a goal that he wants. Indeed, he gained access to the uppermost areas of the ship when it was sailing, and now the first class passenger who has always looked down on him lies to prevent concern over his mobility for getting off the ship. This signifies how much of an impact Jack has had on Rose as well as Cal, for both make what Jack is going to do to get off the sinking ship the center of their concerns. Rose wants Jack to stay with her, while Cal wants to separate the two and therefore demean the power Jack has through his mobility because
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it is a threat to Cal’s status. It is yet again another way in which Jack’s sense of mobility has rendered him one who can more easily achieve his goals than his first class nemesis Cal. Rose loses control of her mobility in this scene, as Jack continues telling her to “get on the boat” they were waiting for, and she is momentarily pulled into the boat by a crew member.429 As she is guided into the boat, she has one last moment holding Jack’s hand, also a sign that she attempts to hold on to her own sense of mobility. Boarding the boat was not the direction Rose intended to go without Jack, and since he cannot join her, Rose loses control of her mobility, or how she wants to live her life and particularly escape the ship’s sinking. Rose committed to staying with Jack the moment before the ship hit the iceberg, but that is not the case given only women can board the boats. As Rose holds Jack’s hand before she has to settle into the boat, she holds on to the control she had over her life ever since Jack inspired her to
Figure 4.4 Rose tries to hold on to her mobility before sitting in a lifeboat. Cameron 1997.
pursue what she wants. With Jack, Rose is inspired to defy the system, but in boarding a boat without him she only reinforces what is expected of the crew on the ship. She is not freely deciding how to spend her time before the ship sinks, and this continues as Rose is forced to sit down in the lifeboat while it descends to the water. Indeed, Rose has no control over her mobility while she sits in the lifeboat, looking upward toward the rope holding the lifeboat. Her being mobile has come to a halt, the rope alluding to a momentary death in her spirit, as if she has been
429Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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hung by boarding the boat without Jack. Rose thus automatically relinquishes the arms for mobility that she learned from Jack, and loses power over her mobility. She moves with the status quo, and therefore boards not only the lifeboat, but a past she hoped to escape.
Figure 4.5 From Rose’s point of view, the rope by which the boat descends, and momentarily hangs her spirit of mobility. Cameron 1997.
During Rose’s setback to the past, Cal reasserts to Jack the fact that he is only a third class passenger, and therefore cannot have power like Cal’s. Telling Jack that “there is” an arrangement—one from which Jack will have no benefit—Cal claims, “I always win Jack. One way or another.”430 Then again, Cal is a man of words and actions that have not typically proved he is more mobile or powerful than Jack. Indeed, what happens a moment after Rose boards the lifeboat is evidence that Jack’s mobility takes him further than Cal has managed to go. Rose looks longingly at Jack as the lifeboat descends, and eventually jumps back onto the ship to be with him again. The fact that she does this completely contradicts Cal’s assertion that he always wins, because Rose is not jumping back onto the ship to be with him. He is a part of the past that demanded Rose be a certain kind of woman, while with Jack, she experiences a life allowing her to be any kind of woman she wants. Since Jack is so freely mobile and thus gives himself the momentum that led him to meet and befriend Rose, Rose gained encouragement to be mobile. This is what she loses in boarding the boat, but fights for by jumping back onto the ship—it is a
430 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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power that Cal will not give her. He therefore is not as powerful as he tries to make Jack believe, for Jack has now won Rose over. In Rose’s jumping back onto the ship to be with him, Jack’s mobility and power is reaffirmed. While Rose and Jack reunite following Rose’s immobility aboard the lifeboat, Cal acts on a jealous impulse, taking a gun from his hired help Lovejoy, to shoot at Jack and Rose. The entire time Cal does this in anger, Jack shouts that he and Rose need to “move!” and they run down several flights of stairs to end up in water that is flooding the ship.431 Cal stops shooting once he also reaches the water and runs out of bullets, while Jack and Rose continue running away. The fact that Cal tries to hurt Jack and Rose with a gun—a symbol of phallic power— implies that Cal attempts to reassert his power over both of them. In addition, their direction downward underscores Jack’s lower class status, and Rose’s joining him. Even though this is the case, it is not as if Jack and Rose move downward to find themselves trapped and therefore shot by Cal, but they continuously move away from Cal to get out of harm’s way, and succeed. Indeed, they are the ones who continue moving through the flood water once they descend several flights of stairs, while Cal simply runs out of bullets and stops pursuing Jack and Rose upon reaching the water. Jack and Rose thus have more power to achieve what they want because of their quick-witted mobilities, while Cal gives up if his pursuit is not somehow business related. Escaping the Flood Waters In escaping Cal, Jack and Rose maintain mobility as they find themselves in the midst of a passageway that is about to completely fill with water. After attempting to save a little boy whose guardian tries to save him, water knocks down a door nearby, drowning the boy and his guardian and threatening Jack and Rose’s safety. They outrun the rushing water for a moment, only to be overtaken by the water and eventually brought to a locked gate. From there, Jack guides Rose and himself toward a flight of stairs to another floor. However, there is another problem: a locked gate blocks them from going any further, as water continues threatening them and rushes upward. They yell for help as a crewman passes by with a set of keys to the gate; he tries to unlock the gate, but drops the keys into the water and runs off. Jack dives into the water and retrieves the keys, while Rose tells him which key will unlock the gate. Initially given the
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gate blocks them both from going any further, this yet again underscores their status as a third class passenger and a first class passenger who had been locked from being as mobile as she wanted because of gender restrictions. They are both prevented from moving any further through the ship because of the restraint that holds them back, similar to the restraints they have experienced in their lives. Ultimately though, their mobility proves yet again to be of use, as they use their voices to get the attention of the crewman. Even when he is unable to help them, Jack is mobile enough to plunge into the water that floods around Rose and himself so that he unlocks the gate and they pass through. He asks Rose which key unlocks the gate, and so she assists resolving the issue. These two only continue to be mobile then, Jack defying boundaries through being able to reach the keys as they lay on the other side of the gate, and Rose through proving that just because Jack is male he is not the only one who can rescue them from the flood waters.
Figure 4.6 A locked gate initially underscores Jack and Rose’s “lack” of mobility because of class and gender. Cameron 1997.
Once Jack and Rose unlock the gate barely before drowning, Rose passes through first, swimming forward to another flight of stairs. After the film cuts briefly to display increasing chaos as lifeboats are prepared at the top of the ship, Cal still wandering about to catch a boat, it cuts back to Jack and Rose running up three flights of stairs while Jack says “keep going up” to Rose.432 They literally have to move upward rather quickly to escape the water that sinks the ship, and Jack continues encouraging Rose to keep her momentum. She is first as they move up the stairs, Jack right behind her as if to denote their class differences, but then again Jack is the
432 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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one ensuring that they keep moving toward the top of the ship. They are even seen moving up three flights of stairs, emphasizing Jack’s power as a mobile third class passenger to get where he wants to go—he has passed and continues passing on his zest for being mobile to Rose. An Unexpected Choice Since reuniting with Jack after boarding a lifeboat, jumping off said lifeboat, and making it through the flood waters in the lower decks of the ship, Rose regains power over her mobility so she and Jack can both fight for a chance to survive the sinking. Once they escape the water, they run through a first class dining hall and Rose spots Mr. Andrews—the ship’s architect and one of the more humble first class passengers—standing by a fireplace. She asks him, “Won’t you even make a try for it?”433 He simply replies, “I’m sorry that I didn’t build you a stronger ship young Rose.”434 Literally he comments on the fact that the ship was too weak to withstand hitting an iceberg and therefore sinking, although the ship was also built to stratify passengers strongly enough so that Rose was restricted from following her desires. It was therefore too weak to help her bring them to life. As a first class passenger, Rose saw firsthand how the spacing of first class was used only to fulfill the standards and traditions of first class society, and in other words, keep her restrained as the fiancé of a first class passenger. The first class space she was a part of was not built to nurture her spirit, and therefore not strong enough to encourage her to be as mobile as Jack is. Only her chance meeting with Jack encouraged Rose to break through the boundaries of first class space and tradition and become as mobile as she has to try and escape the sinking ship. Therefore in apologizing for building a weak ship, there is not just a literal meaning behind Mr. Andrews’ statement, but the fact that Rose has become such a mobile woman that the ship was not enough to sustain her ever increasing power. Religious Words of Immobility to Mobility The ocean water continues causing more chaos on the ship, consuming its very being as several passengers attempt to swim through the water that overtakes the front end of the ship, including Jack’s friend Fabrizio. Meanwhile, Jack and Rose make it to the ship’s deck, while the stern quickly rises—they only continue being mobile as Jack leads. He ensures that Rose and himself keep their balance by moving to the railing of the ship so that they hold on while moving upward. He lets Rose lead, and as a man in front of them moves slowly upward while repeating
433 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 434 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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the 23rd Psalm: “…even though I walk in the valley of the shadow of death…”435 Jack steps ahead of Rose, pushing the man upward while saying “You wanna walk a little faster through that valley there?!?”436 Jack and Rose continue using their flexible means of mobility to try and survive the disaster, but this man slows them down as he repeats a religious verse. This parallels the church service scene in which Jack was not allowed to talk with Rose—religion does nothing for him but hinder his mobility. Rose’s mobility was hindered as well following the church service, until meeting Jack at the prow of the ship. Now, they both use their mobilities to continue not only living however they please, but trying to survive the sinking, and yet again, a religious verse hinders them. The verse becomes nothing more than talk for Jack, because it is action that takes him somewhere. In other words, by asking the man walking in front of them to “walk a little faster through that valley there,” Jack maintains the idea that the most helpful course of action in any given situation is physically taking action.437 Despite Jack and Rose’s moving up the rising ship, they witness another religious verse being shared as several passengers kneel to pray. Jack and Rose pause as the religious leader of the group recites, “Holy Mary Mother of God, pray for us sinners now in it the hour of our death, Amen…”, but then keep moving toward the back railing of the stern as it moves higher into the air.438 While passengers are led in prayer toward the Heavens in other words, Jack and Rose use physical mobility to seemingly move closer than said passengers to the Heavens—it provides their greatest chance for survival as the stern tilts into the air. It is Jack and Rose’s physical mobility however, that moves them high enough to increase their chances of getting off the sinking ship, and not the religious words being recited. This time however, Jack and Rose pause briefly as they see the group listening to a religious verse before the demise of the ship, as if to give in to the prayer for “sinners” because the first class passengers characterized the lower class passengers as such. Jack himself did basically whatever he wanted during the voyage despite his lower class status, and influenced Rose to do the same. She thus became a “sinner” in the eyes of her mother and fiancé. She ultimately placed herself in the same class categorization as Jack, and so they both pause because the religiosity has a tendency to hold them back, in addition to this
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time mentioning “sinners.” The pause is slight however, and Jack and Rose once again continue on toward the back railing of the stern.
