Group Video

Persepolis and the New Protagonist

The French-Iranian film, Persepolis, is based on an autobiographical graphic novel by Marjane Satrapi. Released in May 2007, the success of this animated film brought to light the tensions encountered by a girl coming of age during the Iranian Revolution. It has been acclaimed globally, winning awards at the 2007 Cannes Film Festival, a nomination for Best Foreign Language Film at the 65th Golden Globes Awards, and a nomination for Best Animated Feature at the 80th Academy Awards. The story of the hardships of a rebellious, defiant woman growing up in the shadow of the strict Islamic government is only one example of French contemporary cinema evoking a sense of strong feminism.
In this essay, portrayals of women in French contemporary cinema will be discussed, with a focus on the film Persepolis. In addition the trend of strong women protagonists in contemporary French cinema will also be highlighted. While there is a definite presence of feminism in Marjane Satrapi’s story, the French trend is not the 1960’s feminist movement in America (Barsam). Rather, movies such as La Vie en Rose and Amélie, point this trend to the retelling of the women’s side of the story- with a dash of feminism and certain advancement in film techniques and editing.
The movie Persepolis begins with Marjane Satrapi smoking an oh-so-French cigarette in the airport debating her boarding of a plane to Iran. The majority of the movie is told in black and white flashbacks as Marjane recalls the memories that led her to that very seat in the airport. Her happy childhood saw “the fall of the Shah, the Iranian revolution of 1979 that brought the Ayatollah Khomeini to power and the beginning of the Iran-Iraq war. (Walker E3)” The execution of a close uncle who was heavily involved in the freedom of the country, instilled a strong defiant nature in Marjane, as well as the support of her family and the instability of the society she grows up in. As the Iranian society grew strict in its rules for modesty of women and bans on Western media, Marjane continually clashes with her authorities, and her family finds it best to send her to a boarding school in Vienna, Austria. There, Marjane is again confronted with issues of being the odd one out. Finding it difficult to find real friends, and again clashing with the nuns at her boarding school, Marjane begins to jump from place to place leading her into a downward spiral of bad relationships and finally leaving her at the very lowest of social orders, living on the streets of Vienna. She finally calls home, and returns to Iran, with the promise that her family will not ask her what happened in Vienna. As a young woman, she experiences another culture shock as she is thrust back into the repressive society of Iran, and while much of the fighting had finally calmed down, the stains of repression of the Iranian government are still very present. She falls into depression, further pushed by anti-depressant pills that only worsen her state. She reaches her low, gets her act back together and starts studying art. Her unrelenting rebellious nature prompts a marriage advised by her mother to prevent the suspicious eyes of the police force. A year later, her unhappiness returns with an unsatisfied marriage. She attends a secret party that is raided by the police. In their chase to capture the attendees, a friend is killed. Marjane’s limit is tipped. She divorces her husband, and with the support of her family and close grandmother, she decides to leave Iran for good. She becomes an expatriate living France. Her story ends, as the screen returns to her seat in the airport, with a plane ticket to Iran that she does not use (Persall 12W).
Because this movie was animated it is hard to apply some of the concepts learned throughout this semester to this movie. Dutch angles are used heavily, as are many medium shots. However, a greater knowledge of specific elements of movie animation would allow a better evaluation of this film’s editing techniques.
In animated films, sound and its use on screen seems to be especially important, with particular emphasis on diegetic sounds. For instance, a scene of Marjane running away might be accompanied by a loud “whoosh” or the heavy thuds as her feet fall on the ground. The emphasis of diegetic sounds seems to be a common trait in animated films and works almost too well with this film that was based on a graphic novel.

