Fighting for Women Existence in Popular Espionage Movies Salt (2010) and Zero Dark Thirty (2012)

Benita Amalina — Fighting For Women Existence in Popular Espionage Movies Salt (2010) and Zero Dark Thirty (2012)

FIGHTING FOR WOMEN EXISTENCE IN POPULAR ESPIONAGE MOVIES SALT (2010) AND ZERO DARK THIRTY (2012)

Abstract

American spy movies have been considered one of the most profitable genre in Hollywood. These spy movies frequently create an assumption that this genre is exclusively masculine, as women have been made oblivious and restricted to either supporting roles or non-spy roles. In 2010 and 2012, portrayal of women in spy movies was finally changed after the release of Salt and Zero Dark Thirty, in which women became the leading spy protagonists. Through the post-nationalist American Studies perspective, this study discusses the importance of both movies in reinventing women’s identity representation in a masculine genre in response to the evolving American society.

Keywords: American women, hegemony, representation, Hollywood, movies, popular culture

Introduction The financial success and continuous power of this industry implies that there has been The American movie industry, often called good relations between the producers and and widely known as Hollywood, is one of the main target audience. The producers the most powerful cinematic industries in have been able to feed the audience with the world. In the more recent data, from all products that are suitable to their taste. Seen the movies released in 2012 Hollywood from the movies’ financial revenues as achieved $ 10 billion revenue in North previously mentioned, action movies are America alone, while grossing more than $ proven to yield more revenue thus become 34,7 billion worldwide (Kay, 2013). In the the most popular genre. Because of same year, three Hollywood movies; profitable reception, the producers are Marvel’s The Avengers, Skyfall, and The commonly inclined to create similar Dark Knight Rises reached $ 1 billion mark products to maintain a ‘mutual’ relationship. in the international box office. In 2013 In other words, what audience wants is alone, there were three movies that reached revealed through the existed and existing $ 400 million domestically in the U.S. box ‘popular’ products. office; The Hunger Games: Catching Fire, Iron Man 3, and Frozen in which the latter Nachbar and Lause (1992) elaborated the two reached the $ 1 billion mark worldwide. deeper level of coherence from the mutual relationship, that “[producers] will go to

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great lengths to mold their products to of women in the movies were depicted with reflect the audience beliefs and values” (p. some nudity or sexual scenes (Zurko, 2013). 3). This implies that Hollywood movies are in fact “mediums” to see the underlying Movies with women as the leading cultural values within the American society. characters were usually categorized in the In terms of popular movies, we can see how more specified genres such as drama, most of the released movies have been men- romance, comedy, etc. These genres are centric. It is visible through the characters, more restricted compared to those which especially the protagonist. Almost all movies feature male characters. The genre is usually listed in the top 100 all-time box office are called “women films”, and is made based on attributed to masculinity. Take example from the women’s perspective about the lives of these most popular movies; commercially women. Since there is a correlation between successful Avatar (2009), Marvel’s The the movie and audience, a specified theme Avengers (2012), the Pirates of the and genre of a movie means narrowing the Caribbean series, The Dark Knight (or audience demographic as well. This is Batman) series, the Star Wars series, Spider- explained by Abrams and Hogg (1990), who Man series, Transformers series, Iron Man stated that people from particular social series, and The Lord of the Rings series; or communities or identity groups seek out the critically acclaimed and award-winning particular “messages” which support their movies The Shawshank Redemption (1994), social identity. This statement is also The Godfather trilogy, Schindler’s List supported by Harwood’s (1997) reasoning, (1993), Inception (2011), Fight Club (1999), that selecting particular choices in media American History X (1998), Casablanca viewing is a form of social identity (1942) and Forrest Gump (1994). All of gratification (Fischoff, Antonio, & Lewis, these movies put men as the leading 1998). Thus, the “women films” are characters, with only a small number of particularly attractive to women because the female characters. Some of the women were movies share themes common to women’s mostly considered as ‘supporting lives; these female audiences can also easily characters’, as in most cases, be simply the identify themselves with the characters in love interest of the men. the movies.

According to data from the movie website The stereotyping of women in movies- Vulture, less than 50% of mainstream especially in the “women films” or “women movies featured women in the leading role genre”-is still based on the traditional from 1989 to 2013 (Dobbins, 2013). New assumption that women have always been in York Film Academy (NYFA) also had a take a smaller scope. Particularly, as history in exploring gender equality in film. From claimed, in the domestic area. The roles for the top 500 movies from 2007 to 2012, they women are limitedly related to motherhood, discovered that only 30.8% of speaking roles household, daughter, inter-women relations, were for women characters, 10.7% movies and being a wife or girlfriend. featured a gender-balanced cast, and 32.5%

