Undergraduate Dissertation Trabajo Fin De Grado

Home , Saoirse Ronan

Undergraduate Dissertation Trabajo Fin de Grado

Like Mother like Daughter? Star Persona and Female Bonds in Lady Bird

Cristina de los Ríos Martín

Supervisor

Dr. Celestino Deleyto Alcalá

FACULTY OF ARTS 2019-2020 TABLE OF CONTENTS

1. Introduction ...... 3

2. Star Persona and Image: Saoirse Ronan ...... 4

2.1 Understanding the concept of star persona ...... 4

2.2 Saoirse Ronan and mother-daughter relationships) ...... 6

3. Lady Bird ...... 13

3.1 Narrative and formal analysis of the film ...... 13

3.2 Character analysis and Saoirse Ronan’s star persona in Lady Bird ...... 18

3.3 The mother-daughter relationship in Lady Bird ...... 24

4. Conclusion ...... 33

5. Works Cited ...... 34

Abstract

This undergraduate dissertation examines the extent to which star studies are essential in film. More specifically, it looks at Saoirse Ronan’s star persona, and the complex mother-daughter relationship depicted in Greta Gerwig’s Lady Bird (2017). In order to carry out this analysis, the essay offers an introduction to star studies, and then to

Ronan’s star persona in particular. Having gained insight into what Ronan’s presence in these films represents, the essay provides a narrative and formal analysis of Lady Bird, followed by close reading of the complex mother-daughter interactions. The aim is to prove that Ronan’s image reinforces the notions of meaningful female bonds presented in the film, mainly through the mother-daughter relationship.

Resumen

Este trabajo de fin de grado analiza hasta qué punto los estudios sobre las estrellas son esenciales en el cine. Concretamente examina la figura de la actriz Saoirse Ronan, y la compleja relación maternofilial descrita en la película Lady Bird de Greta Gerwig

(2017). Para llevar a cabo este análisis, este ensayo aporta una introducción a los estudios sobre las estrellas, y además a la personalidad cinematográfica de Ronan en concreto. Una vez adquirido conocimiento sobre la aportación de la actuación de Ronan en las películas en las que aparece, el ensayo proporciona un análisis narrativo y formal de Lady Bird, seguido de un estudio detallado de las complejas interacciones madre- hija. El objetivo es demostrar que la imagen de Ronan refuerza el concepto de vínculos significativos entre mujeres representados en la película, principalmente mediante la relación maternofilial.

1. INTRODUCTION

Star studies and performance have long been established as central features of story construction in the cinema. The analysis of the presence of certain actors, who often develop a distinctive star persona throughout their career, has proved the importance of these studies in films. The specific use of actors for certain roles conveys meaning to the overall construction of the film, and at the same time, the specific roles convey meaning to the construction of the actors’ star personae. In Lady Bird (2017),

Saoirse Ronan plays Lady Bird, an unruly teenager defined by her own standards.

Ronan’s presence in a film that deals with adolescence and coming of age already reveals significant information about the use of her specific star persona. It is an understatement that teen films, and especially girl teen films, have been historically considered trivial and meaningless, mainly due to the patriarchal approach to femininity and women in general. This is one of the reasons why Lady Bird stands out among other films of the genre. The unconventional heroine, who unapologetically displays her self- made femininity, and her relationship with her mother combine to construct a realistic portrayal of women. Thus, due to the importance this generation places on strong female role models, Ronan’s star persona deserves special attention in this particular film.

The aim of this essay is to examine the star persona of Saoirse Ronan, one of the leading actors of her generation, in the film Lady Bird. The analysis of her specific presence is tied to the emphasis placed on female bonds throughout the film, which are most clearly expressed through the mother-daughter relationship. In order to carry out this analysis, an introduction to the concept of star persona will be provided, followed by a close reading of Lady Bird, which includes a narrative and formal analysis, characterization, and discussion of mother-daughter relationships in the film. 3

2. STAR PERSONA AND IMAGE: SAOIRSE RONAN

2.1 Understanding the concept of star persona

Since the beginning of film history, film stars have shared similarities with the actual luminous celestial bodies seen in night skies. Brilliant, dazzling, awe-inspiring and hard to reach are some terms that are often used to describe both phenomena.

Historically, stars have embodied and developed a series of star personae that derive from their roles as both characters and public images. This has proved to be unavoidable because, after all, every single individual carries out a performance, just like actors in a play; in other words, everyone, including stars, presents a constructed version of themselves which serves as a persona they choose to exhibit to the public (Dyer, 1998, p.21).

Richard Dyer’s discusses stars as a social phenomenon, as images, and as signs.

According to him, when it comes to performance, sometimes there is not much of a difference between the stars’ personae and the roles they have to play (1998, p.20).

There are many instances in which the stars’ private lives and the way in which they are made public through various channels contribute to the construction of said personae.

What these insights suggest is that in general, this is exactly what a star is: a culturally constructed persona. Culture and society have an immense impact in this construction, which sometimes leads to an attachment of stereotypical images as it is the case of

Marilyn Monroe (Dyer, 1998, p.31). Bearing these ideas in mind, it seems logical to accept that the social ideology of a particular period of time has also been examined as an essential factor when constructing star personae. Thus, ideology is an important part of the construction of this phenomenon; the different collective thoughts of a society define and determine what should or should not be constructed or shown in public.

