Is_It_Girl_Power_or_Revivng_Ophelia

Textual presentations, throughout history, have forever displayed cultural stereotypes and ideals in relation to gender and sexuality. With particular mention to textual presentations that deal with vampirism, the themes of gender and sexuality have often explored and expressed as to suit context and audience. Feminism and femininity, as major constituents of these themes, have transgressively been articulated in vampiric texts to suit sociological expressions and contextual ideals. However, throughout culturally accepted contemporary vampiric texts, of which include Buffy the Vampire Slayer, by Joss Whedon and Twilight, by Stephanie Meyer, contrasting discourses in relation to feminism and femininity have been constructed and proposed. The author’s of these two texts, who have had a significant impact on the presentation of feminism and femininity as such, have constructed texts that match either the rather contemporary Girl Power presentation or the traditional Reviving Ophelia means. ‘Since the early 1990’s, popular media, popular literature, television, films, academic conferences, and special issues of feminist journals have been participants in an incredible proliferation of images, texts and discourses around girls and girlhood’. (Between Girl Power and Reviving Ophelia, Marina Gonick, Pg 1) Marina Gonick, in her critical article ‘Between Girl Power and Reviving Ophelia’ proposed and explored two contemporary feministic views applicable to such a context. These contrasting view, which had procured simultaneously in the 1990’s, were termed Girl Power, which ‘represents a new girl who is assertive, dynamic, and unbound from the constraints of passive femininity’, and Reviving Ophelia, which ‘presents girls as vulnerable, voiceless and fragile beings’. Through two culturally significant vampiric texts, Twilight, by Stephanie Meyer, and Buffy the Vampire Slayer, by Joss Whedon, these contrasting views are clearly applicable. Joss Whedon’s Buffy the Vampire Slayer, clearly proposes the concepts and ideals of Girl Power, whereas Stephanie Meyer’s Twilight, presents the concepts and ideals of Reviving Ophelia, rather firmly through the texts main character Bella. These texts, through the characterisation and expression of characters, as well as the author’s context, have constructed and explored contrasting feministic views. The construction of feminism and femininity in these two texts is rather important, as the opposing views proposed can be detrimental to the perceptions and ideals of a contemporary girl. Buffy the Vampire Slayer, a patriarchal contemporary text of feministic expressions, has often been critiqued for its presentation of female empowerment. This text, through its main character Buffy, has proposed contemporary feministic views that idealise with the Girl Power concept, coined after the feminist movements of the 1950’s. Girl Power celebrates ‘the fierce and aggressive potential of girls as well as the reconstitution of girl culture as a positive force embracing self-expression through fashion, attitude and a Do-It-Yourself (DIY) approach to cultural productions’. (Between Girl Power and Reviving Ophelia, Marina Gonick, Pg 7) Through an array of circumstance, including characterisation and presentation, Buffy has become an iconic feminist expression, which has led to her popularity amongst a diverse audience, dominated by the female populace. As expressed by Angela McRobbie, ‘it would be difficult for a female not to know about Sarah Michelle Gellar but impossible for a female not to know about Buffy the Vampire Slayer’. Firstly, a significant means of which contributes to Buffy’s Girl Power presentation is her characterisation throughout this text. Joss Whedon, creator of Buffy the Vampire Slayer, identifies himself as a feminist and rather objectively has had a significant impact on the presentation of Buffy as a feminist advocate. In an interview, Joss Whedon stated that his television shows ‘very first mission statement…was the joy of female power: having it, using it and sharing it’. (Miller, 2003:35) Buffy, as a character, is strong and powerful in her presentation, not only by her physical means, but also by her emotional status. In season 3, episodes 21-22, entitled ‘The Becoming’, Buffy’s power, as a character, is exhibited beyond precedent. In part 1 of this defining segment, the first presentation of Buffy’s character undoubtedly displays her physical strength and masculine ability. Buffy is presented, as her status defines, slaying a congregation of vampires rather ruthlessly and without any fear. One may notice that amongst the congregation of vampires, all were males, which is an emphasise of ‘Buffy as a warrior or “grrl hero”.’ (Sue Tjardes, 2003:66) Throughout Buffy’s battle, her sidekick Xander is presented cringing behind a tombstone in the graveyard setting. Most applaud such a presentation of Buffy, acclaiming that amongst such a setting, the ideals of Girl Power are clearly expressed. However, there are those who critique such a presentation, for the sheer fact that Buffy is presented in a masculine means. She is presented in a masculine circumstance, with masculine attire, which would objectively lead to her possessing of masculine characteristics. Whatever the means, Buffy is presented through her actions as a strong and powerful character, which was objectively what Joss Whedon, had hoped to construct. As Frances Early and Kathleen Kennedy emphasised, Buffy’s action display ‘a “girl power” hero’. (2003:3) Next, another aspect of Buffy’s characterisation, which influences her Girl Power presentation, is her physical emergence. Buffy is presented as a blonde, petite, and well-dressed character. Her presentation, influenced significantly by Joss Whedon, has a noteworthy impact on an audience’s perception of blond women. Joss Whedon in an interview