Figure 4.7 Jack and Rose (left corner) pause to hear the prayer for “sinners” whose mobility will help them survive. Cameron 1997.
Once Jack and Rose are at the back of the stern, the man leading several passengers through religious verse continues, saying, “And God shall wipe away all the tears from their eyes, and there shall be no more death. Neither shall there be sorrow or crying. Neither shall there be any more pain, for the former world has passed away.”439 While the religious service in first class and the first few verses this man repeated appeared as hindrances to Jack and Rose’s mobility, this last verse underscores how far they have come because they continue being mobile. For Rose in particular, she was rather melancholy at the beginning of the journey aboard Titanic, as if carrying tears in her eyes and experiencing the death of her spirit. However, Rose has journeyed past that by letting Jack convince her to be physically mobile and not just dream about it. Therefore, she has reached the point where there are no longer tears or a death in her spirit—the verse repeated thus emphasizes the fact that Rose has become mobile enough to take happiness into her own hands. As for Jack, he has escaped what could have been a literal death because of his connection with Rose, a first class passenger who chose to rescue him when he
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was arrested below decks. Rose empowered him to continue being as mobile as he is despite their class differences. They have both supported each other throughout the voyage, and thus encouraged a new perspective on life that does away with “the former world,” or the ruling class that dictated where both Rose and Jack went at the beginning of the voyage.440 The newfound mobility they have gained through each other has changed that however, and as the ship’s sinking literally destroys a “former world” of stratification—the grand dining hall flooded, china crashing to the floor, etcetera—so too have their mobilities brought them past restricted lives, in which they could be as happy as they choose once they survive the sinking. At least, once Rose survives the tragedy. The Ship Goes Down The stern of the ship eventually rises to ninety degrees, towering over the ocean for a brief moment. The end of the Titanic only underscores how mobile both Jack and Rose have become—when it descends and is almost completely underwater, Jack tells Rose to take a deep breath as the ocean water bubbles violently around the sinking ship. At the surface, the bubbling renders the water a bluish-white, as if Jack and Rose are about to leave and enter a dream—they are about to leave a society of stratification, and enter a world where they make their own rules. Their being so mobile as to survive the sinking up to this point allows them to escape a nightmare, and enter a new world in which class and gender differences are not as relevant. Indeed, the stratified ship descends all the way down, and Jack as well as Rose plan to escape the plunge and in essence also escape the society the ship created. Rose escapes the expectations that Ruth and Cal had for her to be Cal’s wife and therefore maintain first class status. Jack escapes the insult of being treated as if he is worth less than the likes of Cal and Ruth. It is as if Jack and Rose have experienced a real-life nightmare that their mobility empowers them to somewhat demolish, so much so that they can see it through to its end and maintain the ability to get away from it. On the other side of the bubbling water, the ship’s stratified society disappears into the depths of the ocean, leaving Jack and Rose to continue their journey for survival without the rigid expectations of upper class society holding them back. They escape the society that threatened their ways of being seemingly through a portal that is the ocean, and do so without much detriment so far because of their will to be mobile and survive.
440 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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Figure 4.8 The bubbling ocean water represents the transition from one world to another that Jack and Rose seemingly bring about. Cameron 1997.
Staying Afloat and Alive for the Lifeboats As Jack and Rose brace themselves for surviving the cold water, they also brace themselves for an unwanted change in mobility. While both have been mobile enough to survive the demise of the ship, Rose’s mobility at first seems weakened as she makes it through the ocean water, and Jack seems most mobile. However, it is Rose who will ultimately maintain mobility while Jack’s ability to be mobile decreases as he stays in the water. Once the ship is completely underwater, Jack and Rose try to hold hands and swim against the suction of the ship. Given Rose wears a life jacket, she appears to make it to the surface of the ocean before Jack does. On the one hand, this indicates that she possesses more mobility than he does, because she was a first class passenger. Yet on the other hand, she calls for Jack while swimming through a throng of passengers who are left in the water. Once she finds him, Jack tells her “swim Rose, I need you to swim!” and guides her to a piece of driftwood while she comments “it’s so cold.”441 Rose thus seems to have an advantage initially because of the life jacket—underscoring her superior class status to Jack—but it is Jack who continues taking them toward something that might help them survive while in the ocean. Jack once again maintains claim to a mobility that is unstoppable, and renders Rose still helpless in the face of extreme conditions from disaster. This renders her sense of mobility weaker than
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Jack’s, even if she has had his extra support in freeing herself from first class society and becoming more mobile. In turn, Jack’s class status not only seems exalted to allow him the mobility necessary for situations in which he must fight to survive, but now that he and Rose are seemingly equals given the ship is gone, she is still different given she is a woman. The water slightly impedes her mobility, and the class difference that seems to lend Jack greater mobility points out a gender difference as well. Although Jack proves yet again to be more mobile than Rose, his class status is underscored once more after he and Rose reach the driftwood. He tells Rose to climb onto it and tries to join her, but it appears the driftwood only withstands the weight of one person. Therefore, Jack remains in the water while Rose lies on the door. In other words, despite how mobile Jack has been throughout his life and how that somewhat helped him escape class restrictions, helping Rose climb onto the driftwood once again emphasizes their class differences. She has not only broken free of the gender expectations of first class society, but the fact that she started off as a first class passenger on the ship maintains the idea that she has better social status than Jack. Rose therefore has not only learned to be freely mobile from Jack, but does so with a background of first class status. This ultimately renders her more mobile than Jack in a sense, for she has the opportunity to stay out of the freezing water just as many of the first class passengers had the opportunity to board a lifeboat. Jack gives Rose a chance to maintain the mobility needed to survive the aftermath of the sinking, and in doing so, makes his third class status obvious. He in effect gives up his ability to be mobile, and passes it on to someone who was first class to begin with. Not only is there a class issue when Jack lets Rose climb onto the driftwood, but there is also the question of which gender maintains power. On the one hand, the fact that Jack remains in the water while Rose climbs onto the driftwood may render him physically tougher than Rose, to risk freezing in order to save her. In addition, his being in the water gives him the option of moving around, while Rose’s being on driftwood renders her as immobile as her first class life made her. In reality however, Jack gives up all masculinity by staying in the water, because he senses that he will die soon and yet allows Rose the chance to survive. She is thus lent an opportunity to retain the strength she needs for survival, or being mobile. Jack may be able to move around in the water while she only has the space of the door to rest on, but it is freezing water and therefore not conducive to being mobile for very long. Rose in contrast, has the
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opportunity to conserve energy for being mobile, possibly boarding a lifeboat that may drift nearby, and therefore surviving. Jack gives up the opportunity, although he is the one who was most mobile to begin with—he gives this power to Rose, an originally first class woman. It is not men who are most mobile by this time in the film then, but women like Rose who escape the pressure to be a certain type of woman. It is she who captivated Jack so much so that he helped her break free from the restrictions of first class society, and ultimately helped her become someone who has more mobility than himself. That a woman like Rose breaks through gender molds and has the chance to face a tragedy, renders her more mobile than men.
Figure 4.9 The driftwood that Rose climbs on underscores class and gender superiority. Cameron 1997.