(Dyer, 1998, pp 1-32). This is also the case of Saoirse Ronan’s star persona, especially in so far as the generation to which she belongs is marked by feminist ideas about the role of women. This dimension of the star is analysed below.

The star phenomenon is closely linked with audience and public recognition, and therefore it must be acknowledged that there may be important contrasts across different cultures and backgrounds. Since this dissertation focuses on Saoirse Ronan, it is important to keep in mind her background as an Irish American actor who has been active and acclaimed in both U.S. and British cinema. When it comes to the latter, there are certain issues that need to be addressed. As Macnab explores, the enormous impact

Hollywood has had in film history is undeniable, and one of its consequences is the eclipsing and undermining of other national systems. British cinema has always presented intrinsic differences to Hollywood. Macnab’s study tackles and explains the mysterious quality appreciated in American film stars, which seems to be absent in the

British filmic images; back in the day, British stars were considered to have been created as mere imitations or renewed versions of already-existing Hollywood stars

(p.177). However, as he further explains, it is precisely this lack of transcendental and mysterious allure and glamour that has made British stars so relatable and widely accessible.

These differences are important in our analysis because in the particular case of

Ronan, it can be acknowledged that her roles in Hollywood and U.S films, such as those of The Host (2013) or more recently Little Women (2019), have granted her a great deal of glamour and recognition among diverse audiences, especially among youth and people her age. But it is her involvement in British cinema what has enhanced and highlighted the relatable quality mentioned above, for instance with her character in

Brooklyn. Overall, the way Ronan approaches her characters as almost parts of her own 5

persona suggests genuine commitment to having her own voice; this, together with the realism and relatability she has acquired through European roles is the reason why her

Irish-American background seems so important.Therefore, it seems clear that in many cases, what boosts the popularity of the stars is not only their glamour or mysterious quality, but also the degree to which the devoted audience is able to relate to them on an apparently personal level. Stars have always been presented as unearthly idols with an almost deified quality for a large number of people. The process of “de-divinisation”

Dyer explores (1998, p.22) is essential when studying Saoirse Ronan, because her ordinariness and realism, acquired mainly through her Europeanness, is what defines her star persona and what makes the audience feel close to her. The importance of her persona is not located in her glamour, but, rather, in features such as her sincerity about certain topics like feminism, or even the fact that despite having been born in the U.S., she often speaks with an Irish accent, thus highlighting, rather than hiding her roots.

2.2 Saoirse Ronan and mother-daughter relationships

In this section I will discuss the star image of Saoirse Ronan in relation to the representation of mother-daughter relationships in the cinema. To begin with, I will briefly refer to her filmic evolution, as it exhibits a pattern of highly significant qualities which have gradually forged her own distinctive star persona. Ronan has smoothly flourished into mature roles, and her more recent parts denote a rather different image from that of the typical teenage girl.

Her first significant role took place in the film Atonement (2007), for which she achieved her first Oscar nomination. A young Saoirse plays the pre-adolescent version of Briony Tallis, an ambitious, impulsive, and intelligent young girl whose actions

trigger a series of tragic events. She embodies an unconventional portrayal of female pre-adolescence, as she engages in activities which differ from what girls of her age would do, for instance, writing plays. Her next significant film used for this analysis

Hanna (2011), in which Ronan plays the role of an atypical teenager whose combat skills, precise and perfect movements, and aiming abilities with guns or arrows, assert her strength and her difference from a normal human being. Her tough and overall cold attitude, together with her unglamorous clothes and looks should also be highlighted.

The fact that she was created through scientific experiments further contributes to her unearthly image in this film. However, a relatable quality is also appreciated in the relationship she develops with Sophie (Jessica Barden), a girl her age she encounters while escaping her fate. This is her first interaction with somebody her age, and the female bonding created between them brings a touch of reality to Hanna’s peculiar life, making the audience empathize with her in a very sincere way. The Host (2013) serves as another example of Ronan’s unique and out-of-the-ordinary image. In this film she embodies the epitome of otherness and unearthly appearance. Her character, Melanie, has to literally coexist with an alien inside her. This is seen in her eyes, which present an alien-like luminous circle around the iris.

Additionally, starring in a film tinted with teenage romance brought Saoirse even closer to her generation. Brooklyn is another decisive stage in her quick evolution, a film for which she received another Oscar nomination because of her remarkable performance as Eilis. The first significant feature that contributes to character construction is the difficulties she finds in her coming-of-age period of life, which sets an ideal mix of yearning, ambitions and nostalgia. She has to face the decision of going back to her roots, but at the end decides to stay in Brooklyn. Her firmness contributes to the image of a strong woman who does not let other people decide for her. As for her

physical appearance, at the beginning she is a modest young girl with not many pretty clothes or outstanding looks, but moving to Brooklyn involves a very significant physical change, a change that helps viewers get used to the rapid development of her star persona through her film roles. Her part in Mary Queen of Scots (2018) is another instance of her signature combination of ethereal beauty and female strength and assertiveness.

In the course of a few years, Ronan’s image has gradually flourished into a very recognizable portrayal of young adulthood, one that is half way between traditional femininity and modern womanhood. This is made clear in, at the time of writing this essay, her most recent role as Jo March in Little Women (2019). This character is the epitome of female strength, intelligence and independence, and brought Ronan her fourth Academy nomination. Jo is portrayed as the least feminine sister, but the most ambitious one at the same time, embodying a woman writer deeply engaged with the feminist issues of the time, who struggles to make a living out of her literary works.