Marjane’s powerful story told in animation holds elements of traditional French cinema. In loose definition, it is a new wave story because animation is not a widely used form for movies targeted at adult audiences. The austerity of Marjane’s story told through animation proves that this form of media can be used for older audiences. The majority of the film is in black and white, emphasizing the true origins of the story in the graphic autobiographical novel. In addition, shadow theater is heavily used throughout the film, reclaiming French origins of theater and cinema.
Marjane’s westernization is complete with the backdrop of songs that are just as defiant as she is and that support elements of globalization in this film. Iggy Pop and Iron Maiden pave her coming of age story, in the most unlikely way, when her music is banned and she meets another clash with the police.
The political assumptions and statements made throughout the movie did not sit well with the Iranian government, and it has been highly criticized, especially in Middle Eastern countries. Lebanon completely banned the movie in its opening months, and Iranian officials protested the Cannes Film Festival’s decision to acknowledge the movie for the Jury Prize in 2007 (which it later won) (London).

One of the most critical scenes in the movie is when Marjane recuperates from her depression, picks up her life, and her rebellious nature returns. At this point, “Eye of the Tiger” is cleverly used as a song largely recognized for its “fight till you die” allusions. This seemed to be an exceptionally feminist evoking scene, and it is interesting that this was a scene largely emphasized in the promotion of the film. However, there begs an argument in the ending of the story as it does not necessarily end with Marjane’s success or happiness. Instead, the ending of this movie is bittersweet, as Marjane realizes that the state of affairs in Iran is something she cannot fight alone and has to accept for the time being. In this way, the film is approaching a well-known story from a women’s point of view, not necessarily a feminist.

In this day and age, modern portrayals of women span over every role. French cinema is no exception, as it holds the title of the birthplace of film itself. However the recent international successes of movies like Persepolis, Amélie, and La Vie en Rose point that strong female protagonists are becoming a trend. Furthermore, the recent installment of the first French woman president poses another interesting note.
The global success of Amélie (2001) paved the success of these films. The quirky story of Amélie cannot necessarily be called a romantic comedy. Instead, half of the movie was in-depth look at her peculiar life, connecting audiences to her point of view, before even introducing her love interest. (Waxman C1)
In that respect, contemporary French cinema has found a place for these strong woman protagonists and crossed the border with the success of these films. It has reached audiences on a national and global level. Marjane’s story is of the battle between her beloved country, Iran, and the Westernization that brings to light the injustices in her country. It is a story of a fight between nationality and globalization, and her final acceptance of both.

Y Tu Mamá También and Its Significance in the Mexican Treatment of Women

Since the beginning of civilization, women have fought to gain equal rights as men. This struggle has lasted for thousands of years, but just within the past hundred years women have earned the same legal rights as men. Although women may have the same legal rights as men in the majority of the developed world, they are yet to be treated as their equals in both the home and the work place. The treatment of women is observed through a variety of ways such as statistical studies, analyzing current events, and observing the arts. One of the most direct ways to observe the treatment is through the portrayal of women in the arts. Whether it is rap music referring to women in derogatory terms, visual art showing exposed women, or a rape scene on film, each form has an effect in which society views women. By focusing on the treatment of women in film, it is possible to analyze how the majority of people see the role of women in society. With roots dating back to the beginning of the twentieth century, Mexican cinema has a deep history for its people as a form of expression. In the past it has focused on key issues such as the Mexican Revolution, the Massacre at Tlateloco, and the reign of the PRI (Institutional Revolutionary Party), but recently the focus has shifted towards a modern Mexico free from the restrictions made by the PRI.

As a part of the New Mexican Cinema there has been a focus on modern Mexican society facing a variety of issues. One of the most prominent issues addressed in modern cinema is the sexual revolution taking place in the changing Mexican society as illustrated through films such as Alfonso Arau’s Como Agua Por Chocolate (1994), Alejandro González Iñárritu’s Amores Perros (2000), and Alfronso Cuarón’s Y Tu Mamá También (2001). Each film has its own way in capturing the varying social classes within Mexico, yet and each one mixes in sexual tensions as well showing women as insightful and intelligent. While Amores Perros and Como Agua Por Chocolate are more reserved in revealing sexuality, Y Tu Mamá También is a direct expression of the new found freedom of sexuality. It is within these sexual undertones (and sometimes overtones) and criticisms of society that Mexican film-makers reveal the treatment of women in their country. As revealed in these films, the New Mexican cinema portrays women in a position of power; the women in films such as Y Tu Mamá También have a significant role in the narrative as a person of power and intellect.

