by lea.haas -

Road to M. A. 9: Sound Design and Emotions

In cinema, sound design is often an umentioned „silent“ hero—shaping emotions, heightening tension, and guiding the audience’s experience. When it comes to expressing female rage, sound design becomes even more critical. Women’s anger has historically been muted, dismissed, or vilified in both media and society. However, through the meticulous use of sound, filmmakers have found ways to amplify, legitimize, and even celebrate female fury.

The Role of Sound Design in displaying Female Rage

Female rage in film is not just about screaming or breaking things—though those moments are certainly powerful. It’s about the underlying tension, the controlled fury, the slow build-up before an explosion, or the eerie silence that signifies something is about to snap.

Sound design helps shape and embrace these moments of rage in multiple ways:

1. Silence as a Weapon

Silence—or the deliberate absence of sound—can be just as powerful as a loud explosion of rage. In films like Gone Girl (2014), the eerie quiet in Amy Dunne’s most intense scenes builds unease, letting her emotions simmer beneath the surface before they explode. Silence forces the audience to sit with the weight of female anger, making it all the more impactful when it finally erupts.

2. Distorted and Layered Sounds

When rage boils over, sound designers often layer and distort sounds to mirror the character’s emotional state. In Promising Young Woman (2020), for instance, moments of intense confrontation are underscored with subtle yet jarring sound distortions—heartbeats, high-frequency ringing, or muffled audio—to simulate stress, adrenaline, or dissociation.

3. Breathing and Vocalization

The sound of breathing—whether controlled and measured or ragged and erratic—can define a moment of suppressed or unleashed anger. Consider Kill Bill: Volume 1 (2003), where The Bride’s breathing shifts from controlled calm to explosive fury. Sound design ensures that we feel every ounce of her wrath before she even lifts a weapon.

4. Destructive Sound Effects

Objects breaking, fists clenching, heels clicking sharply against the ground—these small details are magnified through sound design to externalize the character’s internal storm. In I, Tonya (2017), the sounds of skates grinding against ice or fists slamming into objects make the audience feel Tonya Harding’s frustration and the brutality of her world.

5. Music and Score in Female Rage

Soundtracks and scores play a crucial role in shaping female rage on screen. Strings stretched to an unsettling high pitch, pounding percussion, or an abrupt drop in music can all signal anger before the character even speaks. Joker-esque brass instruments, pulsating synths, or discordant notes in films like Pearl (2022) highlight a woman’s descent into fury, allowing sound to convey her emotional unraveling.

Iconic Moments

  • Charlize Theron in Mad Max: Fury Road (2015) – Furiosa’s silent yet seething breakdown is punctuated by the howling wind and the pounding desert heat, making her grief-fueled rage even more visceral.
  • Natalie Portman in Black Swan (2010) – The use of distorted breathing, whispers, and classical music descending into madness intensifies Nina’s transformation from repressed to rageful.
  • Florence Pugh in Midsommar (2019) – The climactic group scream scene is not only visually stunning but sonically overwhelming, using layered vocalization to transform individual pain into collective rage.

Sound design is a critical tool in shaping how female rage is perceived in cinema. Whether through silence, distortion, or heightened realism, sound gives weight to anger that has long been silenced or trivialized. As filmmakers continue to explore the complexities of women’s emotions, we can expect even more innovative uses of sound to make female rage impossible to ignore.

*This text was proofread for punctuation and spelling errors with the help of DeepL, ChatGPT 4o and Grammarly.
*This text is based on literature & topic recommendations from ChatGPT 4o and Gemini Pro 2.0. All content was verified by me for accuracy and relevance, and the text itself was created by me.