One of the most remarkable moments in the film is when Jo cuts her hair to provide income for her family, which denotes her impulsiveness and the little stake she often places on her physical looks.

In general, Saoirse Ronan’s career as an actor features roles which have been mainly defined by unconventional and images of (pre)adolescence and youth, informed by new forms of consciousness brought about by feminist struggles. As was analysed above, she usually embodies powerful female characters who do not humble themselves in front of male authorities and who usually make their own decisions and choose their own path of life according to feminist ideals. Her star persona has been consistent both on and off screen, which may be one of the reasons why she is so relatable for people of similar generations. Ronan actually reflects and resembles her strong-willed characters 8

in that she chooses what kind of roles she wants to play, sometimes with help from her parents or close friends. She has managed to construct her own star persona by choosing complex female characters who have more to offer than just looks.

It is also important to acknowledge that her physical appearance, which was briefly mentioned in the analysis of some of her roles, is a very important element in the construction of her star persona. Throughout her whole career, she has acquired the image of a tough rather than innocent or classical beauty. According to Lovell and

Krämer, female star personae are usually defined in terms of their physical assets (1999, p.7), but Ronan’s persona is actually defined by her strong image. This relates to the issue of the overt sexualization of very young actors, especially teenage girls. Their physical appearance is exploited by a superficial, consumerist, patriarchal society that only cares about making money no matter the cost. However, Saoirse Ronan has received adequate advice in terms of her roles and the image she presents. In her own words, she was never chosen for her looks, as most of her characters were “young girls who had nothing pretty about them”. The name of her character in Lost River (2014),

Rat, may be taken as an index of the relatively limited importance of physical appearance in her screen image. She delivers emotions in an extremely realistic way, through subtle changes in her looks at other people or objects, slight frowns and smiles; often she offers nothing but blank expressions. Her mastery of these slight, sophisticated changes, alongside some instances of more intense expressions of emotion, is part of her acting method. Ronan’s voice is another important aspect when analysing the construction of her star persona. According to Lovell and Kramer, voice is

“one of those key acting tools that have constantly been overlooked” (p.126). In the case of Ronan in particular, her soft delivery has become highly recognizable, as can be seen in the voice part she plays as Marguerite Gachet in the animation feature Loving Vincent

(2017). Her calm but clear quality of voice can also be appreciated when she sings softly in Lost River. Moreover, she has proved to dominate the use of different accents and tones, depending on the demands of the different parts.

Ronan’s part in Little Women calls our attention to one final dimension of her screen persona: her contribution to the construction of mother-daughter relationships, the central topic of this essay. Mother-daughter relationships are central to an understanding of the development of feminism throughout history, and especially important to the movements First and Second Waves (Karlyn, 2011, p.17). In most cases, though not always, mothers are the earliest female reference for their daughters.

Thus, mothers are decisive in the construction of women’s personality, and this can have both positive and negative effects. For instance, daughters tend to experience difficulties to empathize with their mothers, especially during adolescence. It is widely known that this phase is difficult and challenging no matter the background, as young people tend to feel that nobody understands them, when in fact, adults have obviously also experienced similar situations during their own teenage years. As for the other way around, some mothers can see their daughters as younger versions of themselves, or blank pages onto which they can project their own desires and ambitions. Mothers tend to protect their daughters, but paradoxically, sometimes the best way to learn is to actually make mistakes. As a result of the ways society regards motherhood, numerous films have often established the mother figure as “incompetent, monstrous, or just not there” (Karlyn, 2011, p.12).

However, there are certain portrayals of mothers that provide more realistic insight about mothers and daughters. In this essay, I will analyse a particular cinematic instance of this relationship, in which the mother wants the best for her daughter and fights for her, while the daughter, initially displaying very negative feelings against her 10

mother, eventually comes to understand and appreciate her mother’s efforts. Yet, my analysis does not intend to render maternal figures as exclusive in the development of individuals, as there is an array of existing and equally valid types of families apart from the more traditional ones. The dynamic analysed here is only one instance among a rich history of cinematic representations.

There are many films that deal with the relationship between mothers and daughters. In fact, not only does this special connection often serve as an entry point into the representation of female relationships, but it has also provided an essential aspect in terms of cinematic feminism in general. Despite the fact that this relationship was unexplored, invisible or even undermined during the Second Wave of feminism

(Karlyn, 2011, p.8), it is now considered a crucial social, cultural and psychological dimension of the female experience. Patriarchal norms and constructions have brought about the disruption of female relationships in general, as the isolation of women from other women makes it easier for patriarchy to have control and dominance over them.

Mother-daughter bonds play a crucial role in postfeminist theories and Third Wave feminism, which also incorporate issues such as race and sexuality into the mix (Karlyn,

2011, p.32). Karlyn uses the mother-daughter relationship in Titanic to illustrate those issues, exploring the mother, Ruth (Frances Fisher), as the embodiment of the oppressive patterns of behaviour of previous generations, as she uses her daughter as a mere object, like men blinded by patriarchal thoughts would do. As a consequence, neither of these women manage to sympathize with each other or understand the other’s feelings.

