Nonviolent and Violent Female Portrayals in Science Fiction: Uniting a Traditionally Damaging Dichotomy
There are numerous manners by which society can experience change. From the obvious methods of protests and walkouts, to public advocacy and strikes, human beings are well aware of the impact of such events in changing the status quo. However, the methods that we do not consider are ones that unconsciously affect us daily, manifesting themselves in media, advertisement, and literature. In particular, the norms displayed in movies, TV shows, and literature typically either mirror those of our present society or implicitly criticize the very norms they attempt to represent. What have become especially relevant today are the media’s unconsciously and consciously chosen portrayals of different genders in order to parallel their respective stereotypes; for instance, most movies and literature have adopted the belief of associating power only with masculinity. On the other hand, men depicted as having more feminine qualities are mocked for probably being homosexual, and the female ‘damsels in distress’ depict women as physically and emotionally weak, their only value being found in their appearances. What all these stereotypes stem from is historical gender inequality and sexism. However, there is potential for dissipating the aforementioned stereotype that women are not strong, and this is through portrayals of “tough” women with rather masculine characteristics. Though science fiction has typically been thought of as a ‘man’s genre,’ sci-fi written by women has become an important medium for public discussion of the disadvantages of contemporary sex roles and consideration of options for the future (Bainbridge, 1985). Thus, many works of science fiction have been able to incorporate the more masculine female character into their storylines successfully, creating a role model for many young girls in this day and age. However, despite the potential empowerment that images of violent women in science fiction may offer to viewers, there are equally valuable alternative images of powerful women that do not originate from violence, physical strength, or weaponry; only by offering multiple definitions of female empowerment are we as a society able to truly value women as women and fully explore all aspects of their potential.
Before delving into the specificities of the effectiveness of certain portrayals of women, it is vital to recognize the importance of including female characters in science fiction in the first place. Gender inequality between men and women has permeated society for centuries, and it is unfortunate that we have yet to reach the one century mark since women have secured the right to vote in 1920. The answer to why women initially did not have the right to vote is rooted in the once-popular belief that a woman’s place is in the home, specifically in the kitchen; therefore, society felt no need to allow women to be educated, be involved with politics, or to perform any physically taxing tasks. The formation of this stereotype many years ago has made it rather difficult for the average woman to discover what her real, true identity is beneath what society has imposed on her. Science fiction, however, is what has been declared a “perfect medium for discovering this hidden real identity if it still exists” (Monk, 1980, p.24). Upon looking at these two statements, it is evident that we must have greater representation of women in science fiction, particularly representation of female characters in leadership roles. Not only in science fiction but in media of all genres, females comprised only 24% of protagonists featured in the 100 top domestic grossing films of 2017 (Lauzen, 2018, p.1). This number is a tragic 5% decline from the 29% recorded in 2016. While society has seen some progress in shattering the glass ceiling for women, this decline represents just one of many setbacks. It is an especially dangerous setback, for if such a trend continues as technology becomes a bigger part of daily life, many young girls will not have female role models to look up to. Moreover, current statistics indicate that male characters in film were more likely than females to be seen in work-related roles only, and female characters were more likely than males to be seen in personal life-related roles only (Lauzen, 2018, p.4), indicative of the stereotype that a woman’s place is in the home and a man’s is in the office. These statistics ultimately indicate a need to fight against this underrepresentation of women in films while also tackling the lack of variety in the characteristics of female and male characters. More specifically, more female characters should be cast not only in general, but also in roles of power and strength.
