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Star Wars Tre Generationer The Feminism Awakens En feministisk studie av de kvinnliga karaktärerna i Star Wars tre generationer Författare: Linnéa Saaranen Institutionen för kulturvetenskaper, Göteborgs Universitet Kulturvetenskap, kandidatkurs, C-uppsats, vt16 Handledare: Åsa Andersson Examinator: Jeanette Sundhall ABSTRACT ÄMNE: Kulturstudier, Kandidatkurs INSTITUTION: Institutionen för kulturvetenskaper, Göteborgs Universitet HANDLEDARE: Åsa Andersson EXAMINATOR: Jeanette Sundhall TITEL: The Feminism Awakens: En feministisk studie av de kvinnliga karaktärerna i Star Wars tre generationer FÖRFATTARE: Linnéa Saaranen TYP AV UPPSATS: Kandidat (C), 15 hp VENTILERINGSTERMIN: vt16 The female action hero has become more visible in the last years, which has created both a critical and positive response. Through feminist film theory and theories about the female action hero this essay analyses the characters Leia, Padmé and Rey from the Star Wars-films. The aim is to examine how these characters is portrayed in three different time periods, from the 1970s when the female action hero began to appear in movies until today when more female action heroes have the leading role. The result indicates that the female action hero has undergone a change alongside society and the feminism movement. Rey is not sexualized in the same manner as Leia and Padmé and she is a strong character who takes part in long action fights. Despite being a strong character the male characters’ are still constant surprised by her strength, which helps to maintain old patterns and patriarchal structures such as the belief that a woman can’t be as strong as a man. Keywords: Star Wars, female action heroes, feminist film theory 1 Innehållsförteckning 1. Inledning .................................................................................................................... 3 1.1 Bakgrund/problemformulering ...................................................................... 3 1.2 Syfte och frågeställning ................................................................................. 5 1.3 Avgränsningar ................................................................................................ 5 1.4 Tidigare forskning .......................................................................................... 6 2. Teori och metod ......................................................................................................... 9 2.1 Teoretiska perspektiv ..................................................................................... 9 2.1.1 Feministisk filmteori ............................................................................. 9 2.1.2 Kvinnliga actionhjältar .......................................................................... 11 2.2 Metod och material ........................................................................................ 15 3. Analys ........................................................................................................................ 18 3.1 Generation 1 (Star Wars episod IV, V, VI) ................................................... 18 3.1.1 Synopsis ................................................................................................ 18 3.1.2 Könsrepresentation ................................................................................ 19 3.1.3 Prinsessan Leia Organa .......................................................................... 20 3.2 Generation 2 (Star Wars episod I, II, III) ....................................................... 24 3.2.1 Synopsis ................................................................................................ 24 3.2.2 Könsrepresentation ................................................................................ 25 3.2.3 Padmé Amidala ..................................................................................... 26 3.3 Generation 3 (Star Wars episod VII) ............................................................. 31 3.3.1 Synopsis ................................................................................................ 31 3.3.2 Könsrepresentation ................................................................................ 31 3.3.3 Rey ........................................................................................................ 32 4. Sammanfattning/Avslutande diskussion ................................................................... 39 Källförteckning .............................................................................................................. 