Saoirse Ronan has often played teenagers in stories in which the mother- daughter relationship is often addressed, though not always portrayed. For instance, in

Brooklyn, Eilis (Ronan) is confronted with the difficult choice of following her own 11

path and ambitions or staying to fulfil her mother’s (Jane Brennan) desires. In this case, her mother does not have particularly bad intentions, but her situation of having lost one of her daughters leads her to give preference to her own desires instead of empathizing with her daughter. However, Eilis ends up making her own decision, even if that means doing the opposite of what her mother wants. Finally, it is important to acknowledge that the younger generation has always felt identified with their own generational issues, especially when these are oppositional towards the previous generation. In the particular case of mothers and daughters, the latter desperately try to find and explore their own identity, which is sometimes brought about by their difference from their mothers whether that be in terms of physical appearance, clothing, or system of beliefs. All these issues make this relationship even more difficult, instead of reinforcing positive values like female support and mutual understanding. An instance of the generational differences that separate mothers and daughters can be found in the different perspectives regarding sexuality of the Second and Third Waves of feminism, with the latter being “less conflicted about sexuality in any form” (Karlyn, 2011, p.33).

Nevertheless, in some cases like the one this dissertation aims to examine, mothers and daughters end up coming to terms with these problems and difficulties and manage to finally empathize with each other, especially when daughters reach a more mature stage in life.

3. LADY BIRD

3.1 Narrative and formal analysis of the film

Directed by Greta Gerwig and starring women in prominent and remarkable roles, Lady Bird (2017) explores the depths and struggles in the relationships between girls and their mothers. I will start with an analysis of the film’s narrative structure, which will allow us a deeper understanding of the film itself and the choice of Saoirse

Ronan’s star persona to fulfil the role of Lady Bird. In terms of genre, Lady Bird can be classified as a coming of age or teen film, due to the way it deals with different changes and realizations regarding maturity that Lady Bird, the main protagonist, has to face.

Additionally, this film also uses certain features of the “Girl World” film (Karlyn, p.79).

Girl World features can be found especially in Lady Bird herself; for instance, her unruliness and her longing to experiment with her physical appearance or with romantic issues. In general, however, despite those aspects that might appeal to teen audiences, the uniqueness of this film lies in its realism, achieved through the different characters and the story itself, and through Ronan’s star persona.

On the surface, the narrative structure of Lady Bird seems to focus on a traditional formula used in a large number of coming of age films. However, underneath the surface Lady Bird subverts and questions most of the narrative conventions that, according to Driscoll, define the teen film (p.2). For instance, Lady Bird’s relationships, first with Danny (Lucas Hedges) and then with Kyle (Timothée Chalamet), contribute to a narrative convention that focuses on “content usually centred on young heterosexuality, frequently with a romance plot” (p.2). Yet, these relationships are just a part of the narrative and not its central concern. Therefore, Lady Bird’s quest for an identity is not based solely on her dependence on her male love interests. Her relationship with her best friend Julie (Beanie Feldstein) is also used as a narrative

resource. Despite her supporting role, Julie is presented as a fully-formed person with as many dreams and motivations as the main protagonist. Both Julie and Marion (Laurie

Metcalf), Lady Bird’s mother, prove that female bonds prevail when constructing Lady

Bird’s identity. The levels of intimacy and genuine love are much more prominent with these two women than with Danny or Kyle, as will be analysed below.

There are other teen narrative conventions that are preserved and depicted, such as the “youthfulness of central characters” (p.2), mainly reflected in Lady Bird herself and in Ronan’s star persona. The conflict with an older generation (p.2) is also central to

Lady Bird’s narrative; in fact, the mother-daughter relationship constantly based on opposition and eventual understanding is precisely the main pillar of the narrative.

Additionally, the ending also encapsulates established conventions of “Girl World” films. According to Karlyn, “the danger inherent in Girl World becomes clearer when observing the narrative closure of these films, which all end by domesticating their young protagonists” (p.79). Lady Bird does indeed end up being tamed, as seen when she starts referring to herself as Christine, the name her parents gave her. However, narrative development suggests that instead of subjugation to a greater power, this final domestication stands for self-realization, maturity, and transformation into adulthood.

The very beginning of the film, as well as the ending, already reveal plenty of information regarding narrative structure; the narrative does not technically begin, and it does not fully end either. The intention is to present assorted moments that do not have a clear beginning or ending. An illustration of this is the opening shot with Lady Bird and her mother Marion immersed in a peaceful sleep, which marks an unclear beginning, achieving a high degree of realism and normalcy which sets up the atmosphere and the main motif of mother-daughter for the rest of the narrative. Another special aspect of the narrative to be taken into account is the dichotomous structure 14

implied in this starting shot, which is steadily repeated in similar ways throughout the film: mothers/daughters, adolescence/adulthood, Danny/Kyle, Julie/Jenna,

Sacramento/New York, working class/upper class, to name but a few. These contrasts provide the narrative structure with contradictory feelings which best define adolescence. All in all, the narrative structure based on capturing brief moments in time allows the film to deal with a high degree of information using a tight running time, which in turn makes the development of events never feel too rushed or too slow. As

Simran Hans puts it, Lady Bird’s “joyful, forward-rushing narrative rhythm captures the feeling of adolescence ending before it has barely begun” (2018). In order to achieve this well-paced rhythm, fast editing is used throughout the film to underscore the fast development of the narrative.

