by lea.haas -

#01 Finding the right topic

FIRST TOPIC: The „Male Gaze“ in Film

The term „Male Gaze“ was first described in the 1970s by film critic Laura Mulvey. It refers to a representation of women dominated by the male perspective. In this portrayal, women are often depicted as passive figures without significant value or personality, placed alongside an active male protagonist. Visually, the female character is frequently reduced to her appearance.

Male Gaze is not confined to just films and TV shows; it’s also present in video games, advertisements, social media, and television. This phenomenon persists because there are still significantly more men than women in key roles in the film and television industry, allowing this perspective to prevail. The Male Gaze relies on stereotypical portrayals of men and women, offering viewers limited opportunities for identification due to a lack of diversity in character traits.

It’s essential to understand that the act of looking (Gaze) itself is the consumption of products, and 85% of characters in Hollywood are male. We are compelled to consume the male gaze, whether we like it or not, and it often fails to fully incorporate other sexualities and identities. Non-male characters are used to reinforce a mediocre plot in the name of male power.

An interesting comparison is Margo Robbie’s transformation as Harley Quinn and the subtle changes in costume design when Cathy Yan took over the franchise. Over the course of several films, Harley Quinn evolved from creating the fantasy of a mentally unstable, infantilized villain in extremely short shorts to a character leaving an abusive relationship, finding sisterhood, and saving a woman in distress.

SECOND TOPIC: A24 and the modern horror in film

A24, the American independent entertainment company founded in 2012, has played a groundbreaking role in modern horror films. Known for distributing and sometimes producing influential TV shows and movies like Lady Bird, Moonlight, and Everything Everywhere All At Once, A24 has left a significant mark in the horror genre. Films like Hereditary, Midsommar, and Beau Is Afraid by Ari Aster showcase the company’s pioneering work in modern horror.

In modern horror, the genre serves as a platform to convey important messages and provoke thoughtful reflection. A24’s horror films, including The Witch, The Lighthouse, It Comes at Night, X, and Pearl, go beyond conventional scares. They combine supernatural elements with twisted horror narratives, exploring themes like blind faith, cults, and societal obsessions.

A notable aspect of A24’s horror films is the fusion of supernatural elements with the characters‘ emotional depth. For example, Midsommar and Hereditary delve into human beliefs and cults, intertwining the supernatural with the characters‘ experiences. The protagonists may seem morally ambiguous, yet their struggles are relatable, connecting with audiences on a deeper level.

The effectiveness of these characters lies in the actors‘ ability to visually portray emotions such as grief, trauma, loss, and rejection. By depicting these emotions, A24’s horror films bring the genre to the forefront, creating movies that use human emotions to evoke fear in the audience. This approach has elevated A24 to the forefront of modern horror, prompting viewers to engage with the genre in a more profound and emotionally resonant way.

THIRD TOPIC: The 4th wall in film

The imaginary boundary between the events of a film or theater stage and the audience is known as the „Fourth Wall.“ When actors break this boundary, it’s referred to as breaking the Fourth Wall. In instances where plays, TV shows, and films break the fourth wall, they acknowledge the audience’s existence and directly address it. This action blurs the fictional world with the literal reality of the medium: a group of actors performing in front of a live audience or a camera. Actors can step out of their imaginary reality and address the audience watching them, breaking the fourth wall. While most films and TV shows never break the fourth wall, when the imaginary barrier falls, and a character speaks to the real audience, the filmmaker typically has a specific purpose in mind.

To provide a commentary on the scene, actors may turn towards the camera to comment on events in the story. As this direct address often appears absurd, this technique is prevalent in comedy. Breaking the fourth wall pulls the audience out of a fictional world and may clash with the seriousness of most dramas, thrillers, and action films.

Another way to break the fourth wall is by having a character speak an internal monologue, offering insight into their inner thoughts. While this can break the audience’s suspension of disbelief, narrative films seldom attempt this. However, in documentary films, documentary subjects—or even the filmmakers themselves—can address the camera and speak for themselves.

Some directors, inspired by Bertolt Brecht, aim to highlight the artificiality of the film itself. Actors breaking the fourth wall can acknowledge that they are part of a fiction, drawing attention to the symbiotic relationship between the actor and the audience and effectively engaging the audience in the artwork.

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