emphasised that he had grown tired of horror films in which ‘bubblehead blonds wandered into dark alleys and got murdered by some creature’, remarking, ‘I would love to see a movie in which a blond wanders into a dark alley, takes care of herself and deploys her powers’. (Bellefonte, 1997:82). Vivian Chen interprets Whedon’s construction of Buffy as using ‘an antifeminist model, the helpless blond, to present an alternative, feminist possibility’. (Vivian Chen, 2003:94) As Buffy is a blond and rather fashionable being, stereotypes would have it that she would be the least likely to attain the status of vampire slayer. As a result of Buffy’s physical means, society would accept her as nothing more than an incapable female. However, Whedon’s feminist influence and beliefs have contributed to his presentation of a character such as Buffy. He has constructed a feminist advocate out of an anti-feminist model, the helpless blond, which in turn implores and explores the ideals and characteristics of the Girl Power perspective. Through Buffy, audiences are able to see the fierce and aggressive potential of all girls, as proposed through the ideals of Girl Power. Through Buffy, audiences can conclude that a female’s physical status has no implications on her actions and means. As stated by Zoe Williams ‘Buffy’s hair is not the point. The point is that she fights huge demons.’ (Zoe Williams, 2001:34). Finally, another aspect of Buffy’s characterisation, which influences her Girl Power presentation, is her dialogue. Like with any character, dialogue is a reflection of motive, means and personality. Whilst Buffy’s remarks can occasionally be perceived as innocent and whiny, she often displays an expression through her dialogue, which represents her power and strength as a character, and her dedication to her cause. For instance, in an episode Buffy remarks that she had ‘people to see, demons to kill’. Whilst this quotation may present a humorous means, Buffy’s definition through this quotation can clearly be derived. Objectively she is referring to an episode of demon slaying. And whilst challenging the demons or vampires she quotes ‘you're a vampire. Oh, I'm sorry. Was that an offensive term' Should I say undead American'’ Such an expression not only identifies Buffy’s humour, but also presents her lack of fear, and strength. Through Buffy’s dialogue in this circumstance and its implications, we can clearly see her presentation as a Girl Power advocate. As the Girl Power concept expresses, Buffy is a positive force embracing self-expression through speech and vocal means. Buffy clearly speaks what she feels and her dialogue repeatedly idealises with the concepts proposed through Girl Power. Buffy always seems to make her opinion heard as the ‘Riot Grrrls’ did, who used ‘Girl Power as a strategy of reclaiming the word girl, by strategically means from the adult patriarchal world of status, hierarchies and standards’ (Hesford, 1999:45). As presented in an episode, Buffy states, ‘I lost a friend tonight and I may lose more! The whole world may be sucked into hell, and you want my help 'cause your girlfriend's a big hoe! Let me take this opportunity to NOT care!’ Whilst Buffy’s remarks display her inner feelings, she ensured that her opinions and thoughts were clearly exhibited, which is an ideal expression for any advocate of Girl Power. Twilight, a contemporary vampiric text that observes the circumstances of a ‘love triangle involving Bella, a young teenage girl, the gentlemanly young vampire who adores her and the lanky werewolf who is her best friend’ (Leonard Sax, Washington Post, August 17, 2008), has often been critiqued for its antifeminist perspective and presentation. This text, rather popular amongst the niche audience of teenage girls, has presented traditional ideals and ideas in relation to gender and sexuality, within a contemporary setting and base. As Leonard Sax proposed, ‘the allure of "Twilight" lies in its combination of modern sensibility and ambience with traditional ideas about gender’. (Leonard Sax, Washington Post, August 17, 2008) For such a means, the ideals on feminism and femininity proposed in Twilight are termed Reviving Ophelia, where ‘Shakespeare’s character Ophelia is used as a symbol of the crisis that occurs in girlhood, whereby girls become voiceless, vulnerable and fragile figures. (Between Girl Power and Reviving Ophelia, Marina Gonick, Pg’s 11-13) For an array of circumstances, the main character of this text, Bella, presents the ideals of Reviving Ophelia. Her characterisation, expression, the expression of other characters regarding her and her relationship with Edward, all contributes to her identification as a girl of Reviving Ophelia. Also, Stephanie Meyer’s context has significantly impacted on the construction of femininity in this text. Firstly, a significant means of which contributes to Bella’s Reviving Ophelia presentation is her relationship with Edward throughout this saga. Stephanie Meyer, author of the Twilight series, identifies herself as a strong Mormon, and has therefore objectively had a significant impact on Bella and Edward’s relational presentation as such. Many critique that ‘Meyer’s Mormonism has shaped her world-view and has, necessarily, framed the male and female relationships in Twilight’. (Antifeminism and Twilight, Kim Voynar, August 11, 2008). Mormonism teaches that there is only one path to eternal salvation, attained through marriage for all eternity. From this, applications to Bella and Edward’s relationship can clearly be derived and can be identified as ideals that propose the concepts of Reviving Ophelia. An aspect of Bella and Edward’s relationship that reflects the concepts proposed through Reviving Ophelia is Bella’s willingness and desire to become a vampire. Throughout the Twilight saga, Bella constantly expresses her aspiration to join Edward as a