Prior to the process of globalization in Mexico, there had been a mistreatment of women existing for centuries which was very well represented in film. The unequal position of women in Mexico is traced back to the legend of Malinche, an indigenous Mexican who translated for Hernán Cortés and thus helped him conquer the land from the Mayans and other indigenous groups. Her place in history is “as the perpetrator of Mexico's original sin and as a cultural metaphor for all that is wrong with Mexico” (Krauss). Malinche’s sin has led to a mistrust of women and put them in position to be the scapegoat for the problems faced by the nation. The majority of literature and films from the past have portrayed women in a very negative light; “As Jean Franco has written, women ... are too often projections of Malinche: their actions always lead to betrayal or self-destruction, and they are "the root of all trouble” (Acevedo-Muñoz). Mexican films portraying women in such an unflattering light include the works of directors Ellisa Rashkin and Ana Lopez whom have done little to change the views of women. It is ironic that some of the most notable portrayers of women are by women themselves, yet it is likely the most accurate. Their view of Mexican society on a day to day basis as a woman givers great insight into the necessity to fit in with society’s confines of what a women should do. Strict influences from history (Malinche), the Catholic Church, and a manipulative government have meshed together to create an unforgiving atmosphere for women. The government has turned a blind eye to the numerous sexual abuses, kidnappings, and torturing of women as a result of drug trade within the country. Influences of globalization and modernization such as NAFTA, the end of the PRI, and new laws are helping to change the way of life in the nation. The process is of the revolution that has taken place is mirrored in the film as it is a way to combat this mistreatment; to put the women in control in the film enables women to be powerful in real life.

The tides are changing for the ways in which women are being treated in Mexican film as a result of more attention towards fighting violence as apart of the drive to modernize. By modernizing, Mexico has not only committed to changing its economy, but its culture as well. Their culture is attempting to deter the exploitation of women in favor of a more modern perspective on their rights; they are the equal of men and they deserved to be respected. This change is reflected within recent Mexican films.

In recent Mexican cinema the traditional pattern of women's position and narrative significance has been challenged…. Amores perros and Y tu mamá también have introduced women characters whose presence calls for the need to re-inscribe women's narrative agency and responsibility and have proposed new ways of approaching national identity in the times of globalization and postmodern narratives. (Acevedo-Muñoz)

Cuarón’s Y Tu Mamá También (translates to And Your Mother Too) is the story of two young men, Julio and Tenoch, who have convinced an older woman, Luisa, to take a trip with them to the beach. While both teens have Luisa on their minds, it is in fact her that controls each of them through both her intellect and sexual appeal. The film is much more than a quest for sexual gratification, it is a journey throughout the Mexican country side revealing both the reality of lower class society, but the past relationships, exploits, and feelings of each character. Luisa’s position as the older woman on the trip gives her a great position of power over the men, but she is also the voice of reason that teaches them sex is much more than a quest, but rather something special shared between two individuals. She is the quintessential independent woman that is a reality in twenty-first century Mexico that is able to deal with death, divorce, adultery, and homosexuality.

Due to Luisa’s strong personality, the boys have no choice but to respect her and take her advice throughout the trip. One such example of her power occurs along their journey when the young men fail to realize the true beauty of their trip; “It takes the mediation of Luisa for Julio and Tenoch to "rediscover" the country and themselves” (Acevedo-Muñoz). It is Luisa’s care-free attitude that enlightens the young men to enjoy life for what it is. An example of her position as a sort of all-knowing figure is exemplified by her words, “Life is like the surf, so give yourself away like the sea” (Cuarón). It is through these words that the director reveals a sentiment that women should be respected not only for their beauty and sexuality, but for their knowledge as well. The power of Luisa to serve as the vehicle for Julio and Tenoch to realize the changing Mexican society is one that should not be taken lightly. With the help of an omniscient narrator, she notes the beauties, history, and problems Mexican society faces. At first the boys take these for granted, but through Luisa they learn life is more important than sex, it is a struggle to survive, for equality, and happiness. Although Luisa is the object of their desire, she is treated with the respect her knowledge commands. Luisa is able to enjoy life and not worry about the standards of Mexican society under the previous reign of the PRI. She is in fact an embodiment of the new Mexican woman that must be treated as an equal.