44 2 1. Inledning 1.1 Bakgrund/problemformulering Filmvetenskap och kulturvetenskap är två vetenskapliga fält som ligger nära varandra. Många som studerar filmvetenskap idag analyserar inte bara filmtexter och filmmediet i sig utan fokusen ligger också på den kulturella kontext som filmmediet ingår i. Som Graeme Turner skriver i texten Film and Cultural Studies så har kulturvetenskapen påverkat hur filmvetenskapen ser ut idag och gett fältet viktiga influenser i vissa specifika områden, bland annat att utveckla forskningen om de kulturella funktionerna i populära filmgenrer som skräckfilm, slasher/teen flicks och actionfilmer. Det handlar inte så mycket om det estetiska i filmerna utan mer hur dessa filmgenrer kan förstås ur ett kulturellt perspektiv.1 Filmen är ett medium som avspeglar det samhälle vi lever i och olika samhällsförhållanden har påverkat hur filmen utvecklas med tiden som till exempel ekonomiska, historiska, tekniska och politiska. Därför är filmmediet ett bra sätt att förstå och tolka vår egen samtid. Ingrid Lindell skriver i sin avhandling Att se och synas att hon betraktar filmmediet som en del i en kulturell symbolisk ordning och en arena där kön kan befästas, förvandlas och utmanas inom dominerande maktstrukturer. Filmen blir med ett sådant synsätt inte bara ett medium som återspeglar verkligheten utan också hjälper till att konstruera den.2 Science fiction är inte en verklighetsbaserad genre och därför har man i dessa filmer en större frihet och möjlighet att bygga upp världar och utopier som inte liknar den värld vi lever i på jorden. Detta gör att science fiction-filmer också har en möjlighet att överskrida könsgränserna och bryta samhällsnormer. Det är dock viktigt att komma ihåg vilka det är som skapar filmerna och att det är utifrån vår egen kultur som dessa filmer är skapade. För även om vi kan bygga upp en helt ny värld som inte liknar vår egen är det ofta våra egna samhällsförhållanden och värderingar som porträtteras även i dessa filmer. Till exempel så skriver Elle-Sandrah Heeder i sin text The Representations of Cyborgs in Science Fiction Film: Vision, the Body, Gender and Technology om hur västerländsk kultur och vårt samhälles könsroller inte försvinner från science fiction-filmer även om de innehåller Cyborger som har en möjlighet att bryta könsnormer. Istället tillskrivs könsnormer även på 1 Graeme Turner ”Film and Cultural Studies”, i (red.) James Donald och Michael Renov, The SAGE Handbook of Film Studies (London: SAGE Publications Ltd., 2008), 274-275, 282. 2 Ingrid Lindell, Att se och synas: Filmutbud, kön och modernitet (Göteborg & Stockholm: Makadam Förlag, 2004), 13. 3 tekniska varelser som inte är människor.3 Detta gör att vi i publiken lättare kan identifiera oss även med dessa karaktärer. Science fiction- och actionfilmer brukar kategoriseras som manliga filmgenrer där vi ofta får se en manlig hjälte i huvudrollen. Det är inte förrän på 1970-talet som vi börjar se kvinnliga karaktärer äntra denna mansdominerade roll och samtidigt som kvinnorna allt oftare får vara actionhjälte har det uppstått en diskussion om hur hon ska gestaltas i dessa filmer. Det finns ett slags ambivalens mellan att se dessa kvinnliga actionhjältar som en stark feministisk förebild och att se henne som ett objekt för mannens begär. På senare år har kvinnor allt oftare fått ta sig an större actionroller vilket har lett till både positiva och negativa reaktioner från åskådarna. En del menar att dessa filmer är ett steg framåt för feminismen i Hollywoodfilm och skapar nya karaktärer för tjejer att identifiera sig med som Patricia Karvelas diskutera i ett panelsamtal i The Guardian.4 Andra har istället kritiserat dessa filmer och menar att de är ”feministisk propaganda”. För vad kan vara mer skrämmande än starka kvinnliga karaktärer som lyckas besegra männen i filmen? Men’s Rights Activists har gått ut i sociala medier och uppmanar andra män att bojkotta filmer som till exempel Mad Max: Fury Road (George Miller, 2015) och Star Wars Episode VII: The Force Awakens (J.J. Abrams, 2015) som båda kom upp på biodukarna under 2015. Aaron Clary är en av dem som på sin blogg Return of Kings skriver ”So do yourself and all men across the world a favor. Not only REFUSE to see the movie, but spread the word to as many men as possible”5 om Mad Max: Fury Road. Hashtagen #BoycottEpisodeVII spred sig också på Twitter som en protest mot huvudkaraktärerna i den nya Star Wars-filmen.6 I min analys har jag valt att använda mig av de tre olika generationerna av Star Wars- filmerna som analysmaterial för att undersöka hur de kvinnliga karaktärerna är porträtterade under tre olika tidsperioder. Anledningen till att jag valt att just analysera Star Wars-serien är för att det är en filmserie som man kan dela in i tre generationer och som därför avspeglar tre olika tidsepoker i samhället och science fiction-genren. De tre första Star Wars-filmerna hade premiär mellan 1977 och 1983, de andra tre mellan 1999 och 2005 och 2015 har den första filmen i den tredje
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