The Feminist Filter: Passion
Mission Statement:
This series is intended to outline the feminist text of each episode so as to provoke and encourage open discussion. It's not so much about making value judgments about events and/or characters but about analyzing the series from a feminist framework so as to see what patterns and themes emerge.
Rules:
1. If you do not consider yourself a feminist or do not see the point of dissecting a TV show from a feminist perspective, this is not the meta series for you. I don't mean this in a hostile way, however the intended audience of this series is feminists who want to turn a critical eye to the show.
2. This meta series is written well beyond a 101 level of feminism. If you are new to feminism, I ask that you please take a look at this blog for an introduction to concepts that will be discussed heavily here.
3. If you begin to feel yourself getting defensive on behalf of a character (or the show), take a break from commenting. The outlines as posted are not meant to condemn either the characters or the show, but to contextualize the dialogue and events within the patriarchal cultural in which they reside.
4. BtVS is a constructed media. The characters are not actual people but are written, dressed, and directed by a team of outsiders. Criticizing a character for, say, having sex could be a sexist insult or it could be a legitimate criticism of the writers who chose to go that route with the storyline. There are nuances here when discussing a television show, and I ask that everybody be careful about exactly what's being discussed. A couple helpful terms are Watsonian and Doylist. "Watsonian" indicates that the discussion is taking place within the Buffy universe as if the characters are real people. "Doylist" indicates that the discussion is focused on the construction of the narrative and, as such, deals with the decisions of the writers and/or producers.
5. The key goal here is open discussion. I'm not presenting you guys with any brilliant insights; I'm just laying out what's in the episode. Feel free to discuss or disagree with me and others. Also feel free to answer other commenter's questions. The comment section is an open floor.
2.17 Passion
I. The Tallies
Criteria for Bechdel Check: The episode must have a) two women in it b) who talk to each other c) about something besides a man.
II. Agency
Criteria for Agency: Do the female characters a) exert power or influence over the plot b) through decisions based on their own characterization? Agency means more than providing information or support that helps the (usually male) characters resolve the conflict.
The Plot: Angelus ramps up his stalking of Buffy as Jenny discovers a way to re-ensoul him. Angelus murders Jenny to prevent her from doing the spell.
The Big Question:
If Buffy were taken out of this episode, would events occur in much the same fashion? No
If Willow were taken out of this episode, would events occur in much the same fashion? Yes
If Cordelia were taken out of this episode, would events occur in much the same fashion? Yes
If Joyce were taken out of this episode, would events occur in much the same fashion? No.
If Drusilla were taken out of this episode, would events occur in much the same fashion? Yes
If Jenny were taken out of this episode, would events occur in much the same fashion? No
III. The Feminist Fine-Toothed Comb
Criteria: Do any of the characters engage in sexist dialogue or action, whether overt or subtle? Does it receive an explicit rebuke or does it pass uncommented on? Further, what can be deduced from the various gendered comments that are made by the characters?
IV. Objectification Watch
V. Points to Consider
This entry was originally posted at http://gabrielleabelle.dreamwidth.org/359355.html. There are
comments on the DW side. Comments are welcome on either side. Due to massive SPAM issues on LJ, anon comments are only on the DW side.
This series is intended to outline the feminist text of each episode so as to provoke and encourage open discussion. It's not so much about making value judgments about events and/or characters but about analyzing the series from a feminist framework so as to see what patterns and themes emerge.
Rules:
1. If you do not consider yourself a feminist or do not see the point of dissecting a TV show from a feminist perspective, this is not the meta series for you. I don't mean this in a hostile way, however the intended audience of this series is feminists who want to turn a critical eye to the show.
2. This meta series is written well beyond a 101 level of feminism. If you are new to feminism, I ask that you please take a look at this blog for an introduction to concepts that will be discussed heavily here.
3. If you begin to feel yourself getting defensive on behalf of a character (or the show), take a break from commenting. The outlines as posted are not meant to condemn either the characters or the show, but to contextualize the dialogue and events within the patriarchal cultural in which they reside.
4. BtVS is a constructed media. The characters are not actual people but are written, dressed, and directed by a team of outsiders. Criticizing a character for, say, having sex could be a sexist insult or it could be a legitimate criticism of the writers who chose to go that route with the storyline. There are nuances here when discussing a television show, and I ask that everybody be careful about exactly what's being discussed. A couple helpful terms are Watsonian and Doylist. "Watsonian" indicates that the discussion is taking place within the Buffy universe as if the characters are real people. "Doylist" indicates that the discussion is focused on the construction of the narrative and, as such, deals with the decisions of the writers and/or producers.
5. The key goal here is open discussion. I'm not presenting you guys with any brilliant insights; I'm just laying out what's in the episode. Feel free to discuss or disagree with me and others. Also feel free to answer other commenter's questions. The comment section is an open floor.
2.17 Passion
I. The Tallies
Criteria for Bechdel Check: The episode must have a) two women in it b) who talk to each other c) about something besides a man.
- Bechdel Check: PASS on 4 counts.
- Deaths:
Dead boys: 1
Dead girls: 2
II. Agency
Criteria for Agency: Do the female characters a) exert power or influence over the plot b) through decisions based on their own characterization? Agency means more than providing information or support that helps the (usually male) characters resolve the conflict.
The Plot: Angelus ramps up his stalking of Buffy as Jenny discovers a way to re-ensoul him. Angelus murders Jenny to prevent her from doing the spell.
The Big Question:
If Buffy were taken out of this episode, would events occur in much the same fashion? No
If Willow were taken out of this episode, would events occur in much the same fashion? Yes
If Cordelia were taken out of this episode, would events occur in much the same fashion? Yes
If Joyce were taken out of this episode, would events occur in much the same fashion? No.
