Category: film

The male gaze has dominated film, TV, and media in general for the last 100 years. The male gaze is most commonly defined as the portrayal, definition, and sexualization of women from a masculine, heterosexual lens; whose goal is to present women as sexual objects for the pleasure of the male viewer. The male gaze has influenced every aspect of Hollywood and filmmaking from what films are made, who is making them, how women are portrayed, to even how films are marketed. This structure has been such a powerful force within the industry and is seemingly untouchable as it has also warped the female perspective as a whole.

Nina Menkes in her essay for Filmmaker explained the influence perfectly as she states: “The actual language of cinema, the shot design itself, the way that women are photographed, creates a sort of subconscious indoctrination that all of us absorb, women and men.” Women have been overly saturated with media that has portrayed them in such an inaccurate and negative light, that they themselves have subconsciously adapted those inaccuracies. However, this commanding structure has been shaken by the recent #MeToo movement that swallowed Hollywood and forced it to recognize the manipulation, misrepresentation, and abuse happening to women both on and off screen. With a movement so monumental as #MeToo and a perspective so corrupt as the male gaze, one has to wonder: has the #MeToo movement had any effects on the male gaze and how the female experience is captured on screen?

To some extent, yes. However, the male gaze is a perspective that has been in place for so long that there needs to be years of extensive change and conscious effort in order to make a dent in its hold. Historically, the male gaze has been the result of the majority of films being created by men and men creating a power dynamic that discourages female filmmakers. Many female roles considered as classic characters, such as the eye-candy, the girl next door, the sidekick, and the adoring girlfriend have all stemmed from the perception of women in relation to men, instead of by themselves, that the male gaze has created. Not only have the types of characters written for women been regulated by misogyny, but so have the way they are filmed. In regard to cinematography, the viewer is used to seeing the camera follow the female body more than anything else. Lingering shots on female form, chest, legs, and behind have become the norm, however the male form is never objectified in such a way. Women have been given a 360-degree view of what they are “supposed” to look like rather than being presented with a character of substance.

While all of this has been common ground for most of Hollywood and is still apparent today, the rise of #MeToo has made the film industry take strides towards a future focused on female empowerment. First and foremost, Hollywood has distanced itself from the more “traditional” female roles as they have come under intense scrutiny with the broadcasting of the mistreatment of women within the industry. Which female roles become popularized has been taken more seriously as of late. As have the types of stories being told and from whose perspective. Films like I, Tonya, Birds of Prey, and Bombshell in their own right demonstrate the growth since #MeToo when it comes to the male gaze.

I, Tonya takes an unreliable female protagonist’s story and tells it from multiple narratives/perspectives and allows the viewer to come to their own conclusions. Rather than projecting a story with a woman at the center (who is also based on a real life individual) from one perspective and truth that would have most likely been adapted to fit a narrative that works in relation to the male characters and in turn the male gaze, the film tells multiple stories. Because when in doubt, Hollywood will revert back to what it knows best. This structure choice allowed for Tonya to be at the center of the story without being influenced by the male gaze, but also ultimately compared her story to those of the men in the film, commenting on vast differences between the perspectives on the story as a whole, but Tonya as a woman as well.

Birds of Prey as a whole subverts the male gaze by going against many tropes that have plagued women in superhero films for years, and in its predecessor Suicide Squad, which was filmed before the #MeToo outcry. The film rejected the idea of sexiness when it came to its main heroine Harley Quinn and created a look that represented the character’s personality and growth by labeling her clothing in her own name, instead of by someone else, as can be seen in Suicide Squad. The cinematography of the film refused to objectify its female characters’ bodies and instead highlighted their skills and how well-developed their fighting was. The film used it’s predecessor, which highly objectified its female characters, as a blueprint of what not to do.

Bombshell is an example of the female experience finally being taken more seriously. The film is based on the accounts of women who worked at Fox News, that set out to reveal the sexual harassment surrounding Fox and its biggest perpetrator, Roger Ailes. The film is an account of the real-life struggles women faced at Fox; the type of behavior that fueled #MeToo in the first place. The film also contains a controversial dress-lifting scene, which many male directors were quick to label as problematic. However, what they fail to see is how they misrepresent women in films constantly and this scene in particular was so effective because it made male (and female) audiences so uncomfortable, which is also the reason it is highly criticized. Bombshell is the type of film that would have been difficult to make before #MeToo and represents the types of stories we need. What all of these films highlight is that there is progress being made in the development of the female gaze and the male gaze has is slowly being disassembled.