While Jack and Rose wait for a lifeboat, the panic dies down where they wait with other passengers, a sign that the cold water has weakened most of those left. Jack and Rose become weaker as well, and Jack even more so as he shakes in the freezing water—he is depleted of mobility while Rose maintains enough to survive. Despite the fact that Jack loses a physical sense of mobility because he is in the water, he maintains the spirit that he will have a chance to be freely mobile again. Although he is freezing, he tells Rose, “I don’t know about you, but I intend to wr-write a strongly worded letter to the White Star Line about all this.”442 In essence, Jack reclaims his power to be both physically and mentally mobile even though he is not doing well in the water. He also gives the impression that he will make it through the aftermath of the
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sinking to make a statement to the company that owns Titanic. In other words, Jack plans to challenge those who might seem to believe they have power over him, defying any differences in social status that exist. As a matter of fact, Jack’s comment that this hypothetical “letter to the White Star Line” will be “strongly worded” indicates his ongoing belief that he can stand up for himself when necessary no matter what the circumstances.443 Even if Jack does not survive in the ocean water—which he does not—his words encourage the continuance of being mobile enough to live your life the way you want and defend it when threatened. Even if he physically loses the ability to be mobile however, that Jack says he “will write a…letter” indicates that his mental sense of mobility will live on.444 He forecasts a positive vision of continuing to be mobile, but it will be a mobility belonging wholly to Rose. “I’ll Never Let Go” When Jack finishes stating his intent to write a letter about the uncalled-for disaster, Rose replies a moment later with an “I love you Jack.”445 Jack understands—he is losing his ability to be mobile, and she means to follow. However, Rose doesn’t lose her mobility. Jack encourages her to maintain her mobility, as he immediately tells her: Don’t you do that. Don’t you say goodbyes. Not yet. Do you understand me?.....Listen Rose, you’re gonna get outta here. You’re gonna go on, and you’re gonna make lots of babies, and you’re gonna watch ‘em grow. You’re gonna die an old, an old lady, warm in her bed. Not here. Not this night. Not like this, do you understand me?...Winning that ticket Rose, was the best thing that ever happened to me. It brought me to you. And I’m thankful for that Rose. I’m thankful. You must—you must—you must do me this honor: You must promise me, that you’ll survive. That you won’t give up, no matter what happens, no matter how hopeless. Promise me now Rose. And never let go of that promise.446 Through this monologue, Jack advises Rose to carry on their lifestyle of being mobile no matter what she faces, particularly as she faces the possibility of his death at that very moment. Instead of facing death herself however, Jack expects Rose to live a life that is fulfilling through the
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reproduction of lives—she will “make lots of babies,” or otherwise find mobility not only through continuing to live, but also reproducing.447 A part of that continuing on is not simply having kids but growing and changing with them to the point that Rose will age and pass away peacefully. Jack expects that Rose in other words, will experience mobility as far as life itself offers. On the other hand, he determines Rose’s fate for her—this momentarily places her beneath the power of a man, as Jack claims mobility through his words for her. His vision of her life is not exactly what they discussed on the ship either—a life of carefree liberty—but that akin to homemaking, which Rose wanted to escape. Indeed, Jack forecasts for Rose how she should live, and therefore holds a sense of control over her as Cal did. Yet at the same time, he frees her of the burden of an impending death, and underscores the idea that she will have a fruitful life ahead of her if she does not give up on her own mobility. Regarding his ticket to board the ship, Jack underscores his mobility—because of some luck as well as his penchant to be mobile, Jack made it into Rose’s life. She caught his eye, and not only did his mobility allow him to woo her, but he also saw spaces aboard the ship that other third class passengers did not. Jack knows he was very mobile aboard the ship, and so admits that the ticket he won allowed him the chance to meet Rose, befriend her, and become her lover. It was certainly an accomplishment, considering Rose was viewed as the prize set to marry Cal, but for Jack it went beyond material items and role expectations. He was all about using his mobility to build relationships with people, and although this allowed him to traverse first class, it most importantly permitted him the chance to charm many first class passengers as well as Rose. Indeed, Jack notes that he is completely thankful, as if to say that his mobility was used for the purpose of falling in love with a first class damsel in distress. Jack admits in other words that he had his time, and he became as mobile as he wanted to in meeting Rose, and becoming her lover. Despite Rose’s concern over their current situation, Jack reassures her that everything will be just fine, because he had his time to be as mobile as he could. Yet again seeming to underscore a power of masculinity over Rose—although in the sense that he cares for her well-being—Jack’s final words in this monologue request that she promise to continue being mobile for her own sake. On the surface, Jack controls the direction Rose should take next, and it is as if he continues to pass on his own penchant for being mobile
447 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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to her, so that she moves about as freely as he did. He means that she should continue being mobile, for the sake of living through the tragedy at the least. Although it may appear controlling, it is for the sake of what Rose wanted—she yearned for the chance to live her life free of restrictions, and now she has that chance if she does as Jack tells her. The last portion of Jack’s monologue thus makes for a delicate balance of seeming to take control of Rose’s life, but also allowing and encouraging her to be free “no matter what happens.”448 While he requests a promise from Rose, Jack at the same time requests that Rose survive and live life as she always hoped. He underscores the fact that while he may not have the chance to be fully mobile again, Rose can be for the both of them. She is responsible for honoring him through the promise, but also for the sake of her own survival and her ability to be mobile regardless of the circumstances. In response to Jack’s plea for her survival and fulfillment of the rest of her life, Rose says, “I promise…..I’ll never let go Jack. I’ll never let go.”449 On the one hand, Rose is seemingly committed to the demands of another man beyond Cal, but this commitment is to be the mobile person she and Jack sensed she has been. “I’ll never let go” ties someone up to a commitment, but Rose’s is not a commitment to be a certain woman as was expected of her when she was with Cal—rather the commitment is to move beyond what is expected of her.450 In other words, what she will not let go of is the chance she has to be who she wants to be. There is no turning back to what she once was, and by promising Jack to “never let go,” she verbally guarantees it.451 She was once a woman tied down by the expectations of first class society, but became a woman who defied those expectations because of inspiration from Jack—it is a way of living that she tells Jack she will carry on. She will in other words, continue to be as mobile as they had always planned. The Dawn of Complete Independence While a lifeboat turns back to try and save passengers from the water, Rose gazes up at the stars as Jack appears frozen in the water. Rose appears truly dazed, given she lies in the cold air. Although the situation appears hopeless and dangerous, the fact that Rose looks up, away from the darkness of the ocean and toward the Milky Way, indicates the beginning of the
448 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 449 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 450 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 451 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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fulfillment of her promise to Jack—it indicates the ongoing mobility she will maintain without him. Thus, this section describes the power to be mobile Rose possesses without Jack, as well as the literal descent of Jack and his mobility.
Figure 4.10 Rose gazes upward as if to gaze toward a continued mobility. Cameron 1997.
At the same time that she gazes at the Milky Way, Rose slowly utters “Come Josephine in my flying machine, and it’s up she goes, up she goes…”452 Jack sings this song earlier as they are “flying,” only this time it takes on greater significance considering Jack is no longer alive. She has yet to find out that he is dead—she finds out in a moment—but before he froze to death he made Rose promise to keep fighting for the life of mobility she wants, and the life he wanted to live with her. Now, she tries singing “Come Josephine…” while staring up at the stars in the cold air, and the name of the woman in the song is significant of the combo spirit Rose has promised to carry on. Indeed, the name begins with a “J” like the name Jack, the next three letters are the last three letters of Rose’s name, while –phine renders the name one typically associated with a woman. Rose is the woman Jack left behind to carry on her own life as well as his spirit. “Come Josephine in My Flying Machine” then, describes the dual mobilities Rose must carry on as she lives her life following the aftermath of the sinking, or both her spirit to be
452 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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mobile as well as Jack’s. This is about Rose having the mobility to continue her life the way she had envisioned it with Jack, thanks to her hopes as well as his. Rose keeps her promise to “never let go,” but lets go of Jack upon discovering he has frozen to death in the water.453 Indeed, he sinks into the ocean with the cuffs that had held him prisoner aboard the ship. The cuffs are yet again a symbol of the fact that Jack was a third class passenger and always will be, no matter how skillful he was at being mobile. Due to his class status, his being in the water while Rose has been resting on the driftwood made their social difference more obvious, and that the cuffs never completely came off is a sign that it could not be changed. At least, it could not be changed without the connection he made in first class, per being a friend and lover of Rose. Their relationship was proof that Jack could be mobile enough to go anywhere and befriend anyone he wanted, and she was even able to break the cuffs right down the middle for him. Those cuffs however, kept Jack imprisoned so as to foreshadow his death in the water, killing the chance he had to continue being mobile. Yet the break through the middle of the cuffs—that Rose cut with the axe—offered a glimmer of hope that Rose carries on for Jack. Despite his freezing in the water which rendered his social status obvious while Rose remained on the driftwood, Jack offered Rose words of encouragement before he became completely immobile. The cuffs hinder him from life because he is a third class passenger, but allow him to give Rose his mobility given she breaks through them. After Jack sinks into the ocean, Rose moves off the door and swims to where a man nearby whistled to summon a boat. Now that Jack is not physically present, she begins to use his mobile spirit as well as hers, even re-entering the blackness of the ocean that took Jack away. Given the ocean is what took the lives of mostly lower class passengers, Rose’s entering it signifies yet again that social class does not matter, for she becomes as mobile to survive as Jack would have expected. This mobility denies social differences just as Jack and Rose did together on the ship, and thus Rose keeps the promise to Jack to live on. By entering the water to retrieve the whistle nearby, Rose reaffirms that class does not matter—what matters is having the attitude that overcomes class differences and therefore allows enough mobility to achieve anything anywhere. Blowing the whistle is the first time Rose makes enough noise to attract attention independent of Jack’s support. Indeed, the set of action—entering the water and blowing the
453 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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whistle—defines the mobility that continues increasing for an independent Rose as she attempts to be mobile for her own sake and in spirit of Jack.
Figure 4.11 Rose’s entering the water to retrieve a whistle and gain the attention of a nearby lifeboat signifies her gain of independent mobility without Jack by her side. Cameron 1997.