The treatment of Luisa in the film is something that can be seen as revolutionary in comparison to the typical Hollywood film which fails to treat women as much more than an object of desire. While women in American society may be treated the same legally as men, they are still subjected to thousands of cases of sexual harassment, rape, and other forms of sexual abuse. American society may be more modern than that of Mexico, but there is still a struggle to treat women as there equals and ignore any attraction towards them. The cases of sexual abuse in Mexico are slowly shrinking from previous decades, yet there are still many changes that must be made. From 1999 to 2005 Over 6,000 girls and women have been the victim of gender violence (Reyes), but the hope is that from films such as Y Tu Mamá También, that both attitudes and the high crime rates will fall. With the production of more films that transcend the stereo-types about women as objects of sexual desire, Mexican film-makers may be able to contribute to the treatment of women as men’s equals.

Mixtures of Women Roles in Masala Films

Popular Indian cinema usually includes an intricate love triangle along, plenty of song and dance, along with a mixture of comedy, action, and romance. Cinema productions of this nature are known as ‘Masala’ films in contemporary Indian culture, the term coming from the identical word meaning a mixture of spices in Indian cuisine. Women in Masala pictures are usually treated with admiration and respect, but at the same time they are required to adhere to the traditions of their cultures. Some cultures depicted in these films call for arranged marriages occasionally leaving characters, both men and women, unhappy due to previously made arrangements. To express the characteristics of Indian cinema we will compare and contrast women roles in two Masala films that were intended to appeal to more international audiences.