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One of the most apparent gender biases in the character Jason Bourne in the Bourne Hollywood is the depiction of women in the series The Bourne Identity (2002), The spy genre. This genre has been considered as Bourne Supremacy (2004), The Bourne exclusively male-centric, because almost all Ultimatum (2007) and The Bourne Legacy spy movies have male protagonists. It can be (2012). The trend of franchising the spy seen from the beginning of the spy movie movies is a proof that the audience is highly trend, particularly from the 1930s until interested in this genre. What makes the spy 1950s when British director Alfred movies more intriguing than the usual action Hitchcock has moved to the U.S. He has movies is that, “[p]art of the appeal of the directed numerous spy movies such as The spy genre, everyone agrees, is not only the Man Who Knew Too Much (1934), The 39 nonstop action and the high-tech tools, but Steps (1935), Secret Agent (1936), Foreign the derring-do spy heroes are often called Correspondent (1940), Notorious (1946), upon to demonstrate” (Corbett, 2005). This and North by Northwest (1950). These is proven from the box office revenue from classic productions have become the each series, as they each grossed over $ 200 archetypal spy movie narrative, where a million in the U.S. alone. male spy with exceptional intelligence and physical strength leads the narrative, along The spy genre also shows specifically the with one or more supporting sidekicks, political activities of espionage operated by while the women are present either as his government agents. An action movie could love interest, victim, or a vicious spy. Such revolve around an ordinary man, but this apportions of role instruments are still used does not apply to spy movies. The leading in the more modern spy movies. character of spy movies is always depicted as a professional, most often a federal agent This is why usually only the leading male dealing with international issues. This field spy character becomes an icon. Starting in of work is commonly attributed to men, with the 1960s, the James Bond franchise became the concept of foreign relations having been a hype, even until now-from Dr. No (1962), reinforced by masculinity as it involves From Russia With Love (1963), Moonraker masculine issues (Cohn, 1987); international (1979), A View To A Kill (1985), Golden Eye politics, security, arms races, or nuclear (1995) to the most recent Quantum of issues. This is the main reason why spy Solace (2008) and Skyfall (2012). In the movies have been preconditioned to have a 1990s, new spy characters were introduced male leading character. The female and instantly became commercially characters in spy movies, however, are still successful; Ethan Hunt in the Mission: depicted to be secondary, as supporting Impossible series (1996, 2002, 2006, and characters similar to the previously 2011), and Jack Ryan series The Hunt for mentioned character stereotypes. Red October (1990), Patriot Games (1992), Compared to other genres, particularly Clear and Present Danger (1994), The Sum action, there has been a gradual expansion of of All Fears (2002), and Jack Ryan: Shadow women in leading roles and at the center of Recruit (2014). The 2000s was the birth of the narrative. Alien (1979), Red Sonja

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(1985), Blue Steel (1990), Thelma and Laden hunt. Portrayed by Golden Globe Louise (1991), Barb Wire (1996), La Femme winner Jessica Chastain, Maya is an Nikita (1991) are some of the most popular exceptional CIA rookie who is assigned to women-led action films of the 1980s and locate bin Laden’s whereabouts. Seen from 1990s. These films caused a significant shift the premises alone, these movies do conform in how female characters are portrayed in to the universal formula of spy movies in action films, because the women lead the which the leading characters are plot and do not only become the supporting professionals and the films involve U.S. characters of the hero. This trend continued foreign relations. Having led by female in the 2000s, with female leading action characters, these movies are not particularly films being franchised by the Hollywood toning down the spy movies ‘experience’ studios. The Hunger Games (2012-14), involving action sequences and thrilling Resident Evil (2002, 2004, 2007, 2010, sensations; as they live up to it. Although the 2012), Charlie’s Angels (2000 and 2002), numbers of female characters are not Underworld (2003, 2006, and 2012), Tomb comparable to that of the male characters in Raider (2001 and 2003) and Kill Bill (2003 both movies, Salt and Maya are at the center and 2004), all portray women as the lead of the narratives. This is what discerns Salt within the action narrative, and they are and Zero Dark Thirty from the other popular equipped with the same capability as the spy movies where female characters are male characters and are out of the domestic subverted. In other words, these characters sphere. Each of them have to fight to have broken the gender exclusivity of the survive, and even to save others. These spy genre. characters also “retain certain key characteristics that maintain their Salt and Zero Dark Thirty are chosen to be acceptability as female heroines and reaffirm the primary objects of analysis in this male characters’ masculinity and that of research because of the similar substance in male viewers” (Tung, 2004). constructing women’s identity within the narratives. The essential difference of how However, starting in summer 2010, spy both spy movies depict women identity as movies with women as the leading the leading character is interesting to characters began to surface. The first movie, examine, because this genre has been Salt, was released in 2010 starring Academy conveyed as restricted to male protagonists Award winner Angelina Jolie. Jolie portrays since earlier developments and because a CIA agent Evelyn Salt, who is convicted of leading women characters are seemingly being a sleeper Russian agent. This limited to the “women movies”. Thus, the accusation leads to tumultuous events for construction of women’s identities in these Salt, in which her husband is kidnapped and movies can be viewed as an act of the FBI starts to hunt her. The second movie countering the hegemony of patriarchal is titled Zero Dark Thirty (2012), with a values. female character named Maya who is depicted as the key player in the Osama bin

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As the American culture and society have been affected by the ever evolving ideas and The new American Studies tries to movements regarding women’s issues, work genuinely as a comparist women’s representation in popular culture is discipline that will respect the many different social system and considered just as important. This is one of cultural affiliations of the the many continuations in women’s rights Americas. […] this new movements, which have expanded in the comparative approach stresses the 21st century. Women’s representation in ways different cultures are American popular culture has been transformed by their contact and conceived to be unjust and inadequate in interaction with each other. […] With very different histories of terms of numbers and depiction. Popular responding to ethnic and racial culture here is put into attention, because minorities, as well as of there is a mutual relationship between the constructing gendered and sexual society and the industry of popular culture, hierarchies, these different in which the products are reflecting the Americas also help foreground the cultural values that exist in the society. multilingual and multicultural Moreover, it is the easiest product that realities of social life and economic opportunity in any of the people could apprehend as it is made Americas. (pp. 24-25) palpable for everyone. If it is not properly representing women, then that is In this case, the representation of women in unquestionably how people would perceive Hollywood movies is oppressed by the the conception of women for certain lengths dominating culture of the masculine. The of time. depiction of women in the most popular movies are limited. They are usually the Methodology secondary or supporting characters, often victimized, and only take the lead if it is From the perspective of post-nationalist specifically a “women movie”. This American Studies, women’s issues in stereotype has been gradually debunked as American society also becomes one of the the expansion of women leading roles in issues priorities. Post-nationalist American action movies has started to flourish; but it is Studies sees that there is an evident more interesting when they have reached the oppression by the dominating society seemingly restricted spy movies. The towards minority groups-by race, ethnicity, researcher sees the release of Salt and Zero religion, gender, sexual orientation, etc.- Dark Thirty as a resistance towards the which leads them to social marginalization. existing and dominating male culture in This brings out the importance of expanding popular fiction. topics within the new American Studies as a critic to the on-going cultural hegemony by This research will be conducted in the dominant class through the different qualitative methodology as it is mainly a perspective of the marginalized. Rowe literature study which relies heavily on (2000) explained,