As Rose continues blowing the whistle to call forth a nearby lifeboat, there is a flash forward to Old Rose who narrates what happened to those in the lifeboats. Her story is re- entered, and the camera pans over Cal in a boat who accepts liquor from a lower class passenger. Rose’s mother Ruth appears so in shock that she leans against Molly Brown in despair. Rose lies aboard a boat exhausted, and wrapped in what appears to be a blanket like the kind Jack lent her to warm up while waiting for a lifeboat earlier, before Cal took it off to give Rose his overcoat. There is also a box below Rose’s head that seems to read R.M.S. Titanic—it appears to be a somewhat secured box, and there is a piece of rope hanging over it as well as what seems to be a flashlight. Just a second later the camera fades to a shot of the crew member in charge of the boat Rose boarded, waving a flare with a green glow. From the shot in which Rose rests, to the wave of the flare, there are symbols of Rose’s growing mobility in addition to what she will face on her own. Indeed, the blanket she is wrapped in seems to represent Jack’s spirit given it was the kind of blanket he gave her. It is the encouragement to continue being mobile and keep the promise to Jack that remains with Rose, and prepares her for life on her own. The rope and flashlight underscore the situation, as they show a variety of symbolic tools Rose has at her disposal to be mobile in the future. Her head’s resting over the box that reads R.M.S. Titanic—in
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addition to the piece of rope and “flashlight”—signifies that she will have the power to overcome anything holding back her mobility. She must honor her promise to Jack, as well as her own visions of mobility that she shared with him, and therefore possess enough mobility to go anywhere as Jack had aboard the ship. Rose must be mobile enough to overcome the oppression of those who have money and so might hold her back from going where she wants as Cal did. The flare that the crew member on her lifeboat waves is indeed green, a sign that the rich and powerful are not far off, and that Rose will face them again. However, the powers she has to be mobile as a woman have been unleashed, as underscored by the subsequent shot of the rescue ship known as the Carpathia, which floats in the midst of Mother Nature’s oceans and nearby icebergs.
Figure 4.12 Rose’s continued mobility is foreshadowed by the blanket, flashlight, rope, and her resting over a box reading “R.M.S. Titanic.” Cameron 1997.
Figure 4.13 Rose sees the waving of a green flare, a sign that the wealthy and powerful she must face are not far off. Cameron 1997.
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Figure 4.14 Despite the threat of the wealthy, Rose’s mobility will overpower any obstacles to come because Nature is on her side. Cameron 1997.
As the lifeboat Rose is in nears the Carpathia, Rose opens her eyes. When she looks at it, there is a shot of a couple appearing to be wealthy, but Rose herself remains with those of lower class once she is on the Carpathia. She also spies Cal looking for her in this portion of the ship, careful not to be seen. Thus the duty to maintain her independence and keep her promise to Jack,
Figure 4.15 Rose looks up from the lifeboat to the rescue ship, catching sight of a couple appearing wealthy as a reminder of what she left behind. Cameron 1997.
lies in not being tied down by a wealthier man such as Cal. Indeed, because Rose went to find Jack and stay with him while the ship was sinking, Cal lost track of her. She is in other words, no longer controlled by the expectation that she be Cal’s wife. Still wrapped in a blanket similar to
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the one Jack offered her, Rose is enveloped in Jack’s spirit and her own will to be free of the restraints Cal had on her. To live up to the promise of mobility, Rose abandons the wealth that the couple she saw before boarding the Carpathia appeared to have—Rose would have had wealth had she stayed with Cal, but wealth does not mean mobility to Rose. The blanket around her as well as her stay with other lower class passengers signifies that the mobility Jack passed on is to remain with and empower her.
Figure 4.16 Despite seeing the wealthy, Rose maintains mobility by choosing to be with steerage passengers. Cameron 1997.
Once Cal has walked away, the film transitions to Old Rose commenting on Cal’s suicidal fate, yet there is subsequently a transition back to her story, where she stands as young Rose finally in New York, looking at the Statue of Liberty. Rose herself was bound for suicide or some other drastic action while she was with Cal, obvious when she climbed over the railing of the Titanic to attempt jumping off the ship. She was held back by the restrictions of upper class society, but no longer is when at the New York harbor. The Statue of Liberty highlights this fact, in its symbolizing the idea that there is freedom to be found in the United States, a freedom that will allow Rose to be as mobile as she had always hoped and discussed with Jack. Add the fact that the Statue of Liberty is a woman with a glowing torch in hand and crown on her head, and Rose can seemingly be mobile enough to become wealthy again. Indeed, Rose looks up at the statue of a woman who represents prosperity, and so the opportunity is available to Rose given she is no longer Cal’s fiancé. The torch and crown underscore this opportunity as well, for the
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former comments that even though Rose is a woman, she can still hold her own light up to move toward a better life. The crown is the achievement of a better life, beckoning Rose as she holds to balancing a new independence with Jack’s own spirit and zest for mobility. Despite holding to Jack’s spirit however, the Statue of Liberty depicts the way of living Rose yearned for and allows herself to grow into—it depicts the independence that lends her the mobility she and Jack wanted, as a woman with a calling for her own self-defined prosperity.
Figure 4.17 The Statue of Liberty comes to be a powerful symbol of Rose’s mobility. Cameron 1997.
A part of Rose’s self-defined prosperity came to be the hope for a life with Jack, a hope unfulfilled when she is at the New York harbor gazing at the Statue of Liberty. This does not stop her however, from keeping Jack alive in spirit—she must not only continue to be as mobile as she hoped and Jack encouraged, but she even takes Jack’s last name for her own, telling a worker taking names at the New York harbor that she is “Dawson—Rose Dawson.”454 On the surface, this may appear to imprison Rose in a patriarchal system of power, but it is her choice to take Jack’s name. Not only is it her choice, but it underscores the promise she made in that she keeps the mobile spirit alive, particularly Jack’s spirit. Jack’s spirit was the kind that encouraged people to be who they wish and do what makes them happy. Thus in taking Jack’s last name,
454 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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Rose not only lends his spirit life, but keeps in memory the encouragement Jack gave her to break free of social restraints. In this sense, simply the name Dawson lends Rose the power to be mobile no matter what the circumstances. Additionally, it appears that the Statue of Liberty is in sync with the idea that Jack was all about being mobile, and encouraging Rose to do the same— it is as if to say that the statue is a vision of the type of woman Jack sensed in Rose, and Rose figured that out. She had hoped to escape a life of restraint for so long, thus it only makes sense that she takes the name of the man who taught her that she had the choice to escape it, and that the name Dawson implies further independence and mobility for Rose. A Promise Fulfilled Once the camera pans over the Statue of Liberty for another moment, Old Rose finishes her reminiscence about Jack. While the excavation crew head comes to realize the stories he has missed out on about the Titanic, Old Rose walks to the back railing of the excavation crew ship—alone. In following routine as she had with Jack, Old Rose steps up onto the ship’s back railing. From here on out, she only continues to demonstrate an ongoing mobility that makes its way back to Jack at the end of her life, bringing people of all class and gender status together. On the railing of the excavation crew ship, Old Rose reveals the Heart of the Ocean necklace in her hand, and remembers finding it in the overcoat she wore following her arrival at the New York harbor. The diamond necklace is worth an enormous amount of money—the reason for Cal’s believing it would encourage Rose to love him, and the excavation crew’s interest in the Titanic—but instead it became a symbol of Rose’s ongoing mobility. That Rose moved to change her life the way she wanted turned out to be just as precious if not more so than the necklace itself. Indeed, although Cal seemed to think the necklace was an exchange for Rose’s love, the moment Rose wore it for Jack to draw her naked rendered it a symbol of their mobile spirits.455 When Rose discovered it at the harbor then, she discovered a diamond that not only her haughty fiancé gave her, but one representing how mobile she became with Jack while on the ship. It is as if the necklace is not only something of material value, but contains the journey Rose shared with Jack, and therefore the effort to build her own sense of being mobile. In looking at the diamond as an old woman, Rose thus has years of living the life she wanted and that Jack had told her to seek, nestled into the diamond as a symbol of her consistent mobility paralleling that of the ocean.
455 Mu i h a d “piegel, Hea t of the O ea : Dia o ds a d De o ati Desi e i Titanic, -2. 133
Figure 4.18 Old Rose looks at a symbol of a mobile past. Cameron 1997.
Figure 4.19 Rose discovers she has the diamond, a symbol of the adventures she shared with Jack on the ship, and what belongs to her. Cameron 1997.
After seeming to express fondness toward finding the diamond in her pocket when she was young, Old Rose drops it into the ocean where it spirals down into the depths of the water. She nears the end of her life, and the ability to be as mobile as she and Jack had hoped for therefore belongs where it started. Its spiraling down as opposed to simply traveling straight down into the water however, signifies that even if Rose’s mobility is no longer necessary above the surface of the water, it retains variability below the water. Naturally, the ocean seemed to crush the stratified society of the Titanic when Rose was young, and it only seemed necessary in order for Rose to figure out how to truly be mobile. The power of her mobility is so much so by
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the time she is old however, that the memory of Jack and herself engraved in the Heart of the Ocean now permits a mobility overcoming restraint of the ocean water. This sense of being so limitlessly mobile needed to go back into the ocean—where Jack went—to redeem his dying the night the ship went down. The diamond was not Cal’s to control Rose with anymore, but belonged to Rose and Jack once Jack drew her with it on. Therefore Old Rose’s tossing it into the ocean is akin to sharing the mobility yet again with Jack, as the ocean became his final resting place. This emphasizes that nearing the end of Rose’s life means fulfilling not only the promise of being mobile for life, but sharing that mobility again through the memory provoked by the diamond.
Figure 4.20 The Heart of the Ocean spirals downward into the Atlantic, as if to signify that Rose and Jack’s mobilities continue even when their lives end. Cameron 1997.
Once the diamond is tossed into the ocean, Rose appears sleeping next to a table of all the pictures depicting everything she did after knowing Jack that made her life ever so mobile. From flying a plane to horseback riding “like a man” with a roller coaster as backdrop, Rose did everything and more that she and Jack discussed while on the ship.456 In addition to bringing to life Jack’s spirit through her adventures, Rose also became the person she had hoped she would.
