This analysis argues that femmes fatales, just like many mythological women, are crucially misunderstood. Although these characters are often demonized in popular narratives, many of them represent victimized women who are demonized for challenging the oppressive environments that they suffer from. Their instrumentalized assets of gender and sexuality are their societal capital which either determines their worth in a man’s world or is the characteristic which they are demonized for.
With the aforementioned examination of the undefinable femme fatale in mind, it will be argued that established cultural conceptions of Eve, Delilah, Salomé, Medusa, and the Sirens produce a demonized image of women which consolidates Film Noir’s trope of the femme fatale. For this analysis, it will be assessed how preconceived convictions that manifest themselves in established interpretations of mythology manipulate the perceptions of the female protagonists in Charles Vidor’s Gilda (1946) and Billy Wilder’s Sunset Boulevard (1950).
Table of Contents
1. INTRODUCTION
2. THE HISTORY AND ORIGINS OF THE FEMME FATALE
2.A. EVE – ORIGIN OF SIN OR DECEIVED WOMAN
2.B. SALOMÉ – LOYAL DAUGHTER OR SEDUCTIVE DANCER
2.C. DELILAH – DECEITFUL WIFE OR LOYAL PHILISTINE
2.D. MEDUSA – MONSTROUS GORGON OR POWERFUL SURVIVOR
2.E. THE SIRENS – MALICIOUS MAIDENS OR PERSONIFIED DESIRES
3. THE FEMMES FATALES OF FILM NOIR
3.A. GILDA (1946)
3.A.I. The Femme Fatale: Gilda
3.A.II. ‘Put the Blame on Mame’ as Self-Introspection
3.A.III. Queerness and Feminization as Projected Anxiety
3.B. SUNSET BOULEVARD (1950)
3.B.I. The Femme Fatale: Norma
3.B.II. Becoming ‘the Other’ as Projected Anxiety
4. CONCLUSION
Objectives and Thematic Focus
This thesis examines the cultural and historical roots of the "femme fatale" trope, arguing that the demonization of women in biblical and Greek mythology serves as a foundation for their portrayal in mid-20th-century Film Noir. By analyzing how male anxieties regarding gender, sexuality, and independence are projected onto female characters, the work seeks to humanize the femme fatale, interpreting her actions not as inherently wicked, but as acts of reappropriation and resistance against patriarchal structures.
- Deconstruction of mythological feminine archetypes (Eve, Salomé, Delilah, Medusa, Sirens).
- Analysis of male gaze and anxiety in the genre of Film Noir.
- Case studies of Gilda (1946) and Sunset Boulevard (1950).
- Exploration of queer coding, power dynamics, and the "Eve-Mary" dichotomy.
- The role of self-objectification as a tool for weaponizing femininity.
Excerpt from the Book
3. The Femmes Fatales of Film Noir
With both movies being Noir classics that arguably complement each other in their contradictory nature, Charles Vidor’s Gilda and Billy Wilder’s Sunset Boulevard are interesting cases to compare. Both works feature a complex, multi-faceted femme fatale whose motivation of challenging oppressive norms is perceived as a threat by her surroundings. The male protagonists are, respectively, featured as unreliable first-person male narrators. They retrospectively recount their restricted perspectives as well as their subjective perceptions of the femmes fatales whom they are romantically involved with throughout the course of the movies.
Summary of Chapters
1. INTRODUCTION: Establishes the theoretical framework by discussing how myths function as canvases for projection to ease existential anxieties, while setting the stage for analyzing the femme fatale trope.
2. THE HISTORY AND ORIGINS OF THE FEMME FATALE: Analyzes biblical and mythological figures, arguing their reinterpretation as "demonized" women provides the blueprint for the cinematic femme fatale.
3. THE FEMMES FATALES OF FILM NOIR: Examines how the films Gilda and Sunset Boulevard utilize the femme fatale to project male anxieties regarding autonomy, queer identity, and the loss of patriarchal control.
4. CONCLUSION: Synthesizes the analysis, asserting that the femme fatale is a misunderstood figure whose "wickedness" is a construct of male anxiety, calling for a more sympathetic, humanizing critical perspective.
Keywords
Femme fatale, Film Noir, Mythology, Patriarchal structures, Male anxiety, Gaze theory, Gender roles, Demonization, Reappropriation, Independence, Sexuality, Queer studies, Eve, Gilda, Sunset Boulevard
Frequently Asked Questions
What is the fundamental focus of this thesis?
The thesis explores the cultural and historical origins of the femme fatale trope and how societal anxieties, particularly in a post-WWII context, have led to the demonization of self-determined women in popular media.
What are the primary thematic areas covered?
Key thematic areas include mythology, the intersection of religion and gender, male power fantasies, the "male gaze," and how film narratives are constructed to justify the suppression of assertive female characters.
What is the central research question?
The research investigates how established cultural conceptions from biblical and Greek mythology manipulate the perception of female protagonists in Film Noir and how these characters can be reconsidered as figures of resistance.
Which scientific methods are employed?
The work utilizes film analysis (framing, lighting, narrative structure) combined with feminist literary criticism and philosophical theory to deconstruct common misconceptions about the femme fatale.
What content is addressed in the main part?
The main sections provide a deep dive into historical archetypes like Eve and Medusa, followed by detailed analyses of Charles Vidor’s Gilda and Billy Wilder’s Sunset Boulevard.
Which keywords characterize this work?
The work is defined by terms such as femme fatale, Film Noir, mythology, patriarchal structures, reappropriation, and the male gaze.
How does the author interpret Medusa’s role in this analysis?
Medusa is reinterpreted not as a monster, but as a victim of sexual assault who appropriates the male gaze to regain control, symbolizing the anxiety men feel regarding the loss of dominion over women.
What role does the "Hays Code" play in the discussion of Gilda?
The author discusses the Hays Code to explain how queer subtexts had to be veiled or coded, noting that these restrictions fundamentally shaped how the relationship between Ballin and Johnny was portrayed.
Why does the thesis focus on the "subjective narration" in these films?
Focusing on subjective narration (from characters like Johnny in Gilda or Joe in Sunset Boulevard) allows the author to identify the bias embedded in the storytelling, which portrays the female lead as dangerous merely because she challenges the narrator's worldview.
- Arbeit zitieren
- Anonym (Autor:in), 2023, The Demonic Femme Fatale. Demonized Women in Mythology and Film Noir, München, GRIN Verlag, https://www.grin.com/document/1448785