These films focus on the generality of the male gaze; details like how women are filmed, the type of characters they play and the stories they are a part of. However, since #MeToo there have been extensive developments in a more specific area of the male gaze, that being how violence against women is portrayed on screen. “Violence as a release of fantasy has worked as an immortal trope in Hollywood for decades, making the link between real-world sexual violence and depictions of violence against women in movies cause for ongoing interrogation” (Hope 2018). Women have been depicted in violent situations casually, never truly as victims, and more so as warm bodies very consistently since the early eighties. Even in situations where women should gain the sympathy of the viewer, the male gaze has cautioned the viewer against it. Furthermore, the sexual nature of these violent images has some physiological standing. In 1984 the New York Times published a story (“Violence Against Women in Films”) that examined a study from the American Psychological Association confirming that, “violence as a sexual stimulant for men, as well as a survey, which found that “one in eight movies commercially released in 1983 depicted violent acts against women, a sharp increase from 1982 when the rate was one movie in 20” (Hope 2018). The male gaze and psyche have contorted the way we look at women in relation to violence, almost making it seem natural and as if any violence is justified.

However, this was not always the case. In the early days of Hollywood and the Production Code era, women were sexualized, but not in a violent way. The “censorship codes required that the kinkier and more aggressive modes of expression would remain either unexpressed, or buried firmly in the underground” (Hope 2018). Going back even further to the pre-production code era, writers, many of whom were female, wrote films with violence against women as the subject in hopes that if “a men knew what women really went through, they would be kinder and more empathetic towards them, and there would be less domestic violence” (Hope 2018). Although, after the codes were lifted, male filmmakers had the opportunity to express everything they had held back before, that being an “explicit sex and violence, and anger and frustration towards women” (Hope 2018). Since then the relationship between sex and violence has only gotten closer and has warped societies attitude towards real life women in violent situations.

The age of #MeToo has brought much criticism to this immoral sub-division of the male gaze and has condemned the leading user of this trope, Quentin Tarantino. Tarantino is known for illustrating gory, disturbing, and graphic violence on his female characters. His most recent film, Once Upon a Time in Hollywood, also released during a time of peak awareness for the female experience, was the topic of many contentious conversations. The film tells the story of the tragic murder of Sharon Tate. During the film’s climax two women, Katie and Sadie, and one man, Tex, from the Manson Family cult attack an actor and stuntman, Booth and Dalton. The two are seen defending themselves against the cult members, but the violence against Tex in relation to that of Katie and Sadie is drastically different. Tex “gets mauled by Booth’s pitbull in a series of shaky, unclear shots: a moment of comedy is sprinkled in when the dog goes for his crotch” (Collins 2019). Katie directly attacks Booth, “which leads to various extended shots of a perfectly still camera as Booth picks her up by the hair and smashes her face into the countertop multiple times” (Collins 2019).  The contrast in cinematography demonizes Sadie, while making Tex seem unthreatening, even though he is the one holding the only gun in the scene and in-tern should be the most threatening. The scene continues with Sadie burning to death dramatically as Dalton uses a flamethrower on her. “While we get two extended shots of Katie’s mutilated face and Sadie’s charred body, Tex’s corpse remains unseen. It is clear that, while we get a laugh out of Tex’s death, the extended, gory shots for these women are the more joy–sparking” (Collins 2019).  The lingering shots on the women’s dead bodies are disturbing to say the least and show a complete disregard for any type of true justice, as the most dangerous and dominant person, Tex, does not receive the same treatment and fate. Tarantino is a perfect example of the corrupt gaze and personalities that control Hollywood, and how that perspective can have detrimental real-life consequences in how women are treated and perceived.

