1) Domestic 2) Sexual 3) Consumer 4) Marital
2. How is Dana typical of Clover's 'Final Girl' theory?
Dana purposely falls under all the right categories for being a 'final girl'. She is made out to be virginal, she takes action and fights back using phallic symbols (crowbar, knife, gun), she has dark hair, she is reserved, and she is intelligent and well studied in her classes. She is, as expected, one of the last survivors in the film, but as a twist inevitably dies along with everyone else. By the end of the film, Dana is covered in blood and has lost all sense of femininity as she tries to kill her friend, but instead gets attacked by a monster leaving her barely alive, yet she still is able to move and casually talk to Marty. Her will to survive and strength against the antagonists makes her androgynistic, which is typical of the 'final girl' characteristics.
3. Jules undergoes mental and physical transformations during the film, what are they and how do they cause her to become a horror archetype?
At the start of the film, we find out that Jules hair had been dyed blonde. Later on we find out that the hair dye contained chemicals that impaired her cognitive function. These transformations cause Jules to become a 'dumb blonde' archetype which is a very consistent motif throughout the horror genre. She also comes under the effect of the 'pheromone gas' which causes her to become sexualized through her actions towards the other characters. This is another characteristic of the blond archetype, who the audience expects to die, because of her unintelligent and sexually driven actions.
At the start of the film, we find out that Jules hair had been dyed blonde. Later on we find out that the hair dye contained chemicals that impaired her cognitive function. These transformations cause Jules to become a 'dumb blonde' archetype which is a very consistent motif throughout the horror genre. She also comes under the effect of the 'pheromone gas' which causes her to become sexualized through her actions towards the other characters. This is another characteristic of the blond archetype, who the audience expects to die, because of her unintelligent and sexually driven actions.
4. Is Mulvey's Male Gaze theory exemplified in the film and if so, how?
Mulvey's theory is extremely relevant to this film. The audience is often put into the male characters point of view. One example is when Jules is dancing over the fireplace (which is heavily sexualized) which we see from a POV shot, which then cuts to a shot of Dana and the two male characters watching from where the camera was previously positioned in the last shot. This gives us the impression that we were watching from the male point of view, and even Dana was watching which again exemplifies her androgynistic side, also allowing a male audience to identify with her. Another shot which exemplifies Mulvey's theory would be when Kurt and Jules are in the woods and the low camera angles look up on Jules when she is on top of Kurt, oppose to the other way around. Kurt is also remains clothed, while Jules does not, which generally would cater mostly to the needs of a male audience.
Mulvey's theory is extremely relevant to this film. The audience is often put into the male characters point of view. One example is when Jules is dancing over the fireplace (which is heavily sexualized) which we see from a POV shot, which then cuts to a shot of Dana and the two male characters watching from where the camera was previously positioned in the last shot. This gives us the impression that we were watching from the male point of view, and even Dana was watching which again exemplifies her androgynistic side, also allowing a male audience to identify with her. Another shot which exemplifies Mulvey's theory would be when Kurt and Jules are in the woods and the low camera angles look up on Jules when she is on top of Kurt, oppose to the other way around. Kurt is also remains clothed, while Jules does not, which generally would cater mostly to the needs of a male audience.
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?
During the one-way mirror scene, the audience are positioned as voyeurs, because of the shots that observe the two characters as the undress from both of their point of views. In this case the audience are positioned as voyeurs in a sexual context from both a male and female point of view, which would appeal to the majority of an audience. It is also an effective method of representing character by showing how they both react to the same situation. In the end, we see that they both have interest in each other, but they're nice enough to feel guilty and avoid continuing their on sexually driven voyeuristic behavior.
During the one-way mirror scene, the audience are positioned as voyeurs, because of the shots that observe the two characters as the undress from both of their point of views. In this case the audience are positioned as voyeurs in a sexual context from both a male and female point of view, which would appeal to the majority of an audience. It is also an effective method of representing character by showing how they both react to the same situation. In the end, we see that they both have interest in each other, but they're nice enough to feel guilty and avoid continuing their on sexually driven voyeuristic behavior.
6. 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 fulfill another role/pose?
Jules and Dana are both generally sexualized throughout this film, which is to provide satisfaction for heterosexual males, especially because of the shots and dress that exemplify Mulvey's 'Male Gaze' theory. Jules especially becomes objectified by the transformations she goes through, as they were so easily able to change her behavior and make her become a mindless, sexually driven character. Generally, the 'dumb blonde' archetype also objectifies women. However Dana appears to fulfill a slightly different role. She is more typical of the 'final girl' theory, and it's possible that she could actually identify with a male audience as well as female, because of her androgynistic character type.
Jules and Dana are both generally sexualized throughout this film, which is to provide satisfaction for heterosexual males, especially because of the shots and dress that exemplify Mulvey's 'Male Gaze' theory. Jules especially becomes objectified by the transformations she goes through, as they were so easily able to change her behavior and make her become a mindless, sexually driven character. Generally, the 'dumb blonde' archetype also objectifies women. However Dana appears to fulfill a slightly different role. She is more typical of the 'final girl' theory, and it's possible that she could actually identify with a male audience as well as female, because of her androgynistic character type.
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