Writing/ Audio Work
Film Analysis: 'A Girl Walks Home Alone at Night' (2014)
As part of my 'popular cinema' subject at RMIT, I analysed Ana Lily Amirpour' Iranian Western, 'A Girl Walks Home Alone at Night'. It is an audio visual presentation however the emphasis of the work was on our quality of writing which dictates the video.
Post Feminism and Pamela Anderson
Our task was to write on anything relating to Post Feminism. After the series 'Pam and Tommy' was released (2022) I was inspired to use Pamela Anderson as a case study. This proved to be an enduring and relevant topic as following my essay, Netflix released the Pamela Anderson documentary (2023) to popular acclaim.
This case study is focused on the perception of Pamela Anderson, and the trajectory of such, through a post-feminist lens. The recent ‘Pam and Tommy’ series (2022) has resurfaced the illustration on how far we have come in understanding and accepting the capacity for women to be multi-faceted and use previous discrimination to their advantage. Anderson’s role is highly socially and culturally significant in demonstrating the duality of women and the progression of audience response to feminism in Western media. The concept of the acceptance of the duality of women under the issue of post-feminism is not a recent one. For years women have faced objectification around sexuality and the dismissal of their intellect, and Pamela Anderson is a poignant example of this misconception that is now being amended in the modern day. This case study argues that through a post-feminist lens, society has progressed to a point where women can now be celebrated for the same things they were chastised for merely two decades ago. It is significant to observe the capacity for the sex tape the ruined Pamela Anderson’s career to thrust her back into the spotlight through the Pam and Tommy series, with an entirely different audience response to her character.
In 1996 Pamela Anderson’s career was on the rise. She was the star of the popular series ‘Baywatch’, was recently married to Tommy Lee and was a pop-culture icon. However, when her sex tape with Lee was stolen and unknowingly being sold on the internet (as depicted in the Pam and Tommy series) she was demonised and ‘slut shamed’ by society. The unsolicited tape garnered a profit of around $77 million (Miller, 2022) within a year of its release, without either Anderson or Lee profiting financially. Thus, fuelling discourse around female sexuality and “issues on agency in representation” (Leaver, 2015). This can be observed through the comparison of the repercussions of the sex tape for Tommy Lee versus Pamela Anderson. While Lee was celebrated as a ‘legend’ at the time, Anderson was shamed. Yet now in 2022, Anderson is the one being celebrated for her courage and ability to embody the modern woman, who is in touch with both her sexuality and her intellect.
Post- feminism can be described as “a distinctive sensibility, made up of a number of interrelated themes. These include the notion that femininity is a bodily property; the shift from objectification to subjectification” (Gill, 2007). Anderson’s evolution from being ‘slut shamed’ in the 90’s to being celebrated as feminist icon nowadays represents the ability for women to engender both a neo-liberal and ‘hot’ type of feminism. It represents the duality of women. Thus, “feminism is shifting from being a derided identity to a stylish one” (Gill, 2016). This interpretation and response to Pamela Anderson in 1996 compared to 2022 is extremely important to note as it is a significant cultural representation of how femininity and female sexuality have been perceived over time and how this treatment is evolving. Consequently, Anderson highlights that the “solution to (gendered) injustice is to work on the self, rather than to work with others for social and political transformation” (Gill, 2016).
