This paper deals with the socio-cultural parameters of representation in movies, focussing on a comparative reading of Cooper's (1933) and Jackson's (2005) "King Kong"-movies.
The academic consideration of movies and their significance regarding the creation and shaping of discourse is a relatively new, yet fruitful approach to socio-cultural studies (c.f. Erb 1998: 13f. a. Benshoff & Griffin 2004: 3). Like other cultural items, movies reflect the norms and realities of the environment they are produced in and, thus, feature statements about what their respective culture of origin considers to be ‘normal’ – on both overt and covert, or, conscious and unconscious levels (c.f. Vogler 1978: 109). The presentation of these notions in Hollywood films offers “keen insights into the ways that different groups of American people have been treated (and continue to be treated)” (Benshoff & Griffin 2004: 3). It is therefore important to note that the, albeit fictive, representations of people on screen are also capable of influencing their perception in real life (c.f. ibid.).
The analysis of genre movies appears to be especially suited for socio-cultural considerations, as these movies not only provide comparable narrative structures, but also feature recurring tropes (c.f. Stymeist 2009: 395f. a. Benshoff & Griffin 2004: 30f). Furthermore, the extent of their success and endurance mirrors their respective capability of representing and mediating discourse, as well as contextualizing it with regard to current social realities (c.f. ibid.).
Taking these parameters into account, it can be argued that the horror genre is particularly promising in this respect, as it usually features a monster which counters social norms concerning notions such as race, class and gender (c.f. ibid.). In that, the monster embodies a society’s fears and is sometimes even regarded as a perversion threatening the status quo which, “in classic Hollywood horror films [...], is conventionally represented by middle-to-upper-class, white, heterosexual couples and patriarchal institutions” (Benshoff & Griffin 2004: 31).
Merian Cooper’s King Kong (1933, c.f. Internet Movie Database, IMDb) might arguably be the most striking example that comes to mind when evaluating the socio-cultural impact of horror movies, especially when focusing on the representation of race, gender and culture (c.f. Cowlishaw 2006: 1714, Stymeist 2009: 396f. a. Erb 1998: 13-15). [...]
Inhaltsverzeichnis (Table of Contents)
- Introduction
- 'Black Buck' meets 'White Goddess' - Race and Sexuality in King Kong
- Spotting the Victim – Gender in King Kong
- Nature's Revenge on Industry - Culture in King Kong
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This paper presents a comparative and historically contextualized reading of the two King Kong films, focusing on the delineation of norms regarding race, gender, and culture. It aims to analyze how these discursive notions are represented in both versions, considering any significant differences between the two films.
- Race and Sexuality in King Kong
- Gender Representation in King Kong
- Cultural Significance in King Kong
- The Role of Primitivism and Othering in King Kong
- The Impact of Genre Conventions on King Kong
Zusammenfassung der Kapitel (Chapter Summaries)
- Introduction: This chapter sets the stage for the analysis by discussing the significance of movies in shaping socio-cultural discourse, focusing on the horror genre and the potential of its monsters to embody societal fears. It introduces the two King Kong films, highlighting their cultural impact and the need for a contextualized reading.
- 'Black Buck' meets 'White Goddess' - Race and Sexuality in King Kong: This chapter explores the racial and sexual implications of the giant ape's portrayal in both King Kong films. It examines the concepts of Othering and Primitivism, arguing that King Kong's representation draws on racist tropes and fantasies of miscegenation. The chapter analyzes the contrasting roles of the "Black Buck" and the "White Goddess" in the narrative, highlighting the association of whiteness with purity and sovereignty.
Schlüsselwörter (Keywords)
This paper focuses on the themes of race, gender, and culture in the context of genre movies, particularly the horror and monster genre. Key terms and concepts include: Othering, Primitivism, miscegenation, Black Buck, White Goddess, and the impact of genre conventions on the representation of these themes.
Frequently Asked Questions
How do the 1933 and 2005 King Kong movies differ in their socio-cultural messages?
The paper compares how both films reflect the norms and racial/gender discourses of their respective eras, from early 20th-century prejudices to modern interpretations.
What is the "Black Buck" trope in King Kong?
The giant ape is often analyzed as a racialized "Other," embodying racist tropes of the "Black Buck" threatening white femininity (the "White Goddess").
How is gender represented in the King Kong films?
The analysis focuses on the role of the female protagonist as a victim and how whiteness is associated with purity and sovereignty in these narratives.
What role does "Othering" play in the monster genre?
Monsters like King Kong often embody a society's fears by countering social norms regarding race, class, and gender, serving as a tool for "Othering" non-conforming groups.
Is the 2005 version of King Kong less problematic than the 1933 original?
The paper examines significant differences and whether Peter Jackson's version successfully navigates or reinforces the original's controversial racial and cultural tropes.
- Arbeit zitieren
- Lena Meyer (Autor:in), 2015, Notions of Race, Gender and Culture in Cooper’s and Jackson’s "King Kong", München, GRIN Verlag, https://www.grin.com/document/299334