Literature:

https://medium.com/vionlabs-tech-blog/how-sound-design-triggers-emotion-bf052d3da2a9

https://www.filmbaker.com/blog/importance-of-sound-design

Görne, Thomas. “Sounddesign: Klang, Wahrnehmung, Emotion.” Munich: Carl Hanser Verlag, 2017

Sonnenschein, David. “Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema.” Los Angeles: Michael Wiese Productions, 2001

by lea.haas -

Road to M. A. 7: A look into the Evolution of Womens Anger

Women’s fury is a power—one that has been historically constructed as destabilizing and threatening. It is depicted as a menace to safe homes and peaceful communities, something to be controlled within its capacity to keep the social order. The stereotypes of women’s rage are everywhere: the shrieking wife, the crazy girlfriend, the feminazi, the angry black woman. These are hasty, derisive nicknames to reach for when a woman’s fury threatens the status quo.
But despite the conditioning and warnings, there have always been women who will have not been silenced and will not be silenced, who appropriate their anger as a revolutionary act of resistance to repression/oppression. For these women, rage is not something to be ashamed of and suppressed, but an act of defiance against injustice. There are i women throughout history who will not take the advice to „let it go.“


The Fear of the Angry Woman
„It is better to dwell in the wilderness, than with a contentious and ill-tempered woman,“ is a passage from the Old Testament book of Proverbs. It is an attitude which reflects an old and age-long conviction: a man would rather be alone than face a woman bold enough to express displeasure. What the implication definitely implies is—a woman who airs her anger and discomfort is to be avoided, not one who should to be listened to.


This is ironic because studies over and over again establish that women are signaling heightened anger, and that they feel it more deeply compared to men. Women’s anger grounds in condescension, neglect, and rejection, yet both current and historical reactions to these anger-producing situations overlook the validity of such feelings. Proverbs never instructs men to alter their behavior in response to avoiding the wrath of females; it simply advises them to run from it. This sentiment has endured through centuries and cultures, ensuring that women’s wrath is reviled, not respected.


One of the first women to fully embrace her rage was 16th-century writer Jane Anger. Her 1589 brochure „Protection for Women“ was an unapologetic, unrestrained conviction of male ignorance and misogyny. She wrote not to persuade men to change, but to speak the unspeakable: Express the righteous anger.
Jane herself acknowledged the revolutionary nature of her work by asserting, „It was ANGER that did write it.“ Her pamphlet wasn’t tempered, with the conciliatory tone one would have expected from a woman then. Instead, she publicly judged men for their hypocrisy, lust, and arrogance:
„Fie on the lie of men, whose heads run oft amad and whose lips cannot so quickly be loosened but forth they fall a-railing. Was there ever any so wronged, so slandered, so railed on, or so foully dealt with undeservedly, as are we women?„
Whether Jane Anger was her real name or a pseudonym is in question, but her impact is undeniable.


The Rise of the „Angry Feminist„
Flash-forward to the mid-20th century, and women’s outrage found new power in second-wave feminism. This was a time when outrage was not merely tolerated but cultivated as a method for deconstructing the patriarchy. „I have cherished and guarded my feminist rage like a beloved daughter“ feminist critic Jane Marcus once described. She summarized the manner in which rage was both weapon and armor for feminists of the time.


This anger was articulated in such pieces as Valerie Solanas‘ „SCUM Manifesto“ (1968) and Martha Rosler’s performance work „Semiotics of the Kitchen“ (1975). Rosler’s six-minute film was an explicit articulation of anger, with her wielding kitchen implements as weapons and rearranging a traditionally feminine space into one of open defiance. Solanas work, however, took anger to an extreme, not only in her manifesto (where she called for the murder of men) but in her very attempt to murder Andy Warhol.
Neither Solanas nor Rosler allowed for the patronizing reassurances that often neutralized female rage. No one could watch „Semiotics of the Kitchen“ or read „SCUM“ and say, “You’re beautiful when you’re angry.” Their anger was not meant to be aesthetically pleasing or softened for male consumption. It was meant to disrupt and shock.


The Limits of Feminist Anger
Second-wave feminism was not without its limits. As white women rejoiced in being able to speak loudly in anger, they consistently muted women of color. Black women had to suppress their outrage for the sake of solidarity, a contradiction to the patriarchal requirement that women should act compliant and respectful.
„White people have colonized Black Americans,“ Bell Hooks wrote. „Part of that process of colonization has been teaching us to contain our anger, never to make them the focus of any anger we may feel about racism.“ White feminists utilized their rage against patriarchy but were oblivious to the fact that they themselves were accomplices to silencing others.