456 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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Her life indeed seemed boundless after abandoning Cal and Ruth—her dream to have a life of mobility was fulfilled, and therefore her promise to Jack was too. Everything—with the exception of Jack’s death—had worked out as planned, and therefore Rose had gained as much mobility as Jack had and even more so. Therefore, at her old age the only thing left for Rose to do is pass from the world above the ocean in a peaceful manner—that of dying in her sleep as an old lady.
Figure 4.21 Rose sleeps only to pass away as Jack predicted, with memories of mobility by her side. Cameron 1997.
Rose indeed seems to pass away, for she is old as Jack predicted she would be when she passed, she completed her promise to Jack to live a very mobile life, and she finally appears as a young woman again on a Titanic ‘heaven,’ where only those passengers who were kind to her— and died during the tragedy—also appear. Indeed, Rose swiftly travels back to the ship where it appears as if it had never sunk, but with a heavenly glow. Rose herself seems to be floating—not walking—like a ghost through the ship, from her point of view. She appears to glide into the grand ballroom, where first and third class passengers alike wait for her arrival. These passengers were those who were not only kind, but lost their lives during the sinking. They look on as Rose makes her way up the grand staircase to where Jack waits by the clock. When she meets him, they embrace in a kiss, and the camera moves upward toward the glass of the grand ball room that fades into complete whiteness. The film in addition to Rose’s life is finished. The fact that she lived her life as promised to Jack only to reunite with him afterward however, underscores
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how much mobility she allowed herself to have following Jack’s death. Rose had followed through with her dreams and plans despite Jack’s being gone, and that she ends with Jack again—with the kindest of all passengers regardless of class present—proves that her sense of mobility was indeed flexible enough to overcome class and other boundaries. She and Jack brought people together through being so rebelliously mobile, as opposed to keeping them apart. It is her mobility which underscores the idea that man or woman, first or third class, anyone can break a society’s overbearing expectations and live the life they want instead. Rose does this through being mobile enough to escape the restraints of first class life, therefore enjoying the things she likes, and ultimately going back into the arms of the man who encouraged her to take those chances.
Figure 4.22 Rose enters Titanic Heaven, to meet Jack at the top of the Grand Staircase as she sees that all the kindest on the ship are together, regardless of class or gender. Cameron 1997.
Figure 4.23 Rose and Jack reunite in Titanic Heaven, to once again share the power of limitless mobility. Cameron 1997.
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Conclusion Throughout this final portion of the film, both Jack and Rose again disprove Anne Jenson’s argument that mobility is controlled by the powerful.457 Additionally, Tim Cresswell’s argument that your role in society defines your mobility does not hold water when it comes to Jack and Rose.458 They also display the ability to find “access….competence…and appropriation” for pushing through both physical and societal boundaries aboard the ship and following its sinking, Rose even more so than Jack.459 Because of this, they redefine space, which does not necessarily end up defined by “social structures and dynamics” as Kaufmann and colleagues state.460 Indeed, although Jack maintains the most mobility and ability to break through boundaries throughout the film, Rose surpasses him by its end, and comes to share the empowering sense with him. At the beginning of this portion of the film, Jack’s proof that the powerful and wealthy are not necessarily the most mobile comes through in the fact that Lovejoy places the Heart of the Ocean necklace in his coat pocket. To Cal, the diamond equates to Rose, thus symbolically Cal no longer holds on to Rose, but Jack does even though he is a third class passenger. This is indeed the case, for Rose previously decides to spend her time with Jack, and in this portion of the film she completely distances herself from Cal. Thus, a passenger of lower class status as well as a woman come to defy the standards of first class society. Jack experiences a setback in being arrested for the accusation that he stole the diamond, but Rose continues their rebellion by rejecting the opportunity to board a lifeboat with Ruth and rescuing Jack instead. Even though Jack becomes imprisoned by handcuffs as well, he is still viewed as enough of a threat that Lovejoy takes away the key to the cuffs, also evidence that Jack’s mobility has defied the expectations of the powerful. Add to that the fact that Rose is a woman and yet ventures into the flooded lower decks of the ship to rescue Jack, and there are two passengers whose unexpected and overpowering mobilities have lent them status surpassing that of the wealthy. Both Jack and Rose create a sense of “access, competence and appropriation” that continues to be helpful to their mobilities in this chapter, especially for Rose.461 Jack on the other
457 Je se , Mo ilit , “pa e a d Po e : O the Multipli ities of “eei g Mo ilit , -8. 458 C ess ell, E odi e t, po e a d the politi s of o ilit : the ase of fe ale t a ps a d ho os, . 459 Kauf a , Be g a , a d Jo e, Motilit : Mo ilit as Capital, . 460 Kauf a , Be g a , a d Jo e, Motilit : Mo ilit as Capital, . 461 Kauf a , Be g a , a d Jo e, Motilit : Mo ilit as Capital, . 138
hand maintains mobility because of the three factors needed to do so, but he has to physically leave it to Rose by the end of the film. Jack and Rose’s access to mobility experiences lows and highs and back again as they face the ship’s sinking, for Jack is physically restrained by handcuffs when he is arrested. Rose is initially restrained by Cal as he attempts to regain control over her and make her board a lifeboat, thus cutting off access to her chance of mobility, but Rose displays competence in rebelling against him and rescuing Jack. Indeed, she gives back Jack’s sense of access to being mobile through finding the axe that cuts through his handcuffs. When they both find restraint against accessing the upper levels of the ship, Jack and Rose take it into their own hands to create access—Jack breaks doors and gates, while Rose particularly adds a voice as to which key will open a locked gate. Rose relies not only on being vocal in this portion of the film however, but allows herself a physical sense of competence that helps her get away from Cal as well as other rigid people of first class society and standards. Indeed, she spits in Cal’s face, pushes a crewman in charge of a lift to take her to the lower floors of the ship, punches a man in the face, and uses an axe to break Jack free of his cuffs among other things. Jack proves to have somewhat more competence than Rose in guiding her on the ship and in the ocean as they try to survive, yet she is ultimately left with the access to mobility because she lives. She appears to evaluate as appropriate her ultimate chance to be mobile and thus carry on both her spirit and that of Jack’s. Doing so without Jack by her side was necessary, for she would not have been independently mobile with him at her side. By the end of the film, Rose has a seemingly boundless mobility credited to gaining the competence and access to take chances for being mobile, and in so doing, redefined space with Jack. As a matter of fact, it seems as if going down to the flooded floors of the ship to rescue Jack is not that big of a deal to Rose—there is no difference among spaces in her eyes once the ship is sinking. Jack has also shown that he is comfortable in first class space, even protesting his arrest in Cal’s cabin. The social status attached to the various spaces on the ship thus does not matter in this portion of the film, for what matters to Jack and Rose is their survival. Once Jack has passed and Rose is on her own, Rose even makes the choice to remain in steerage, giving the impression that the luxurious spaces of the wealthy do not matter to her. Indeed, what helped Rose survive the sinking was not the luxury of first class, but the ingenuity of her third class lover who supposedly belonged in third class space.
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Rose’s journey not only lends her the ability to be freely mobile, but sends the message that anyone in America regardless of class or gender can be so mobile as to defy the power structures above them. Indeed, Jack’s American-ness was passed on to Rose, and the focus shifted from that of a lower class passenger being mobile, to a formerly first class woman being mobile. Rose adopted not only Jack’s mannerisms and ambitions, but his class status in addition to her initial status as an inferior gender. Despite becoming what those of the ship’s first class society would have initially deemed inferior, Rose led a life that proved it didn’t matter, because she was able to do whatever she wanted in America. In other words, the end of the voyage, and Rose’s journey through life as a whole, underscore the idea that America is the land where anyone of any socioeconomic status or of either gender can travel anywhere they want. Ultimately, Jack’s mobility is physically slowed down in this last portion of the film, in which he is killed by the freezing water of the Atlantic. However, his spirit lives on with that of Rose, who carries them both forward physically until she is an old woman. She gains the independence to be completely mobile by the end of the tragedy, and so has the responsibility to live the life she and Jack dreamed of. Her being mobile continues through her death, at which point she can meet with and share that sense of empowerment with Jack.
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CHAPTER FIVE
CONCLUSION
Titanic concluded with a bittersweet ending in which Jack is physically gone for so many years, but that is resolved once Old Rose passes away. What also appears somewhat resolved is the issue of class: upon re-boarding the Titanic at the end of the film, Rose can see first and third class passengers alike waiting for her arrival to reunite with Jack. Although Rose lived a life of mobility she had wanted and promised to Jack, it is less obvious whether gender equality is actually reached at the very end of the film—we do not get to see how Jack and Rose’s relationship plays out in Titanic Heaven. In doing away with class division for the sake of Jack and Rose’s coming together again however, the lifestyle Cal hoped to live of strict class division has seemingly vanished. Passengers of all class rankings come together to witness Jack and Rose’s reunion after so many years. What does this all mean? How did Jack and Rose’s mobility change throughout the film and what is the message being sent to audiences? What are the messages regarding class, gender, and the move away from what appears to be “tradition”? In this chapter, I will review the findings from chapters two, three, and four. I will then compare the changes in space and mobility as they are represented in each chapter. Next, the implications of each chapter as far as gender, class, and breaking tradition will be discussed. An overall summary of the film’s message, a critique of the message, and recommendations for future studies will follow. In closing, I will state my thoughts regarding the overall message of the film. Chapter Summaries Chapter Two In this chapter, I concluded that Rose and Jack’s mobilities are fairly limited during the first part of the voyage. Rose’s mobility is even more limited, because she is a woman of first class ranking and therefore bound to strict gender expectations. Jack on the other hand is solely limited by class status—he cannot go anywhere beyond third class space. Despite this limitation, Jack is very mobile within the boundaries of third class. Their similarities and differences regarding space and mobility aside, they are both viewed in such a way that certain actions aboard the ship predict that they will collide.