The first is “Swades: We, the People” an Indian film produced by director Ashutosh Gowariker. It is very much a classical Masala film with a few exceptions. The first is that the hero in the film is not a simple man from a local village (which is common), but a NASA scientist working in the USA who is drawn back to his Indian roots. The other exception in the film is that there is no clear antagonist in the film, leaving it up to the audience’s insight and perception to find one. Both of these plot traits are shared by the other film: “Marigold: An Adventure in India” which is a co-production between Hollywood and Bollywood film companies with a story based in Mumbai, India. According to Samantha Haque “Marigold” is “the film that marries America's millions with India's silver screen charm” and “is Hollywood's first proper footing into the land of Bollywood (Haque).”
Before one can compare these movies on a cross-cultural basis one must understand the roles women play in Indian cinema. Female characters typically fit into the four main roles of women in Indian cinema: mother, wife, vamp, and courtesan as described by Gokulsing and Dissanayake. In “Swades” there are two prevalent female characters each taking one of these roles. The first of these is the protagonist’s childhood nanny Kaveriamma who takes the classical role of mother. The mother figure is important in many cultures, “but Indian reference to the mother is loaded with religious significance and the country is conflated with the mother goddess, Shakti (literally strength). The concept of the country as mother finds resonance in the national hymn Vandemataran! (Hail ‘Mother (land)’) (Gokulsing, Dissanayke)” Keveriamma fits this role perfectly; to begin with she is the reason that the protagonist initially comes back to India, his motherland, and begins to rediscover his roots. She ultimately leads the protagonist to meet the love of his life, who in the end causes the protagonist to move back to India permanently.
The other significant female character portrayed in “Swades” is Gita, a local native of India who lives with the protagonist’s childhood nanny. The two fall in love over the course of the film and many of the protagonist’s actions are to obtain the admiration of Gita. Gita represents the wife character in the obvious fact that she and the protagonist fall in love, but also in that she is confined by some traditions of her culture. A particular tradition that Gita openly disagrees with is that she is expected to marry and settle down into a traditional wife’s lifestyle with no personal ambitions or goals. She expresses her dislike by consistently declining marriage proposals. Although it is not shown if Gita and Mohan are married, it does portray them happily together as the story comes to a close. Gina’s disregard for tradition is actually a typical aspect of female vamp figures in Indian cinema. Gokulsing and Dissanayake assert that “this ideal wife must be sexually pure and the epitome of sexual fidelity. (Gokulsing, Dissanayake)” In “Swades” Gita effectively shows the audience that she is pure at heart, has good intentions, and is in love with the protagonist thus wholly filling the wife role in Indian cinema.
In “Marigold” there are also two significant women throughout the story. Neither of them falls under only one of the four traditional women roles, but are variations and combinations of the roles. The first woman of the film I would like to discuss is Jhanvi, a woman who has an arranged marriage with Prem, the main male character whom Marigold falls in love with. Jhanvi is an interesting mixture of the aforementioned women roles in Indian cinema. “The courtesan in Indian films is represented as existing outside the normal domain of domesticity and she is deeply attracted to the protagonist of the film, although usually he does not fall in love with her. (Gokulsing, Dissanayake)” The protagonist in Marigold is not a man, but Jhanvi is in love with and arranged to marry Prem who instead falls for the female protagonist. Jhanvi characterizes the essence of the courtesan role while still embodying other roles as well. During the film one learns that Jhanvi supported Prem leaving to pursue music and dance, and also later supporting the decisions he makes in his love life, even though they go against her own wishes. Jhanvi’s selflessness and goodwill when dealing with Prem shows her as a mother like figure. Jhanvi’s also believes in true love shown after Marigold runs away from Prem after hearing the truth; “she is urged back by Jhanvi who confesses that Prem doesn’t love her and never will. (Gajjar)” In the end of the film Jhanvi helps Marigold by exchanging places with her on her wedding day with Prem. This leaves everyone surprised, even Prem, once Marigold is unveiled as the bride. Jhanvi is an important character in Marigold symbolizing an intelligent, beautiful, and kind woman in Indian culture.
This leaves Marigold Lexton, the protagonist and heroine of the film. When the audience first meets Marigold she resembles the vamp figure in traditional Indian cinema more than any other role. The vamp is characterized as “normally a decadent modern woman, generally with a name like Rosie or Mary. She flouts tradition and seeks to imitate western women… she is portrayed as a morally degraded person and has come to be associated with everything that is unwholesome about the west. (Gokulsing, Dissanayake).” Marigold has the obvious advantage of being a westerner and having no need to imitate western women. During the film Prem tells Marigold in person that she has no self respect and that anybody could tell by the way she acts. This leads to a series of events that lead to Marigold becoming transformed into a more ideal wife. Along the path of this alteration Marigold falls in love, learns to sing and dance Bollywood style, and has a definite change of attitude towards life. Marigold eventually comes to portray the ideal wife figure in traditional Indian cinema, fortified by the fact that she is married to Prem in the end of the film.
Culture can be seen as a major factor in these films depiction of women. Both share subplots of arranged marriages, but portray them slightly different. In “Swades,” Gita refuses to marry because of her distaste in traditional women roles in society. In “Marigold” Prem and Jhanvi are arranged to marry and must follow through with because of their customs. Jhanvi realizes that Prem loves Marigold and helps her secretly marry Prem in front of everyone. Both movies tend to stray towards independent thought in women roles in society, instead portraying the women as the in charge ones. All act out of what they believe to be right, even though they were raised in a culture with opposing values.
In conclusion, women in Indian cinema depict many different roles and figures. Women in contemporary Indian cinema tend to prefer to stand up for what they believe is right, no matter the consequences. The four traditional roles in Indian cinema can still be seen today in Indian cinema, although they are more open minded to a cultural revolution calling for a change in the way their own cultural system works. At times it also becomes hard to distinguish the different roles from each other with characters portraying aspects from multiple ones.

