INTRODUCTION
Since Alien first appeared on screen in 1979, there have been many studies about it, covering every imaginable interpretation possible. There was a focus especially on gender theory and femininity studies – essays on a lesbian point of view, the abject mother and monstrous femininity. Even about male homoerotic aspects, obviously with special emphasis on Alien³.
Astoundingly enough there is far less material about a male heterosexual approach to the movies.
Therefore, my task in this essay will be to look at the Alien movies – with a main focus on the original and the second part – from a different point of view.
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1.1 ALIEN AND THE UNCANNY
Why is it that some things scare us, whereas other things do not bother us at all? One may look and find a possible answer to this question in Sigmund Freud’s treatise on the uncanny.
One aspect that might help is Freud’s assumptions that people always “experience the feeling [of the uncanny] in the highest degree in relation to death and dead bodies, to the return of the dead, and to spirits and ghosts.”
This notion becomes important when one takes a closer look at the Alien’s body. H.R. Giger’s creation consists to a great part of (humanlike) bones. The Alien’s chest looks like an uncovered human ribcage, while the legs look as if they just consist of muscles and veins with the outer skin stripped of (Fig.1).
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2. THE MASCULINE ALIEN
All of the Alien movies – with a possible exception of Alien Resurrection – are full of metaphoric images. Many of them are due to artist H.R. Giger, who was mainly responsible for the creation of the foreign planet, spaceships and the Alien itself.
Most of those images are sexual connoted allegories. The chair-like construction of the alien pilot, for example, resembles an erect penis.
The same is true for the Alien itself, but although we find allegories for both genders throughout the movies, most of the theorists who wrote about them cling to the notion, that the foreign – the alien/Alien – is female.
Table of Contents
Introduction
1. Other than gender-related theories on Alien’s terrifying appeal
1.1 Alien and the Uncanny
1.2 Alien and other aliens – Why they scare us … do they?
2. The masculine Alien
2.1 The Face-Hugger
2.2 The Chest-Buster
2.3 Alien in its final stage
2.4 The (female) Alien Queen
3. Males and masculinity in The Alien-Trilogy
3.1 Alien
3.1.1 Ripley
3.2 Aliens
3.2.1 Armament
3.2.2 The Marines
3.2.3 Ripley
4. Own Theory
Conclusion
Research Objectives and Themes
This essay challenges existing gender-based interpretations of the Alien film franchise, which often categorize the creature as a female-coded entity. Instead, it examines the films through a masculinity-focused lens, arguing that the true source of horror for the male audience lies in the invasion of a masculine specimen, the subsequent threat of forced penetration, and the humiliation of gender transgression.
- Psychoanalytical analysis of fear and the "uncanny."
- Deconstruction of the Alien as a masculine, phallic, and penetrative entity.
- Examination of male character archetypes and their failures.
- Analysis of Ripley's gender metamorphosis as a survival strategy.
- Critique of existing feminist and queer readings of the series.
Excerpt from the Book
4. Own Theory
Since I took up my decision against the notion that the Alien is a female connoted specimen, I have now to define a new gender-specific theory that explains why Alien is a scary movie. Female theorists like Barbara Creed were of the opinion that it was the “monstrous femininity” in the movies that scared the (male) audience the most.
My theory evolves in contrary around the idea that the frightening aspect of the Alien movies – especially for the male audience – lies in the invasion of this foreign masculine specimen that endangers the human civilization and in the idea that it can penetrate even men and masculine space. The horror of being raped is clearly in the foreground – a horror that is normally reserved for women, since they are more likely to suffer such a torment. This terrifying idea of being raped by another organism, especially one that is male, might in addition considered to be a source of homophobic fright among the heterosexual male spectators.
Summary of Chapters
Introduction: Provides an overview of existing gender theory studies on the Alien franchise and establishes the author's intent to apply a masculine-centered approach.
1. Other than gender-related theories on Alien’s terrifying appeal: Analyzes the psychological foundations of fear, specifically using Freud’s "uncanny," and compares the Alien to other cinematic creatures.
2. The masculine Alien: Explores the phallic symbolism and sexual allegories associated with the various developmental stages of the Alien creature.
3. Males and masculinity in The Alien-Trilogy: Investigates how human male characters react to the alien threat, focusing on gender transgression and the metamorphosis of Ellen Ripley.
4. Own Theory: Articulates the author’s primary argument that the films provoke fear by threatening the male body with penetration and enforced feminization.
Conclusion: Summarizes the study’s findings and reiterates that a masculinity-centered analysis is as plausible as established feminist interpretations.
Keywords
Alien, Masculinity, Gender Transgression, Psychoanalysis, Horror, Phallic Symbolism, Penetration, Monstrous Femininity, Ellen Ripley, Film Theory, Sigmund Freud, H.R. Giger, Gender Metamorphosis, Homophobic Fright, Alien Trilogy.
Frequently Asked Questions
What is the core focus of this research paper?
The paper examines the Alien film series through the lens of masculinity studies, challenging the prevailing notion that the Alien creature is purely female-coded.
What are the primary thematic fields covered?
The themes include the psychoanalysis of horror, gender politics in science fiction, sexual symbolism in film design, and the survival strategies of characters under extreme threat.
What is the author's primary research goal?
The goal is to propose an alternative interpretation to feminist and queer-theory readings, arguing that the films target masculine anxiety specifically.
Which scientific methodology is utilized?
The author primarily employs a psychoanalytical approach, referencing Sigmund Freud and various film theory concepts to analyze narrative structure and symbolism.
What topics are discussed in the main body?
The body analyzes the creature's developmental stages, the failure of masculine power structures within the films, and the symbolic significance of Ripley’s evolving character arc.
What are the characterizing keywords of the work?
Key terms include masculinity, gender transgression, penetration, psychoanalysis, and the concept of the uncanny as applied to science fiction.
How does the author interpret the "Face-Hugger"?
The author interprets the Face-Hugger's actions as a form of rape, emphasizing that the victim's impregnation serves to emasculate and feminize the male host.
Why is Ripley's character metamorphosis considered significant?
The author argues that Ripley survives precisely because she sheds her feminine attributes and adopts masculine symbols—like weapons—effectively "becoming" male to overcome the threat.
- Quote paper
- Rebecca Schuster (Author), 2006, Kane's Son. Males and Masculinity in 'Alien', Munich, GRIN Verlag, https://www.grin.com/document/83783
