Since the early beginning of mankind there have always been people who differed from the great majority. They presented various features which separated and isolated them from the rest of mankind; from the “normal people”. These essential characteristics can be caused by medical issues, genetic defects, or other reasons and lead to a life outside of the boundaries by reason of standing beyond normality. Causes are plain deviations from normal people’s mental or physical constitution. For instance, some of these different human beings have extra or missing body parts or lack extremities at all, some are much taller than average people, and some are smaller. Therefore, humans seen as different and not normal, or in other words, as abnormal can be called freaks.
Furthermore, these so called freaks are defined as a curiosity and abnormal formed organism. Already the lable “freak” exemplifies the personage of a strange otherness and abnormality. There are born freaks (with physical anomalies), made freaks (e.g. tattooed people), gaffed freaks (fake freaks) and novelty acts (e.g. sword swallowers).
As one matter of this term paper the representation of these different kinds of freaks will be discussed regarding Tod Browning’s film Freaks. The film deals with handicapped humans, who comply with the various definitions of a freak. My goal is to establish the place of freaks in the movie and to examine how they are represented. This also includes filmic means, like camera angles, colors and lighting, sounds and music, editing techniques, dialogue, framing and characters, costumes, and the relation between characters. The filmic representation analysis will also be focused on the representation of the conflicting cultural views on freaks and the freak show at the time the film was made. Furthermore, the gaze and the representation of reality play an important role in the critical framework of the film.
Table of Contents
1 Introduction
2 About the film
2.1 Cast
2.2 Content
2.3 Tod Browning
2.4 Some Facts
2.5 Critics and Public Reception
3 Representation of Freaks
3.1 Otherness and Normal vs. Abnormal
3.2 Emotions
3.3 The Gaze and Filmic means
4 The development
5 Conclusion
Objective and Research Focus
This paper examines the representation of individuals with physical disabilities in Tod Browning's 1932 film Freaks. It seeks to analyze how the film establishes the place of these performers, explores their humanity in contrast to their societal labeling as "abnormal," and investigates the use of filmic techniques to challenge traditional perceptions of otherness and the gaze.
- Analysis of Tod Browning's directorial approach and background.
- Examination of the cultural context and reception of the film.
- Evaluation of filmic means such as camera angles, lighting, and music in shaping the narrative.
- Comparison between "norm-specific" and "freak-specific" perspectives.
- Investigation into the themes of otherness, emotions, and the construction of the "normal" versus "abnormal."
Excerpt from the Book
3.1 Otherness and Normal vs. Abnormal
Concerning the meaning of otherness in Freaks, the term can be interpreted as an “otherness of normal people”. That the main concern of the film is to display such “normal otherness” is suggested by the fact, that the sideshow community of Hans and Frieda is given more screen time than the characters who are living “normal” lives within the troupe. Viewers are deeply immersed in the whole topic of otherness since considerable time is invested in developing the characters, their relationships among each other, and also to get a freak-specific perspective.
The romantic drama between Hans, the dwarf, and the handsome trapeze artist Cleopatra is illustrative of this notion of otherness. Hans is addicted to the magnetism and beauty of Cleopatra who is shown as physically perfect, but with a villainous character. Although Hans is blinded by her beauty and acts accordingly, he is authentically charming and gentle. During the wedding ceremony of Hans and Cleopatra, the freak community, as Hans friends, start to sing: “She is one of us! … One of us, we accept her, we accept her, one of us….” To set the seal on her acceptance, one of the midgets hands around a chalice. When it is Cleopatra’s turn to receive this sign of recognition, she shows her true face to the community. Hysterically, she is shouts out loud “No, I am not one of you! You are Freaks! Freaks! Freaks! Get out of here!” In this scene the representation of otherness hence is highly emphasized.
Summary of Chapters
1 Introduction: Provides an overview of the definition of "freaks" and outlines the paper's goal to analyze their representation and the conflicting cultural views in Tod Browning’s film.
2 About the film: Introduces the cast, plot summary, the director Tod Browning, production facts, and the historical controversy surrounding the movie's reception.
3 Representation of Freaks: Analyzes how the film depicts individuals with disabilities, contrasting their "human" interactions with the "evil" behavior of the able-bodied characters.
4 The development: Discusses how the perception of the film and the performers themselves has evolved over time from exploitation to an appreciation of individual humanity.
5 Conclusion: Summarizes that Freaks remains a unique and multifaceted work that challenges the audience's perception of beauty and normality.
Keywords
Freaks, Tod Browning, Disability, Otherness, Cinema, Representation, Film analysis, Circus, Sideshow, Normal vs. Abnormal, The Gaze, Cultural perception, Humanism, Film history, 1932.
Frequently Asked Questions
What is the primary focus of this academic paper?
The paper focuses on the representation of individuals with disabilities in the 1932 film Freaks by Tod Browning, specifically analyzing how they are portrayed as individuals versus social curiosities.
What are the central themes discussed in the text?
Key themes include otherness, the distinction between the "normal" and the "abnormal," the use of the cinematic gaze, and the humanity of circus performers.
What is the research goal of this study?
The goal is to determine how the film positions "freaks" within its narrative and to examine how filmic means, such as lighting and camera work, influence the viewer's perspective on these characters.
Which scientific methods are employed?
The author uses film analysis, incorporating scholarly terminology like Robert Bogdan's "Types of Freaks" and examining technical aspects of filmmaking alongside historical context.
What is covered in the main body of the work?
The main body covers the film's production background, an analysis of character development, the role of emotions, the use of the gaze, and the evolution of the film's reception.
Which keywords best characterize this work?
Keywords include Freaks, Tod Browning, disability, otherness, cinematic representation, and social construction.
How does the film challenge the viewer's perception of Cleopatra?
Cleopatra is initially presented as the "normal," beautiful love interest, but as her villainous nature is revealed, she is contrasted with the "freaks" who demonstrate more genuine human values.
What role does the "freak-specific" perspective play?
It allows the viewer to see the world from the perspective of the marginalized characters, effectively subverting the traditional norm-based prejudice against them.
- Citation du texte
- Janine Bergmeir (Auteur), 2016, Filmic Representations of Freaks and Special Features in Tod Browning's 'Freaks', Munich, GRIN Verlag, https://www.grin.com/document/453345