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library research. Creswell (2009) explained spy movies, and American society which about qualitative research method in the includes the Hollywood industry. These book Research Design: Qualitative, supporting materials will be used Quantitative and Mixed Method simultaneously to explore deeper Approaches: understanding of the main research topic.

Qualitative research is a form of In accordance with the theoretical interpretive inquiry in which framework, the data will be analyzed with researchers make an interpretation the theory of representation to answer the of what they see, hear, and proposed research questions. The main understand. Their interpretations cannot be separated from their objects of this research, American spy own backgrounds, history, movies Salt and Zero Dark Thirty, will be contexts, and prior understandings. treated as the medium which communicates After a research report is issued, sub-texts that can be seen through the post- the readers make an interpretation nationalist American Studies perspective. as well as the participants, offering Images, scenes, and dialogues within these yet other interpretations of the movies act as the main ‘language’ which study. (p. 212) will be interpreted. Before entering the main The researcher will interpret the data in a analysis, the historical overview of subjective manner using this mode of American spy movies will be explored. interpretation under the paradigm of post- Furthermore, the common formula of nationalist American Studies to analyze and narratives and depiction of women’s roles in answer the proposed research questions. American spy movies will also be explained. The data will be taken from books, journals, This research will rely on two types of data; and articles which discuss the relevant topic. primary and secondary data. The primary data for this research will be taken from two The main analysis is to interpret the main American spy movies; Salt (2010) and Zero objects particularly in how and why these Dark Thirty (2012). The secondary data is movies depict particular women’s identity. comprised of written materials; which The found data from both movies will be the includes books, journals, articles, reports, first signifier, which will be compared to the websites, online articles, or interviews; woman roles as well as the central male audiovisual materials especially video protagonist in the previous spy movies in interviews which will be obtained from the order to find significant differences or library and online sources. All data that has similarities. After the comparison, been collected will be selected in relevance production analysis will be conducted to to the research topic and will be put into reveal the factors which support the catalogues of sub-topics. The main sub-topic depiction of women’s identity in these catalogues will be divided into; American movies. Production analysis views popular spy movies, women’s identity in American culture products through the industry itself, which seeks the ideas and values that have

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influenced the producers, public taste and The reinvention of women’s identity was the ongoing trend within society. For supported by the filmmakers, in which they production analysis, secondary data will be are aware of the lack of women in the spy utilized which is taken from articles and genre and that they are women. It is rare for interviews with the people involved in the women to be involved in spy movie projects making of both movie productions (e.g. especially in directorial, writing, or starring executive producers, directors, actors, roles. They mostly work as make-up artists screenwriters, the production studio, etc.). or in the wardrobe section. This is why in Additionally to see the trend and public taste the previous spy movies, women’s depiction in society, other secondary data will be was restricted. They are either innocent, utilized and taken from box office revenue merely a sidekick, love interest, or vicious and the public reception of the movies. This femme fatale and they are often treated as secondary data will be processed and will victims or as sexual objects. In Salt and act as the signified. The found signified here Zero Dark Thirty, women were actually functions as the second layer of present to construct the identity of the interpretation, which is the main values, woman character. ideas, concepts, or reasoning behind the Rejecting Women’s Objectification signifier that is derived from the images, dialogues, and scenes found in selected There is one commonality of women’s roles movies. These will be further elaborated in in American spy movies: the women are order to reveal sign, the broader concept always depicted to be physically beautiful. which justifies the construction of both This does not only apply to the innocent signifier and signified. Thus, sign will be the roles, but to the women from the vicious main finding of this research. side as well. Their outfits are mostly revealing, in which they usually show off Discussion their shoulders or legs. Even the more Reinventing Women’s Identity in tomboy characters are still shown to wear American Spy Movies tight t-shirts or tank tops combined with a pair of short pants. Despite the intelligence Spy movies Salt and Zero Dark Thirty or strength they already have, their physical embody a representation of opposing beauty is what also helps them the most women’s identity. Seen from the surface, the when they carry out their mission in the leading women characters Salt and Maya are narrative. seemingly defying and negating the common roles of women in spy movies. But after This could be related to the psychonalaysis being scrutinized very closely, it can be seen concept of male gaze, which was written by that they also celebrate the stereotypes Laura Mulvey in her essay Visual Pleasure attributed to women. Both of these opposing and Narrative Cinema. According to side also represent different realities and Mulvey (1985), women in Hollywood values. movies are merely the “bearer of meaning, not maker of meaning” (p. 834). The

