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Holding out for a Female Hero: the Visual and Narrative Representation of the Female Fbi Agent in Hollywood Psychological Thrillers from 1991-2008

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Holding out for a Female Hero: the Visual and Narrative Representation of the Female Fbi Agent in Hollywood Psychological Thrillers from 1991-2008 HOLDING OUT FOR A FEMALE HERO: THE VISUAL AND NARRATIVE REPRESENTATION OF THE FEMALE FBI AGENT IN HOLLYWOOD PSYCHOLOGICAL THRILLERS FROM 1991-2008 Sarah Lafferty A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of: MASTER OF ARTS MAY 2009 Committee: Jeffrey A. Brown, Advisor Esther Clinton ii ABSTRACT Jeffrey A. Brown, Advisor This thesis analyzes the visual and narrative representation of female FBI agents and male serial killers in the Hollywood films, Silence of the Lambs (1991), Hannibal (2001), Taking Lives (2004), and Untraceable (2008). It explores how character roles and narrative functions related to the hero character type change over time. The films are analyzed through a textual analysis using Proppian formalism, structural, narratology, genre, and gender theories. Silence of the Lambs and Hannibal offer the groundwork of the female FBI agent in the rookie figure of Clarice Starling. Taking Lives, the first example in a thriller genre post-Clarice Starling, offers an agent, Illeana Scott, who is depicted as the next step, the young career woman with more agency than Starling. Jennifer Marsh, in Untraceable, provides a character encompassing a combination of the more positive qualities, and is an established female hero. Beginning with Silence of the Lambs and ending with Untraceable, narrative functions and positioning moves the female FBI agents into the role of the female hero. The definition of hero, as the author defined it, is based in narrative structure with a focus on the importance of the ultimate self-rescue. It is stripped of the character’s moral standings and decisions, as the author looked at the function of the character type and not the overall personality and psychological makeup of the figure. Due to this definition, while there is a female hero figure, most prominently in Jennifer Marsh, there are also heroes found in places typically not associated with common conceptions of the term “hero.” Labeling the female FBI agent as the hero figure is significant because it is acceptable that women in the current time period and political climate realistically hold these positions and hold them well. Women are active in the FBI, as well as iii many other federal and state agencies and the military, unlike in decades before. Therefore it is only natural, as genre and film are social mirrors, that these women are represented within fictional narratives as powerful, independent heroes. iv “Everything you saw I wanted you to see.” Illeana Scott, Taking Lives v DEDICATION This thesis is dedicated to my grandfather, Jim Palazzo, who passed away while I was working on my Master’s degree. He was, and still is, one of the most influential people in my life and without him I would not be where I am today. I would also like to dedicate this thesis to the real life FBI, to the men and women who dedicate their lives for the service of our country. vi ACKNOWLEDGMENTS Arguably, this is the most difficult section of the thesis to compose. The following acknowledgments are in no specific order. I would first like to thank my parents for putting up with my strong connection to film and television from an early age as well as my desire to research violent crime from the age of nine. I love you. I also would like to give credit to the educators in my life who have fostered my interests and gave me room to explore my fields; notably Mrs. Mekrut during my time at Bay View and Dr. Kalinak during my undergraduate career. Then there are my friends, who have put up with various crime and media rants for many, many years. To Toni: thank you for being my “person”, an incredible role model, for keeping me relatively sane, and finally for making me aware that I can be more. To my fellow grad students who aided me during my thesis brainstorming and writing, especially: April “Dame Dench” Boggs for being an unofficial committee member and co-conspirator, Mike Lewis (for listening/putting up with me during this process), Justin Philpot (for telling me to breathe and taking me to Starbucks when I thought all thesis related hopes were lost), Steph Plummer, Ora McWilliams, and Ben Phillips. And then there was Katie Shawn Doggett Gilbert, my HLM. Clearly, I owe you everything and you owe me nothing. Without you poking me with both literal and figurative sticks this thesis would not have been written because I would not be here. It would be wrong for me to omit the people who literally kept me awake and running through this process, the BG Starbucks crew. You guys are, in my opinion, the All Stars of Starbucks baristas. Finally, I would like to acknowledge my official thesis committee, Dr. Brown and Dr. Clinton. vii TABLE OF CONTENTS Page INTRODUCTION ................................................................................................................. 1 The FBI (Federal Bureau of Investigation).................................................... 2 The Serial Killer............................................................................................. 3 Methods.......................................................................................................... 4 Chapter Outline.............................................................................................. 5 Chapter Summary.......................................................................................... 6 Chapter One....................................................................................... 6 Chapter Two....................................................................................... 7 Chapter Three..................................................................................... 9 CHAPTER I. THE SKELETON: A PROPPIAN ANALYSIS OF CHARACTER FUNCTION AND GENRE ............................................................................................................ 11 Introduction.................................................................................................... 11 Genre and Narrative Structure ....................................................................... 12 Character Case Studies.................................................................................. 18 Character Function in Silence of the Lambs .................................................. 20 Character Function in Hannibal......................................................... 24 Character Function in Taking Lives ................................................... 29 Character Function in Untraceable.................................................... 34 Intended Character Typing ............................................................................ 37 Conclusion ..................................................................................................... 38 viii CHAPTER II. THE ORGANS: GENRE, GENDER, AND CHARACTER TYPING ........ 41 Introduction.................................................................................................... 41 Specific Characters........................................................................................ 42 Film Noir: The ‘Good/Bad Girl’........................................................ 43 Horror: The ‘Final Girl’..................................................................... 44 Drama/Action: The ‘Tough Girl/Action Chick’ ................................ 45 Action/Suspense: The ‘Action Heroine Investigator’........................ 47 Male Character Types.................................................................................... 49 Film Noir: The Noir Criminal and Psychopath.................................. 49 Film Noir: The Homme Fatale........................................................... 50 Clarice Starling: The Prototype ..................................................................... 51 Illeana Scott: The Reactionary....................................................................... 57 Jennifer Marsh: The Deal Sealer.................................................................... 62 Hannibal Lecter: Hero to Homme Fatale....................................................... 65 James Costa/Martin Asher: Revisionist Homme Fatale ................................ 68 Owen Reilly: Noir Psychopath ...................................................................... 69 Conclusion ..................................................................................................... 70 CHAPTER III. THE SKIN: GENDER, GAZE, AND RELATIONSHIPS.......................... 72 Introduction.................................................................................................... 72 Hannibal Lecter and Clarice Starling: The Mentor and the Protégé ............. 76 Martin Asher and Illeana Scott: The Lovers.................................................. 82 Owen Reilly and Jennifer Marsh: The Son and Mother ................................ 94 Conclusion ..................................................................................................... 100 ix CONCLUSION ............................................................................................................ 103 FILMOGRAPHY................................................................................................................... 107 WORKS CITED……… ........................................................................................................ 108 x LIST OF FIGURES/TABLES Figure/Table Page 1 Propp’s 31 Functions................................................................................................
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