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As for Anne Jenson’s argument that those in power decide who is mobile, the argument is proven by gender and class restrictions in this first portion of the film.462 Indeed, Rose isn’t able to be as mobile as she would like because she is a first class woman, expected to prepare solely for marriage. In first class, it is men who take charge of day-to-day business, and Rose’s fiancé Cal makes quite a point of this. First class society obviously has power over third class as well, which is how the restrictions on Jack’s mobility come into play. Jack has a very flexible sense of mobility throughout this first part of the film, but only within first class space—he doesn’t have the privilege of going anywhere beyond spaces designated for lower class passengers. Regardless, he takes advantage of being mobile in the spaces available to him and therefore in a sense has no care for those in power above him, unlike Rose. As their journey aboard the Titanic begins, Rose and Jack are opposites as far as “access…competence…and appropriation” are concerned.463 Rose has access to first class that Jack lacks, yet she has not built the competence and ability to evaluate appropriateness of opportunities to be mobile that Jack possesses. Rose is in the most luxurious space aboard the ship, yet she cannot make as much use of the space or anything beyond because of gender restrictions placed upon her. She shows some competence and ability to make use of the chance to be mobile through vocalizing her opinions, but otherwise she remains the woman Cal and her mother expect her to be. The only time she truly escapes the pressure to be Cal’s wife is at the end of this portion of the film, when she runs to the stern of the ship. Jack on the other hand, shows much competence and a knack for evaluating the appropriateness of opportunities to be mobile as he sees fit, for although he is limited to the third class spaces of the ship, he roams very easily within those spaces. It is only a lack of access to upper class space that is Jack’s limitation. The most limiting aspect of mobility in this portion of the film is the gender restrictions of first class society. There are obviously restraints preventing Jack from wandering beyond third class space, but there is not yet emphasis on that kind of pressure to be immobile. The greatest lack of mobility at this point seems to hail from the fact that Rose cannot live life the way she would like because she is a woman—she is expected to behave a certain way in first class society. Jack doesn’t experience the pressure to behave a certain way as a third class male, and
462 Je se , Mo ilit , “pa e a d Po e : O the Multipli ities of “eei g Mo ilit , -8. 463 Kaufmann, Bergman, and Jo e, Motilit : Mo ilit as Capital, 750.
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therefore makes use of third class space as he pleases. This chapter is thus focused on the patriarchal power that prevents Rose from defining her own mobility. Chapter Three In this chapter, I note that Jack and Rose’s mobilities increase drastically, for Jack is able to access first class and Rose is influenced to defy the standards of her class. Once Jack rescues Rose from her attempt at jumping off the ship, he forms a connection with her that eventually gives him access to first class quarters. Jack’s ability to be freely mobile allows him to communicate effectively with those of any given class status, and therefore experience first class privilege. Indeed, Jack’s communication with Rose allows them to build a friendship that takes Jack to several first class spaces. As for Rose, she is reluctant to abandon the rules and expectations of first class society at the beginning of this portion of the film, even though she does not want to be Cal’s wife. It is only through spending time with Jack, and his encouraging her to defy first class standards, that Rose eventually decides to allow herself more mobility despite what Ruth and Cal expect. While Jack influences her to do so, she also gives him a pass into the first class world. Jack and Rose surely disprove the argument that the powerful decide who is mobile by the end of this chapter. Jack clearly takes advantage of the chance to explore first class space even though he is a first class passenger, as his penchant for being mobile allows him to break the barriers of first class standards—he slowly builds a relationship with Rose that allows him to have further contact with first class society. Even though Rose begins the first half of this portion of the film reinforcing the standards of a life that she wants to leave behind, she ultimately rejects those standards, first vocally and then through engaging in behaviors which first class society would not approve. Indeed, while Jack easily makes his way into first class territory, Rose befriends, parties, and even has sex with someone other than Cal. Thus, both Jack and Rose have stretched the bounds of their mobility so much so that the argument that those in power decide who is the most mobile becomes less valid. In breaking the standards and traditions of the ruling class aboard Titanic, Jack and Rose have experienced an increase in their abilities for being mobile, or having the “access, competence,” and the ability to evaluate the appropriateness opportunities for further mobility.464 Simply enough, Jack has gained access to the upper class areas of the ship through his
464 Kauf a , Be g a , a d Jo e, Motilit : Mo ilit as Capital, . 143
competence and sensing the appropriateness of his chances to be mobile—he is seemingly boundless at this point because he is not held back by class restrictions. On the contrary, Jack does not consider the severity of class restrictions until they are pointed out to him. Otherwise, Jack makes use of his ability to travel and go where he wants, which is why he meets Rose and eventually becomes her lover. The competence he has as well as his penchant for lending appropriateness to his mobility allows the access necessary for greater mobility. His gaining access to first class has also helped Rose gain competence and the ability to see the appropriateness in her chances to be mobile as well. At the beginning of the journey through about the first half of this portion of the film, Rose appears to have access to greater mobility because she is a first class woman, although whether she does is difficult to say because first class women are not permitted the privileges of first class men—first class men themselves do not appear mobile beyond whether they have enough money to maintain their status. Thus, while Rose has access to being very mobile and yet lacks access because she is a first class woman, she appears to lack the competence and mindset for deeming her chances to be mobile appropriate that is necessary to make concrete choices about abandoning her first class life. For instance, she maintains a sense of respect for the standards she despises by closing Jack’s sketchbook as a first class man walks by. However, by the end of this portion of the film, Rose has indeed gained more competence and will to find appropriate the chances that render her more freely mobile. She has gained such mobility by the time she decides to stay with Jack that she and Jack can outrun those who attempt to control them, while side by side. While the gender restrictions of first class society appeared to take much of the spotlight in chapter two, class comes to be much more of an issue in this chapter. Rose even points out her class difference with Jack, and those who want to control Rose do so aggressively, as when Ruth tries to insult Jack at dinner. Gender restrictions appear to be much less of an issue in this chapter and portion of the film, yet only because Rose defies said restrictions through her choices to be more mobile. Chapter Four In this chapter, I conclude that Jack and Rose maintain mobility, although Jack physically loses his mobility through death, and Rose maintains more than she imagined through life. At the beginning of this chapter and last portion of the film, Jack and Rose seemingly lose mobility as Cal attempts reinstating the status quo—Jack is arrested for supposedly stealing the diamond,
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and Rose is monitored by Cal. The setback in their mobilities doesn’t last long however, for Rose finally escapes Cal and rescues Jack from imprisonment, to allow him mobility once again. Jack’s mobility lasts just long enough to ensure Rose survives the aftermath of the sinking, as he dies in the Atlantic Ocean and she therefore must carry on the life of mobility she and Jack imagined, without Jack by her side. As far as defying the powerful, Rose is the one who continues disproving Anne Jensen’s argument in this chapter, for she survives the sinking while Jack does not. She does so in an unexpected sense as well, relinquishing her connections to first class life and instead pursuing a life free of restrictions and full of the mobility she and Jack imagined. She and Jack both begin this portion of the film as restrained subjects, bound to the rules of first class society because Cal tries to regain control over Rose. However, Rose breaks his expectations and finds Jack to release him from his imprisonment and defy the standards of first class once again. Thus Jack maintains the ability to be mobile, and does whatever he must to survive the sinking, and most importantly, guide Rose to survival. Due to his concern for Rose’s well-being, Jack isn’t able to survive the aftermath of the sinking, and so Rose must gain enough mobility to live her life without him. She promises to do so, and thus continues doing the unexpected by choosing to be a lower class woman after the sinking and continuing her life without Jack or Cal at her side. Despite Jack’s passing, he has a sense of influence over her life, but it is that of the promise to be as mobile as she had always hoped. Otherwise Rose defies the expectation to be with Cal, thus choosing a life of lower class status following the sinking to make it on her own as a woman of limitless mobility. Both Jack and Rose lose access to mobility at the beginning of this portion of the film, and it is Rose—not Jack—who wins it back for the both of them. She shows the competence and evaluates the opportunity to escape Ruth and Cal as appropriate, therefore being able to rescue Jack from his arrest below deck. Once they are together again, Jack and Rose create access to mobility that ensures their getting off the ship before going down with it. There remain points at which Jack continues showing more competence in being mobile than Rose, as in the best strategy for getting off the ship and looking for driftwood once he and Rose are in the water, yet Rose promises to maintain competence for being mobile before Jack passes. This is exactly what she does, for Rose doesn’t turn back to first class so that she can be mobile, but continues recovering from the aftermath on her own following Jack’s death.