Editing is one of the main pillars of filmmaking, as it “strongly shapes viewers’ experiences, even if they aren’t aware of it”, and it also “contributes a great deal to a film’s organization and its effects on spectators” (Bordwell and Thompson, 2010, p.223). That is to say, editing affects the overall construction and understanding of a narrative. In the case of Lady Bird, the editing techniques highly affect the way we perceive the film. One of the striking features of the editing is the fast pace used to connect and overlap scenes, and the short duration of said scenes, many of them lasting less than a minute. The editing and transitions between scenes pick up speed and momentum as the narrative progresses, giving the impression of time pushing Lady Bird forward, whether she is ready or not. As a result, the film becomes a realistic account of fragments of Lady Bird’s life during her senior year of high school. The fast transitions between scenes echo her inability to hold on to any of those fragments because they are gone before she has time to realize, just like the period of adolescence in general. On the other hand, these fragments do not necessarily follow cause/effect logic. That is to say,

the main function of the editing of Lady Bird is not to show consequential events, but an assortment images of senior year. Occasionally, some scenes that last longer than the average. For instance, the longer duration of the car scene near the opening of the film is highly significant and symbolic, as it sets and foreshadows the state of the mother/daughter relationship; Lady Bird and Marion share a brief moment of peaceful and mutual understanding and affection (Figure 1), but their conversation gradually morphs into one of their frequent conflicts, culminating with Lady Bird unexpectedly jumping out of the car. Immediately after Lady Bird’s impulsive and unexpected reaction, the editing changes into her pink cast, completely changing the setting completely, inevitably moving forward.

Figure 1: Mother-daughter mutual understanding

Another instance of a noticeable long scene can be found half way through the film, when Lady Bird loses her virginity with Kyle. The duration of this scene symbolizes how important this moment is for her, and it echoes the way time seems to stop depending of each individual’s feelings. The third and last example takes place at the

end of the film, when Lady Bird enters a church and listens attentively to the choir. In this moment of realization, she finally comes to terms with her own identity and proceeds to call Marion. As a result of the construction of the narrative and the editing, the film achieves a certain degree of closure, as both opening and ending delve into

Lady Bird and Marion’s relationship. However, it is not a closed ending, since Lady

Bird’s sincere words create the feeling that there is much more to it than just what happens on the screen. Frames showing Lady Bird and Marion driving in separate cars

(figures 2 and 3) are interspersed with the former’s one-sided phone conversation directed to the latter at the end of the film, echoing the previous car scene at the beginning (figure 1). The similarity found between these frames further contributes to the unfixed closure of the narrative. The ones found near the ending suggest that there is physical distance between them, but the editing of their faces implies their emotional proximity (figures 2 and 3).

Figures 2-3: Physical distance between Lady Bird and Marion brings about emotional proximity

In conclusion, the film’s narrative structure and the editing strategies used to connect the events show some unconventional aspects, relying on non-consequential and fast- paced snapshots of Lady Bird’s life. Fast editing works as a metaphor for the ephemeral nature of late adolescence. This narrative structure and type of editing seem rather unusual for the genre in question, which consequently renders Lady Bird a rare teenage film. Saoirse Ronan’s presence intensifies the special place occupied by Lady Bird within the teenpic. As has been analysed above, Ronan’s star persona stands out among actors of her generation, mainly because of the young unruliness attached to her characters. This, together with her Europeanness further contributes to the construction of her star persona, which should be highlighted in this particular teenage film.

3.2 Character analysis and Saoirse Ronan’s star persona in Lady Bird

This part of the analysis will focus on the importance of the choice of Saoirse

Ronan as the main character in Lady Bird. As was previously mentioned, Ronan’s star

persona has developed an unconventional image of female youth. This image reappears in Lady Bird and plays a crucial role in the construction of the protagonist. Before diving into the question of the importance and implications of Saoirse Ronan bringing

Lady Bird to life, I will explore certain aspects of the characterization of Lady Bird: her name, physical appearance, social status, and social relationships.

The first and most outstanding feature that provides information about Lady Bird as soon as she is presented is her name. Ronan’s is actually also part of her own star persona, as its rare pronunciation has been repeatedly discussed in interviews. Dyer explores the importance of the names of both character and star, as it “particularises him/her and also suggests personality traits” (p.109). Throughout the film, Lady Bird expresses her desire of not being called by the name her parents chose, Christine, but by her self-imposed one, ‘Lady Bird’, as “it’s given to me, by me”. Thus, bearing in mind that “names can be foregrounded in relation to identity” (Dyer, p.109), different connotations can be appreciated by her two different names. The former suggests tight connections to religion, both in its origin and its meaning, as it literally translates as

‘follower of Christ’. In contrast, the name Lady Bird implies her independence, control over herself and reluctance to follow others, rendering this character as the epitome of self-definition. Physical appearance is another feature that constructs Lady Bird as a character, and is also explored by Dyer as a sign of character. According to Dyer, “what a character looks like indicates their personality, with varying degrees of precision”

(p.110). Lady Bird’s appearance is presented as a very personal and unique part of her personality (figure 4). Her pinkish-orange short hair showing dark roots reveals that she has probably done it herself instead of having a professional hairstylist do it, and her prom dress serves as a physical expression of her personality, as its intense pink colour reflects her uniqueness and longing to live up to her own expectations.