The evidence of the evolution of feminism through Pamela Anderson’s public perception is highly socially, politically and culturally significant. After the tape was released in 1996, Anderson was socially labelled as nothing more than sex symbol, dismissed of any intellect or personal power. This hence illustrated that pornography renders “facsimiles of intimacy and revelation, they seem to ease access to those things most fundamental to our humanity” (Hillyer, 2004). By the end of the 90’s conversation around the “hypocrisy that comes into play” (Brennan, 2022) around the couple’s nudity was discussed however, Anderson had already been pigeonholed and was no longer receiving the same career opportunities she was provided before, eliminating her capacity to be considered a ‘serious actor’. While some feminist discourse was touched on, mass attitude was against her. However, as feminism progressed, and the acceptance of the duality of women did too, by 2014, Anderson was able to launch her own foundation around human, animal and environmental rights. Thus, signifying her ability to be considered as more than a sexual object and credited for her intellect too. Anderson’s ability to finally gain intellectual recognition, 20 years after the tapes release, demonstrates the evolution of society in their ability to engender a more ‘body-positive’ and empowering attitude. Hence demonstrating “post-feminism is gaining prominence as a way of engaging with certain gendered features of contemporary neo-liberal society (Gill, 2016). Gill argues that as society develops, so does the ability to gain acceptance in a multi-faceted dimension. Politically, while Anderson and Lee enacted legal repercussions for the tape it did little to progress any amendments around pornography or the ownership of one’s own public image. This struggle is thoroughly depicted in the Pam and Tommy series, where Anderson’s dream ‘to be like Jane Fonda’ is shattered. Fonda is another feminist icon who highlights how women can possess polarity but still be considered a woman. For example, Fonda sold workout tapes but attended political protests. Thus, portraying the kind of public perception Anderson aspired to mimic. The release of Anderson’s sex tape does facilitate political questioning around agency over one’s own body. Furthermore, that “the energies of the celebrity imagery are fuelling feminist discourse and political activity” (Hamad + Taylor, 2015). This agency can further be deliberated as, while the series Pam and Tommy does encourage a positive perception of Anderson, depicting her struggles and eliciting a certain sympathy, it was however, made without her consent. Therefore, highlighting that as a society we may have progressed regarding attitude and opinion, politically we are stagnant and still possess the ability to exploit women the same way demonstrated 20 years ago. Hence, “illustrative of how talking can be prioritised over action” (Wiseman, 2022). While the evolution of feminism in society is evident through the progression of Anderson’s public perception, the lack of political amendments around agency of one’s own body alludes to a greater cultural issue. In which it is evident, “post feminism is related to the deterritorialization of patriarchal power and its reterritorialization of women’s bodies” (McRobbie, 2009). Thus, while socially women feel stronger and more empowered, there is still a cultural vulnerability that “turns to already established structures of paternalistic power” (Banet-Weiser, 2018). Hence, “popular feminism and popular misogyny revolve around vulnerability and resistance - and often this resistance to vulnerability” (Banet-Weiser, 2018). In this, Banet-Weiser articulates the somewhat defencelessness women have even in the modern today. While as a society we have progressed in terms of acceptance and recognition of female empowerment, there are still deeply ingrained patriarchies that challenge the ability for women to possess absolute power over their own agency. Consequently, highlighting the significance of post-feminism in not only western media but as a topic of societal progression. It demonstrates how far we’ve come, but simultaneously, what needs to be amended to engender a truly equal and just civilisation.
Anthea Taylor’s, 2014 article ‘Blockbuster’ celebrity feminism, denigrates female celebrity culture for somewhat opposing fundamental feminist considerations. Taylor argues “feminism’s implication in the circuits of celebrity has routinely been figured as problematic, seen as antithetical to feminist modes of activism and refusal of hierarchy”. While Taylor does acknowledge (specifically) Hollywood’s ability to objectify women and historically encourage feminine competition rather than support and acceptance, she does undervalue the importance of societal progression. Taylor’s quote is very much applicable to society 20 years ago, highlighted through Pamela Anderson’s experience, where being a sex symbol could be quite detrimental to feminism on a whole. However, in the modern day, a true feminine sex symbol encompasses a duality of body a brain. Celebrities like Jane Fonda, Megan Fox and Pamela Anderson have broken these barriers and now demonstrate that it is empowering to be considered a sex symbol because it refers to a beauty of both the body and brain. Thus, Taylor’s article does allude to a partially still existent attitude and belief system, but overall ignores both the societal and cultural development of mass opinion.
This issue correlates with my area of study, public relations, because it depicts the ever-changing nature of society and the power of mass attitude. Public relations in essence, is all about having a positive brand image. Therefore, it is crucial to understand the political and social climate of the time to be able to gage how people will perceive and respond to situations. Thus, with 2022 now encouraging a post-feminist lens it will be critical to promote a body positive and accepting image for organisations and individual clients alike. Having a brand image that supports women and men alike, in an equal and indiscriminatory way will benefit the client greatly thus generating a successful public perception.