Women Power

Throughout cinema, the way women are portrayed in international and American films can be compared and contrasted because many films represent women differently, showing them as powerful beings or people who are constantly looked down on. Examples of some films in which women are free to live their lives and are looked upon are films such as the American chick flick, Sex and the City, and the Korean film, My Sassy Girl. Throughout the films, both main characters, involved in romance, in the films are women and they freely express their thoughts and emotions and are not limited to their actions.
The international film, My Sassy Girl, directed by Jae-Young Kwak, is a romantic comedy where a college student meets a drunken girl in the subway station who ends up his changing his life. The protagonist, Gyeon-Woo, saves the girl who almost gets hit by the train and takes her to a motel to care for her. From this point on, the girl, whose name is anonymous throughout the whole movie, becomes an active part of Gyeon-Woo’s life by telling him that she broke up with her old boyfriend, but the truth is that her boyfriend passed away. Her harsh history and upsetting loss causes the Girl to be demanding and strict toward Gyeon-Woo. In the beginning of Gyeon-Woo and the girl’s relationship, she is very demanding and stands up for her beliefs and thoughts. For example, a scene in the movie where the girl clearly shows her actions is when Gyeon-Woo and the girl go to restaurant after she demanded to talk to Gyeon-Woo. She approaches young prostitutes who were talking and drinking with older businessmen and scolds them and asks them how old they are which persuades the younger girls to leave the restaurant. Not only does she yell at the younger girls, she also talks back to one of the older men. These actions show that the women is superior compared to the men because the man in this scene did not take any action and the girl continued to yell at the man for paying for prostitution. Another scene where it shows strengths of women is when the girl demands Gyeon-Woo to order a certain meal and threatens to kill him if he does not listen to her. The girl is showing her freedom and shows her power in the relationship. In Korean culture and tradition, younger generation needs to show their elders respect and courtesy. From an article review this Korean film, the author states, “woman acting outrageous and going against the norm of how a “young woman” is supposed to behave is not…” (Nix). From the Korean film, the girl is twenty four years old while Gyeon-Woo is twenty five which means that the woman should show respect for the man not only because of gender but because of the age difference. Also, the girl’s strengths are clearly shown in the film when she has to endure the pain of the loss of her boyfriend, similar to Carrie’s situation in Sex and the City. Her actions show her strengths in society and want to make a statement to the protagonist that she does not want to be taken easily.
Similar to how women are portrayed in the international film, Sex and the City also has scenes where women are looked upon and their strengths are shown. Starting as a television series, Sex and the City “has long been a neo-feminist staple, giving us female empowerment with a snazzy sense of style, basically allowing women to be feminine, but never weak” (Griffin) which shows power in women by standing out in society with a high fashion line. This American film, directed by Michael Patrick King, began as a television series and is about the protagonist, Carrie moving in with “Big” and planning on getting married as they both fell in love with each other. However, as Carrie’s excitement about her marriage began to escalate, Big began to have doubts about their future. His concerns finally arose when Carrie’s friend, Miranda, who was having problems with her boyfriend, accidentally expresses her thoughts to Big saying that marriage ruins people’s lives which led to Big not wanting to get married. Breaking Carrie’s heart, her closest friends, Miranda, Charlotte, and Samantha go on Carrie’s planned honeymoon as a vacation to help cheer Carrie. Throughout the movie, Big sends Carrie letters apologizing but her assistant, Louise; give the letters to Carrie at the right time which helps bring the two couples back together. This film definitely shows a lot of feminism because this film is mainly about the lives of four women and all of them have professional jobs and are involved in relationships which show that they are all active in society and are free to do anything they want. From an article which reviewed this film, the author states, “all took the fruits of feminism for granted: independence, equality, the right to sleep around, etc. Yet what they found was a new kind of liberation… The glory of Sex and the City is that it turned the cosmopolitan high life of girls who just want to have fun into a new feminine mystique” (Gleiberman). All four of the social and active girls are all involved in relationships but at the same time are independent women and are able to do their own thing such as wearing expensive bags and shoes while drinking martinis. Another author from a different article explains how “each of the women, inevitably, faces their own obstacles, providing them with individual highlights around Parker’s Carrie, whose situation drives the story” (Lowry) which shows that women persevere and endure their struggles to overcome their conflicts; thus, showing their confidence and strength. The movie shows the strengths in women because not only is Carrie able to endure the pain after Big cancels the wedding but also her friends are always by Carrie’s side supporting her and caring for her.
Both films are very different because of the difference in plot and one of the movies is spoken in a foreign language but these movies have similarities such as the representation of women in both films. In many films, women are portrayed differently and might be inferior to others but in these two specific films, women are powerful and confident in themselves. The girl in My Sassy Girl shows her strengths by being the dominant person in her relationship and standing up for her beliefs while Carrie in Sex and the City shows her strengths by being active in her life and fighting through her struggles. Both films portray women as positive and significant not only to society and people but to men.