Figure 4: Lady Bird expressing herself through clothes and physical appearance

Social status is presented as highly important in the film and in Lady Bird’s identity. It is clear that wealth, class alienation, and the sheer contrasts between social classes play a crucial role in her life. She rejects her working-class roots and longs to escape to

“where culture is”. Since teenage perspectives often associate wealth with success, happiness and popularity, Lady Bird, from this very immature teenage perspective, makes up a fake persona to achieve those high-class expectations and to befriend Jenna

(Odeya Rush), an upper-class girl from her school. This brings us to the issue of social relationships, which play a crucial role in her identity and the transformation it eventually undergoes.

Her relationships with her mother and her best friend are given more weight than any other relationship throughout the film. This points to the importance of female bonds, which are what prevail and what ultimately help Lady Bird find and shape her own identity. Female bonds through friendship peak during prom, where Lady Bird reconciles with her best friend Julie and realizes her relationship with Kyle and Jenna was not genuine. Once the two best friends’ chemistry proves to be a genuine bond, 20

Lady Bird asks Julie to go to prom with her. These scenes are very significant, since the prom represents a huge ideological element in teen films (Smith, 2017, p.65).

According to Smith, the ideology behind it often presents patriarchal notions such as

“the requirement to attend with a partner of the opposite sex, in a highly gendered outfit, reveals the event’s heteronormativity, and with it that of the school film” (2017, p.65).

The fact that Lady Bird asks Julie to go to prom implies female bond in which conventional and patriarchal notions do not apply. The affection displayed in the following shots prove the way Lady Bird’s prom confronts those notions by focusing on female affective relationships, support and solidarity (figures 5-6).

Figures 5-6: Sequence of shots of Lady Bird and Julie's female bonding

Despite the fact that Lady Bird and Julie’s relationship shows a whole different level of chemistry and affection, the romantic relationship she experiences with Kyle should definitely be mentioned, as it also contributes to the shaping of her identity. The importance of her sexual encounter with him is reflected in its duration, as it is the longest scene of the film. Lady Bird regards the loss of virginity as a very important step when it comes to maturity and coming of age. Feminist theory is essential when analysing this scene, as it confronts the notions of the male gaze. Laura Mulvey’s theoretical framework about the male gaze and pleasure has exposed the recurrent innate patriarchal notions of femininity in Hollywood films, and it is thus necessary to understand the events in this scene.

The magic of the Hollywood style at its best (…) arose (…) from its skilled and satisfying manipulation of visual pleasure. Unchallenged, mainstream film coded the erotic into the language of the dominant patriarchal order (Mulvey, p.57)

Although the focus of this theory is mainly placed on classical cinema, the legacy of the patriarchal notions is still present nowadays, highlighting the need for female

filmmakers to portray female experiences and perspectives. Greta Gerwig manages to reproduce Lady Bird’s loss of virginity experience from a woman’s perspective, avoiding the objectification of Lady Bird’s body for the mere purpose of male pleasure.

Despite her eventual disappointment with the experience, she is the one in control of the events; it only happens when Lady Bird claims she is ready, and she is on top of him despite her own sexual inexperience. What is more, patriarchal beliefs involving virginity are also confronted because her self-worth is not diminished. She does show concern and sorrow because of the disappointing turn of events and Kyle’s lack of empathy and honesty. However, the way Lady Bird regards herself does not change; if anything, it makes her stronger and wiser.

These aspects of the character’s personality become more complex through

Ronan’s performance and star persona. The character traits mentioned above can also be applied to many of the roles that have gradually shaped her star persona. For instance, one of the most prominent ones is her role as Jo in Little Women; the parallels found between these films, both directed by Gerwig, are found mainly in the characters played by Ronan. While Lady Bird embodies the contemporary intense and angsty teenage energy, Jo illustrates a classical, passionate young woman struggling to stand up for herself in an era ruled by extreme patriarchal notions. The presence of Ronan in both

Little Women and Lady Bird provides a high degree of female strength, significant control over the character’s lives, actions, and self-made personalities, and therefore they both serve as essential landmarks in Saoirse Ronan’s star persona. Ronan’s character in Hanna also deals with the notions of female bonds through her relationship with Sophie (Jessica Barden), who is essential in Hanna’s character development. In a similar way, Julie (Beanie Feldstein) influences Lady Bird’s character, contributing to her eventual transformation. Her character in Brooklyn, Eilis, is also worth mentioning

because of her indecision between staying in her hometown with her mother or pursuing her own life at the other side of the world. Both Lady Bird and Eilis end up choosing a self-made lifestyle away from their roots, but due to the differences found in their relationships with their respective mothers, the final events and realizations are also very different.

Furthermore, the characterization of Ronan’s roles brings about a high degree of empathy, by which the audience identifies with the character on a deeper level. This is at the same time linked with the way Ronan’s audience, especially those of her generation, holds a similar kind of empathic feelings towards the actor. This public recognition is important in teen films in general, as they are mainly defined by the audience (Driscoll, p.1). Thus, the presence of Saoirse Ronan is essential in Lady Bird and in all the films mentioned. The importance of female bonds in her star persona, as representative of her historical context, is reinforced in Lady Bird’s characterization.

