Misogynistic Attitudes in 'Pretty Woman' and 'Anomalisa'

Cinematic gazes play a significant role in establishing power dynamics between characters and viewers alike. The act of watching a film often involves a complex hierarchical relationship, where various forms of gazes—narcissistic, fetishistic, scopophilic, and voyeuristic—create a layered experience. This is especially pronounced in the romantic genre, where traditional films often exploit these dynamics, while more contemporary works challenge and redefine them. In this essay, I will explore the misogynistic attitudes evident in 'Pretty Woman' and 'Anomalisa', contrasting their representations of female characters and the underlying power structures that shape these narratives.

Understanding Cinematic Gazes

The concept of the gaze, particularly as articulated by Laura Mulvey in her 1975 essay "Visual Pleasure and Narrative Cinema," establishes a framework for understanding the male gaze as an active force, rendering women as passive objects of desire. Mulvey argues that this dynamic is deeply ingrained in the cinematic experience, where the viewer's pleasure is aligned with a hierarchical system that favors male perspectives. This is evident in both 'Pretty Woman' and 'Anomalisa', where female characters are often depicted through a lens that objectifies and diminishes their agency.

Contrasting Female Representations

In 'Pretty Woman', the character of Vivian is introduced through a series of close-ups that fragment her body, reducing her to mere physical attributes. This approach fetishizes her image, as Barbara Creed notes, by over-valuing specific parts of her body. The film's romantic narrative positions Vivian as an object of desire for Edward, who represents the archetypal powerful man. This dynamic perpetuates a cycle of misogyny where women are valued primarily for their physical appeal and submissiveness.

In contrast, 'Anomalisa' presents a more nuanced exploration of misogyny through its protagonist, Michael. Initially, Michael’s interactions with women reflect a sense of superiority that aligns with Mulvey’s notions of the male gaze. For instance, during his first encounter with Lisa, the long shots and romantic music create an idealized depiction of her. However, as the narrative unfolds, it becomes clear that Michael's contempt is not limited to female characters; he perceives everyone in his life through a lens of dissatisfaction, thus broadening the scope of his egotism.

Power Dynamics and Psychological Depth

Both films exhibit power imbalances, but the sources of these dynamics differ significantly. In 'Pretty Woman', the patriarchal structure is overt, with Edward exerting control over Vivian as he pays for her companionship. This transactional relationship reinforces traditional gender roles, where the male figure is dominant and the female is submissive. The following table illustrates the key differences in the portrayal of power dynamics in both films:

Scopophilia and Objectification

Both films utilize scopophilia—the pleasure derived from looking—as a means to establish power dynamics. In 'Anomalisa', Michael's attraction to Lisa is tied to her physical scar, indicating a perverse fascination with her trauma. Similarly, in 'Pretty Woman', Vivian’s identity is largely constructed around her sexuality and appearance, reinforcing the idea that women are objects to be gazed upon and desired.

This fetishistic gaze is rooted in psychoanalytic theory, particularly the Oedipus Complex, which posits that male desire is intertwined with a fear of female power. Mulvey suggests that this leads to a “sexual imbalance,” where men control the gaze, and women are relegated to objects of desire. Both films exemplify this imbalance, where the male characters project their insecurities onto the female protagonists, reducing them to mere symbols of their own desires.

Psychological Implications of Misogyny

In 'Anomalisa', Michael’s relationships are characterized by a profound sense of isolation and emotional detachment. Despite his initial infatuation with Lisa, he quickly grows bored and begins to see her as just another face in his monotonous life. This psychological complexity reveals a deeper commentary on the human condition, suggesting that the protagonist’s misogyny is not solely gender-based but rooted in a broader sense of dissatisfaction with life itself.

Conversely, Edward in 'Pretty Woman' embodies a more traditional male archetype, seeking validation through control over Vivian. His transactional approach to relationships highlights a superficial understanding of intimacy, where emotional connection is secondary to physical attraction and power dynamics. Both films, therefore, reveal how misogynistic attitudes manifest differently depending on the psychological depth of the male characters.

Conclusion

In conclusion, 'Pretty Woman' and 'Anomalisa' provide critical insights into the misogynistic attitudes prevalent in cinematic narratives. While both films reflect a male-dominated gaze, 'Anomalisa' challenges traditional representations by delving into the psychological complexities of its characters, revealing a broader commentary on human relationships. As we navigate the evolving landscape of cinema, it is essential to recognize and critique these power dynamics to foster a more equitable portrayal of gender in film.

References:

• Mulvey, Laura. "Visual Pleasure and Narrative Cinema." Screen, vol. 16, no. 3, 1975, pp. 6-18.
• Creed, Barbara. "The Monstrous-Feminine: Film, Feminism, Psychoanalysis." Routledge, 1993.
• Dyer, Richard. "Don't Look Now." Routledge, 1992.
• Allen, Richard. "Psychoanalytic Film Theory." The Oxford Guide to Film Studies, 1998.