While it was bold for Tarantino to make that choice in the era of #MeToo; his status was predominantly why he was able to make such a film that was not completely rejected for its portrayals of violence. However, in the past year especially, a film like that would not have been as accepted with recent conversations of not only violence against women, but violence against minorities. A more recent film, A Promising Young Woman, reclaims the trope of violence against women and displays the expansion of the female landscape and the changes coming about because of #MeToo. The plot follows the main protagonist Cassie Thomas, who dropped out of medical school to take care of her best friend, Nina, after she was raped, as no one believed her. Cassie gets her revenge on the “bastards” of the world by feigning drunkenness at clubs, waiting and allowing men to think they have the upper hand and take her home, only to confront them as her sober self when they try to take advantage of her. The film reverses the situation that so many women experience and put the men, literally, in the female experience. Cassie is given all the power, and in turn control over situations and the violence that takes place.

In a drastic turn of events, as Cassie is getting revenge on Nina’s rapist, Al, she herself is murdered. Although, in the end it was revealed that she had precautions in place if such a thing happened, and ends up getting her revenge, as Al’s life is ruined. In the moment one might think Cassie finally met her match and lost her grip on violence she clung to. When in actuality the opposite occurred, Cassie seemingly in a way let herself get killed-making the decision herself, having full control of the violence taking place- in order to give Al the full extent of punishment she could, a life of pain, alone in jail. A fate worse than death. The film has been highly recognized by the academy, proving that films that renounce and subvert the male gaze can be successful and project a more accurate understanding of the world we live in for both men and women.

The #MeToo movement has become a catalyst for so many changes in Hollywood. The number of female directors and writers has increased over the last couple of years. The female based stories that have been told have much more substance and social impact. But most prominently, the male gaze has been truly challenged for the first time in Hollywood’s history. Misconceptions and inaccurate portrays of women have finally been challenge and confronted. However, the number of women behind the screen is nowhere near the number it should be, female experience stories still have a difficult time being created and the male gaze still reigns dominant over Hollywood. While it is important to acknowledge the changes brought about, there is still a long way to go in order to achieve a more inclusive, accurate and positive Hollywood. The film industry has had many trials and tribulations and will continue too, but with the rise of #MeToo, there is hope that the viewers that makes these films so successful, also have the power to transform the current power structure in place and force Hollywood to create stories that reflect the actual world we live in.

Works Cited

Collins, Anna, and Anna Collins. “’Once Upon a Time… in Hollywood’ and Tarantino’s Violence Against Women.” 34th Street Magazine, 34th Street, 3 Sept. 2019.

Dawn, Randee. “Filmmakers Work to Reframe the ‘Male Gaze’.” Variety, 24 Jan. 2020.

Hope, Clover. “The Effects of #MeToo on Film’s Violent Male Gaze.” Culture, 6 Apr. 2018.

Liu, Rebecca. “‘Yes, Girls, We Love Your Corpses’: Emerald Fennell’s ‘Promising Young Woman’.” Another Gaze: A Feminist Film Journal, 22 Apr. 2021.

Rahman-Jones, Gurvinder Gill and Imran. “Me Too Founder Tarana Burke: Movement Is Not Over.” BBC News, 9 July 2020.

Valenti, Lauren. “How Promising Young Woman Uses Bold, Candy-Colored Beauty to Further Its Powerful Message.” Vogue, Vogue, 19 Apr. 2021.

Wardlow, Ciara. “How ‘Birds of Prey’ Deconstructs the Male Gaze.” The Hollywood Reporter, 13 Feb. 2020.

Casting couch culture. What is it really? I know we have all heard of Harvey Weinstein and his role in casting couch culture, but besides his horrific acts what is the exact definition of casting couch culture? The technical definition is: “a situation in which someone has sex in return for getting a job, especially in show business.” As a woman, I’m in support for people to be able to do whatever with their bodies. However, when it comes to sexual favors for things in return is it ever truly consensual? My point of view on this situation is that there is definitely a power play when it comes to casting couch culture. Phrases like “you are never going to work in this industry again” sway people to make rash choices. Three big factors that come into this conversation are consent, hierarchy, and the stories told. One of my biggest fears coming into the industry is powerful people who can make life-altering decisions based on your actions. Many people have and are speaking out about their stories when dealing with casting couch culture and the people controlling the room. It’s time to hear what happens behind closed doors and give the casting couch a place to wither away.