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statement is derived from the function of perception” (p. 838), thus also reasserting women in the patriarchal society, in which the basic perception in the patriarchal men take control and define the political society. structure within the society. This rooted idea has been already unconsciously reflected in Mulvey offers two treatments towards the film making process, where the term women that are commonly found in classic male gaze has been popularized since then. mainstream Hollywood productions. The Beauvoir (1949) pointed out about the role first one is scopophilia, which is related to of women, the pleasure of looking or watching. Influenced by Freud’s concept of […] she is simply what man scopophilia in Three Essays on Sexuality, decrees; thus she is called ‘the this is where people “take other people as sex’, by which is meant that she objects”. Through this concept, women are appears essentially to the male as a transformed to be the satisfying objects by sexual being. For him she is sex – absoulte sex, no less. She is beautifying their physical builds. This defined and differentiated with treatment is common in the spy movies as reference to man and not he with most women are always physically beautiful reference to her; she is the or sexually appealing. The second one is incidental, the inessential as constituted from the ego thus related to opposed to the essential. He is the narcissism, in which there is a ratability and Subject, he is the Absolute – she is identification of the objects on screen and the Other. (p. xxii) the spectators in real life. In the more Referring to Jacques Lacan’s psychoanalysis extreme level, this could be associated with theory in identifying women as merely “the sadism on screen, commonly portrayed with sign of sexual differences” in the society, scenes of investigation, punishment, or Beauvoir further asserts that the society forgiveness. itself is ‘male’ and that woman “cannot think Such objectification is nowhere to be found of herself without man”. This resonates to in Salt and Zero Dark Thirty, as Salt and that of patriarchal society in which the men Maya are the leading role. These women define what women are and are not; and spies are the subject of the narratives. They what women should and should not do. In are the ones carrying the story and take other words, the men construct the culture of control of their destiny by being decisive women in almost every aspect, in this case instead of following the common formula of including the popular culture. As exhibited spy movies where they follow the male in movies, women are merely the characters. In the depiction, Salt and Maya ‘sweeteners’ on the screen, the sexual are depicted as being physically strong, objects to be looked at. Mulvey (1985) also intelligent, independent, and decisive. This explained that a movie functions “to opposes the previous women’s roles in spy reproduce as accurately as possible the so- movies, in which they are helpless victims called natural conditions of human or love interests. Instead, they possess the

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same characteristics as the male protagonist social matter from the feminist point of for exhibiting violence by killing or view. According to the book The Female torturing, being unemotional and cold- Gaze: Women as Viewers of Popular hearted. The idea of subverting the women’s Culture, roles is debunked through these characters. […] it is here, from popular culture – soaps, sitcoms, the Although Salt and Maya come close to being tabloid press, women’s magazines, depicted as femme fatale, they are not mass-produced fiction, pop music, etc. – that most people in our positioned to be the antagonist or villain. society get their entertainment and They are also not depicted to ooze sexuality their information. It is here that as femme fatale by wearing revealing women (and men) are offered the dresses. Instead, they represent modern culture’s dominant definitions of professional women by mostly wearing themselves. It would therefore office attires. While Salt mostly exhibits her seem crucial to explore the possibilities and pitfalls of physical strength for her survival in intervention in popular forms in numerous action scenes, Maya makes a fight order to find ways of making for her credibility with her fierce personality feminist meanings a part of our and intelligence. Unlike femme fatale pleasures. (Gamman & characters, their actions and decisions are Marshment, 1989, p. 2) not merely based on personal motives. They put the interest of the international security By “the culture’s dominant definitions of before their own. They prove their loyalty to themselves” it is quite easy to assume that the nation. And this is what the protagonist the popular culture still adopts the common spy should do. These characters carry out social culture which is patriarchy. This the fundamental elements which usually patriarchal values are what construct the embedded into the good male spy character, image and identity of women in the popular the hero, who saves the people and saves the culture. The construction does not nation. He solves the problems in the necessarily based on the actuality of narrative, and so do Salt and Maya. They are women’s identity, because of the applauded for being the noble knight and not consideration of women as the Others. Thus, merely being yielded as the innocent victims the scarcity of women as subjects in popular or villainess who deserve to be punished. culture is one of the main issue in feminism.

Women’s Identity Construction by The patriarchy dominance can be seen from Women Filmmakers how American cinema seems to favor the male gaze as previously mentioned in Laura The changing gender role represented in Mulvey’s psychoanalytic explanation. The Salt and Zero Dark Thirty is reasonably main assumption is that only the male affected by the changing society as well. spectators can identify themselves to the Women’s representation especially in narrative. This is caused by the underlying popular culture, has been recognized as a values that either subtly or obviously stated

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in the narratives, which the male spectators Salt and Zero Dark Thirty. Amy Pascal, the consider ‘normal’. Irigaray (1998) argued co-chairman of Sony Pictures – the studio through the psychoanalytic view that the which brought Salt – suggested that the female subjectivity “has always been leading character of Salt should be a woman theorized within masculine parameters” (p. as soon as actor Tom Cruise who was signed 549). to play the titular role left the production. She stated she wanted to make a ‘female spy Becoming the subject in a movie will affect movie’, and immediately called Angelina the whole perspective of the narrative. When Jolie to offer the role. Jolie accepted the it is led by a woman, every sense in the role, and she was reported to be involved narrative will be according to the subject. during the character construction. Besides Shoos (1992) explained that as woman takes reportedly being eager to do action stunts by over as the subject, the “female perspective her own, Jolie also suggested a lot of things […] may emerge as a function of narrative, regarding the gender change, including the character, genre, […] etc., and thay may characterization and plot changes by seeing have an impact on women’s reception of them through a woman’s perspective. these [fictions] texts” (p. 220). The feminists Zero Dark Thirty has Kathryn Bigelow who address this problem under the notion of holds a directorial position. Bigelow is identity politics, in which subjectivity is personally interested in making war-themed “historically situated, de-centered, dramas, as she previously succeeded in fragmented, and non-unitary in order to obtaining The Academy Award for Best compose solidarity movements based on Director for her work in The Hurt Locker. political affinities, which could foster After the historical event of Osama bin political coalitions for social Laden’s raid and death, Bigelow intended to transformations” (Alvarez, 2008, p. 4). This make a movie adaptation of it. She and her notion is mostly used by the oppressed screenwriter Mark Boal did an investigative identities based on race, religion, or gender. research about who was involved during the By noting Simone de Beauvoir’s “Other”- process of the bin Laden hunt until the ness concept of women, this affirms that execution of the compound raid. After patriarchal society is what defines the finding out that a female CIA agent had a subjectivity of women, which is often prominent role in the mission, Bigelow and construed as the “liege”. The representation Boal decided to bring this up as the central of women in Salt and Zero Dark Thirty subject and main character of the movie. therefore allow the viewers to see the male Oscar nominated actress Jessica Chastain dominated genre through the perspective of was cast to play the agent which was women, as they claim the role of subject in subsequently fictionalized as ‘Maya’. the narrative. Despite the heavy military and political theme of this movie, Bigelow wanted to Different from other spy movies, the women emphasize more about Maya’s struggle as a behind the scenes were vocal and held young woman agent and her process in significant position in the productions of locating bin Laden. Bigelow also stated that

