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How Film Can Subject Us to a Non- Heterosexual Gaze

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How Film Can Subject Us to a Non- Heterosexual Gaze How Film Can Subject Us To A Non- Heterosexual Gaze Gender and Performativity in Carol (2015) and The Danish Girl (2015) University of Amsterdam (Graduate School of Humanities) MA Media Studies: Film Studies Thesis Supervisor: Dr. Catherine Lord Second Reader: Dr. Abe Geil Master Thesis submitted by: Michelle J.L. Versluis (12124168) Date: 28 June 2019 1 Dedicated to all the beautiful people brave enough to be themselves and paving the way for our future generations towards a future without binary oppositions. 2 Abstract When we watch a film, we are positioned into a certain gaze that the camera work and other filmic elements guide us towards. However, these positions are often not deemed as successful and thus spark controversial debates. LGBTQ representation is often the center of these debates because there is a lack of LGBTQ representation in the film industry, both onscreen as offscreen. When reading reviews of these ‘controversial’ films, the emphasis is almost always on the identity of the actor and if they are ‘allowed’ to represent a certain group. In this thesis there is an attempt to reconcile representation and identification in film by looking at Judith Butler’s gender performativity and a reworking of Laura Mulvey’s gaze into a queer gaze. These theories are applied to Carol and The Danish Girl, the first one deemed successful in LGBTQ representation, the second a failure, however both controversial. Both films portray LGBTQ characters that are portrayed by non-LGBTQ actors. The aim of this thesis is to show that the different approaches and outcomes when analyzing representation. In order assess a representation we need to be more open-minded and fluid and reject our contemporary norms that are often gendered and heterosexual. Key words: Gender Performativity | Phantasmatic Identification | The Gaze | LGBTQ Representation | Identification | Performativity 3 Table of Contents Abstract 2 Reconciling Representation and Identification: An Introduction 4 Chapter 1: The Queer Gaze in Carol (2015) 15 Introduction: A Film Outside the Heterosexual Male Gaze 15 Laura Mulvey and the Queer Gaze 16 How Carol Creates a Queer Gaze That is Understandable to the Heterosexual Spectator 18 Chapter 2: To Desire or to Identify? The Female Body in The Danish Girl (2015) 25 Introduction: The Danish Girl and Transgender Representation 25 Gender as a Social Construct or Performance? Judith Butler and Phantasmatic Identification 26 Performing Gender onstage: Gender Performativity in The Danish Girl 30 Chapter 3: Other Ways of Looking at Representation and Performance 35 Introduction: From Spectatorship to Stardom 35 Analyzing Stardom and Representation according to Dyer and Drake 37 Other ways of analyzing representation and performance 40 Performativity of Gender versus Performativity of Acting 41 Towards a Queer Society; A Conclusion 44 Sources 46 Films 46 Literature 46 4 Reconciling Representation and Identification: An Introduction When putting a magnifying glass on mainstream Hollywood cinema, LGBTQ representation is something that we do not see very often yet. Surely there is some representation but this is often stereotyped. A lot of studies that researched representation in the film industry show that women and racial or ethnic minorities remain underrepresented.1 The Gay & Lesbian Alliance Against Defamation (GLAAD) is a non-profit organization that was founded by LGBTQ people in the media and they research the LGBTQ representation in the media. They publish reports every year where they analyze TV shows and the major film studios. They also publish lists of LGBTQ characters in in TV shows on their website.2 In their report from 2017 they showed that even though ‘high-profile’ Academy Awards wins for art-house films, like Call Me By Your Name (2017), LGBTQ representation still declined when looking at a total of a more than hundred films from these major film studios. None of these films featured a representation of a transgender character either.3 Throughout this thesis I will mention LGBTQ, short for Lesbian, Gay, Bisexual, Transgender and Queer, even though this abbreviation has more suffixes already, LGBTQIA. The reason for this is because in this thesis the focus will be more on the LGBTQ representation and identification and does not really focus on the IA part. This lack of representation is not just in the films but in the mass media and award shows as well. When looking at the Academy Awards, a ‘high-profile’ Hollywood exclusive award show, also here there is a lack of acknowledging LGBTQ representation by actual LGBTQ actors. Admittedly, this year’s nominations and wins were dubbed the ‘queerest in history’ where straight actors received numerous nominations for portraying LGBTQ characters. “Historically, even when LGBTQ films have been nominated for Oscars, they have stood alone. Call Me By Your Name (2017), Moonlight (2016) and The Imitation Game (2014) were the only LGBTQ films nominated for Best Picture in their respective years.”4 There have been LGBTQ actors who have won an Academy Award for portraying heterosexual characters, and 1 Maryann Erigha, “Race, Gender, Hollywood: Representation in Cultural Production and Digital Media’s Potential for Change,” Sociology Compass, 9:1, (2015), 78. 