The casting couch has been a part of the industry for a very long time now, and before you even ask it did not start with Harvey Weinstein and nor did it end with him. Luckily, putting Harvey Weinstein in prison brought a much needed microscope to the conversation. Cari Beauchamp wrote the book Without Lying Down: Francis Marion and the Powerful Women of Early Hollywood. She delves into the story of Louis B. Mayer who, long before Harvey, was known for mistreating women and destroying their careers in any way he could when told no. Beauchamp explains that the abuse doesn’t stop at the casting couch, and it continues with producers telling people that they can’t get jobs without looking a certain way. Now I am aware that these are all non-consensual instances but allowing the casting couch culture to continue with its already blurred lines could lead to another Mayer or Weinstein. I’d like to bring in the example of teachers, where you have someone of authority and students who mind this authority figure, the chances of a student making the decision to do favors for the teacher are higher than a student saying no. When in show business you may not have the age difference, but you still have the hierarchy there, which leads me to believe that consent in this situation is based on the menacing factor of authority.

While I do think the casting couch should end, will it ever really end while we still have people in positions of power? Removing the statue of Harvey Weinstein’s casting couch isn’t enough. I think the best way to mitigate the effects of casting couch culture is to start putting either social workers in the rooms or intimacy trainers who are trained in protecting people from assault. This is just one way that I believe will help the industry overall. Another way people are finding help is through the Violence Against Women Act. This act allows their voices to be heard and not silenced. However even with all of these ways of protecting people we still seem lost on who to blame and how to maneuver these cases. One of the biggest concerns is how people find safety when put in this position. We would immediately assume that you could turn to the people running the audition rooms or sending you on these jobs, but that isn’t the case. Most companies don’t take responsibility when complaints are made and some even turn them away to avoid liability. So, finding a safe haven seems impossible to new timers and even veterans of the industry. Having a middle person in any of these situations could prevent these traumatic situations from happening and finding the people OR COMAPANIES at fault will be a big step for the industry.

Not only does the perpetrator not take responsibility but the companies involved don’t as well. When looking into the legality of everything coming out about casting couch culture there is an obvious (but silent) party lurking in the back. SAG-AFTRA a union meant for actors working in the industry. The technical definition of union is “an organized association of workers formed to PROTECT and further their rights and interests; a labor union.” With this in mind SAG-AFTRA has worked diligently to stay out of the light when considering their actors’ safety. This is another reason to consider why stopping the casting couch is a smart idea. The “authority” figure is taking advantage of the people that come into the room, but the company sponsoring these rooms and putting actors in them is SAG-AFTRA and they aren’t doing anything about the complaints. Women have spoken out about the abuse they have encountered when auditioning for new jobs and SAG-AFTRA has turned them away to avoid the liability. The lack of care given to these actors causes them to leave the industry all together. Is continuing the casting couch culture, under the idea of “consent”, a respectful reason when all these people have spoken about their horrific stories when dealing with it? NO. To continue to allow companies to get away with not protecting their employees is despicable.

The fact that people can give consent isn’t enough when we are discussing people’s futures and their “bosses” or soon to be bosses taking advantage of them. It’s manipulation at best. SAG and many other companies should start taking the fall for hiring people who think manipulation and assault is okay and being aware that it’s happening all around them. We should be taking steps to prevent this from happening, but large companies have other things that matter more.

Many people in the industry are guilty of this unspeakable crime and some producers even suggest putting sex on the table before even walking into the room. “…one of the producers suggested that she write “willing to give BJs” on her résumé if she really wanted to get parts.” Is this really the industry we all want to work in? Knowing the casting couch culture is still alive is terrifying to most aspiring actors; me being one of them. For many people in the industry this is an ongoing uphill battle. My goal for my future is to work as an actor in this, already rigorous, industry, but knowing the truth behind the table is discouraging.

I’m willing to bet I will come across this one day and all I can hope for is that I have the courage to stand up for myself and others because who knows if someone else will. I want to come into the industry knowing that people are fighting to stop this play of power and that people are being held accountable for their actions or lack thereof. “Hollywood is a business of freelancers going from one project to the next, a set that makes predators difficult to contain and blowing the whistle especially risky.” I think we are slowly but surely heading in the right direction to change this culture, but it’s about time we start holding people accountable. In any law case regarding sexual assault, it is known knowledge that you would be going after not only the people in the room but also the company. The #MeToo is causing a change in how people, and industry workers, view this culture. Soon enough there will be an uproar for justice.