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Maya’s tough mentality and intelligence are and earrings. The physically strong Salt is important to show in the narrative, hence the not particularly depicted athletic or characterization of an intelligent and muscular. Like Maya, she is lean and independent woman. slender. These three traits are what women are expected to be in society, which means The explanations show that in order to they are still living up to the myth of beauty. properly represent women’s identity in movies, actual women’s perspectives are Generally, those are the certain standardized required in the process of identity physical appearances of women. Long hair construction. In the other hand, it shows how is the common tangible identifier of a the American society, particularly woman. In addition to bringing out Hollywood industry, has evolved and that femininity, women with long hair also there is resistance towards the represent “softness” which can “pacify the misrepresentation of women in the industry. enemy” (Slade, 1987). Women with longer hair represent the value of traditional Commodifying Traditional Women femininity, which men would see as “soft” Stereotypes or “weak”, thus considering them to be less threatening. The reinvention of women identity in both spy movies, however, is accompanied by Both characters also wear clothes with contradictory characteristics. Despite the colors that represent femininity. In the strong, intelligent, independent, and problem earliest scenes, Salt wore a light grey suit solver depiction, typical women’s with a skirt. Maya often wore suits and stereotypes are still displayed in both trousers, but still oozed femininity with her characters of Salt and Maya. There are three choice of soft colors. Upon executing her female stereotypes identified in both mission, Salt changed outfits into a more characters. comfortable one (e.g. trousers, jeans) but the pastel coat, soft blue ushanka hat (the a. Living up to the Myth of Beauty Russian fur cap with ear flaps), still represents femininity. During the violent First stereotype in the movies is that both interrogation and torture scenes, Maya is Salt and Maya are still depicted as feminine. present wearing a long-sleeved yellow shirt, Their femininity can be seen from their long and then a grey blazer and a soft baby blue hair, feminine clothes, and lean slender veil. Their choices of colors are rather bodies. Salt is depicted as having long neutral, but not particularly ‘masculine blonde hair, while Maya has long red hair. colors’ either. There are scenes where they wear ladies clothing; for example Salt wears a baby blue The appearance of their overall body is lean suit and skirt to the office. Maya mostly and slender, the ideal type of ‘woman’s wears dark colors and trousers, but she still body’ in society. This shows how the most wears accessories such as a soft grey shawl popular women’s industries, beauty and

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fashion, are still restrictedly showing the also general entertainment media such as beautiful and tall-and-skinny models. These fashion magazine Vogue and celebrity are the figures displayed in billboards, magazine People. It is common for them to magazines, and advertisements. Physical be featured in the ‘Best Dressed’ list or beauty is considered important to the point ‘Most Beautiful’ list, which has nothing to that it is common for the society to label do with their acting career. people as “physically attractive” or “physically unattractive” (Berscheid & This type of depiction is also apparent in Walster, 1974, p. 181). For women, there is action movies with female lead characters. always the need to look beautiful, because it For example, the women in Charlie’s Angels affects how they are treated by people. Such (2000) who were all depicted to be strong physical standards would not be actually and independent but still physically available if society celebrated women’s attractive. Katniss Everdeen in The Hunger individuality. In most cases, the effort of Games (2012), is a portrayal of a tomboy as trying to look beautiful is an objective in she takes care of her family in the absence of order to get attention from the men, thus it is her father. She is skilled in hunting and in considered “an expression of power relations survival like men. However, she still keeps in which women must unnaturally compete her long hair, despite the masculine traits. for resources that men have appropriated for themselves” (Wolf, 1991, p. 12). American popular culture has been permeating this standard of beauty through Salt and Maya could be strong and highly television, movies, books, and especially intelligent but still they are depicted to be women’s magazines which circulate within physically beautiful. These characters female audiences. Fashion which is represent the beauty that are accepted by considered to be the most feminine industry both men and women. The physical has been deemed exclusive for the tall and/ embodiment of these characters rely heavily or skinny women because these attributes on the actresses who portray them, Angelina represent the standardized body type. It is Jolie and Jessica Chastain. Besides being rare to see voluptuous or overweight models acclaimed actresses, both are considered to gracing the advertisement billboard be ‘Hollywood beauty queens’. This term is throughout the United States, because the usually attributed to actresses that are society has been tainted by the idea that lean popular not only from their acting talent, but or skinny means beautiful. This is what because of their relationships with other American women have been perceiving, and industries, particularly fashion, beauty, and they indulge themselves in this beauty the showbiz entertainment industry. Jolie standard. The worst part is that there are and Chastain have been endorsed as the face prevalent cases of eating disorders occurring of popular fashion brands; Louis Vuitton and among teenage girls because of their Yves Saint Laurent, respectively. They obsession with looking skinny like appear not only in movie-related media (e.g. “supermodels in the magazines”. Variety or The Hollywood Reporter), but