2 GLAAD Media Institute, “About,” website GLAAD.org, last accessed 4 March 2019, https://www.glaad.org/about 3 GLAAD Media Institute, “Studio Responsibility Index 2018,” website GLAAD.org, last accessed 16 January 2019, https://www.glaad.org/sri/2018. 4 Jill Gutowitz, “This Year’s Oscars Will Be the Queerest Ever. But There’s a Bigger Story Behind the Numbers,” website Time, published January 23, 2019, last accessed 13 April, 2019, http://time.com/5510371/2019-oscar-nominations-queer/. 5 heterosexual actors who have won an Academy Award for portraying LGBTQ characters. There are also LGBTQ actors who have won an Academy Award but at the time were not exclusively out with their sexuality, for example Kevin Spacey who has won an Academy Award for his role in AMERICAN BEAUTY (1999).5 This often spikes debated in the media and online about the underrepresentation of LGBTQ people. The focus here is always on the representation of LGBTQ identities of the actors and characters but the performing qualities of these actors is often left out. In 2015, there were two very influential, but also controversial, films released that had an impact on the LBGTQ community, Carol (2015) and The Danish Girl (2015). Carol was received very good reviews from the critics and got high ratings.6 However, The Danish Girl had more varied reviews which spiked some controversial debates in the LGBTQ community.7 Both films and their actors were nominated for Academy Awards however, only one of them won. Being nominated for, or even winning, an Academy Awards is as an actor or filmmaker seen as one of the biggest achievements in their career. Even though the voters in the Academy Award are exclusive Academy Award members only, the media attention around the award ceremony is worldwide spread. Because it is ‘worldwide’ covered in the mass media it can thus be regarded as influential on representations, especially of those of minorities. When looking at the actors of the films mentioned above, the transgender woman in The Danish Girl is played by a heterosexual actor, Eddie Redmayne. And in Carol, Cate Blanchett is not really open about her sexual orientation and Rooney Mara is often left out of this discussion mainly because the focus is on Cate Blanchett. Even though these films share two completely different stories they do have some similarities beginning with the fact that they both portray underrepresented LGBTQ characters. Both films also received high praise, by getting nominated for lots of awards, for the achievements of the actors. Both Cate Blanchett and Eddie Redmayne received Academy Award nominations for best achievement as a leading character. Rooney Mara was nominated for best achievement as a supporting character and Alicia Vikander actually won an Academy Award for best achievement as a supporting character.8 Another thing these two films have in 5 “List of LGBT Academy Award Winners and Nominees,” Wikipedia, last accessed 4 March 2019, https://en.wikipedia.org/wiki/List_of_LGBT_Academy_Award_winners_and_nominees 6 Metacritic is a database of reviews and ratings from certified critics which often differ from the ratings from IMDB and are thus also mentioned separately on IMDB. On Metacritic there is a distinction between critic reviews and user reviews because of this. “Carol,” website Metacritic, last accessed 13 June 2019, https://www.metacritic.com/movie/carol. 7 “The Danish Girl,” website Metacritic, last accessed 13 June 2019, https://www.metacritic.com/movie/the- danish-girl. 8 “Academy Awards, 2016,” website Internet Movie Database, last accessed 6 March 2019, 6 common is the fact that the characters appear fluid in their genders, shifting from masculine to feminine and vice versa. Besides, this fluidity does not apply only the characters but to the actors as well. When looking at the filmographies of Eddie Redmayne and Cate Blanchett they both portrayed a character from the opposite side. These films sparked debates about the LGBTQ representation because they were all portrayed by, allegedly, non-LGBTQ actors. These accusations about representation are all based on identity, saying that a non-LGBTQ actor does not deserve an award for portraying a LGBTQ character. In an interview Cate Blanchett told the interviewer that she received the most questions about her sexuality when doing the press tour for Carol. These questions imply and question, according to her, that to understand such a character and portray such a role she must have had a lesbian experience. In her opinion this defies the whole point of acting in general; “And I will fight to the death for the right to suspend disbelief and play roles beyond my experience.”9 Discussing the fact that her personal sexuality and portraying a character are supposed to be seen separate from each other.
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