Abuse In Our Movies

Some foreign and American films show women being abused and mistreated by their husbands which are unfortunate realistic representations of family life in these countries. The 1991 American film, “Sleeping with the Enemy,” shows how women are abused even in a country as modern as the United States. The film is about a young couple whose relationship turned abusive after they got married. The wife, Laura, fakes her death in order to escape and start a new life only to be tracked down by her husband. The New Zealand film, “Once Were Warriors” shows a modern-day Maori family that has trouble being stuck in common outdated traditions. Jake abuses his wife especially after he has been drinking. The abuse has been passed down among generations and the end does not appear to be near. In “Sleeping with the Enemy,” the characters are upper class while in “Once were Warriors” the characters are lower class. Despite the differences in class and culture, abuse of women is still common in their households.

In one of the opening scenes of “Sleeping with the Enemy”, the viewer sees the abuse of Laura by her husband, Martin, when he slaps and kicks her after their neighbor says he caught her looking at him from their window. The husband has an obsessive compulsive disorder which makes him even more irritable towards his wife. One instance of abuse occurs when Martin mentions to his wife that dinner better not be late.
Martin recalls how it was recently late and he beat her for it. Laura reminds him that the incident occurred over six months ago. In America, many women are trapped in abusive marriages and do not know how to escape. Laura tells a woman on the train that her husband had promised he would find her and punish her if she ever tried to run away. Her husband also forced sex on her, so after she met a new guy she refused to have sex with him because it felt wrong. After finding clues that Laura may still be alive, Martin tracks her down and finds her. In the scene where he finds her, frightening music is playing in the background and Martin never blinks. The director uses this throughout the movie to show how evil Martin is. One movie review describes Martin as, “One of those men who sees his wife as both possession and servant. She's attractive to show off at parties, but at home he lashes out at her if the towels aren't perfectly straightened in the bathroom, or the canned goods aren't lined up on the shelves with military precision. She is allowed no will of her own, and when he strikes her for the first time, it has a brutal impact on the audience” (Ebert). In the United States, this type of domestic violence is common. Many women that are abused in the United States are treated as objects especially in the upper class. The abuse of women in the United States is not as physical as the violence portrayed in “Once Were Warriors.” Like the Maori’s, domestic abuse can be passed down from generation to generation; however, it is not limited to the lower class. According to, “…a New Zealand study of 1,000 battered women, 70% of their children were also abused. And from interviews with these children, researchers found that almost all of them could remember and describe detailed accounts of violent behavior that their mother or father never realized they had witnessed” (Tipu). Statistics show that the abuse is passed down from generation to generation all over the world. While in “Sleeping with the Enemy,” the viewer does not know if Martin’s father was abusive to his mother, but we do know his OCD contributes to the abuse. Recent statistics show how serious of a problem domestic violence is in the United States. Every year, approximately 1.3 million women are assaulted by their partner in the United States (Survey). According to another recent survey, “In 2005, 1,181 women were murdered by an intimate partner. That's an average of three women every day. Of all the women murdered in the U.S., about one-third were killed by an intimate partner” (Violence). The statistics show that domestic violence is as serious as three women’s deaths a day in the United States. While the problem is not often brought to the foreground, the brutal truth is that it is a major problem in the United States. The film, “Sleeping with the Enemy,” accurately portrays this serious problem. Women are abused more than men, and according to one study, “84% of spouse abuse victims were females, and 86% of victims of dating partner abuse at were female” (Survey). The numbers are staggering, but the abuse is not limited to the United States.