Anger in the Digital Age
Women’s rage today keeps evolving, especially with the digital age. The internet has allowed collective rage to be voiced in the form of movements like #MeToo and SlutWalk, proving that rage can be a unifying force. Yet, modern feminism still deals with the issue of inclusion and whether all rage is created equally. The public perception of a young, white woman’s rage still varies from that of a Black woman’s or a trans woman’s.
But female anger is still something to be feared. In literature, cinema, and politics, enraged women haunt the cultural imagination. Writers like Elena Ferrante stage women bubbling with rage, artists like Pussy Riot and Guerrilla Girls make rage performative, and trending social movements exist on collective outrage.
History reminds us that women’s anger is respected and feared. It is a tool of rebellion, an emblem of resistance, and, above all, a refusal to be silenced. Women’s angry history is still being written—and it has a long, long way to go.

*This text was proofread for punctuation and spelling errors with the help of DeepL, ChatGPT 4o and Grammarly.
*This text is based on literature & topic recommendations from ChatGPT 4o and Gemini Pro 2.0. All content was verified by me for accuracy and relevance, and the text itself was created by me.

Literature:
Archer Magazine: Femme Rage, Hysteria, and Catharsis (https://archermagazine.com.au/2024/07/femme-rage-hysteria-catharsis-good-for-her/)

Frieze: Functions of Female Rage
(https://www.frieze.com/article/functions-female-rage)

Vice: The History of Female Anger
(https://www.vice.com/en/article/the-history-of-female-anger/)

by lea.haas -

#4 Impuls: Arcane & Female Characters

Wie schon so oft in meinen Beiträgen besprochen, gabe es in den letzten Jahren einen starken Vorstoß für mehr weibliche Charaktere im Fernsehen und in Filmen, aber oft nimmt dies die Form von eher stigmatisierten pseudo Frauenbildern an als echte Menschen. Zu viele Shows und Filme versuchen, Frauen zu stärken, indem sie sie perfekt, unbefleckt und standardmäßig besser machen als alle um sie herum – insbesondere Männer. Männliche Charaktere werden dadurch downplayed. Dies verleiht der weiblichen Darstellung keine Tiefe, sondern macht sie oberflächlich und langweilig.

Deswegen hat mich Arcane, die animierte Netflix-Serie basierend auf dem Videospiel League of Legends, so überrascht. Normalerweise bin ich kein Fan von verfilmten Videospiel Serien aber Arcane hat es geschafft mir die Freude für dieses Genre zurückzubringen. Die Serie schafft es eine Welt mit starken, komplexen Frauen zu erschaffen, ohne sie über ihr Geschlecht zu definieren. Die weiblichen Hauptdarstellerinnen – Vi, Jinx, Caitlyn, Sevika usw. – sind nicht deshalb fesselnd, weil die Show uns immer wieder an ihre Stärke erinnert, sondern weil sie als voll entwickelte Charaktere mit Fehlern sich durchs Leben schlagen.Sie kämpfen und entwickeln sich weiter, ohne die männlichen Charaktere zu verstecken oder sich über sie zu stellen.

Arcane ist eine 2021 gestartete animierte Fernsehserie, die von Riot Games entwickelt und von Fortiche Productions produziert wurde. Es ist eine Hintergrundgeschichte für verschiedene Charaktere in League of Legends und dreht sich um die angespannte Beziehung zweier Schwestern, Vi und Jinx, die sich in einem andauernden Krieg zwischen der wohlhabenden Stadt Piltover und der unterdrückten Unterstadt Zhaun auf entgegengesetzten Seiten befinden.

Aber was genau macht Arcane anders als Serien davor?

Arcane rückt mächtige weibliche Charaktere nicht nur ins Rampenlicht, sondern bezieht sie in die Welt ein, ohne ihr Geschlecht zum einzigen Merkmal ihrer Charaktere zu machen.

