Intro Stereotypically women are seen as the weaker, less capale sex, who often play the damsel in distress within horror films. 1. What were Jeremy Tunstall's 4 character roles for women and do they apply to The Cabing In The Woods? Jeremy Tunstall divided the stereotypical female gender role into four parts when he researched deeper into its exixting representation, it emphasised; domestic; consumer; sexual; marital characteristics. Within this film, sexual representations have been focused on. Jules is more a a sexual object within this film. This is shown through camera angles (for example numerous shots that are appealing to men). She also has the stereotypical, 'dumbe blonde' characteristics. Within the horror industry this suggests that she won't live very long, and follows the normal media conventions.
2. How is Dana typical of Clovers 'Final Girl Theory'? Please mention: the ending; Dana's appearance and her actions during the film. At the beginning of the film we don't receive the usual first signs of the final girl theory from Dana. This is because she looks aesthetically typical of a girl that dies first. reasons for this are; from the outset she is in underwear an doesn't appear to be an 'intellectual' tomboy, and henceforth we presume otherwise. However, the fact that she is brunette does keep doubt looming. After first impressions we realise that she is a studious girl as she mentions her books on science (books alone state intelligence). Moreover, we find out that Dana is also a virgin which seems to be surprising. Plus, her outfits considerably change also, from 'slutty school girl' to respectable 'hotty'. Our impression of Jules, on the other hand, does not change. To imply the 'final girl theory' further, the producers feel the need to show that she is embarrassed when realising that Holden saw her undressing through the secret glass and the fact he respected her so much to even swap rooms shows that she is innocent, just like her little school crush on the teacher. Dana's constant fight for life is physical evidence for Clovers 'final girl theory'. She is determined and strong-willed and even Sitterson and Hadly notice this. Proving the theory once more.
3. Jules undergoes mental and physical transformations during the film, what are they and how do they cause her to become a horror archetype? We realised a the begining of the film that Jules has dyed her hair not long ago. This physical transformation, essentially leads to her own premature, inevitable death. This is because blondes are constantly portrayed as being irresponsible, immature and naive. This is also a way of media control on appearance- trying to imply perception. Jules also goes through mental transformations via Sitterson and Hadley. This is done by changing the resources and environment in which Jules is presented in. The hormones released made her ( and her boyfriend) feel horny and this played on the typical horror archetype. Especially by leading up to having sex in the woods.
4. Is Mulvey's Male Gaze theory exemplified in the film and if so, how? Think about framing, camera angles and POV shots. Mulvey's male gaze theory is definitely exemplified within the film. This is shown particularly through the point of view shots within the dancing in front of the fire scene and the kissing of the wolf shot also. Duing the fireplace scene we initially see her shadow through the window, dancing 'sexually' on her own to erotic music. The following point of view shot from below makes you focus on her behind, with the low key lighting which creates more flirtacious vibes. It makes you feel like she's giving the audience a lap dance. As the lyrics of the song say 'your fingertips are creeping' her hand rubs her belly and your mind imagines herself going to strip off her 'short' shorts. The other characters reactions say it all. This creates a lot of sexual tension just alone from the camera angles, and it doesn't even have to be backed up by the mise-en-scene. This also connotes what the male gaze focuses on
and creates a very intimate mood. When the wolf kiss scene starts, you follow her legs, which are bare and walking in a slow teasing manner. This is building the male audience up for a dream desire (even though she's about to kiss a dead wolf). The camera also tilts gently up her body too. Her bum nd hips swaying smoothly; causing even more excitement. We see a medium shot of the wolf and Jules to put back into perspective of what she's doing, yet quickly forget as we see a pointof view shot of the wold, which makes the audence (males) feel like she is wanting us. When she goes in for the kiss there is an extreme close up from both sides of her face this slightly drags out the scene for a plit second creating even more sexual tension. Her hand also slightly corress the fur which adds to the male gaze too. This focuses mainly on the tounge, as the still shot isn't focused on anything however, nothin else moves within these shots, 'feeding' the male gaze. When she pulls away she also closes her eyes and opens her mouth as if she is having an orgasm. Furthermore, exemplifying Mulvey's theory.
5. In the film we, as an audience, are made to be voyeurs; when does this happen and why is it important in regards to representation of character? We are made to be voyeurs firstly when Dana is dressed provocitively in her bedroom. The low angles create a sense of spying on her. this is repeatedly done throught scenes within the initial half of the movie. For example we feel like we are spying on her again when Holden relaises that there is a two way mirror that he can he see her through without her knowing. This makes us feel like a voyeur once again because she is helpless in the act, whereas we keep watching and feel like it is us being portrayed as 'naughty'. Jules later on dances in front of the fire place which seems to be more of a lap dance on our eyes, created by low key lighting and low camera angles, directioned towards her private areas. This again makes us feel like voyeurs by staring at parts of her body that we would otherwise not do. When the scene in which they play 'dares' occurs, we see her legs and bum for the second time focused on. as she goes to kiss the wolf, we see different agles, of whih make us feel as though we are the wolf, but also watch from a persons view within the room, this makes us feel like a voyeur furthermore. Curt and Jules go off into the woods innocently, however things take a turn and begin to passionatley kiss. This goes to another level and as the audience we watch on as they do things that make us feel erocitive and somewhat shocked, as close-ups help to provide
intimacey. Leading to ourselves being part of the sexual act to, making us feel like voyeurs once again.
6. (Briefly) summarise the way women are represented in The Cabin in the Woods. Are they objectified and there to provide satisfaction for heterosexual males and/or do they fulfil another role/purpose? Jules is represented as sex object throughout the film. through numerous different intimate scenes, clothing, camera angles, and lighting. Her stereothypical view of being a 'dumb blonde' is repeatedly shown throught the fim. This makes us feel that she is useless and only there for sexual pleasure. it also acts as a statement to show that true aspects of life aren't all in appearance and focus should be spent elsewhere. This is slightly backed up by Dana surviving longer seeing as she is brunnette and has some form of intellect from wanting to bring er science books. Jules has no way of helping her friends and in some ways just wants wants help cause that's what she needs. The bitter irony however is that there is no escape. Dana is however shown in a different light like previously explained. Being the 'virgin girl' essentilly buys her time, and isn't therefore percieved as an object but a main character that eems to have a chance of survival. The final girl doesn't usuall have an intimate scene, yet she turns down the offer, in a slim chance of being with the teacher she has a crush on. She also shows signs of the final girl by fighting for her life showing signs of maculinity, fullfilling her role. Her realisation to the outside surroundings effecting her shows her wise and somewhat deterined nature. Also, Lin (one of the 'workers' in the ritual) shows signs of feminism, by not drinking with Sitterson and Hadley to celebrate but to show that she's not a monster, like the men represented 'behind the scenes' just like the actual monsters themselves. Showing that she is independant and has control and respectability by not easily being persuaded. The fact that she's a brunette also follows trend. Dana also realises at the end that they made them chose their own deaths, working out what was happening. This connotes her intelligence and worthyness. Bringing another type of attractiveness towards her. Her intelligence makes us feel like she'd be wifely, and such a waste if to die. Plus, she is still good looking although having blood all over her face and being put into a traumatic scenario.