Karmen piljak

Gaze and Gender, construction of female identity in popular culture

with special focus on comical genres
(PhD Abstract)
The main topics of my research are gender deconstruction and the positioning of gender
in the systemic structure of patriarchal gaze. By a feminist interpretation of popular culture
narration and research into the role and potential of comedy I will search for alternatives
in order to establish a female gaze. Feminism serves as the basis of my chosen
theorisation and method of text interpretation, and is defined as a continued development
of thoughts and movements to bring about the emancipation of women. The development
of feminist movement theories is introduced through acknowledging of the meaning and
role that feminist texts by earlier writers played in the development of feminist
epistemology, or alternatively, as suggested by Iris Van der Tuin, through a feminist
cartography of the third wave. The positioning of gender as a totalitarian social structure
in a wider context of patriarchal gaze, and further as a socio-political discourse of the
capitalist system, establishes a basis for understanding the relationships between the
individual and collective imagery.
The boundaries of gender as a social structure are set by taboos that define social power
relationships through prohibiting transgressions and violations of the binary gender code
or heterosexist gender discourse. A detailed overview of examples of gender transgression
(borderline females and borderline males) and borderline gender (intersexuality,
hermaphroditism) bears witness to the colonial history of their repression and eradication.
It also shows the intrusion of western definitions of gender and gender hierarchy, and the
disciplining of intersexual bodies under the authority of science. When considering modern
transvestite practice, the question of their subversiveness arises. A reconsideration of
Butlers concept of drag offers an insight into the perceived radicalism and
subversiveness of its foundations, within the context of the reproduction of gender-biased
stereotypes.
Patriarchal gaze is situated at the centre of the process of constructing female identity and
reproducing gender difference. The process of constructing identity and setting gender
difference is tightly connected to the reproduction of representations as products of
popular culture. Gaze as a mode of control becomes an important tool to deconstruct
patriarchal narration in the scope of feminist theory. Laura Mulvey's concept of cinematic
gaze especially pointed out the scopophilic pleasure of the subject and underlined the
instrumentalised female role of the object and offered an original methodological tool for a
critical feminist interpretation of visual texts as well as for a theorisation of the invisible
controlling power, that had so far been difficult to address directly.
Patriarchal gaze is established as an omnipresent systemic structure of control, or
Foucaults concept of biopolitics, which is based on a dualist gender hierarchy and the
corresponding cognition. A deconstruction of this view shows a structure that employs
naturalisation in order to maintain and reproduce existing social relationships. It exerts
control through a double regulation of the female body and sexuality: from the outside
under the form of social pressure or the omnipresent Foucaultian biopolitics that is built