“Once Were Warriors” follows the life of a Maori family and shows how they adapt to society today. The family lives in the lower class slums where it is given the men control the family. While the men get drunk together at pubs, the women must work and take care of all the household chores. Unlike “Sleeping with the Enemy,” the abuse in “Once Were Warriors” revolves around alcohol. When the men get drunk, they beat their wives for virtually no reason. In the Maori culture, “Wife-beating, while distasteful, is acceptable behavior, especially if the woman has the audacity to talk back to her husband” (Berardinelli).
Jake beats his wife Beth multiple times when she talks back to him. Despite the abuse, the two still love each other and always seem to make up. “Once were Warriors is much more graphic in violence compared to “Sleeping with the Enemy.” Berardinelli goes as far as to say, “Many films have depicted wife-beatings. Few have been as graphic and difficult to watch.” Jake is much stronger than Martin which is why the abuse is more graphic in “Once Were Warriors.” The abuse of women is more common in the Maori culture. Beth is not the only wife of her friends that gets beaten. In “Sleeping with the Enemy” Laura is the only women depicted as being abused. The United States has many places where women can seek shelter away from their abusive husbands while in New Zealand the Maori women are often left to fend for themselves. While the New Zealand government is working towards establishing places for women to be safe, many Maori women either have too much pride or believe the abuse is just part of their culture and do not seek help. “Once Were Warriors” shows the consequences of abusing women. In the film, Beth and Jake’s children grow up having many problems. Their children get into legal trouble and one even joins a gang. The cause of this can be directly traced back to not having a mother figure that can control the children. Beth may not be the strongest mother figure; however, it is not her fault. When the children see their mother getting beaten into submission by their father, Beth is not seen as the same authoritative figure as their father, Jake. Domestic violence in the Maori culture could be due to many reasons. According to studies, “…the level of domestic violence amongst Maori is a reflection of the breakdown of the social fabric of the Maori way of life, prior to, during and after colonization” (Tipu). In the Maori culture, domestic violence has been passed down through generations. While it is unfortunate, it is still common today and “Once were Warriors” accurately portrays this. Statistics have shown the cost financially domestic violence has caused. “In 1994 the cost of reported domestic violence to the New Zealand economy was conservatively estimated at $1.2 billion. The cost to Vote Health was $140.7 million and the cost of health services directly borne by victims was a further $16.5 million per annum” (Tipu). Not only is the abuse morally wrong but it is costing the moderate economy of New Zealand. Because of the outrageous costs, the New Zealand government continues to work towards eliminating domestic violence.

Despite the differences in the two countries, domestic violence is all too common in households across each of the countries. “Sleeping with the Enemy” and “Once Were Warriors” do a great job of recognizing and addressing the problems of abuse in these countries. Hopefully, people will see these movies and will learn from the mistakes made by the characters in these films.

Introduction

Welcome to the Global Treatment of Women in Film blog! It has been created by college students to inform movie fans across the world about the treatment of women and how it is a representation of the nation. While the treatment of women varies from the cinemas across the world, it is clear that women play a very important role in film. These roles are changing with the advent of modernization and globalization, yet traditional values still play a huge role. Topics covered in the blog include Mexican Cinema's portrayal of the modern woman in the film "Y Tu Mama Tambien", the representation of spousal abuse in the American film "Sleeping With the Enemy" and the more graphic portrayal of it in the New Zealander film "Once Were Warriors". Other topics include Bollywood's interpretation of the clashing traditions placed upon women, the role of modern woman as portrayed in both Korean and American films, and the evolution of a young Muslim woman who must adapt to the conventions of her life as a Muslim and a woman. We hope you enjoy the blog!