Mulvey in the standard Hollywood shoot-em-up

June 16, 2012 – 07:51 pm

Mulvey's characterization of the use of (and literal, erotic viewing of) female figures in cinema as an oppositional force to the male-driven narrative that must be overcome brings to mind two similar recent flicks: "Hitman, " starring Timothy Olyphant, and "Casino Royale, " the most recent James Bond movie starring Daniel Craig. 

In "Hitman, " Olyphant portrays what else but a genetically engineered hitman who is very good at what he does. There is a very funny scene involving the female interest of the movie, played by Olga Kurylenko, in which she has become very drunk and attempts to seduce '47, ' the hitman. It's very much the 'sex scene' of the movie, and can easily be described through Mulvey as a scene that "unwinds magically, indifferent to the presence of the audience, producing for them a sense of separation and playing on their voyeuristic fantasy" and a glimpse at the pair's hotel room existing as a "private world" (324). Kurylenko's character has been sexualized t...evitable. While Mulvey's theory of the female as causing a "castration anxiety" is a bit extreme, this movie turns the hero on it's head in a funny and poignant way: Instead of what one would be presume the 'cut to our hero and woman, having a post-coital cigarette, ' '47' knocks her out with a gadget or tranquilizer of some kind--he's very awkward throughout the whole scene, the implication that he is somehow sexless or refuses to have sex with by merit of the science fiction of his being a clone and genetically engineered for one purpose: to kill. He continues to drive the narrative, but this shortcoming remains unresolved: is he castrated by her? Does Mulvey's theory fall short for this movie? Or is it simply taken as a humorous resolution to the obligatory 'sex scene' of the movie, the voyeuristic filmmaking opprotunism that seems so common in almost any R-rated movie?

Source: Cultural Studies

Part IV

2009-03-31 11:29:19 by cas111498

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