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As for space and its being defined by “social structures and dynamics,” that is the case no more when Jack and Rose make the journey to survive the sinking, and Rose survives its aftermath.465 Indeed, the differences in space do not seem to matter at all once the ship is sinking, and Rose proves the case by venturing to the lower levels of the ship to rescue Jack. Jack himself crosses into first class territory without any second thoughts—for example, when he meets Rose at the bottom of the grand staircase after she jumps off a lifeboat to stay with him. There is one intriguing twist to the argument that social standards define space however, for it seems that when Jack or Rose are in positions lacking mobility at the beginning of this chapter, whichever of the two of them is closest to the top of the ship has the most mobility. For example, Rose is able to rescue Jack after briefly waiting for a boat with Cal and Ruth, while later on Jack is on the top deck of the ship when Rose jumps onto a lower deck to stay by his side after she is convinced to board a lifeboat. In these instances, space seems to be defined by whoever has a greater chance of being mobile, but when Jack and Rose are together, this doesn’t seem to be the case. When they are together, there doesn’t seem to be a difference between first and third class space—what matters most is that Jack and Rose are mobile enough to survive the sinking, not behave according to expectations in any given space. In this sense, first class space loses the sense that there is any order given the ship is sinking. Given Rose survives the sinking and its aftermath without Jack, there is much to be noted regarding gender in this portion of the film. From the beginning, it appears as though stereotypical gender roles shift back and forth from Rose behaving “manly” to Jack behaving as such, and back again. When Jack is trapped below deck because of his arrest, it is he who parallels the role of a damsel in distress that Rose once was. Rose on the other hand, is the rescuer, and yet the roles reverse once Rose cuts through Jack’s handcuffs, for he takes the lead in fighting for their survival. He also has to comfort Rose when she jumps back onto the ship in distress from the thought of leaving Jack on the ship, and when he is about to die in the Atlantic Ocean water. By this point, Rose has promised to live on, and therefore must maintain a sense of masculinity about her in order to move on despite the fact that Jack dies. Indeed, she breaks down in tears upon discovering that Jack is dead, and almost stays on the driftwood by his side as a lifeboat passes. However, she recalls the promise to maintain mobility for her own sake, and seems to immediately adopt a sense of masculinity allowing her to move so that she blows a
465 Kauf a , Be g a , a d Jo e, Motilit : Mo ilit as Capital, . 146
whistle nearby and calls forth a boat. She ultimately maintains an androgynous role that helps her survive the aftermath of the sinking and live her life as she and Jack had hoped. Changes in Mobility Compared The person Rose ultimately becomes in Titanic is a drastic change from the person she starts off as. She indeed becomes the person she wants to be, but it takes some time in addition to encouragement from Jack. Jack himself maintains an inkling for being very mobile throughout the film, although his mobility is hindered through standards of class and ultimately gender. In chapter two, or the beginning of the voyage to the point where Jack and Rose meet, Jack is much more mobile than Rose. The only hindrance to his mobility is the fact that he is a third class passenger and therefore technically not allowed to roam beyond third class space. Other than that, Jack explores any and every space that he can aboard the ship, in an effort to enjoy the journey as much as he wishes. In contrast, Rose is bound to spaces in first class where her fiancé Cal can easily keep track of her. She practically has no choice in what she does either, for she is a woman set to marry and serve a first class man. After meeting Jack in chapter three—the chapter which stretches from the point she and Jack meet to the point at which the ship hits the iceberg—Rose adheres to the rules of first class society for about the first half of this portion of the film. Jack on the other hand, slowly breaks the boundaries of class as he befriends Rose and therefore roams with her in first class space. He also begins encouraging Rose to try being as mobile as she would like, and appeals to her so much that she follows his lead. Indeed, although she is reluctant, Rose tries learning to “spit like a man” when Jack offers to teach, and even goes so far as to party with Jack in third class, have him draw her naked, and have sex with him.466 Thus, both characters have greatly stretched the bounds of their mobilities by the end of this chapter, with only Rose’s mother and fiancé as well an iceberg looming ahead of them. Considering that Rose’s fiancé tries to keep her under his control while he still can, when we get to chapter four—the final portion of the film from the point Titanic hits the iceberg to the end of the film—he tries to limit both Rose and Jack’s mobilities. Indeed, Jack is arrested when accused of stealing the Heart of the Ocean necklace Cal gave Rose, and Cal attempts to keep Rose under his watch yet again. This doesn’t last long however, for Rose overcomes Cal’s control and rescues Jack from his arrest, to continue being mobile enough to escape Cal’s grasp
466 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD.
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and survive the sinking with Jack. Therefore Jack is given his mobility again, and uses it to help Rose and himself survive the sinking. Jack however, loses his mobility once in the ocean, as he allows Rose to lay on a piece of driftwood while he remains in the water. He dies, leaving Rose to be both physically and mentally mobile for her own sake and the sake of a promise she made to him to be as mobile as her life allowed. In other words, Jack’s physical mobility dies during the aftermath of the sinking, to be carried on by Rose. She fulfills the promise to Jack to be as mobile as they had envisioned together, and lives a long live only to seemingly pass away and reunite with Jack again. Messages of Gender, Class, and Non-Traditional Lifestyles Many of the problems arising during Rose and Jack’s voyage on the Titanic revolve around gender, class, and moving away from tradition. Rose and Jack are both restrained from experiencing complete mobility at the beginning of the journey because of gender and class restrictions, spawned through traditions followed by first class passengers on the ship. Said traditions and the restrictions they impose upon women and passengers of lower class status create much conflict for Rose and Jack, ultimately bringing about changes that send particular messages about gender, class, and non-traditional lifestyles. Said messages will be discussed at this point, beginning with the film’s commentary on gender. In the first part of Jack and Rose’s journey aboard the Titanic, gender restrictions dictated by first class society are made quite prominent. Indeed, Old Rose comments through voiceover that as a young woman in first class aboard the ship, she wasn’t allowed to live life as she wanted. It is obvious on the ship, for Rose cannot go anywhere beyond first class space and must be present to serve Cal as he wishes. Thus, being a female in first class indicates being subservient to a first class man, while his masculinity is defined by monetary wealth and control over women. When it comes to third class however, gender roles do not appear to be that strictly defined and differentiated—it appears women in third class are permitted to do what they want. Given Rose’s meeting Jack, she learns this through mingling with his fellow third class passengers, and by the end of the film adopts the attitude that she is an equal to her fiancé and other men, despite being a woman. As a matter of fact, while women in first class hold positions of inferiority to first class men, Rose renders herself an equal to Cal and even a superior, as she defies his expectations to stay with him. In order to do so, she physically rebels against him and other men who attempt to hold her back from the things she wants, particularly staying by Jack’s
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side. Rose thus not only maintains a feminine character that renders her vulnerable to sobbing when she is not with Jack, but adopts an overpowering masculine character allowing her to rescue Jack and survive the sinking. Jack himself allows Rose to maintain power over him, as he sacrifices his life for hers, and she is ultimately left to live on with an androgynous mindset. This indicates that the person who can be the most mobile is ultimately not the most masculine, but one who is both masculine and feminine, balancing the characteristics defining each. Rose survived the aftermath of the sinking because she relinquished the first class feminine ideal, while adopting what was viewed in first class as the masculine quality of being in control of her life. In addition to gender, Titanic makes very clear that class ranking doesn’t matter—what matters is working toward opportunities for mobility, and being open to said opportunities. Indeed, Jack doesn’t dwell over the fact that he is limited to third class space during the first third of the voyage. Instead, he relishes in taking advantage of the spaces in which he can go, and enjoys himself as if being a third class passenger does not matter. It does though—at least at the beginning of the journey—and Rose’s fiancé Cal makes sure to point this out once he meets Jack. Jack however, shows Rose that just because he is a third class passenger, this doesn’t mean he lacks mobility. Even though Jack is a third class passenger aboard the ship, Rose finds that he has traveled from America to Europe and is on a return trip. Jack travels such distance without even being a first class passenger, while Rose has not lived out the adventures he has even though she is a first class passenger. This alone diminishes the supposed superiority of first class to third, and renders third class superior in the sense that third class passengers are as mobile as they care to be when those of first class society are not in the way. Rose ultimately ends up adopting Jack’s third-class carefree sense of mobility, and seems to be more mobile herself because she defies first class expectations. As a complement to Rose’s finding mobility through mingling with third class passengers, Jack is presented with the opportunity to mingle in first class, and does so quite easily. It is only when Cal tries to control Rose and Jack dies that class differences are made painfully obvious, but beyond these instances, Jack and Rose move seamlessly between first and third class spaces. Rose even continues life as a lower class passenger following Jack’s death, for she built her full potential to be mobile through being a friend and lover of a third class passenger. Given this is the case, the implication is that a person
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doesn’t necessarily have to have money in order to live a fulfilling life—what matters is appreciating life itself, regardless of class status and financial wealth. In changing class and gender expectations aboard the Titanic, Rose and Jack underscore that living in a world of tradition isn’t necessarily the best way to live. The hierarchy that initially exists aboard the ship is something normal, and something that first class men like Rose’s fiancé wish to maintain. That men like Cal consist of the wealthiest on the ship that control first class women and those of classes below them lends them a sense of power not to be relinquished. Yet, Rose wishes for a life in which she isn’t under a man’s control, and Jack enters the picture ready to shake the social structures of class and gender. Indeed, Jack inspires Rose to be whoever she wants to be, while Rose lends Jack the chance to mingle in first class space and fit in with first class passengers. The opportunities Jack and Rose give each other are unheard of in the typically stratified society of the ship, and yet the two lovers readily help each other so much so that by the end of the film first class traditions no longer matter, and Rose can be independently mobile as a woman of lower class status. The change was not in vain either, for it permitted Rose the chance to live life as she had always hoped, and reunite with Jack once her life was over. In other words, living according to society’s expectations is frowned upon, while living life the way one feels is best for him or herself is glorified. Overall Summary Jack and Rose ultimately triumphed in disproving the argument that the powerful decide who is most mobile, especially Rose herself. Together, they had “access, competence” and the ability to evaluate the appropriateness of their chances for mobility, but Rose takes on the three essential components when Jack passes away.467 Her survival as a woman who can ultimately be herself redefines who is powerful, that being anyone who lives in America regardless of class status or gender. In other words, Jack influenced Rose to become the woman she wanted to be, and therefore held a power in her eyes that Cal could not match even though he was a first class man. That it is instead Jack who appears powerful enough to move through first class, and influence Rose to be the woman she wants, renders Jack powerful and Rose even more so when she survives the aftermath of the sinking and lives long enough to tell the tale. In the end, Rose possesses two disadvantages as well—she is a woman who adopts the lower class lifestyle of her love interest. Yet, the fact that she still lives a fulfilling, mobile life indicates that because she
