Laura Mulvey states in her work ‘Visual Pleasure and Narrative Cinema’ that ‘ in a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/ female.’ She implies that women are displayed as sexual objects for the men’s gaze and she calls this concept to-be-looked-at-ness. From the above several shots we may consider that to be –look –at –ness concept is at present. Estella displays herself for Finn’s gaze but she is not passive. She enjoys her power over him and uses her sexuality to hold his look and disturb him. He has become like a toy for her.
On the other hand, Annette Kuhl suggests in chapter one of her work under the name ‘The Power of Image: Essays on Representation and Sexuality’ that ‘It is now a commonplace that the transformation of the unclothed woman from being naked to being nude(one of the major ‘achievennts’ of the european high traditions) also bring about,in all forms of representations , the transformatin of women into objects , the site of stuctures both of exchange and of looking. The spectator is the buyer, the buyer is the spectator. To posses a woman’s sexuality is, however mass-produced the image, also in the same way to posses, to maintain a degree of control over, woman in general’ . Even though at first sight we tend to underestimate Finn and to think of him as a victim of the cold Estella, we realize that he, by drawing her naked, transforms her into an object of men’s gaze as the above citation suggests. Thus, he maintains certain control over her. By exposing her paintings later in the film, in a galary, he in a way confirms to the public he posses her.
Merrie Johnson argues that narrative cinema produces a "masculinization" of the female spectator who ‘may find herself secretly, unconsciously almost, over the diegetic world that identification with a hero provides, gains access to repressed material’ Many of us may have fantasized that they were great doers of deeds and the slayers of dragons, for example, all kinds of gendered roles as Supermen, but here, in Great Expectations one definitely wouldn’t want to be in Finn’s position. Just as in the first sequence under study Estella leaves him once her portraits are finished and he is once again lured into a trap of seduction and left alone . He only looks after her while she leaves the room.
Table of Contents
1. Great Expectations (1998)
2. By Alfonso Cuarón
3. Representation of Women in Great Expectations
4. Introduction
4.1 Summary of the film
5. Sequence analysis
6. Sequence analysis
6.1 Sequence Two
7. Conclusion form Sequence One and Sequence Two
8. Esthetics of the film
9. A close up on Estella
10. Conclusion
Research Objectives and Themes
This academic paper examines the 1998 film adaptation of "Great Expectations" directed by Alfonso Cuarón, focusing specifically on the representation of women and the dynamics of gender power in the narrative. It explores how the film transforms the original Dickensian themes into a modern romance, while critically analyzing the protagonist's obsession with the unreachable Estella and the underlying gendered power structures within the cinematic medium.
- Analysis of gender representation and the male gaze in modern cinema.
- Evaluation of narrative and aesthetic shifts from Dickens' classic novel to Cuarón's adaptation.
- Study of power dynamics between the protagonists Finn and Estella.
- Application of feminist film theory, including concepts of "to-be-looked-at-ness."
- Assessment of character agency and symbolic meanings of femininity.
Excerpt from the Book
A close up on Estella
Estella is the inspiration of Finn, of his love, of his work, of his success, of his life, ultimately of himself; that he finds and pursues the love of his life all the time. In addition, he stays loyal to Estella. There is the one great qualification of this movie that, lovers always stay loyal to each other. Even her name indicates her personality along the film. Estella is derived from the latin word for star ‘stella’.Stars are cold but beautiful to see. The same is true for Estella: she has a cold personality but she is very pretty. When Ms. Dinsmoor obliges Estella to pose for a portrait, Finn is not sure what to think of her and he says that she is pretty but proud. Ms. Dinsmoor wants to see a victory of a woman over a man. The most important thing here is that Estella does not want to be drawn by Finn because she thinks he is common.
This shows the pride and the superiority in which Estella is presented in her relation to Finn, and it's also important because, from this moment, Finn wants to be educated to be at the same level that Estella .He hopes that he can reach out and touch a star. Estella is also presented as an impossible dream for Finn. In Christianity, the star is related to the Virgin Mary. Stars are also used for orientation, to guide us at night. In the film, Estella appears as a light, it is Finn’s orientation and he always has her in his mind.
