Ellen Ripley, Sarah Connor, and Kathryn Janeway: the Subversive Politics of Action Heroines in 1980S and 1990S Film and Television
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Ellen Ripley, Sarah Connor, and Kathryn Janeway: The subversive politics of action heroines in 1980s and 1990s film and television > Janine Engelbrecht School of the Arts, University of Pretoria, Pretoria, South Africa [email protected] (ORCID: https://orcid.org/0000-0002-9681-5137) Abstract In the late 1970s and early 1980s, female characters that are different from the sexualised and passive women of the 1960s started appearing in science fiction film and television. Three prominent women on screen that reflect the increasing awareness of women’s sexualisation and lack of representation as main protagonists in film, and that appeared at the height of feminism’s second wave, are Ellen Ripley from the Alien franchise (1979-1997), Sarah Connor from the Terminator film series (1984-1991;2019) and Kathryn Janeway from the Star Trek: Voyager (1995-2001) television series. These female characters were, in contrast to their predecessors, the main protagonists and heroes at the centre of their respective narratives, they were desexualised, and they were not subservient to their male contemporaries. Most importantly, and as I show in this paper, they are complex, hybrid characters that do not perpetuate the masculine/ Published by feminine dichotomy as their predecessors did. I further argue that it is these characters’ hybridity that makes them heroines instead of simply being male heroes in female bodies, which they are often accused of. I term the heroine archetype presented by these characters the “original action heroine”, and I argue that these women are likely candidates to be regarded as the first heroine archetype on screen. Keywords: Second wave feminism; science fiction film; action heroine; Ellen Ripley; Original research Sarah Connor; Kathryn Janeway. Number 34, 2020 ISSN 2617-3255 page 01 of 19 DOI: http://dx.doi.org/10.17159/2617-3255/2020/n34a6 Creative Commons Attribution 4.0 International (CC BY 4.0) Introduction Women have been pivotal in science fiction (sci-fi) since the earliest sci-fi films. The first full-length sci-fi film made, Metropolis (Lang 1927), features a machine-woman named Maria, who leads the city’s workers in a revolt against its intellectuals, and is ultimately burned at the stake by the men of Metropolis, as central to the narrative (Huyssen 1986:67). Since Maria, representations of women in sci-fi continued to be largely limited to ‘projection[s] of the male gaze’ that perpetuate ‘the myth of the dualistic nature of women as either asexual virgin-mother or prostitute vamp’ and portrayed as ‘either oversexed or undersexed aliens or as human secretaries and assistants’, all of which enforce sexual difference (Lathers 2010:6). Some of the most notable female characters in sci-fi include Princess Leia and Padme from the popular Star Wars film series, who are often sexualised despite their statuses as “empowered” women. They are accompanied by countless other women in sci-fi film and television including Barbarella (Vadim 1968), Peri Brown from Doctor Who (1963-1989), Cassiopeia from Battlestar Galactica (1978-1979), Diana from V (1984-1985), Priss (an android “pleasure model”) from Blade Runner (Scott 1982), and many women throughout the various Star Trek series, such as Lieutenant Uhura, Jadzia Dax, Counsellor Deanna Troi and Droxine to name only a few, who are not only sexualised, but are often oppressed by male characters. In the late 1970s and early 1980s, however, female characters that are different from the sexualised and passive women of the 1960s started appearing on screen. Lieutenant Ellen Ripley (Sigourney Weaver) was the first significant action heroine whose representation departed from decades of above-mentioned female tropes in sci-fi. Ripley appeared for the first time in Ridley’s Scott’s cult horror film,Alien (1979), in which an alien (also termed a xenomorph) makes its way onto the spaceship and wipes out the entire crew, and only Ripley manages to escape. After Alien gained considerable popularity in sci-fi, Ripley subsequently returned in three more Alien films and gained iconic status as an action heroine. The appearance of more heroines on screen who reflect the increasing awareness of women’s sexualisation and lack of representation as main protagonists in popular culture are Sarah Connor (Linda Hamilton) from the Terminator film series (Cameron 1984-1991) and Captain Kathryn Janeway (Kate Mulgrew) from the Star Trek: Voyager television series (1995-2001). These female characters were, in contrast to their predecessors, the main protagonists and heroes at the centre of their respective narratives, they were desexualised, and they were not subservient to their male contemporaries. These heroines not only reveal second wave feminism’s profound influence on representations of women in cinema,1 but more importantly prompt questions such as what makes an action heroine different from an action hero? Is she simply a male hero in a female body? Should she not be different