3. 3 The mother-daughter relationship in Lady Bird

In Lady Bird, the mother-daughter relationship lies at the core of the film. This relationship is always either in the spotlight or looming in the background of every previously-mentioned aspect of the film, rendering two different but at the same time similar strong women as the main foci of the story. The narrative analysis and techniques, the characterization, and the presence of Saoirse Ronan’s star persona contribute to a highly realistic depiction of a complex mother-daughter relationship, in which feelings of empathy on the part of the audience seem unavoidable. This particular relationship has extreme importance due to the type of female representation it conveys, and it cannot be overlooked that it is told from a woman’s perspective. Marion is

presented as a hard-working and strong-willed woman, but she is also perceived sometimes as the villain from Lady Bird’s point of view. She displays a certain degree of tolerance regarding her daughter’s immaturity, but she sometimes fails to understand her. At the same time, Lady Bird seems to understand her mother sometimes, but she often lacks empathy for her situation. Her unusual but realistic portrayal of adolescence can be read as a celebration of female independence and self-definition, but she ends up focusing on nobody but herself. Thus, both women are portrayed in a realistic way, with as many qualities as flaws.

Figure 7 shows the first scene of the film, and it encapsulates the mother- daughter dynamic through an overhead medium shot of Lady Bird and Marion.

Meaning and emotion are conveyed by her position facing each other, as if they were confronted, but at the same time this evokes their unconscious seeking of each other’s support and comprehension; despite their frequent clashes and conflicts, they face each other emphasizing their underlying similarities. In other words, throughout the film, mother and daughter are portrayed in constant opposition, and they both firmly think that one fails to understand the other. However, as Lady Bird’s father, Larry,–(Tracy

Letts) mentions, they both have similar, and similarly strong personalities beyond that façade. Thus, their position facing each other on the bed points to this similarity and their love for each other despite their recurrent confrontations.

Figure 7: Marion and Lady Bird sleep facing each other, revealing the nature of their relationship

The next scene continues to depict the state of their current relationship; a medium shot from the front of the car reveals mother and daughter separated by a small distance, both listening to an audio tape of The Grapes of Wrath. Figures 8-9 show Marion turning her head to look at her daughter for a brief moment, and Lady Bird doing the same as soon as Marion turns her head back to the road. These frames point at their similar emotions and their mutual appreciation, but also at their inability to show those feelings to each other, since they do not get to catch each other’s gazes. They show vulnerability with one another as they silently cry together, sighing as the tape finishes. After this touching and intimate moment, we are left unprepared to witness the way the events change all of a sudden; one moment they show complicity and emotional connections, and a second later it changes into a conflict.

Figure 8-9: Sequence of shots of Lady Bird and Marion's sharing the same passion and emotions

Later on, there is a similar scene in which this exact dynamic is displayed but the other way around; Lady Bird and Marion are in the midst of one of their disagreements

(Figure 10), with their position showing a harsh contrast between them, as they face away from each other. As soon as Marion finds a dress Lady Bird loves, they display affinity and understanding again (figure 11). These sequences are key to the understanding their tumultuous mother-daughter relationship.

Figures 10-11: Lady Bird and Marion express sudden understanding in the middle of an argument

The fact that mother and daughter sleep on the same bed, share the same passion for The

Grapes of Wrath, and agree on the same dress reveal that Marion is actually concerned and aware of her daughter’s interests. Karlyn mentions that “women who care about the next generation of girls need to learn more about the popular texts they’re drawn to, whether they are the Twilight series books or MTV” (2011, p.8), implying that the tension between mothers and daughters often arises from the generational gap between the two women. The examples mentioned prove that Marion does care about her 28

daughter and her generation. Cooperation on the part of both characters is sometimes apparent, but their similarly strong personalities unavoidably clash at times, culminating in their final and worst argument, after which both come to the realization of their unconditional love for each other.

As was previously mentioned, Lady Bird perceives her mother as a kind of villain throughout the film, until her moment of realization at the end. Marion is rendered responsible for her daughter’s actions, and her own mistakes are magnified by society’s extreme idealization of the mother figure. This echoes Nancy Chodorow’s theories about two separate tendencies of blaming and idealization of the mother. As

Chodorow puts it, “belief in the all-powerful mother spawns a recurrent tendency to blame the mother on the one hand, and fantasy of maternal perfectibility on the other”

(1989, p.80). Karlyn also mentions the presence of “Manichean oppositions” (2011, p.13) that restrict the mother to either Bad or Good.

Lady Bird confronts these views by portraying Marion as an equally correct and flawed mother, whose determination and stubbornness also leaves room for affection and understanding. Some of her actions are intrusive towards her daughter, like when the latter claims that the bathroom is the only place where she can get some kind of privacy, but Marion goes in to get ready for work anyway. This scene is very significant, as Lady Bird manages to keep her teenage angst at bay and display a certain degree of maturity despite her mother’s invasion of her safe space; despite the invasion,

Lady Bird does not snap at her mother like in other moments of the film. The reason behind her behaviour is that she is dwelling on the important issue of virginity; her concern is rooted in the fact that “first sex is a classic rite of passage for young adults, and for both genders, sexual practice is often a signifier of adulthood” (Shary, 2005).

When she asks Marion about it, the latter does not show a negative reaction. Instead, 29

leaving her previous frustration aside, she proves that she is supportive and understanding. As can be seen in figure 12, the way she is showing her back to Lady

Bird instead of facing her might imply a lack of openness and understanding. However, she is looking at Lady Bird through the mirror, revealing that she deeply cares about her. This interaction reveals complicity and trust. As their conversation denotes, they have already talked about it before. Marion does not completely chastise her daughter, although her motherly preoccupations are obvious when she mentions that University is a better moment to lose her virginity.