36 Benita Amalina — Fighting For Women Existence in Popular Espionage Movies Salt (2010) and Zero Dark Thirty (2012)

b. Affectionate as the Ideal Feminine Trait opposed to the gentleness of women. Affectionate is the opposite of the The second stereotype is affectionate mentioned roughness, so women are personality, shown in several scenes. While naturally put into the more “wholesome, the masculine theme is inevitable in sweet, and ultimately submissive” position common spy movies, as it involves violence, compared to men (Wilkinson, 1984, p. 8). In a touch of woman’s affection is presented in patriarchal society, they become the ‘ideal bringing the heart of a story. Portrayal of an traits of women’, because men are believed innocent and pure woman who is to take control in every circumstance. victimized–and even sometimes terminated– has been prevalent in spy movies, to Seen from the audiences perspective, represent the morals of the protagonist spy. placing such acts of affection in a violent Both Salt and Maya represent this soft side narrative will evoke sentiments from the although the narratives revolve around viewers toward the female characters. The assassination and torture. outlook of having a pure heart and innocence makes the characters sympathetic In a critical condition, Salt is seen calling thus easy to be loved. In the traditional spy her husband on the phone and addressing movies, the role of innocent women him with terms of endearment like ‘honey’ characters – which are often victimized – is and ‘sweetheart’. Under the pursuit of the to evoke such sympathy from the audience. FBI, Salt also manages to secure her dog to Any sentimental values in fiction are a her neighbor. Maya is assigned to seek “bodily act” which “radically contracts the information from CIA detainees, and is distance between narrated events and the shown to be appalled by the torture methods moment of their reading, as the feelings in used by her male peers. She then proceeds in the story are made tangibly present in the the investigation in her own way, with a flesh of the reader” (Sanchez-Eppler, 1993, proper face-to-face interview. To most p. 100). detainees, she does not yell nor use physical contact. In fact, she promises to not kill one In addition to the softness and gentleness of of them if they want to cooperate. In real affectionate women, these traits also life, these are the traits commonly possessed represent submissiveness that is appealing to by women. In any circumstances – either men. This kind of characteristic gives more normal, critical, or emergency – women are authority to men, as they can exhibit their required to be the ones who soothe, nurture, masculinity without any threat. It also and offer “intimate understanding” (Eckert guarantees the men’s dominance over & McConnell-Ginet, 2003, p. 35). Men are women, which is only apparent when it is “more expected to judge, to offer advice and paired with the feminine (Schippers, 2007, expertise, or to “figure out” mechanical p. 91). In the other hand, this also subverts problems” (p. 39), and also usually in charge the feminine because it represents of the ‘rough’ part. Men are accustomed to ‘compliance’ and not individual doing all the jobs that require strength, as independence. In romantic relationship, it is

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common for men to seek such quality in competitive. (Forbes, 1997, p. their partner to complement their imposed 140) roughness culture and also to manage their superior position to the feminine. What’s more relevant to the movies, is that even though women have attained promising c. Being Relationship-Driven careers, their lives are not yet complete if they do not have any partners, either a The third stereotype is that woman is boyfriend or husband. It is because even in relationship-driven. There are scenes of today’s society, including women, it is still flashbacks involving Salt and her husband believed that traditional women life goals: during critical scenes, which implies that marriage, motherhood, and housekeeping Salt is thinking about him. She turns to defy are considered the most important and her Russian spy organization after they fulfilling (Cullen, 1980, p. 73). This theme killed her husband, and reminisces about the and idea is also still prevalent in day of their wedding when she sees his dead contemporary American popular culture body for the last time. The conversation where women take the lead as the main between Maya and Jessica revolves around characters. In television, it is represented by relationships. Maya states that she does not the 1990s HBO series Sex and the City, date, implying that her job prevents her from which tells about four career women who doing so, although Jessica who has the same are financially independent, but are still profession is married and has children. Maya searching for the things that they crave the dedicates a decade of her life to carrying most; love. The leading character, Carrie this mission, but then after she finally Bradshaw, is depicted as living her dream as concludes, she becomes overly emotional a writer in upstate Manhattan. Her success after the pilot asks her where to go – simply brings her capability to possess material because she does not have anyone to love wealth which most women desire; a nice and a ‘home’ for a long time. These scenes apartment, privilege to access exclusive imply that the women’s ‘connectivity to the places in New York, and the secondary but world’ is still primarily focused on most sought after needs; clothes, shoes, and relationships. The seemingly dependent bags by famous fashion designers. The main nature of women is possibly because, idea of the series, however, is not about how Carrie deals with her professional life, but women’s sense of self is more her quest in ‘finding true love’. This is also “connected” to the world than the same common idea in popular literature men’s. This is supposed to mean especially chick lit. Like Sex and the City, that women are more focused on this is the literature targeted towards women. relationships than men, and more It also tells stories mostly about successful nurturing and cooperative; men supposedly define themselves as modern career women who are looking for a “separate”, avoiding relationship life partner. Sophie Kinsella, one of the most for the sake of independence and prolific chick lit authors, uses this theme in tending to be violent and her books. The leading character is usually