from an action hero precisely because of her gender? Number 34, 2020 ISSN 2617-3255 page 02 of 19 These questions have certainly been interrogated by the myriad literature on female action heroines in film and television, but as I aim to show in this paper, a uniqueheroine archetype can be found within these action heroines that emerged in a zeitgeist where second wave theory and activism was prolific. It will become evident throughout this paper that these heroines are complex, hybrid characters that do not perpetuate the masculine/feminine dichotomy as their predecessors did. I argue that it is these characters’ hybridity that makes them heroines instead of simply being male heroes in female bodies, which suggests a novel category of female heroism not yet identified in literature theorising these characters. I term the distinctive heroine archetype presented by these characters the “original action heroine”, and I argue that these women are likely candidates to be regarded as the first heroine archetype in film. I first outline how these three heroines negotiate second wave early liberal and cultural feminist notions of female empowerment, and then consider how contradictions between these two feminisms simultaneously embodied by these characters in fact create complex and hybrid heroines.2 I also briefly touch on recent feminist scholarship and contemporary female action heroines that seem to embrace similar notions of hybridity, however, a thorough analysis of contemporary feminism and representation is beyond the scope of this paper and perhaps an avenue for further research. Early liberal feminism and representations of women in film Early liberal feminism, which advocates for gender sameness, was second wave feminism’s ‘first [version of] equality’ and emerged in the 1960s in America (Evans 1995:28). Many recognise Betty Friedan’s influential text,The Feminine Mystique (1963), which is also considered to be one of the pioneering second wave texts, as the catalyst for early liberal feminism, as she calls on women to pursue careers (like men do). For Friedan (1963:14), in the media specifically, images that show women ‘bak[ing] their own bread’ and ‘sew[ing] … their children’s clothes’ perpetuate the notion of the ‘feminine mystique’, which problematically suggests that women should solely engage in domestic tasks, while only men should ‘make the major decisions’ and generate incomes. Simone De Beauvoir (2011 [1949]:23), writing in France a decade earlier, coined a similar term, the ‘eternal feminine’, that exposed the essentialist understandings of women upon which twentieth century western society was built. The eternal feminine, for Beauvoir (2011 [1949]:24) essentialises women by postulating that ‘no woman can claim…to be situated beyond her sex’. The eternal feminine suggests that there exists something like a ‘true woman’, an essential femininity, which is ‘frivolous, infantile, irresponsible’ and ‘subjugated to man’ (Beauvoir 2011 [1949]:32-33). Moreover, the eternal feminine conforms to and perpetuates stereotypes that women are hysterical, Number 34, 2020 ISSN 2617-3255 page 03 of 19 irrational, caring, nurturing, and so forth (Beauvoir 2011 [1949]:33), or in Friedan’s (1963) conceptualisation, that women are good at domestic tasks because they are women. Another task of the early second wavers was therefore to establish an ideological divide between biological sex (male/female) and socially constructed “gender” (masculine/ feminine) (Bradley 2007:14), since the feminine mystique and eternal feminine are based on the premise that women’s behaviour is somehow directly attributed to their reproductive and mothering capacities. Sexualised images of women in sci-fi, or re- presentations of women as “space secretaries”, inevitably perpetuate these myths of femininity, and essentialises women by causally linking their sex with their gender, which reinforces sexual difference. Ascribing masculinity (in all its guises) upon the female sexed body is therefore one strategy early liberal feminism uses to subvert the feminine mystique, or the eternal feminine. For Judith Evans (1995:29-31), the ‘true characterization’ of liberal feminists is that ‘they want to advance women to what is conventionally regarded as equality with men, within the various hierarchically ordered groups’, which includes equality in terms of women’s participation in all social and economic structures. Although Beauvoir is not categorised as early liberal, some arguments presented in her seminal text for feminism, The Second Sex (1949), ascribe to these early liberal arguments. By tracing the entire history of women’s ‘[en]slave[ment]’ by men, ranging from biology to myths about femininity, to religion, Beauvoir (2011 [1949]:29) gives insight into what this “equality” entails. Most tellingly, Beauvoir (1949:857) contends that if women were raised ‘with the same demands and honors, the same severity and freedom, as her brothers, taking part in the same studies and games, promised the same future, surrounded by women and men who are unambiguously equal to her’ from the beginning, their situation will be vastly improved.