Figure 12: Marion facing Lady Bird through the mirror

As for Lady Bird, her characterization as analysed above is essential to understand the way she behaves and the way she perceives others and herself. Her strong desires to live up to her expectations and no one else’s often blurs the line between standing up for herself and only focusing on her own issues, disregarding the feelings of people who truly care about her. One of the key moments of the film in this respect is found when they are looking for a prom dress. Lady Bird finds a dress that

she loves and that matches her personality, only to find that her mother does not like it, because it is too pink. Lady Bird links her dress with herself, and thinks that her mother does not like her either.

- Lady Bird: “I wish that you liked me” - Marion: “Of course I love you” - Lady Bird: “But do you like me?”

The conversation denotes Lady Bird’s concern about her mother not liking her, and only loving her because of the fact that she is her daughter. Conventional family structures often present the requirement from mothers to love their daughters no matter what and vice versa. Lady Bird is worried about this unspoken rule because she wants her mother to truly love her and like her not only as her daughter, but as a person. The emotion and empathy that both Ronan and Metcalf convey play a crucial role in this scene, making the audience feel completely immersed in it.

The development of the mother-daughter relationship culminates at the end of the film. They fail to reconcile and express their feelings for each other in person, but when Lady Bird arrives at her new room, she finds some letters that Marion wrote during their last argument. Mother and daughter have focused on their own feelings failing to understand the other, but this final realization proves their appreciation for each other beyond the surface. When two people, especially a mother and her daughter, are sure the other does not know or care about their feelings, complications and trouble are likely to arise. However, when said two people love each other beyond their own understanding, they are likely to overcome those problems together, even if they do it separately. Lady Bird ends up accepting her name Christine, denoting character evolution and transformation. A series of introspective shots denote her other realizations, culminating inside a church while listening to a choir. Figure 13 displays a 31

blank-faced and teary Christine with her mascara bleeding black marks around her eyes.

She finally lets out all of her feelings, displaying the transformations she has experienced throughout her coming-of-age quest. The phone call to Marion is intertwined with images of mother and daughter driving separately (figures 2 and 3), echoing their first car ride at the beginning of the film and denoting that their love transcends time and space.

Figure 13: Lady Bird experiences a moment of realization

4. CONCLUSION

After scrutinizing Lady Bird in terms of narrative and formal analyses, characterization, and mother-daughter relationships, the importance of Saoirse Ronan’s star persona in the film becomes even clearer. At the same time, star studies in general are proved to be an essential factor of filmmaking and film history, as they influence the overall perception of films.

The focus on narrative and formal aspects are essential when defining what the film is trying to convey. In the case of Lady Bird, the analysis carries out reveals insights about the ephemeral nature of adolescence and the sudden changes teenagers must endure. This difficult and indefinable period, embodied by Lady Bird, is marked by the presence of Saoirse Ronan, whose star persona is in turn marked by her own transformations as an actor. Her roles have gradually flourished into an image of female unruliness and self-definition. On the other hand, Lady Bird also experiences a transformation by the end of a rapid account of events. This is the main reason why character analysis holds equal importance in this essay. Lady Bird’s characterization depicts her as an unconventional heroine who does not follow anyone’s expectations, as her name, physical appearance and other aspects analysed above suggest. This has contributed to the construction of her star persona, which is defined by similar features as her roles. Lastly, the analysis of the complex mother-daughter relationship depicted in the film also brings about meaningful insights. Saoirse Ronan’s star persona also plays a crucial role in this respect, as it is used to construct a character defined by the fact that she does not want to be defined by anything. Ronan’s combination of unruliness and ordinariness ultimately adds up to the realistic portrayal of a teenage girl, whose relationship with her mother enhances the importance of female bonds in films.

5. WORKS CITED

Bordwell and Thompson. Film Art: An Introduction. New York: McGraw-Hill (2010):

223.

Chodorow, N. Feminism and Psychoanalytic Theory. New Haven, London: Yale UP,

1989.

Driscoll, C. Teen Film: A Critical Introduction. Bloomsbury Academic, 2011.

Dyer, R. and Paul McDonald. Stars. New ed. London: BFI Pub., 1998. Print.

Hans, S. Lady Bird Review – a magical portrait of adolescence, 2018. Retrieved from:

https://www.theguardian.com/film/2018/feb/18/lady-bird-review-greta-gerwig-

saoirse-ronan-laurie-metcalf-observer (03/20/2020).

Karlyn, K.R. Unruly Girls, Unrepentant Mothers: Redefining Feminism on Screen.

University of Texas Press, 2011.

Lovell and Krämer, Screen Acting. London and New York: Routledge, 1999.

Macnab, G. Searching for Stars: Stardom and Screen Acting in British Cinema. A&C

Black, 2000.

Mulvey, L. Visual Pleasure and Narrative Cinema (1975): 57.

Saoirse Ronan. Personal Interview. Jan 18, 2019. Retrieved from:

https://www.irishtimes.com/culture/film/saoirse-ronan-i-never-got-cast-for-my-

looks-1.3761216 (2/2/2020).

Smith, Frances. Rethinking the Hollywood teen movie: gender, genre and identity

(2017): 65.