38 Benita Amalina — Fighting For Women Existence in Popular Espionage Movies Salt (2010) and Zero Dark Thirty (2012)

ambitious and a workaholic, often able to productions, could represent the ‘language’ obtain success in her career, but she still of the society culture itself. It could finds something missing as she does not represent how the society is rooted in have a boyfriend or husband. patriarchal systems coming both from the filmmaker and audience. Hence, the Importance of Stereotyping in Popular traditional values of women are almost Movie Identity Construction always depicted in the movies through the traditional binary opposition. Embedding stereotypes in to the movies is one of the easiest ways to attract society in Generally, the producers of popular culture order to show the “universal language and process and absorb the values of society in culture”. In the structuralist and semiotic their products. They are “aware of receivers’ views, society is likely drawn to products predispositions […] [and are] professional, which “speak their language” as well. Thus, […] often a member of a ‘team’ of experts” the stereotypes in the movies are used to (Hinds, Motz, & Nelson, 2006, p. 66). If obtain large audiences which eventually can such ideas and values have been rooted in be proven by the box office charts. the society, it is coherent if the product of Finklestein (2007) explained that the popular culture represents the same thing. mainstream movies mostly visualize There should be compensations in stereotyping of certain identities, constructing a reinvented female character in a masculine genre. Thus, the depiction of In mainstream film, for example, stereotypes about women in the movies acts codes are repeated to the point where they seem natural; blondes as the “compliance to patriarchy” in which are beautiful, the young are the women are still “oriented to guileless and truthful, muscular accommodating the interests and desires of men are heroic. Slowly these men”, a concept that is still considered associations are standardized and relevant in popular culture (Cornell & audiences become complicit in Messerschmidt, 2005, p. 848; Cornel, 1987, maintaining them. […] pp. 184-185). It would be risky to the Businessmen, intellectuals, the criminal and the mentally filmmakers to alter these values in the deranged have all become movies, as they would likely lose viewers. recognizable through standardized Although movies are fiction, the aspect of insignia. A woman in neat, pale probability and relatability are also clothing represents a mother; a important factors to draw in the audience. man in a suit, white shirt and knotted tie is a policeman or A distinct comparison can be seen through doctor; a man in a dark shirt and bowtie is suspect. (p. 7) another spy movie titled Haywire which was released in 2011. Similar to Salt and Zero The universality of the spy movie formula, Dark Thirty, the movie has a woman as the which is still sustained in the modern leading spy protagonist. Directed by award- winner Steven Soderbergh, the story follows

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an operative agent Mallory Kane, who is stereotyped depiction of Salt and Maya framed by her own boss and is selected to be rather than the more individualized portrayal a target of killing. Kane is assigned to a false of Kane. mission in which her working partner tries to kill her. After being blacklisted she has to Depictions of stereotypes (and countertypes) defeat the director of the place where she in fictional worlds become sets of “valuable works. Unlike Salt and Zero Dark Thirty indicators of attitudes and feelings which are whose leading characters possess both very real-beliefs and values held quite stereotypes and countertypes of women, deeply and sincerely by the audience, not Kane completely embodies the ‘masculine only by the author” (Nachbar & Lause, woman’. She is physically athletic and well- 1992, p. 240). In this case, figures of strong built, with short black hair, and tomboy women are proven to be not well-accepted outfits. While critics expressed major praise although they do challenge the traditional for Kane’s characteristics which celebrate gender roles and stereotypes. Mencimer the individuality of women and defy the (2001) observed that although action stereotypical characteristics of women, the heroines have been appearing, the movie was not considered a commercial skepticism will not go away as “women are success. It only grossed $ 18,942,396 in the still only allowed to be violent within certain U.S., while the budget exceeded $ 20 parameters largely prescribed by what men million even though it received a wide are willing to tolerate” (p. 18). So when an release status, and was played in 2,439 author or producer creates a certain theatres nationally, almost the same number characterization of a particular gender, for as Zero Dark Thirty1. example, it will be based on what the majority of the society (audience) favors. The depiction of women in Haywire does not seem to favor the beliefs and values In this case, audience becomes the major accepted by the society. Patriarchal society player. As a product of popular culture, the does not believe that a woman should be main idea of a movie comes from the society masculine and rough; they believe that (audience) and that the product will be women represent virtue and gentleness. As targeted toward the audience (society). This previously mentioned, the symbolic is the systematic nature of popular culture representation of virtue and gentleness can which will decide whether a product is be embodied in a slender and delicate successful or unsuccessful. In the movie physical appearance. Salt and Maya do have industry, box office and awards shows this depiction, but not Kane. Salt and Maya accolades become the main targets of the evoke sympathy, but not Kane. This further filmmaker. In order to obtain these targets, implies that society still accepts the the filmmaker must first and foremost consider the values rooted in the society, and 1http://www.boxofficemojo.com/ what the audience wants. Since the American society is patriarchal, they tend to movies/?id=haywire.htm favor the patriarchal ideas and concepts.

