How useful has an ideological critical approach been in understanding binary oppositions in the narratives of your chosen films?
- (feminism)
- sex scene/dance scene, final dance scene,
- binary opposition of Mia and Conner's- portrayed by the camera angles- Mia close ups, Conner long/mid wide shots. Mia presented as vulnerable, Conner portrayed as dominant, confidant.
- intense focus on woman dancing- positions audience as male viewer/ critical of male gaze. dialogue between judges and Mia- femininity so important- constructed to make women sexualised and desirable. binary opposition between social expectations and woman's ability for individualism.
When looking at the sex scene between Mia and Conner, ideological critical approaches of feminism are very useful in understanding the binary oppositions presented. Mia is portrayed as vulnerable and naive, and this is depicted through the close up shots of her sitting opposite Conner before he asks her to dance for him. these close ups, when compared to the long/mid shots of Conner stretched out on the sofa, illustrate Mia's lack of control when faced with Conner, and also her innocence as a 15 year old. this is further demonstrated through performance, when she appears repulsed by drinking Conner's alcoholic drink. the disparity between the camera angles and positioning when focusing on the pair portrays the binary opposites of naivety and youth, contrasted with dominance and experience. feminist ideology therefore becomes significant when looking at these oppositions, as critics would refer to the assertion of male domination over a young inexperienced woman, and the ability of Conner to exploit Mia through objectification and subjugation. this is exemplified when Mia dances for Conner, and the camera focuses on his gaze directed at Mia, which is eventually revealed to be for his own warped gratification.
Furthermore, the final dance scene cannot be analysed without reference to, or consideration of feminist ideology. the camera is fixed and at a low angle, resembling the position of an audience member watching the unidentified woman dancing on stage, and along with the long take, acts as a criticism of the male gaze. the intense focus on the woman urges spectators to make connections to Conner previously watching and objectifying Mia, and are therefore persuaded to feel discomfort at the position of which they are placed. through this lens of feminist criticism, a binary opposition can be noticed between the expectations placed on woman to be subjects of male objectification and pleasure, and the ability for women to maintain autonomy and individualism. this is further demonstrated through the dialogue of the judges when addressing Mia, as they suggest that she appears 'much more feminine' with her hair down, and that this image of femininity constructed by patriarchal ideology would be enhanced if she wore 'shorts' (a more revealing attire). the binary opposition is, in this moment intensified, as for Mia to abide by the expectations of female sexuality she must reject her individuality and choice of appearance. the fact that Mia eventually rejects these expectations, as evident with the long take of her walking away from the stage, portrays the power that women hold in being able to disassociate from misogynistic notions of femininity. The director therefore sends an empowering message to women and girls by the end of the film, with the idea that women are not solely passive objects encumbered by patriarchal expectations, but instead have the power to dictate their own futures.