If Drusilla were taken out of this episode, would events occur in much the same fashion? Yes
If Jenny were taken out of this episode, would events occur in much the same fashion? No
- Decisive Buffy: Buffy starts out the episode by insisting that Giles find a way to keep Angelus out of her home. This starts off the plot wherein Jenny is tentatively reintroduced into the gang (shortly before her death).
Buffy also takes the initiative in letting Jenny know that Giles misses her.
- Decisive Joyce: Joyce does end up being one focal point of the episode as Buffy worries about how to protect her with Angelus on the loose. Furthermore, Angelus begins to target Joyce. Joyce, herself, doesn't have a very active role, though.
- Decisive Jenny: This is Jenny's episode, in more ways than one. From the beginning, we see that she'd already been reading up on ways to help fight against Angelus, despite her exclusion from the group. Further, she begins to piece together the spell needed to give Angelus back his soul. Her initiative drives the episode.
III. The Feminist Fine-Toothed Comb
Criteria: Do any of the characters engage in sexist dialogue or action, whether overt or subtle? Does it receive an explicit rebuke or does it pass uncommented on? Further, what can be deduced from the various gendered comments that are made by the characters?
- Protagonists (Buffy, Xander, Willow, Giles, Jenny, Joyce, and Cordelia)
1. In the first act, Giles explains that once a vampire is invited in, he will always be able to enter. Xander responds:
Xander: Y'know, I think there may be a valuable lesson for you gals here about inviting strange men into your bedrooms.
This is, essentially, a rape culture-induced victim-blaming statement with a vampire twist. It's typical to see similar statements made to/about rape victims along the lines of rape being a "lesson" for going home with a guy you don't know well or somesuch.
2. While on the phone with Buffy, Willow mentions: "I swear, men can be such jerks sometimes. Dead or alive."
Willow appears to still be on her "grousing about men" kick that we saw in the earlier episode, Phases.
3. At the beginning of Act Two, we get this exchange:
Xander: (jumps up behind them) Well, good morning, ladies. And what did you two do last night?
Willow: We had kind of a 'pajama party sleepover with weapons' thing.
Xander: Oh. And I don't suppose either of you had the presence of mind to locate a camera to capture the moment.
As is typical, we get the immediate objectification by Xander of his female friends played off as a joke.
- Antagonists (Angelus, Spike, Drusilla)
1. As Angelus and Spike squabble over Drusilla, she says:
Drusilla: You two boys... fightin' over me and all. (stops between two chairs) Makes a girl feel...
Drusilla is obviously pleased to be the bone in the dog fight between the two men, though it is an objectified role. Women are often thought to enjoy being the object of desire that two men fight over.
2. In the final act, Spike comments on Angelus' murder of Jenny: "Are you insane? We're supposed to kill the bitch, not leave gag gifts in the friends' beds."
Obviously, "bitch" is a gendered slur against Buffy.
3. Spike continues to express his unhappiness with Angelus and uses more gendered language:
Spike: If you ask me, I find myself preferring the old Buffy-whipped Angelus. This new, improved one is not playing with a full sack. (gets a look from Angelus) I love a good slaughter as much as the next bloke, but his little pranks will only leave us with one incredibly brassed-off Slayer!
The term "whipped" is often used to denote a man who's "under the thumb" of his girlfriend or wife. It's a slur on a man's masculinity.
Additionally, Spike mentions that he loves a good slaughter as much as the next "bloke", implying that the violence is a man thing.
- The Rest (Shopkeeper)
1. When Drusilla enters the magic shop, the shopkeeper refers to her as "honey", a common condescending nickname for women.
IV. Objectification Watch
- At the beginning, we are shown Angelus stalking Buffy, and so are treated to several male gaze shots of her from his perspective. This includes a shot of her through her bedroom window, and a shot as she goes to bed.
- Obviously, we also get through-the-window shots of Angelus watching Buffy and Willow get the news about Jenny's death over the phone.
V. Points to Consider
- Giles: Buffy, I-I understand your concern, but it's imperative that you keep a level head through all this.
Buffy: That's easy for you to say. You don't have Angel lurking in your bedroom at night.
Giles: I know how hard this is for you. (gets a look from Buffy) All right, I don't. But as the Slayer, you don't have the luxury of being a slave to your, your passions. You mustn't let Angel get to you. No matter how provocative his behavior may become.
Buffy: So what you're basically saying is, 'just ignore him, and maybe he'll go away'?
Giles: (exhales) Yes. Precisely.
This exchange between Giles and Buffy readily demonstrates common patterns in the harassment of women, the lack of male understanding of it, and the common admonishments that women should just "deal with it".
Indeed, Giles even uses the odd phrase that Buffy doesn't "have the luxury of being a slave to [her] passions". By emphasizing the emotional reaction Buffy is having, Giles is dictating the more "masculine", cold logic approach. This is all well and good if you're not the one being harassed.
- Does Jenny's death constitute a "fridging", wherein a woman is killed to further develop a male character's story arc?
What about the context leading up to her death, especially with regards to her impending reconciliation with Giles? Add onto that the sexualized environment Angelus left her in. How does this compare to various male deaths on the show? Is there a way to carry out this plot in a more progressive way?
- Let's also consider Jenny's death in the context of her being the only woman of color as a regular. This is in conjunction with her acting as a scapegoat since Innocence. How does the show handle this with Jenny's Roma background? What about the fact that she's buried in Sunnydale under her American name?
- What can we take away from Joyce's "talk" with Buffy? She gets assurances from Buffy that the sex was safe, and she admonishes Buffy that Angel is older ("too old") for her.
This entry was originally posted at http://gabrielleabelle.dreamwidth.org/359355.html. There are
comments on the DW side. Comments are welcome on either side. Due to massive SPAM issues on LJ, anon comments are only on the DW side.