40 Benita Amalina — Fighting For Women Existence in Popular Espionage Movies Salt (2010) and Zero Dark Thirty (2012)

construction in Salt and Zero Dark Thirty, it Conclusion is palpable how the Hollywood filmmakers have already seen the facts, which is change Obtaining commercial success is the rooted of trends in society. In order to obtain ideology of the filmmaker. In the success through their creations, they look at mainstream movies, the aim of substantial these facts to adapt. This is where they content is subverted below commercial deliberately entangle the “old ideas” with success. What is more important for the the “new ideas” to go in line with the current studio is the workability. For example, in a values in the society. The main reasoning is book-to-movie adaptation, some parts of the to obtain success: to be well-received by books can be deliberately passed on or society (audience), and further to gain modified into something else if they are not commercial profits. workable. ‘Workability’ here refers to the audience or people’s reception. Compared to Thus, the construction of the women’s the previous spy movies, the female identity in Salt and Zero Dark Thirty is not identities in these movies have improved based on the role instruments where they because of the involved producers who become the subject of spy movies based on emphasized the women subjectivity. the perspectives of women. The construction However at the same time, the characters is based on the function of the women’s still depict stereotypes of women. The identity, particularly for commercial importance of keeping stereotypes is to purposes. The dual nature of the identity is please people by fulfilling what they want to to attract a wider audience; those who defy see. Compared to another spy movie the traditional women’s identity (progressive Haywire, in which the woman identity is feminists), and also those who celebrate depicted to be overly masculine, both Salt such traditionalism and even stereotypes (the and Zero Dark Thirty were massive common people of patriarchal society). successes. Haywire did not do well at the box office although it was released in the References same number of theatres as Zero Dark Thirty and received positive reviews from Abrams, D., & Hogg, M. (1990). Social critics. Apparently, the leading character in Identity Theory: Constructive and Haywire, Mallory Kane, as well as the Critical Advances. Hemel actress who portrayed her, Gina Carano, are Hemstead: Harvester Wheatsheaf. not quite what people expect a woman to be. Alvarez, J. E. (2008). Telling Different Carano does not have the feminine Stories: Subjectivity and Feminist appearance like Jolie and Chastain, in fact Identity Politics. Gender Theory, she is a martial artist with a muscular and Subjectivity and Security. San athletic build. Francisco: International Studies Association. Relating back to the popular culture Beauvoir, S. d. (1949). The Second Sex. New mechanism seen from the women’s identity York: Vintage Books.

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Berscheid, E., & Walster, E. (1974). Forbes, M. E. (1997). Questioning Feminine Physical Attractiveness. In L. B. Connection. Hypatia, 12(2), 140- (ed.), Advances in Experimental 151. Social Psychology VII (pp. 157- Gamman, L., & Marshment, M. (1989). The 215). New York: Praeger. Female Gaze: Women as Viewers of Cohn, C. (1987). Sex and Death in the Popular Culture. Seattle: Real Rational World of Defense Comet Press. Intellectuals. Signs, 687-718. Harwood, J. (1997). Viewing Age: Lifespan Corbett, S. (2005, February 7). True Spies. Identity and Television Viewing Publishers Weekly, pp. 22-23. Choices. Journal of Broadcasting & Cornell, R. W., & Messerschmidt, J. W. Electronic Media, 41(2), 203-213. (2005). Hegemonic Masculinity: Hinds, H. E., Motz, M. F., & Nelson, A. M. Rethinking the Concept. Gender (2006). Popular Culture Theory and and Society, 19, 829-859. Methodology: A Basic Introduction. Cullen, M. (1980). Women, History and Popular Press. Identity. The Maynooth Review, Irigaray, L. (1998). This Sex Which is Not 6(1), 65-79. the One. In R. Baker, K. Winninger, Dobbins, A. (2013, July 11). Do They Ever & F. Elliston, Philosophy and Sex Make Movies About Women?: A (pp. 549-555). New York: Mathematical Analysis From 1989- Prometheus Books. 2013. Retrieved February 2, 2015, Kay, J. (2013, March 22). Global Box Office from Hit US$ 34,7 Billion in 2012. http://www.vulture.com/2013/07/the Retrieved from Screen Daily: y-ever-make-movies-about- http://www.screendaily.com/news/di women.html stribution/global-box-office-hit- Eckert, P., & McConnell-Ginet, S. (2003). 347bn-in-2012/5053217.article Language and Gender. Cambridge: Mencimer, S. (2001, September). Violent Cambridge University Press. Femmes. Washington Monthly, pp. Finkelstein, J. (2007). The Art of Self- 15-18. Invention: Image and Identity in Mulvey, L. (1985). Visual Pleasure and Popular Visual Culture. London: Narrative Cinema. In G. Mast, & M. I.B. Tauris & Co Ltd. Cohen, Film Theory and Criticism: Fischoff, S., Antonio, J., & Lewis, D. Introductory Readings (pp. 833- (1998). Favorite Films and Film 844). Oxford: Oxford University Genres As A Function of Race, Age, Press. and Gender. Journal of Media Nachbar, J., & Lause, K. (1992). Popular Psychology, 3(1). Retrieved from Culture: An Introductory Text. Ohio: http://web.calstatela.edu/faculty/sfis Bolwing Green State University cho/media3.html Press. Rowe, J. C. (2000). Post-nationalism, Globalism, and the New American

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Studies. In J. C. Rowe, Post- /style/relationships-the-allure-of- nationalist American Studies (pp. longer-hair.html 23-39). Berkeley: University of Tung, C. (2004). Gender, Race, Sexuality in California Press Ltd. "La Femme Nikita". In S. A. Innes, Sanchez-Eppler, K. (1993). Touching Action Chicks: New Images of Liberty: Abolition, Feminism, and Tough Women in Popular Culture the Politics of the Body. Berkeley: (pp. 95-121). New York: Palgrave University of California Press. Macmillan. Schippers, M. (2007). Recovering the Wilkinson, R. (1984). American Tough: The Feminine Other: Masculinity, Tough-Guy Tradition and American Femininity, and Gender Hegemony. Character. Westport: Greenwood Theory and Society, 36(1), 85-102. Press. Shoos, D. (1992). The Female Subject of Wolf, N. (1991). The Beauty Myth. New Popular Culture. Hypatia, 7(2), 215- York: Morrow. 226. Zurko, N. (2013, November 25). Gender Slade, M. (1987, July 27). The Allure of Inequality in Film: New York Film Longer Hair. The New York Times. Academy. Retrieved September 16, Retrieved from 2014, from http://www.nytimes.com/1987/07/27 https://www.nyfa.edu/film-school- blog/gender-inequality-in-film/