Gender Theory and Contemporary Media Texts Essay

To what extent do Mulvey’s theory (1975) on the male gaze and Shroeder’s ideas (1998) influence contemporary media texts? Discuss Charlie’s Angels and one other show giving evidence from mise-en-scene, sound etc.

Laura Mulvey’s theory (1975) on the male gaze focuses on how men view women, how women view women, and how women view themselves. She explores the idea that women within the media and advertising are only used as a medium for male enticement, whether the presence of said women has any relevance to the product or not. Johnathan Schroeder’s theory (1998) further develops this theory, emplaning how "To gaze implies more than to look at - it signifies a psychological relationship of power, in which the gazer is superior to the object of the gaze." This implies that the gazer isn't merely looking at the person or object, they are establishing dominance over the object or person with or without their knowledge. I will be specifically discussing "Charlie's Angels: Full Throttle" in comparison to "Spectre".

Firstly, the trailer for "Charlie's Angels: Full Throttle" subverts from Mulvey's Theory, consequently conforming to Miriam Hanson's Theory (1984) of the female gaze (the counter part to the male gaze theory). To exemplify this, at 0:42, characters 'Alex' and 'Dylan' are seen looking at the supposed antagonist of the film through binoculars saying the word "yummy". This use of diegetic dialogue is effective as it proves that male objectification has been steadily increasing since the 1980s as observed by Hanson, therefore, it disproves the theory presented by Mulvey that all women are used purely to please men. This is a very fitting theory to conform to being a contemporary film due to the display of changing perceptions in terms of gender. 

Furthermore, this scene continues at 1:04 and displays allusions that conform to Schroeder this scene continues in which the two characters’ exchange of dialogue comprises of “You always fall for the bad guy” / “Then this guy must be really evil”. This dialogue alludes to sexual desire, another example of male objectification as presented my Hanson, in which a man getting out of the sea is being belittled as an erotic object of desire, there for the pleasure of the two characters.

Moreover, camera shots have been used in order to both coincide and differ from Mulvey’s Theory. For example, at 0:48 a slightly low angle close up shot has been used on the male police officer, after having heard the extent of knowledge that ‘The Angels’. This has connotations of a display of dominance that the policeman is trying to establish over ‘The Angels’ which conforms to the statement made by Schroeder. This is also confirmative that males view females as sexual beings and nothing more as presented by Mulvey due to the fact that the low angle, close up shot as well as the audible decrease in pitch of the policeman’s voice, show that he is objectifying the women. 

However, this is contrasted within the same scene at 0:50 when the exact same shot is being used on one of ‘The Angels’. The use of mise-en-scene denotes her wearing red lipstick which has erotic, temptress connotations as well as lowered glasses alluding to her sexual desires through the use of flirting. This subverts from Schroeder’s theory as the ‘gaze’ from the policeman which is being exhibited doesn’t have the desired effect of establishing superiority over the women. This is due to the fact that this character is gazing back at the officer in an attempt to use her sexuality as a weapon in order to get what she wants. This conforms to Hanson’s theory of male objectification increasing within contemporary media. 

On the other hand, the infamous “James Bond” sequel has been known for action, criminal activity and the ever changing role of the well-known role of the “Bond Girl”. Firstly, unlike “Charlie's Angels: Full Throttle”, “Spectre” accords with Mulvey’s Theory and completely supports the statement made by Schroeder. For instance, at 0:53 there is a close up two shot of James (the protagonist) and another character (the helper) in an embrace. This exemplifies the ‘male gaze’ as introduced by Mulvey due to the fact that the scene denotes the female character with her eyes shut whilst James’ eyes are open and focused on the woman. In terms of the narrative, this female character is important and could be considered as the dispatcher (theory of folk tale character roles created by Vladimir Propp) of the story due to the information that she gives acting as a catalyst for James’ mission. This scene clearly demonstrates how James is exerting superiority over the female character due to eye contact having connotations of confidence and dominance, however seeing as her only action within the next scene is to sleep with James so that he can extract information from her, it demonstrates how she is used merely as a pawn for James and a sexual object for James to use at his disposal. 

Furthermore, a full wide shot is shown in order to portray the female love interest as an objectified character. The denotations from this scene show the female love interest wearing a tight cream green flowy dress, seductively walking towards James who is seated at a table. This is a demonstration of how James’ love interest is being sexualised due to the tightness of the dress evoking erotic feelings within James, as alluded to once she approaches the table and James still has not shifted his gaze upon her. This conforms to Mulvey’s Theory as it shows how James is seen as the character in control whilst the female character is seen coming to him, seemingly being obedient to his needs. Furthermore, this also conforms to Schroeder’s theory due to the fact that James never breaks eye contact with the female love interest compared to her eye contact breakage along her travel to the table. This exerts James’ dominance over the character, conveying his superiority over her.

Moreover, at 2:16, editing is utilised in order to convey the power James has over his female counter part. During this scene, the use of mise-en-scene denotes that James is kissing his lover, also known as the “Bond Girl” at the back of a car being driven. This shot is a low angle close up two shot, however it is also slightly tilted in terms of the camera placement. This is in order to achieve the desired effect of James appearing higher than his lover. This conforms to Schroeder’s theory due to the fact that James is now exercising his already established dominance over his lover as the male in the relationship. Additionally, due to the fact that she is looking up to kiss James, she is placed in a state of vulnerability, being at the service of James’ erotic desires. This conforms to Mulvey’s theory not only because of her vulnerability but due to the fact that the lover of the story isn’t the same girl who James previously slept with in order to gain information about his target, this conforms to the idea that women are used merely as objects for men who have no further purpose than to fulfil their needs. 

To conclude, the theories presented by both Mulvey and Schroeder are both very apparent in contemporary media today. Unfortunately, due to the fact that some people have become accustomed to the ways in which films have been shaped to mould the female characters into suiting the needs of the main male character, famous main stream movies are almost pressured into conforming to Mulvey and Schroeder’s theories due to the proof being that the “Charlie’s Angels” movie franchise being significantly less popular, although still well-known, in comparison to the “James Bond” series.