Vi ist nicht mächtig, weil sie eine Frau ist – sie ist mächtig, weil sie in ihrer Kindheit um ihr Leben kämpfen musste und dadurch stark wurde.

Jinx ist nicht furchteinflößend, weil sie eine „knallharte Bösewichtin“ ist – sie ist furchteinflößend, weil sie labil, genial intelligent und unausgeglichen ist.

Diese Merkmale könnten sich auch auf männliche Charaktere beziehen und Arcane schafft es somit nicht das Geschlecht in den Mittelpunkt zu rücken. Mir wurde erst in der 2. Staffel bewusst, dass diese Geschichte hier sich hauptsächlich um weibliche Charaktere dreht. Arcane schafft all das, ohne auf seine männlichen Charaktere zurückzugreifen und sie zu zerstören. In modernen Geschichten wird so oft versucht, die weiblichen Hauptcharaktere aufzuwerten, indem alle Männer inkompetent, selbstgefällig und sogar nutzlos sind. Aber in Arcane sind die Männer – sei es Vander, Silco, Jayce oder Ekko – genauso komplex, fehlerhaft und einflussreich wie die weiblichen Charaktere. Die Serie erniedrigt die männlichen Charaktere nie, um die Frauen aufzuwerten; stattdessen steht jeder Charakter für sich selbst und lässt sie Stärke zeigen und nicht nur darüber sprechen.

Ein weiterer Aspekt, in dem Arcane erfolgreich ist, ist die natürliche Untergrabung der Geschlechterrollen. Die Serie bringt auf natürliche Weise Frauen an die Macht, ohne dass es wie ein erzwungener Schachzug wirkt. Die härteste Vollstreckerin in Zhaun ist eine Frau (Sevika). Die politischen Figuren von Piltover sind Frauen wie Ratsmitglied Medarda und Frau Kiraman. Die männlichen Charaktere werden jedoch nicht auf abgedroschene Klischees reduziert – Vander ist eine Vaterfigur, Silco kümmert sich aufrichtig um Jinx und Jayce bekommt sogar die „Frauenschwarm“-Szenen ohne Hemd und Nacktem Oberkörper.

Diese Repräsentation fühlt sich natürlich an, nicht wie eine Repräsentations-Checkliste. Und genau deshalb funktioniert es.

Ein weiterer Grund, warum Arcanes Drehbuch funktioniert, ist leicht zu erklären: Es behandelt seine Charaktere in erster Linie als Menschen. Die Serie beruht nicht auf hohlen Mantras der Emanzipation oder bequemen Klischees. Vielmehr konstruiert sie reiche, komplexe Persönlichkeiten mit Fehlern und Tugenden und schafft weibliche Charaktere, die realer sind und nicht idealisiert. Sie sind gleich Fehlerhaft wie alle anderen.

In einer Mediengesellschaft, die allzu anfällig dafür ist, Perfektion mit Macht zu verwechseln, zeigt Arcane, dass Macht tatsächlich aus Kompliziertheit entsteht. Indem die Serie an ihren Charakteren festhält und die wirklich fantastische Geschichte erzählt, schafft sie etwas, was nur sehr wenige Serien geschafft haben: starke weibliche Hauptfiguren zu erschaffen, ohne dass es jemandem auffällt. Genau deshalb hat mich diese Serie gecatched. Nicht weil ich mich als Frau repräsentiert gefühlt habe sondern inkludiert. Ein Mensch mit Fehlern, dessen Charakter und Verhalten durch Erfahrungen geprägt worden sind.

*This text was proofread for punctuation and spelling errors with the help of ChatGPT 4o and Grammarly.
*This text is based on literature & topic recommendations from ChatGPT 4o and Gemini Pro 2.0. All content was verified by me for accuracy and relevance, and the text itself was created by me.

by lea.haas -

#06 Poor Things

Like I wrote in my previous blog posts cinema mirrors societal norms and especially the portrayal of women has been a subject of interest. One cinematic piece that bravely delves into the complexities of female emotions, particularly female rage, is „Poor Things“. I went into this film with zero expectations but was left speechless after I saw it. This film not only highlights the raw intensity of women’s emotions but also serves as a canvas for the exploration of the female gaze, providing a refreshing perspective on storytelling.