The impact on projects and actors is severe when considering what they are put through. How does this directly affect the industry? It will soon start to be documented and many people will start to lose their jobs. Rightfully so, because many people left their hopes and dreams out in LA to avoid casting couch culture. An article from The Guardian says that “a survey found that 94% of women employed in the American film industry have experienced sexual harassment or assault.” This ranges from all different types of sexual harassment or assault, including: “unwelcome sexual comments, jokes or gestures” to being “forced to do a sexual act.” Women should feel comfortable when stepping into any room, but instead are given ultimatums. The Guardian also reported “that only one in four made a complaint, and that of those who did, only 28% said their situation improved as a result.” How will the actions of others affect the women being violated? “’When it comes to sexual harassment or sexual assault, our study shows that lived experiences may have a serious impact on women’s health, both mental and physical,’ Rebecca Thurston, a professor of psychiatry at the Pitt School of Medicine and the study’s senior author said in a press release.” Low morale causes for all sorts of issues in our lives. Personally, finding a way to put an end to casting couch culture will allow everyone to breathe a little more freely. This doesn’t change the fact that people will have to live with their memories forever.

The lasting effect will forever live on in every spectator and victim. This is just another reason for casting couch culture to end, and for people to fight for justice. Watching the trials on Harvey Weinstein was just a broadcasted version of what is happening every day in the industry. The stories are important to hear but very traumatic to tell so giving people the peace of mind knowing there is support out there is so important. While the big companies may not be any help, I hope that people can find their voice to speak out through the support of their agents, loved ones and community. Victims have to go through years of counseling and therapy and not everyone can afford treatment especially when a union doesn’t provide healthcare. There are hotlines for people to reach out to that provide information and support such as the National Sexual Assault Hotline: 1-800-656-4673 (HOPE). Creating a conversation for the general public to hear will allow people to become more knowledgeable and better support systems. Killing the casting couch is a must and it can only begin when everyone involved stops being silent… and that means big companies like SAG-AFTRA.

My overall point of view is to end casting couch culture and I’m aware that this wont happen overnight, but small steps are a huge success within the industry. Fighting for a positive change in the industry is worth all the trials and tribulation. There is no consent when dealing with an “authority” figure that has the power to manipulate. The play of power is the most detrimental thing within this industry. Harvey Weinstein being put in prison was a win for many women, but people are still being taken advantage of. The microscope on the industry needs to become much larger now that we have heard many stories, and we need to keep talking about this awful part of the showbusiness industry.

As a soon-to-be graduate, I feel the need to prepare myself for the worst and it’s an atrocious feeling. I hope the word keeps spreading to make this a well-known thing. I recently got to speak with a few working actors, and they wanted everyone to know that even if someone says that if you don’t do something you won’t make it in this industry, you will. Don’t let an angry person sway you to do something you aren’t comfortable with. Fight for what you believe in and speak out. It’s time to be the voice for the voiceless and find your own voice to END CASTING COUCH CULTURE.

Works Cited

Adams, Thelma. “Casting-Couch Tactics Plagued Hollywood Long Before Harvey Weinstein.” Variety, 17 Oct. 2017.

Fisher, Luchina. “How Hollywood’s Casting Couch Culture May Have Contributed to Weinstein’s Alleged Behavior.” ABC News, 12 Oct. 2017.

“A Guide for Friends and Family of Sexual Violence Survivors.” PCAR.

Haring, Bruce. “‘The Casting Couch In Hollywood Was Not Invented By Harvey Weinstein’ – Attorney Benjamin Brafman.” Deadline, Deadline, 3 Mar. 2018.

Harris, Elizabeth A. “How #MeToo Is Smashing the Casting Couch.” The New York Times, 30 Jan. 2020.

Pulver, Andrew. “94% Of Women in Hollywood Experience Sexual Harassment or Assault, Says Survey.” The Guardian, 21 Feb. 2018.

Yurcaba, Jo. “Exclusive: Violence Against Women Act to Offer Support to LGBTQ Survivors.” NBCNews.com, 17 Mar. 2021.

Zimmerman, Amy. “Inside Hollywood’s Abusive Casting Couch Culture.” The Daily Beast, 10 Feb. 2019.