into the fabric of social life, and from the inside as an internalised structure whose
presence and action are unknown to the individual, and are therefore perceived to be
expressions of their own free will.
An important part in the process of naturalisation of patriarchal gaze is played by the
reproduction of representations of hegemonic femininity and masculinity, as well as of the
oldest patriarchal narrative structure: the hero narration. The story of a brave hero who
defeats the forces of evil, brings peace to the realm and saves the life of the princess who
becomes his well-deserved prize, is reproduced in various ways in different popular
genres: heroic myths encourage women to identify with the passive beauty, whose story is
only important in connection to a hero.
The products and narrations of popular culture arise from the collective and are inscribed
in it; their deconstruction and analysis uncover the ideological background of social and
gender hierarchies of the period in which they were created. Hans Belting evokes images
as medial nomads or as carriers of meaning, but the role of the medium is not only as the
carrier of image and narration: since the individual is unaware of its impact and role, the
influence of the image on the subconscious is amplified. The individual perception of the
image will lead the individual to internalise individual as well as collective images. S_he
belongs to the collective as a nomadic narrator of stories, or the so-called homo fabulans
and as such participates in the creation of the collective.
Popular culture representations act as patterns for the naturalisation and reproduction of
hegemonic models of femininity and masculinity. Patriarchal representations of passive
female sexuality can best be observed in the two most extreme poles of constructed
female identity: the virgin and the mother. It is of vital importance for society to manage
the female body as a body in the collective possession of patriarchal gaze, state and
family. This must be understood within the framework of the socio-economic system that
runs capitalist industry by selling the ideal of femininity. This leads to a paradox: even
though in Western capitalism femininity is offered as a product, women can never possess
it. They can only approach it, and in so doing legitimise the structure of patriarchal gaze
that denies them their femininity. The incompleteness of the process serves as a driving
force for capitalist production, which uses the reproduction of mythological representations
in mass culture to preserve its status quo and fill collective consciousness.
The value of the female in capitalism is measured in various ways: her capacity to
produce new workforce, or her reproductive capacity; to transmit of the heterosexist
pattern to her female progeny; to support the existing workforce by performing emotional
and unpaid work in the household and in care; to conform to fetish imagination at the
service of male pleasure; and to support the system through active consumption. This is
mainly done by women's genres, which offer a multitude of representations through which
the process of female self-identification is directed towards playing the set roles within the
scope of patriarchal gaze.
A deconstruction of gender structure shows its totalitarian form, based on a dualist binary
code principle. This is maintained through historical and collective memory, where
mythological narrations play an important role. The myth of matriarchy or earlier female
supremacy plays a special part in maintaining sexual hierarchies, that works in two ways:
it excuses patriarchal repression, and flirts with the cataclysmic idea of a deviant world
ruled by women. One of the myths of female supremacy is the myth of the female warrior
tribe, the Amazons, who became an object of male pleasure in their popular rehash.

To question the imperative universality of the binary code hints to colonial tendencies to
export the western understanding of gender differences as a modern form of media
colonialism. Images of popular culture act as models of identification to adopt hegemonic
gender representations that internalise external social pressure. The internalisation of
patriarchal gaze leads to self-objectification or voluntary submission to its objectifying
pressure. Popular culture presents it through a cannibalised pop version of feminism, or
through the message that naked female bodies are an expression of emancipation, rather
than the consequence of patriarchal gaze control. This commercialised version of feminism
is in fact an expression of sexism, which uses an emancipation rhetoric and pronounces
the death of feminism by spreading the notion that gender equality has already been
achieved.
Popular representations of women are based on variations upon two basic identifying
models, or upon the typical soap opera roles: the positive and the negative character.
While the positive character allows the female public to passively identify themselves with
heroic narrations that give a woman a role in the family, the negative one loses and
therefore shows the fate of a woman who chooses to act against the rules of the
patriarchal system. The ruin of the negative character encourages the female audience
and directs them to identify with the positive character, and serves as a warning against
rebellion. There are several versions of such representations in popular culture: in popular
music, for example, there is the beauty (Jessica Simpson, Mariah Carey, Cline Dion), the
rebel, who is not really a rebel (Britney Spears, Madonna, Lady Gaga), and the renegade
(Courtney Love). While the first two examples serve to satisfy the pleasure of patriarchal
gaze, the renegade symbolises a rebellion against it. As such, the renegade has become a
trademark of the feminist music scene, for example in the feminist punk movement, Riot
Grrrls.
The forced identification pattern promotes patriarchal representation patterns: it leads to
gender trauma, expressed in schizophrenic female identity expressed through the typical
representations of the crazy/seductive destroyer and the mother/virgin. Gender trauma
can also be found in comedy, which is one of the oldest areas to enable an unsanctioned
public problematisation of gender difference. Its correlation to the body makes humour act
as a tool to relax repression at the physical and metaphysical level, and enables taboo
violation without social sanctions. At the same time, it represents a connection between
the collective and the individual, and acts as a therapeutic way to amend what has been
socially repressed. An institutionalised use of humour, on the other hand, does not carry a
modification of dominant structures, but enforces their effect in the long run.
The emancipatory potential of humour is shown by its capacity to subvert patriarchal gaze
and recapture public space and language. Laughter is a measure of culture: it
distinguishes human from animal. This is why active participation of women as subjects in
comedy evokes the supersession of the dualist division that places women in nature and
men in culture. Similarly, it is important to deconstruct female representation stereotypes
in comedy, that would exclude women as subjects in humour.
A reflection on women in comedy opens up the question of what defines a female
comedy: the authors gender, the audience's gender, or the representations in the comical
text. It also opens the question whether a female comedy is necessarily feminist, or how
feminism is introduced into comedy genres. Placing comical texts in a wider socio-political

