Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2016 Unbound: Dismantling the Genre of Female Coming-of-Age Films Megan Edwards Scripps College Recommended Citation Edwards, Megan, "Unbound: Dismantling the Genre of Female Coming-of-Age Films" (2016). Scripps Senior Theses. Paper 796. http://scholarship.claremont.edu/scripps_theses/796 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Megan Edwards Senior Seminar 12/10/15 Unbound: Dismantling the Genre of Female Coming-of-Age Films Theoretical Framework and Initial Organization The genre of coming-of-age films relies on sexist clichés that perpetuate simplistic representations of young women and saturate the mainstream public consciousness with dangerously patronizing depictions of what it means for a girl to enter into adulthood. My senior project will combine my two primary areas of study, media and feminism, in order to engage with the normative depictions of female coming-of-age stories that are present within the current media landscape. Through creating a short documentary that is viewed within a gallery installation, I intend to dismantle the patriarchal gendering of traditional female coming-of-age stories and present alternative feminist narratives to these stories through the voices of the women in my own life. While many feminist media scholars before me have pointed to the extreme gendering of commercial films, my own field research on coming-of-age stories has revealed it to be one of the most stereotypically gendered arenas within modern media. Traditional notions of gender identity, almost to the point of caricature, are so obviously present within this genre that I immediately flagged it as an area in need of critical intervention and of a reconfiguration of the basic tenets of the genre. Simply explained, coming-of-age stories privilege the narratives of boys and present male lives as more complex, and thus more important, than female lives. Films in this genre that are centered around a male protagonist typically employ a plot where a young boy embarks on an adventure, often into some sort of wilderness, where he learns to build strong friendships with his peers through their shared experiences. Conversely, when these films are focused on a female protagonist, they often revolve around a girl relentlessly pursuing her male crush, trying to achieve 1 popularity amongst her peers, and engaging in petty drama that exaggerates the fragility and unpredictability of women. While I have compiled lists of movies that exemplify these gendered clichés, there are a few films in particular that stand out because of their nearly identical portrayals of gender across multiple generations and national contexts. The 1986 film Stand By Me, directed by Rob Reiner, details the adventures that the young protagonist, Gordie, embarks upon with his three best friends as they venture into the wilderness to find the body of a local missing child. By the end of their macabre quest the four boys have exposed their most private hopes and fears to one another, entering into a new level of friendship that heralds them into the morally ambiguous realm of adulthood. With eerily similar themes, The Kings of Summer (Vogt-Roberts 2013) follows the adventures of two teenage boys who are fed up with their families and decide to build a house in the woods where they can live “as men.” As reality begins to diverge from their expectations, both boys are faced with complex questions about what it means to be an adult and they learn to rely on their friendship with one another in order to define themselves as young men. While these films are separated by almost three decades, the themes present within them are shockingly similar. Both movies revolve around the intricate relationships that boys foster with one another and emphasize traveling outside of the home in order to gain knowledge about adulthood and masculinity. The fact that these two films are separated by 27 years yet have nearly identical themes indicates that male coming-of-age stories resonate with audiences across multiple generations because of the narrative structure that treats young boys as complex and engaging subjects. While dangerously one-dimensional depictions of young women appear to be present across the decades as well, it is also crucial to notice that simplistic stories of female maturation span across different continents. Mean Girls (2004 Waters) has become one of the most iconic female coming-of-age stories in the United States and persists as a cult favorite over a decade after its release. The plot revolves around Cady, a teenager from South Africa, transferring to a high school in an American suburban town where she becomes assimilated, mostly by accident, into the most 2 popular clique on campus. While the film does delve into critical satire at certain points, it nonetheless perpetuates the trope of female maturity as laden with drama that reifies patriarchal notions of women as desperate, shallow, and hormonal. The 2008 film Angus, Thongs and Perfect Snogging, directed by Gurinder Chadha, follows a similar plotline where a young English schoolgirl attempts to win the affection of the new boy in town while simultaneously competing to throw a more extravagant birthday party than the most popular girl in school. Both of these films exemplify how female narratives are drastically more simplistic than stories that revolve around males. Gendered stereotypes within the genre serve to reinforce patriarchal hierarchies that situate men as more intellectually and emotionally complex than women and continue to contribute to the internalized sexism of modern media. The transnational nature of these films also indicates that these damaging representations exist within multiple cultural contexts and permeate the global imagination of what it means for a young woman to enter into adulthood. In order to combat these toxic stereotypes I will be gathering eight women between the ages of 45-60 that have been influential in my life to discuss their thoughts on their own coming-of-age. I have selected these eight women because of the courage, kindness, intelligence and patience I have witnessed them exhibit in their everyday lives as I have grown up around them. These women have been my mentors, my confidants, and my support network as I have discovered my own voice as a young feminist academic, and I intend for my close personal relationship with them to inform the final configuration of the project. Apart from my personal admiration for each of these women, I have also selected them with the intent of documenting the stories of women from a wide spectrum of ethnicities, nationalities, class backgrounds and cultures. It is critical for my documentary to incorporate principles of intersectional feminism through the representation of a diverse group of women in order to challenge the normative assumptions of female identity that revolve around whiteness, wealth, heterosexuality and a cisgendered body. My commitment to intersectionality stems from the work of women of color feminists who made critical interventions into oppressive white feminist ideologies 3 such as Kimberle Crenshaw, bell hooks, Chandra Mohanty and Audre Lorde. In particular, Crenshaw has informed my academic pursuits over the years because of her seminal work on the necessity for intersectionality to inform feminist activism. She argues that “the failure of feminism to interrogate race means that the resistance strategies of feminism will often replicate and reinforce the subordination of people of color, and the failure of antiracism to interrogate patriarchy means that antiracism will frequently reproduce the subordination of women” (Crenshaw 1252). My project aims to reject the privileging of white women’s stories and seeks to present an intersectional approach to the reconfiguration of female coming-of-age stories through the ability of each woman I interview to define her own specific identitarian politics. Apart from Crenshaw, Audre Lorde’s formulation that “the master’s tools will never dismantle the master’s house” has greatly influenced my desire to intervene into this specific film genre (112). While the speech in which this quote is located addressed the inability of white feminism to work across barriers of racial difference, I’m curious as to how this concept can be applied to gendered media. If film can reinforce sexist representations of women, why can’t it subvert those clichés and provide complex depictions instead? I want my project to explore this notion of dismantling oppressive systems and examine whether my work reiterates or challenges Lorde’s idea that techniques of domination cannot be reclaimed to benefit the marginalized. In order to do so, the documentary will juxtapose traditional talking head interviews with experimental B-roll footage that I create collaboratively with each woman I interview. A collaborative process is incredibly important to my project because I want the women to retain agency over their own stories and to feel that my editing process will not eclipse their ability for self-definition. I am asking each woman to gather photos, home videos, documents and miscellaneous objects that they feel represent their coming-of-age and to allow me to digitize these items so I can create an archive of their experiences. I will then use a digital projector to project these images onto their bodies, focusing primarily on their torso, arms and head as an embodied “screen.” The use of the projected images illustrates how these significant life experiences are inscribed within their skin and are constantly 4 working to make them the people they are today. Internal histories will be transformed into external histories so the documentary viewer can grasp a visual articulation of the life changing events that these women have experienced.