Ultimately, post-feminism as observed through the trajectory of Pamela Anderson’s public recognition is highly significant and a myriad of ways. It demonstrates the ever-changing nature of public opinion and the adaptability of feminism to such. Furthermore, it highlights that while society has become more progressive and accepting, politically there are still deep flaws that limit the capacity for women to possess true agency and equality. Most notably, Pamela Anderson’s sex tape and the comparison of public reception in 1996 versus 2022 demonstrates the ability of women to be empowered by things they were previously chastised for. That post-feminism in essence, represents the duality of women and the ability to capitalise on embodying a multi-faceted nature.
References:
Anthea Taylor (2014) ‘Blockbuster’ celebrity feminism, Celebrity Studies, 5:1-2, 75-78, DOI: 10.1080/19392397.2014.887537
Eva Wiseman (2022) Pam and Tommy’s sex tape has lessons for us all, The Guardian, https://www.theguardian.com/lifeandstyle/2022/feb/13/pamela-anderson-and-tommy-lee-tape-has-lessons-for-all-on-misogyny-and-abuse
Hannah Hamad & Anthea Taylor (2015) Introduction: feminism and contemporary celebrity culture, Celebrity Studies, 6:1, 124-127, DOI: 10.1080/19392397.2015.1005382
Korin Miller (2022) Where is Rand Gauthier after the events of, ‘Pam and Tommy’? All About His Net Worth and Career After the Scandal, Women’s Health, ehttps://www.womenshealthmag.com/life/a38966173/rand-gauthier-now-pam-and-tommy/
Matt Brennan (2022) Timeline: Pamela Anderson and Tommy Lee’s sex tape saga, as it happened, Television, Los Angeles Times, https://www.latimes.com/entertainment-arts/tv/story/2022-02-02/timeline-pamela-anderson-tommy-lee-sex-tape-marriage-divorce-hulu
Minette Hillyer (2004) “Sex in the Suburban: Porn, Home Movies, and the Live Action Performance of Love in Pam and Tommy Lee: Hardcore and Uncensored.” Porn Studies, edited by Linda Williams, Duke University Press, pp. 50–76. JSTOR, https://doi.org/10.2307/j.ctv1131ffn.6.
Rosalind Gill (2007) Postfeminist media culture: Elements of a sensibility. European journal of cultural
studies, 10(2), 147-166.
Rosalind Gill (2016) Post-postfeminism?: new feminist visibilities in postfeminist times, Feminist Media
Studies, 16:4, 610-630, DOI: 10.1080/14680777.2016.1193293
Sarah Banet-Weiser (2018).Empowered: Popular feminism and popular misogyny. Duke 9. University
Press.https://www.thetimes.co.uk/article/caitlin-moran-ive-changed-my-mind-about-botox-b8zrvnvc6
Tama Leaver & Tim Highfield (2018) Visualising the ends of identity: pre- birth and post-death on
Instagram, Information, Communication & Society, 21:1, 30-45, DOI: 10.1080/1369118X.2016.1259343
Film Analysis: 'The Cove' (2009)
As part of my 'Communicating the Environment' subject, I chose to do a film analysis on 'The Cove' directed by Louie Psihoyos.
The 2009 documentary, ‘The Cove’, directed by Louie Psihoyos follows the exploration of the mass slaughters of dolphins in Taiji, Japan that had been previously secretive and severely underreported. The film utilises a sincere tone of urgency and criticism to raise awareness and call to action a global reform of the barbaric practice.
As in “recent decades, we have heard protests and demonstrations that have increasingly sought to highlight issues of global scope and transnational concern” (Lester et.al, 2015), ‘The Cove’ does exactly that. The central theme within the film is around the mass under acknowledgment around the issue, and that in raising awareness it provides hope to bring an end to an outdated practice. As “there is a gap between the severity of the problem and its lack of public salience” (Norgaard, 2011), Psihoyos uses an informational and anecdotal account of the atrocities taking place to send a message of brutality and disgust audiences to a point of response. By communicating predominately through Ric O’Barry, the man who trained the famed dolphin ‘Flipper’, it demonstrates the protagonist’s trajectory from a supporter of the dolphin capturing industry, to an avid activist against any practices revolving around the mistreatment of the mammals after uncovering the true nature of their experiences. Thus, intending to instil a similar response in viewers (hence a sense of duty) who may have been previously unaware, like O’Barry himself, of the brutalisation undergone to tame these mammals. Psihoyos understands that showing a realistic account by using firsthand film and anecdotal experience (that cannot be edited with bias), could be “capable of mobilizing hundreds of thousands of people, even millions, across the globe” (Lester et.al 2015).