Summary of Chapters
Introduction: Provides the context of Alfonso Cuarón's adaptation of the classic novel and outlines the paper's goal to analyze two specific sequences, the film's aesthetics, and the relationship between Finn and Estella.
Summary of the film: Recounts the narrative arc of the film, from the protagonist's childhood encounter with an escapee to his artistic career in New York and his enduring love for Estella.
Sequence analysis: Investigates the initial meeting and interaction between Finn and Estella, emphasizing the camera's role and the power imbalance between the two characters.
Sequence analysis: Continues the examination of the film's visual narrative, focusing on the second encounter where Finn draws an adult Estella.
Sequence Two: Highlights the shift in power dynamics during the second painting sequence, noting Estella's newfound agency and the changing atmosphere compared to the first sequence.
Conclusion form Sequence One and Sequence Two: Applies Laura Mulvey’s theories on visual pleasure and the male gaze to interpret the power struggle and objectification within the film's key scenes.
Esthetics of the film: Assesses the stylistic choices of the director, including soundtrack, visual setting, and the use of surrealist elements to modernize the story.
A close up on Estella: Analyzes the character of Estella as a symbol of unattainable beauty and as a figure of feminist complexity within the narrative.
Conclusion: Synthesizes the findings, concluding that while the film is a successful adaptation, it offers an ambiguous portrayal of women that invites debate on sexist undertones.
Keywords
Great Expectations, Alfonso Cuarón, Estella, Finn, Feminist Film Theory, Male Gaze, To-be-looked-at-ness, Cinema, Representation of Women, Gender Roles, Romantic Adaptation, Visual Pleasure, Narrative Cinema, Artistic Representation, Power Dynamics.
Frequently Asked Questions
What is the core focus of this research paper?
The paper focuses on Alfonso Cuarón's 1998 film "Great Expectations" and specifically analyzes the representation of women and the gendered power dynamics between the two main characters, Finn and Estella.
What are the central themes discussed in the study?
Central themes include the adaptation of classical literature into modern romance, the application of the male gaze in cinema, female agency, and the symbolic significance of characters within the film.
What is the primary objective of the author?
The objective is to critically examine how the film uses cinematography and narrative structure to represent gendered power, specifically looking at how the male protagonist perceives and attempts to control his female counterpart through art.
Which scientific methodology is employed?
The author employs a film analysis methodology, utilizing sequences from the movie and applying theoretical frameworks from scholars like Laura Mulvey and Annette Kuhl regarding representation, sexuality, and the male gaze.
What is covered in the main body of the work?
The main body covers a summary of the film, detailed sequence analyses of two key scenes involving the portrait of Estella, an exploration of the film's aesthetics, and an in-depth character study of Estella.
Which keywords best describe the work?
Key terms include "Great Expectations," "Male Gaze," "Feminist Film Theory," "Cinematic Representation," and "Gender Roles."
How does the author interpret Estella’s name?
The author notes that Estella is derived from the Latin "stella" (star), interpreting this to symbolize that she is both beautiful and cold, acting as an unreachable light or orientation point for the protagonist.
What is the author's conclusion regarding the film's feminist stance?
The author finds the film's feminism to be ambiguous; while it portrays strong, independent women, it also reinforces stereotypes of cruel, heartless women who exist primarily to cause men emotional pain.
How is the transition from Dickens' novel to the film described?
The transition is described as a transformation from a classic drama to a modern romance, highlighting that while the adaptation is not "faithful" in a traditional sense, it successfully utilizes unique visual elements like the protagonist's drawings.
Why is the "to-be-looked-at-ness" concept relevant to this film?
It is relevant because the author argues that the male protagonist, by painting the female lead, transforms her into an object of the male gaze, thereby attempting to exert control over her sexuality.
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- Lora Cvetanova (Autor:in), 2014, Representation of Women in the Film "Great Expectations" (1998) by Alfonso Cuarón, München, GRIN Verlag, https://www.grin.com/document/278593