Given that physical strength and other masculine traits have always been associated with power and presence, we must have portrayals of female characters in science fiction that are capable of demonstrating these characteristics. Greater representation of what we can dictate as violent portrayals of women is necessary to realign men and women at the same level of capability, and thus to equalize them. Particularly in the midst of the 20th century, the general public saw images of women such as Alice Paul fighting for women’s rights, ultimately encouraging further progress in the feminist movement. Since then, characters such as Ellen Ripley from Alien (1979) and Sarah Connor from Terminator 2: Judgement Day (1991) have played a vital role in continuing this progress, for while the right to vote has long been won the glass ceiling has yet to be shattered. In Alien, Ripley is shown to be fighting the alien one-on-one on many occasions and ends up as basically the only survivor on the spacecraft. She is tough, brave, and dominant in her command, and her character likely contributed to the movie’s great success in the box office. During the time of its release, society saw increased visibility and presence of women in the public sphere; census numbers showed that the ratio of paid males to females in federal civilian employment decreased from almost 2:1 to 1.3:1 between 1980 and 1992, and the percentage of women in the labor force grew almost 15% between 1970 and 1993 (Kac-Vergne, 2016, p.14). Alien was produced in a context of increased visibility and presence of women in the public sphere, and Ripley’s role as a strong woman evidently served to further this presence, corroborated by the aforementioned decreases in gender inequity. Similarly around this time, Terminator 2: Judgement Day was released in 1991, and the general public once again met Sarah Connor, who was this time “completely masculinized [with a] power body — the arms and shoulders packed with muscle, the straight thick waist, the boy’s hips, no ass… the arms have rivers or veins rising above the bulging muscle” (Kac-Vergne, 2016, p.15). This depiction of Sarah Connor, as the mother and fierce protector of her son John Connor, conveys that women can also be the paternalistic protectors of society. At one point, she is ready to kill an innocent computer scientist and his family in her warrior rage, and her costume and demeanor mirror her intentions (Cameron, 1991). In doing so, Sarah steps into a position of dominance that only males have typically held, and the hundreds of thousands of viewers in 1991 watched her do just so. Essentially, the violent portrayals of female characters such as Sarah Connor and Ellen Ripley act to equalize women with men in regards to physical power and strength, something long overdue.
However, only having violent portrayals of female characters is insufficient if the goal is to dissipate the gender stereotypes of women. This insufficiency is due to the traditional association of masculinity with power, and the idea that these two quantities are mutually inclusive. Specifically, in the late 20th century, women who were typically classified as feminine were measured to achieve less in their careers, attributed their career performance less to ability and effort, and had parents with lower educational expectations for them than women classified as masculine (Wong et. al, 1985). Looking at the aforementioned examples of Ellen Ripley and Sarah Connor, both characters have been criticized by feminist critics, who saw them as “merely reproducing male attitudes in a woman’s body, without any subversive effect” (Kac-Vergne, 2016, p.15). Specifically, Sarah Connor is seen as a masculine woman, or as a man passing as a woman who projects a masculine ideology of domination through violence. In order for Connor to be a truly feminist character, she cannot be stripped of her sensitive side, for strength is not only shown through classic masculine traits. Connor’s portrayal as a brutal and uncaring mother is what elicits such criticism. Therefore, if we solely rely on violent portrayals of women to hopefully further the movement to equalize gender roles, we reinforce power as it is—defined by men. Women should not have to appropriate violent masculinity to become powerful; instead, society must revise its definitions and ideologies surrounding power to recognize how powerful women already are (DeRose, 2005, p.10). Another female character in film that can speak to this is Katniss Everdeen of the Hunger Games’ series. While it is clear that she is very physically fit and skilled at the bow and arrow, she is not necessarily praised for her more feminine traits, such as her moments caring for Rue during her final breath, or caring for Peeta after he is wounded. Thus, it seems that we must have the other side of the picture—the emphasis on a woman’s feminine side—if society is to hold men and women on the same pedestal.