While the core themes of ‘The Cove’ are quite heartbreaking, a deliberate informal use of language is utilised to engender a universal understanding and the capacity to follow the film without it being too much of a bleak watch. Therefore, facilitating the ability to follow the documentary without being overcome with too much emotion and focus on fact. Psihoyos also understands the use of audio to enhance audience effect. Instead of a thorough soundtrack, Psihoyos exacerbates natural sound to increase atmosphere. This intentional use of audio has proved to be effective in previous documentaries, drawing correlations to Polly Stanton’s 2019, ‘Indefinite Terrains’, which highlights the justice the element of sound implements to an environmental communication piece. With long shots that set the landscape paired with exaggerated sound of the natural sphere, Psihoyos creates an ominous atmosphere of melancholy around the inevitable atrocities to unfold Taiji. The importance of sound is also noted through Mark Pedalty’s analysis of Robert Cox’ textbook, ‘Environmental Communication in the Public Sphere’ (2012), who highlights that an absence of adequate and fitting audio “fails to capture the greater breadth of the actual topic of environmental communication” (Wodak, 2018). Thus, ‘The Cove’s’ intentional technique of the application of heightened natural sounds attributes to the films ability to resonate with audiences. Furthermore, the use of firsthand footage, night camera’s and personal accounts allow the audience to feel the piece is unjaded and without bias, thus enhancing a tone of truth and realism which is crucial for a documentary.
In addition to ‘The Cove’, Psihoyos has a notable record of environmental documentaries and is credited for his contributions to ‘National Geographic’. Therefore, with a strong foundation of films regarding habitat preservation and animal protection, it provides credibility to ‘The Cove’ as it is a professionally supported piece. Assisted by scientific evidence and opinion, ‘The Cove’ can be portrayed as a mostly unbiased account of the events unfolding in Taiji hence facilitating an urgent tone and call to action. ‘The Cove’ demonstrates that “it’s become axiomatic that the killing of dolphins and whales is barbaric and unnecessary” (Milman, 2018) through its tragic documentation. While the film has come under minor scrutiny for only displaying ‘one side’ to the story (the Western opinion) by Taiji natives, cultural difference does not account for an inhumane genocide of a species. With consideration of a recent decline in dolphin consumption in the last 40 years and scientific proof that has found dolphin meat causing ten times the national average of mercury levels, ‘The Cove’ illustrates the redundant practice in place. Thus, the barbarity of the practice in addition with health officials warning about the toxicity of the meat, Psyihoyos has raised awareness around an issue that should be rectified. This has been globally acknowledged as since the films release, no Japanese schoolchildren are fed mercury laced dolphin meat and 1.3 million individuals have contacted Japanese authorities about the issue, indicative of a conclusively effective environmental documentary.
Ultimately, the environmental communication piece, ‘The Cove’, does effectively illustrate an outdated and barbaric practice in place. Psyihoyos enlists an urgent yet unbiased tone, supported with scientific evidence to enhance the credibility of the film. The film has been effective in spreading awareness and working towards reform of the slaughter of dolphins in Taiji, Japan.
References:
J. McCurry, (2008), ‘Dolphin meat bad for health say Japanese scientists’, The Guardian, https://www.theguardian.com/world/2008/oct/16/japan-food
J. Wodak. (2018) “Shifting Baselines: Conveying Climate Change in Popular Music.” Environmental communication 12.1: 58–70
K.M. Norgaard (2011) 'Climate Denial: Emotion, psychology, culture and political economy' in John S. Dryzek, Richard B. Norgaard, and David Schlosberg (eds) The Oxford Handbook of Climate Change and Society
L. Lester and S. Cottle (2015) 'Transnational Protests, Publics and Media Participation (in an Environmental Age)', in Hansen, Anders and Cox, Robert (eds), The Routledge Handbook of Environmental Communication, New York: Taylor and Francis, pp. 100-110
Oceanic Preservation Society, n.d, https://www.opsociety.org/our-work/films/the-cove/
O. Milman, (2018), ‘Beyond the Cove: what happened after the Oscar-winning documentary?’, The Guardianhttps://www.theguardian.com/film/2018/aug/14/the-cove-a-whale-of-a-tale-documentary-taiji