The Unapologetic Rage of Women

„Poor Things“ invites viewers to witness the unapologetic rage of its female protagonist, mirroring the suppressed emotions that women have carried for centuries. Directed by Yorgos Lanthimos, the film breaks away from conventional narratives and embraces the power of feminine fury, challenging stereotypes and demanding a reevaluation of societal expectations.

The central character embodies the frustration and anger that women often suppress in the face of adversity. Her journey becomes a poignant exploration of the multifaceted nature of female rage, from quiet rebellion to explosive outbursts. The film encourages audiences to empathize with the struggles women face, shedding light on the resilience required to navigate a world that often dismisses or silences their voices.

A Cinematic Ode to the Female Gaze

„Poor Things“ not only addresses female rage but also offers a unique perspective through the lens of the female gaze. Traditionally, cinema has been dominated by the male gaze, shaping narratives from a male perspective. However, this film challenges the status quo, providing a narrative that is not only driven by a female protagonist but is also seen through her eyes.

The female gaze in „Poor Things“ is characterized by a nuanced portrayal of relationships, desires, and societal expectations. It subverts the traditional norms of objectification and instead focuses on the empowerment and agency of the female characters. Through this lens, the film invites viewers to reevaluate their own perspectives and question ingrained biases in the portrayal of women on screen.

Breaking Stereotypes and Redefining Narratives

„Poor Things“ becomes a catalyst for change in the cinematic landscape, contributing to the ongoing conversation about the representation of women in film. By embracing female rage and the female gaze, the film challenges stereotypes and offers a more authentic portrayal of women’s experiences.

As we continue to dissect and discuss the impact of cinema on societal perceptions, „Poor Things“ stands as a testament to the power of storytelling in reshaping narratives. It encourages a more inclusive and diverse representation of women, paving the way for future films to explore the depth and complexity of the female experience.

In conclusion, „Poor Things“ is not just a film; it’s a statement. A bold declaration that demands attention to the unspoken, the overlooked, and the rage that simmers beneath the surface. It’s a call for a cinematic revolution where the female gaze takes center stage, breaking free from the confines of stereotypes and offering a truer reflection of the diverse stories that women have to tell.

by lea.haas -

#04 Female Rage

The narrative of female rage in film has evolved significantly throughout history, reflecting changing societal attitudes towards gender, power, and expression. In earlier cinematic narratives, female anger was often subdued or expressed through subtleties due to prevailing cultural norms and censorship.

  • Early Cinema (1920s-1950s): Female characters were typically confined to specific roles, and their anger was often portrayed as repressed or channeled into quieter forms of resistance. For instance, characters like Scarlett O’Hara in „Gone with the Wind“ or Joan Crawford’s Mildred Pierce depicted rage simmering beneath the surface due to societal constraints.
  • 1960s-1970s: This era saw some shifts as films like „Bonnie and Clyde“ or „Thelma & Louise“ showcased women pushing back against societal norms and expressing anger more openly. These narratives explored female rage as a response to oppression or injustice.
  • 1980s-1990s: Films like „Fatal Attraction“ and „Basic Instinct“ sometimes depicted female rage through the lens of mental instability or as a dangerous force, often tying anger to a negative portrayal of female characters.
  • Contemporary Cinema: The portrayal of female rage in recent years has become more diverse and nuanced. Films like „Mad Max: Fury Road“ and „The Hunger Games“ franchise present strong female protagonists who express rage as a response to systemic oppression and personal trauma. These narratives delve into complex emotions and showcase women’s resilience and strength.

Throughout these periods, the narrative of female rage in film has shifted from subdued or villainized portrayals to more empowered and multifaceted representations. These narratives often explore the reasons behind the anger, addressing issues such as gender inequality, abuse, or societal expectations, providing a platform for nuanced storytelling and challenging traditional gender roles. The evolution of these narratives reflects a broader cultural shift towards acknowledging and validating women’s experiences, including their anger, as an integral part of their stories.