467 Kaufman , Be g a , a d Jo e, Motilit : Mo ilit as Capital, . 150
adopted Jack’s American ways, such a life was possible. Class or gender status did not seem to matter in America as Jack pointed out, for he was able to live the life he wanted—she was given the opportunity as well after knowing Jack. Thus, Cameron’s film means to say that anything is possible for anyone in America—it is all simply a matter of being mobile. Critique of the Message While it is easy for the narrative of a Hollywood blockbuster such as Titanic to send the message that anyone in America can go anywhere and be anyone they want, the issue is that this isn’t the case. Jack easily overcame class boundaries in the film in order to experience first class while on the ship, and Rose overcame gender restrictions, but the film only shows its main characters overcoming these boundaries through interpersonal relationships—it does not explore the larger societal and political boundaries that work against many in America trying to experience the sense of boundless mobility Jack and Rose experienced. Indeed, the film does not address the many complications that hinder those of not only a particular gender or class identity, but race, ethnicity, and sexual orientation from achieving what they want in America. In this section, I explore the reality of the dream portrayed in Titanic, in terms of its not being a great possibility in life outside James Cameron’s narrative. The idea of the American dream—as represented in Titanic—is imbedded deep into the narrative of the United States. Heather Wyatt-Nichol explores this, noting that Horatio Alger emphasized “class ascendency” in much of his work, even though he appeared quite wealthy.468 She continues that we continue believing in the dream however, because of the occasional “rags- to-riches” story.469 Despite this, Wyatt-Nichol cites studies indicating that executives of large organizations downsize according to their goals and therefore keep those working below them from climbing the class ranks.470 Therefore, unlike the ease with which Jack and later Rose improve their social class, the reality is there is much more obstruction to moving into a higher social class in America. Compound class struggle with gender identity, and the reality in America is that the typical gender identity ascribed to women does not allow many to touch the surface of the American dream. At the beginning of the 1970s, Shirley Chisholm addressed this issue in noting
468 Heather Wyatt-Ni hol, The E du i g M th of the A e i a D ea : Mo ilit , Ma gi alizatio , a d Hope, International Journal of Organization Theory and Behavior 14 (2011): 259. 469 Wyatt-Ni hol, The E du i g M th of the A e i a D ea : Mo ilit , Ma gi alizatio , a d Hope, . 470 Wyatt-Ni hol, The E du i g M th of the A e i a D ea : Mo ilit , Ma gi alizatio , a d Hope, -3. 151
the lack of women in positions of power across the nation.471 Sara Chamberlain’s piece—written in the late 90s—explores this dilemma, noting that “women and children” account for most of “the American poor.”472 Women with children have been one of the most unfortunate groups, for the options of work or welfare have not provided them enough to live on and simultaneously care for their children.473 As Chisholm emphasized however, hindrances to the American dream because of gender occur in the workplace as well. More recently, it was reported that women still earn a significant amount less than men do in the workplace.474 Given these facts, Rose’s trek into a comfortable middle class life is not so easy for American women in the real world. Titanic touches the surface of issues like class and gender—even if unrealistically—but there is not consideration of issues such as race and ethnicity. At most, Jack third class comrade and good friend Fabrizio is Italian, but there is not much of a focus on him save his being friends with Jack, and he doesn’t experience any of the first class luxoury Jack does, only to die as a third class passenger. Even at the beginning of the voyage when he and Jack are at the prow of the ship, Jack is the one who moves higher onto the railing exclaiming “I’m the King of the world!”475 Jack is Caucasian, while Fabrizio is ethnic—thus, although Titanic appears to send the message that the American dream is possible for everyone, it neglects to make it possible for nonwhites as well as those of another ethnicity. The issue is that those of a different racial or ethnic background lack the same opportunity to be mobile as afforded to those who are Caucasian in America. A case in point is what Lourdes Diaz Soto cites as the requirement for those in America who are bilingual to give up their native language in order to have a chance at the American dream.476 In addition, ethnic minorities are typically deprived of a chance at achieving the American dream because of income. In fact, a study from the late 90s found that most low-wage earners were ethnic minorities.477 Thus, while Titanic appears to send the message that the American dream is possible for everyone, it only renders it possible for a white character, marginalizing and even ending the life of its minority character Fabrizio.
471 “hi le Chishol , ‘a e, e olutio a d o e , The Black Scholar 3 (1971): 34-5. 472 “a a Cha e lai , Ge de , ‘a e, a d the U de lass : The T uth ehi d the A e i a D ea , Gender and Development 5 (1997): 24. 473 Cha e lai , Ge de , ‘a e, a d the U de lass : The T uth ehi d the A e i a D ea , . 474 Marilyn Gilro , Pa E uit fo Wo e : A Dista t D ea ? The Hispanic Outlook in Higher Education, February 26, 2007, para. 1. 475 Titanic, directed by James Cameron (1997; Los Angeles, CA: 20th Century Fox Home Entertainment, 1999), DVD. 476 Lou des Diaz “oto, Is the A e i a D ea fo Mo oli guals O l ? The Hispanic Outlook in Higher Education, January 4, 2010, para. 1. 477 Cha e lai , Ge de , ‘a e, a d the U de lass : The T uth ehi d the A e i a D ea , -3. 152
Not only does Titanic’s message neglect to address the achievement of the American dream for those of a minority race and ethnicity, but its narrative is focused on a heterosexual relationship. Those of a non-heterosexual orientation in other words, do not see themselves as a part of the dream as represented in this film. Beyond the film’s narrative, the reality is indeed that gays, lesbians, and bisexuals face issues such as work discrimination.478 This renders the American dream such that it difficult to accomplish for those of a non-heterosexual orientation. At best, Titanic’s narrative addresses the idea that anyone, no matter his or her biological and social characteristics can reach the dream because of the androgynous roles Rose appears to adopt by the end of the film. Beyond that, there are no characters in the film who appear to be of a non-heterosexual orientation and have a chance at the life of mobility Rose pursues. Given the way in which Titanic represents the American dream, it is clear many factors to reaching the dream are left out of the film’s narrative. Class and gender are slightly addressed, but the political and economic factors hindering the success of those from a particular class or of a particular gender identity are not underscored. Issues of race, ethnicity, and sexual orientation remained unaddressed as well. Recommendations for Future Studies Given the analysis of space and mobility and implications as far as gender, class, and tradition in this thesis, there are several ways in which Titanic can be explored in future academic studies. As this was a rhetorical-critical analysis of the film, framing it through particular rhetorical theories such as Kenneth Burke’s dramatism could provide further insight into the film’s message. Additionally, focusing on the film through class, gender or tradition alone would add to studies of those particular issues. In analyzing Titanic through Burke’s dramatism, scholars can interpret the meaning of the film from several different angles. The five terms of dramatism—“Act, Scene, Agent, Agency, Purpose”—provide a basis for analyzing the film through the eyes of each character.479 For example, how dramatism allows for viewing the journey in the film from Jack’s perspective compared to Cal’s, and how that affects the film’s meaning for its viewers. Scholars may also analyze the film by focusing on class, gender, or tradition, and arguing for which aspect of the pentad is emphasized when analyzing these subjects, and what this indicates about the film.
478 Ba a a J. Bu dge, Legal Dis i i atio Agai st Lesbian, Gay, and Bisexual Employees: A Multi-Theoretical Model to E plai a Elusi e Ci il ‘ights La , Journal of Policy Practice 8 (2008): 17. 479 Kenneth Burke, A Grammar of Motives (Berkeley and Los Angeles, CA: University of California Press, 1969), xv.
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The issues of class, gender, and tradition within the film could be analyzed further as subjects of discussion in and of themselves. For example, how class is portrayed within the film and how that might impact the way we view class issues could be studied. The portrayals of gender or tradition and their impact upon the message of the film would provide scholarly analyses as well. Final Words As underscored throughout this closing chapter, Jack and Rose’s fight for their own mobility sends the message that anyone will be just fine pursuing the life he or she wants, regardless of society’s standards. Additionally, the film underscores the idea that a life of financial wealth isn’t what matters, but a life of joyous experiences does. Class or gender are factors that do not matter—the key is perseverance. Perseverance is what Rose needed to escape Cal and be mobile despite Jack’s dying, and therefore gain an independent sense of mobility. Said mobility defied social standards and therefore emphasized the idea that anyone from America could make it anywhere despite their class or gender status. In other words, the American dream is presented as alive and well for all, when this is not necessarily the case. This portrayal of Titanic renders it easy to overcome class and gender barriers if you have the will and perseverance, but this occurs through the simplistic narrative of a love story. The many complications that might render it difficult for someone of any class, gender, and additionally race, ethnicity, and sexual orientation to reach the American dream remain unconsidered.
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BIOGRAPHICAL SKETCH
Cindy Maria Stewart was born in Spokane, Washington on December 9, 1988. She obtained her Bachelor of Arts degree in Media/Communication Studies with minors in Hispanic Marketing and Spanish in April 2011, graduating Magna Cum Laude. As an undergraduate, she interned for the Florida State University Film School’s Torchlight Program during the spring of 2010. As a graduate student she has been a teaching assistant for Contemporary Human Communication and Fundamentals of Speech, an online mentor for Hispanic Marketing Communication, and a lead instructor for Fundamentals of Speech CARE. She has also presented papers at three academic conferences. Her main research interest is the rhetoric of pop culture. She will graduate with a Master of Arts degree in Media and Communication Studies on December 13, 2013.
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