“Her Choice Changed Everything”: Women and Love on Dawson’S Creek and Felicity
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“HER CHOICE CHANGED EVERYTHING”: WOMEN AND LOVE ON DAWSON’S CREEK AND FELICITY Celina-Beth Meyers 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 August 2006 Committee: Becca Cragin, Advisor Marilyn Motz Angela Nelson ii ABSTRACT Becca Cragin, Advisor This thesis uses the television characters Joey Potter (Dawson's Creek) and Felicity Porter (Felicity) as case studies of how media images of women often display feminist tendencies while simultaneously promoting traditional female roles. Though Joey and Felicity each exhibit a number of positive, feminist qualities over the course of their respective series, this is largely overshadowed (or possibly cancelled out) by the substantial emphasis placed upon their romantic relationships with men. Using textual analysis of Dawson’s Creek and Felicity, this study examines specific ways in which each show shapes its narratives to present men and romance as the central focus of Joey and Felicity’s lives and how this undermines the series’ attempts to fashion these characters as modern, independent women. This mix of progressive and regressive female characterization is typical postfeminist fare, so these depictions are explored in relation to postfeminism and the interplay between feminism and femininity. Particular attention is given to the placement of the characters' romantic narratives within the text, and this study finds that their love lives are consistently structured as the defining elements of their lives. Non-romantic storylines, such as those related to the characters' education or careers, are typically used to progress or add conflict to the women's romantic relationships instead of being presented as important in their own right. In all instances, the season finales--often the dramatic high point of a television series--focus on the women's love lives, thus placing the greatest significance on those particular storylines. Though romantic iii highs and lows are common conventions within the teen drama genre, only female characters are primarily defined by their love lives, while male characters are not. This study concludes that though there is some merit to the feminist aspirations of these portrayals, television ultimately needs to move away from these frequent depictions of women who are "complete" only if they live happily ever after with the man of their dreams. iv ACKNOWLEDGMENTS There are many people I wish to thank for their guidance and encouragement throughout the writing of this thesis. Becca Cragin has been a great help as my thesis advisor, offering useful suggestions and encouraging words. Marilyn Motz and Angela Nelson also provided valuable feedback, and I thank them for their willingness to serve on my committee. My parents, William and Dalisay, and my sister, Naila, have given me unconditional love and support, not only during graduate school but throughout all of my life’s pursuits. It is an incredible gift, and I can't thank them enough. My fellow graduate students in the Popular Culture department have been outstanding colleagues and friends these past two years, and I’ve learned something valuable from each of them. I cherish all of our great conversations – intellectual or otherwise. Finally, my closest friends (they know who they are) have been instrumental in keeping me sane throughout this entire process. Though I was sometimes too busy to return phone calls or respond to e-mails or give some indication that I was still alive, their continued gestures of friendship meant the world to me. v TABLE OF CONTENTS Page INTRODUCTION ................................................................................................................. 1 CHAPTER I. JOEY POTTER .............................................................................................. 12 CHAPTER II. FELICITY PORTER..................................................................................... 31 CONCLUSION...................................................................................................................... 52 BIBLIOGRAPHY….. .....................................................................................................…... 55 1 INTRODUCTION Dawson or Pacey? Ben or Noel? For the WB television series Dawson’s Creek and Felicity, respectively, these are not mere questions. Instead they are foundations for the central narrative arcs of the female protagonists on each series. Dawson’s Creek’s Joey Potter (Katie Holmes) spends the majority of the series’ six seasons concentrating on her on-again, off-again romances with childhood best friend Dawson Leery and loveable screw-up Pacey Witter. Similarly, Felicity’s heroine, Felicity Porter (Keri Russell) engages in four years of fluctuating between her high school crush, Ben Covington, and her sweet and reliable friend, Noel Crane. Taken individually, neither of these portrayals of young women is necessarily problematic. However, they are symptomatic of an overall cultural trend which repeatedly dictates that a woman’s ultimate goal is a lasting romantic relationship with a man. This constant focus on women’s love lives subtly works against the gains of the feminist movement, which allowed women to seek non-traditional roles and define themselves on their own terms, not just in relation to men. In this paper I use the characters of Joey Potter and Felicity Porter as case studies in order to examine how images of women in the media often display feminist tendencies while simultaneously promoting traditional female roles. While Joey and Felicity each exhibit a number of positive, feminist qualities over the course of their respective series, this is largely overshadowed (or possibly cancelled out) by the substantial emphasis placed upon their romantic relationships with men. This mix of progressive and regressive female characterization is typical postfeminist fare, in which contradictions run rampant in a seeming attempt to please feminist sensibilities without fully discarding traditional patriarchal notions. Characters such as Ally McBeal, Buffy the Vampire Slayer, Alias’ Sydney Bristow, and the women of Sex and the City have drawn a certain amount of attention in 2 scholarship on postfeminist depictions in the media because their statements about women are bold and noticeably debatable. Joey and Felicity, on the other hand, have not garnered much attention in this academic dialogue, perhaps because they are not obvious sites of contention and are more understated representations of the push and pull between feminism and femininity. They are not pop culture icons of feminism in the way that Ally McBeal is sometimes positioned. These subtler portrayals, however, are more prevalent, and they present the same dilemma as the flashier postfeminist characters on television and in film. Postfeminism has been discussed at some length in academic scholarship, with varied interpretations of what the term means and when and how it should be applied. For the purposes of this paper, the most appropriate description of postfeminism is Angela McRobbie’s, which refers to it as “an active process by which feminist gains for the 1970s and 80s come to be undermined,” and she further argues that “elements of contemporary popular culture are perniciously effective in regard to this undoing of feminism, while simultaneously appearing to be engaging in a well-informed and even well-intended response to feminism” (256). Postfeminist representations of women avoid being either “uniformly regressive or unvaryingly progressive” (Meyers 11) and instead are “fractured,” with “images and messages inconsistent and contradictory, torn between traditional, misogynistic notions about women and their roles on the one hand, and feminist ideals of equality for women on the other” (12). Though not necessarily part of a concentrated “backlash” against feminism, as described by Susan Faludi (1992), these images and messages subtly but effectively work against the tenets of the feminist movement. The “undoing of feminism” can take a number of different forms, but for Joey and Felicity it occurs because their love lives and their struggles to decide which man to settle down 3 with are constructed as the most important and most defining elements of their lives. Throughout their respective series, Joey and Felicity are both shown dealing with a variety of typical young adult problems related to school, careers, social issues, love, sex, friends and family. But in each case, the narrative is structured so that the most weight is placed on romantic relationships, and specifically on each woman’s ultimate selection of a mate. Love triangles and romantic highs and lows are common conventions within the teen drama genre, so it is expected that these characters would have some romantic storylines, and this in itself is not problematic. What is problematic is that female characters such as Joey and Felicity come to be solely identified with and defined by their romantic entanglements, which is rarely the case with male characters within the same genre. For example, on the teen/family drama Everwood (another WB series which recently ended) the primary narrative for the young male lead, Ephram Brown, is his tenuous relationship with his father, and there is also a strong emphasis on his talent for playing the piano and aspirations to attend Juilliard. While his love life also garners significant attention within the series, it is not structured as the