The importance of including strong, nonviolent portrayals of women in science fiction lies in the hope of not only completely dissipating stereotypes about women but also dissipating those associated with men. By revaluing feminine notions of power, we are able to show how any definition of power is culturally constructed and hegemonically reinforced (DeRose, 2005, p.76). There are numerous ways which one may utilize to convey strength in a nonviolent manner. One of such ways includes using the female first-person perspective, as is done by Margaret Atwood in the Handmaid’s Tale and by Joanna Russ in her short story “When It Changed.” This strategy provides the audience with unique and uncommon insight of the main character’s respective dystopian societies in regards to their outlooks on gender. In the case of the former, Atwood’s choice to let Offred tell her own story allows her to most successfully criticize the social expectation of a woman’s place being in the home. Offred’s perspective allows us to hear her story and thus to be exposed to her compassionate side as she expresses her longing for what society has stripped away from her. She says, “I ought to have done that with Luke, paid more attention, to the details, the moles and scars, the singular creases; I didn’t and he’s fading. Day by day, night by night he recedes, and I become more faithless” (Atwood, 1985, p.260). In this case, the reader is able to empathize with Offred, as well as admire the motherly and familial side of her, a side of women not usually emphasized as one that connotes strength. Throughout the novel, the reader witnesses Offred’s mental strength rather than physical strength, while still fully understanding Atwood’s critique of the absurd expectations of women in Gileadean society. The female first-person perspective can therefore be deemed a subtle but necessary strategy when it comes to truly valuing women for all their unique and varied traits. This is evident also in Joanna Russ’s short story, which describes the return of men to Whileaway, a planet inhabited solely by women, from the perspective of a woman named Janet. Through Janet’s eyes, the readers experience the daily life of a Whileaway woman, which in Janet’s case involves her three children and her wife, Katy. Most importantly, we see equal emphasis placed on the feminine and masculine qualities of women simply through experiencing what Janet sees. When men show up to Whileaway, Janet has a conversation with one of them in which she is praised on how she’s “adapted amazingly,” because where he comes from “the women don’t dress so plainly” (Russ, 1972, p.511). Janet’s reaction is simply clueless, yet almost bemused at his expectations of women. Our insight into Janet’s thoughts serves as an indirect critique on society’s view on how normal, healthy and feminine adolescent females must fantasize about falling in love, looking pretty, and raising children, while only masculinized girls are allowed to dream of professional futures (Fausto-Sterling, 2013, p.223 ). Ultimately, we see that in both Atwood and Russ’s writing, this method of furthering the feminist movement without utilizing violence is extremely effective.
Another essential method that incorporates nonviolent portrayals of women focuses on emphasizing their abilities, talent, and command. With emphasis on the more intellectual characteristics of women, society can progressively also attribute strength with intellect. Nowadays, women in leadership positions who actually take command are often looked down upon or berated for being supposedly bossy or even “bitchy,” an outlook clearly propagated from the common belief that women’s only place is a passive one in the home and nowhere else. Examples such as Offred from the Handmaid’s Tale directly contradict this belief and propel positive associations of women with nonviolent qualities. In the novel, Atwood highlights Offred’s sharp thinking and careful decision-making as she navigates the totalitarian society she lives in. Offred describes the guilt she feels in serving her role as a Handmaid, despite the fact that she must carry out her role for her own survival. She reflects, “I felt I was an intruder, in a territory that ought to have been hers… I was taking something away from her, although she didn’t know it” (Atwood, 1998, p.189). Offred’s morality is underlined here, a quality that does not typically receive a lot of attention. Similarly, in Star Trek’s “Angel One” episode, in which the Enterprise lands on the planet of Angel One, we see strong portrayals of women in Angel One’s society due to the fact that it is led by an oligarchy of women. Specifically, we see power and leadership emanate from their head female leader, or Beata, the “Elected One,” as she makes decisions regarding the access that the crew members of the Enterprise will have on their planet to rescue the members of a shipwreck years ago. Specifically, Beata makes the firm, initial decision to execute Ramsey, one of the members who refuses to leave the planet after marrying one of the women. What is admirable about her is her rationality and command; she humbly changes her decision after reevaluating the circumstances and hearing the opinions of the Enterprise’s crew members (Barry and Rhodes, 1988). Rather than being portrayed as the expected ruthless female leader who hates men, she is portrayed as a conscientious leader who carries a presence. With that, Beata commands respect from her fellow women and the Enterprise crew members, and we as an audience can associate her rule with positive connotations, specifically with that of level-headed power. These two examples, however, are only two of those that are out there and prove truly effective. Many attempts at creating film, literature, and even advertisements in which women are portrayed in a positive light without proving some sort of physical capability have fallen short of their goal. One example of such is the presence of women scientist characters, who are rarely seen in the first place. The portrayals of women scientists is deficient in the sense that women in STEM fields still remain in the second ranks of the scientific world (Flicker, 2003, p.316). Hence, there are numerous myths about women scientists’ lack of competence that manifest themselves in their creation and portrayal in works of literature and other forms of media, whether be it consciously or subconsciously. Ultimately, in order to correct this, there must be greater efforts on the behalf of writers, advertising companies, and people in general to expand this emphasis on nonviolent qualities and their association with mental strength.