context shows an influence of female representation on the perception of gender

difference. The answer to these questions is given in the form of a categorisation that
focuses on specific examples of comical texts, and discusses the analysis of female roles in
comedy, the analysis of comical texts by female authors, and feminist comedy. Based on
this categorisation, an analysis of specific examples of different comical genres has been
made.
The analysis of female representations in the sit-com The Big Bang Theory has shown that
even though the principal male characters are coded with a non-hegemonic masculinity,
the female roles still appear mainly in connection to men and have no individual stories
outside of this connection. The movie parody The Stepford Wives shows how comedy can
serve to strengthen patriarchal gaze: it is a parody version of its feminist original (a
thriller) and largely a parody of feminism that spells doom to women and places all hope
for their salvation in male hands. An overview of comedy texts by female authors shows a
diversity in the category of female comedy, as the texts by female authors vary in themes
as well as in their ways of building up the comical atmosphere.
The example of the stand-up comedian Margaret Cho shows a flirtation with feminism and
a brutal directness in addressing taboo themes, while the semi-autobiographical sit-com
Miranda reaches comic effect by combining slapstick comedy with a personal connection
that the comedian establishes with the audience through a medium. The author uses the
medium not only as a mode of narration, but also as a mode of communication. By looking
directly into the camera, Miranda includes the audience in her personal story. The diversity
of female comedy is also perceived through the audience: there is no unique rule of
structure in regards to its gender, it depends on the comical method used and the themes
presented.
Feminist comedy is introduced as a genre that actively seizes language and space, enables
a subversion of male gaze and opens room for the alternative development of female
gaze. In feminist comedy, the sit-com Roseanne was analysed. It evoked the
underestimation of working-class housewives and opened up several female taboo
questions, from unpaid work to abortion, homosexuality, menstruation, etc. By reclaiming
traditional roles, Roseanne clearly occupies a central position in feminist discourse and
becomes one of the most successful sit-coms in popular culture. This indirectly refutes the
myth that women (and especially feminists) cannot create funny comedy, and that the
market for feminist comedy is too small for it to be commercially successful.
The example of the spoof video series by Sarah Haskins, Target women, has also been
analysed. She subverts patriarchal gaze by making parodies of commercials intended for
women: she uses different comical techniques from inversion to hyperbole, pointing out
the obvious, etc. When she reveals the absurdity of the advertisement, she also reveals
the absurdity of social expectations regarding women, and questions the foundations of
gender hierarchy.
Feminist comedy thus uses subversion to provoke patriarchal gaze, and offers a
reconsideration of gender difference and a redefinition of the position of subject and
object in comedy. It places itself into feminist theory and popular culture as a mechanism
to subvert patriarchal gaze by developing feminist narrations that relax the socially
repressed gender trauma and open up space for the establishment of a female gaze.

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Spletne strani:
http://jezebel.com/5875219/cho-mad-twitter (12. 1. 2012)
http://wisecrackzine.blogspot.com/ (January March 2012)
http://www.democracynow.org/2011/7/25/pioneering_comedian_roseanne_barr_on_her
(20. 2. 2012)
http://the-big-bang-theory.com/ (February, March 2012)
http://www.guardian.co.uk/culture/2008/nov/19/comedy-women-feminism-us-election
(februar 2012)
http://www.youtube.com/watch?v=ChQrfWxtOPg&feature=fvst ( February, March 2012)
http://www.youtube.com/watch?v=ZqDzKad2Q3M&feature=fvsr (February, March 2012)
http://youtu.be/ZqDzKad2Q3M (February, March 2012)
http://youtu.be/-IjNWYh4lkU (February, March 2012)
http://youtu.be/eRporKhhBmg (February, March 2012)
http://youtu.be/TEAaHpFGKac (February, March 2012)