While it is evident that we must have both nonviolent and violent portrayals of women to best represent women in their entirety, we must also recognize the importance of portrayals that combine both nonviolent and violent qualities. It is true that there is no black and white line to draw when it comes to differentiating between these two categories, but this greyness may actually prove beneficial. Rather than identifying these two categories as a rigid dichotomy, society should unify the two so that there aren’t just specific types of women who have certain qualities; women can have all of these qualities, none of them, or a number in between, just as men can. This way, the social construction of masculinity not only begins to become deconstructed, but also the symbolically male association that tough women are attributed to will slowly disintegrate (DeRose, 2005, p.66). One recent and successful incorporation of unifying this dichotomy is in the movie Wonder Woman (2017), which tells the story of Diana, princess of the Amazons, who is also known as Wonder Woman as she makes her way off her isolated island and into the real world (Roven et. al, 2017). Diana’s physical strength is illuminated as she passionately fights the ongoing World War and her ensuing battles, but her kindness and intellect is also equally emphasized. As Gal Gadot, the actress who plays Diana, stated about her role, “…Patty and myself all figured that the best way to show that is to show Diana as having no awareness of social roles. She has no gender boundaries. To her, everyone is equal” (Rawden, 2018). Diana’s evident emotional, physical, and mental strength paired with the firmness in her beliefs that such boundaries do not exist allow the millions of viewers of the film to rethink the current structure of society’s gender stereotypes and depictions of power. To many young girls, Diana is a tremendous role model—beauty and brains, as some may put it. Similarly, the 2018 film Ready Player One highlights its main character’s violent and nonviolent qualities proportionally. The main female lead, Samantha Cook, better known by her screen name as Art3mis, is shown to be cunning, intelligent, and charismatic, all while fulfilling the role of leader of what is known as the “Resistance” against her society’s evil corporations (DeLine et. al, 2018). In the OASIS, a virtual reality intended as a game, Samantha’s physical strength is heavily emphasized in the way she fights. Simultaneously, the audience views her as a compassionate and witty person in her relationship with the other main character, Wade. We witness Wade intently listening to Samantha throughout the entirety of their relationship, following her advice and working together with her to solve the puzzles they are given. Throughout the film, Samantha is well-respected by the fellow members of the Resistance, allowing her to be deemed yet another exemplar of a progressive portrayal of women in science fiction. Ultimately, we see the power that can be elicited from eliminating this dichotomy between violent and nonviolent portrayals of women in science fiction, with emphasis on all of their positive qualities instead of just their physical strength.
With this, we see that while images of violent women in science fiction are progressive in their initial tackling of the glass ceiling, we must offer nonviolent portrayals that allow society to embrace and value all aspects of women’s power. A holistic perspective of images of women in film, literature, and other mediums will hopefully spur a parallel in the way women are treated in society. If anything, it will be another push in the feminist movement to dissipate gender stereotypes and the manifestation of the effects of these stereotypes that we see every single day: gender-wage inequality, the belief that women are inferior intellectually, and many more. Given that media exposure and influence is especially strong on the newest generation of kids, perhaps the newest films such as Wonder Woman and Ready Player One will broaden their thinking regarding the construct of what power is, and who women are. While simply trying to change the subject of media exposure and influence will not necessarily solve gender-wage inequality, they do influence mindsets, and we must at least take this one step forward to propel us to a more progressive state of mind regarding gender equality and power. Only by taking this first step may we continue to taking further steps, and hopefully one day reach a state in our society where gender boundaries do not restrict us as much as they do today.