vampire, resultantly to spend the rest of eternity with him. Such an instance, which expresses this means, can be located in chapter 13 of the Twilight novel. Bella begs Edward to make her a vampire and in turn stated ‘I don’t want to ever leave you’. (Twilight, Stephanie Meyer, Pg 233). Through such a presentation, Meyer’s Mormon influence can clearly be attained. As stated prior, Mormonism declares that the only true eternal salvation is eternal marriage. Therefore, Bella’s means to change her species to be with Edward for all eternity can derive Meyer’s Mormon impact on this text. An array of feminists, however, have critiqued such a means and have presented their opinions on such a phenomenon. Meg Cobat, in an article stated ‘I didn’t take my husband’s last name when we got married. Do you think I’d honestly like a story about a girl considering changing SPECIES for a guy' No offence to any of you, but as a feminist, I just can’t go there.’ (Antifeminism and Twilight, Kim Voynar, August 11, 2008) From Cobat’s statement, one can clearly derive Bella’s implications to feminism, when she stresses her desire to become a vampire as to be with her companion forever. For Bella to contemplate changing species for Edward has implications that oppose the ideals proposed through feminism and Girl Power. Bella’s consideration to change species for a man and her desire to be with him can reflect her need for support and her need for a man. Hence such actions and means reflect concepts proposed through the perspective of Reviving Ophelia. Those who are characterised under the Reviving Ophelia concept are fragile and vulnerable beings who request the means to be looked after. Another aspect of Bella and Edward’s relationship, which reflects the ideals proposed though the Reviving Ophelia concept, is with reference to Edward’s constant remarks in relations to Bella’s invariable need for protection. Throughout the Twilight novel, Edward seems to constantly inform Bella of her need to be looked after. ‘Bella is regularly threatened with violence in the first three books, and in every instance she is rescued by Edward or her friend Jacob’. (Leonard Sax, Washington Post, August 17, 2008) Such occurrences and implications throughout the Twilight saga emphasises the prospect that Bella is a being who needs constant supervision and support. Even the prospect that Edward watches over Bella whilst she sleeps, reflects the idea that Bella needs to be supervised constantly as to prevent any harm occurring to her. In turn, the concepts of Reviving Ophelia are proposed and clearly expressed. Reviving Ophelia states that women are to be looked after, because when they reach their teenage years they attain a disorder in which they can not rid. The prospect that Bella is identified as always being needed to be looked after has an implication that Bella suits the concepts and ideals proposed through the Reviving Ophelia concept. There are those in society, though, who firmly oppose such a presentation and implication. Amy Clarke, a lecturer of literature at the University of California questioned whether ‘we really want our daughters reading books about a girl like Bella who is always in need of being saved'’ (Bitten and Smitten, Style, August 1) Bella and Edward’s relationship is one that is blatantly toned with inequality and control. From various presentations that reflect Bella and Edward’s relationship, Edward’s control and power over Bella is clearly visible and is therefore a means of implication for feminists. Such a means is expressed in chapter nine of the Twilight novel, where Bella and Edward are returning from Port Angeles. Whilst questioning Edward, Bella realises that he was speeding down the freeway at a transgressive speed and in turn shouted ‘holy crow, slow down’. (Twilight, Stephanie Meyer, Pg 158). Edward’s reaction to such a statement defies the means of which feminists would want or accept. Edward informed Bella to relax and ‘rolled his eyes, still not slowing’. (Twilight, Stephanie Meyer, Pg 158) Such a presentation can be flawed from a feminist perspective for an array of reasons. For one, the sheer prospect that Edward ignores Bella’s claims and seems to be somewhat humoured by them, has an expression that opposes a feminist means and in turn reveals the ideals of Reviving Ophelia. Bella is presented as a voiceless being, whose opinions are invalid and will not be heard or accept. Also, the fact that this text is written from a first person point of view, from Bella’s perspective, can clearly identify her weakness and vulnerability as a character. She as the narrator of this story, informs audiences of Edward’s reaction to her remarks. She witnesses and knows of her inequality in the relationship as such, however persists with her means and infatuation for Edward. Yet again, Bella is expressed as the weaker of the two in the relationship, and is expressed as a vulnerable being. The concept of Reviving Ophelia identifies females as possessing a disorder, which in turn devalues them in comparison to the male sex. Finally, Bella’s characterisation and self-perception throughout the Twilight chronicles is a reflection of her Reviving Ophelia presentation. Bella, throughout the four texts, constantly expressed herself as a ‘plain, fragile, boring and imperfect being’. (Antifeminism and Twilight, Kim Voynar, August 11, 2008) Bella’s identification of her self as possessing such qualities reflects her low self-esteem and in turn reflects the ideals of the Reviving Ophelia concept. Those of whom have the ideals of which are proposed through the Reviving Ophelia concept are characterised as vulnerable beings, who have a low self esteem and in turn are weak, voiceless and fragile. Therefore, for Bella to express throughout her narrations the characteristics identified above, she clearly reflects the ideals proposed through the Reviving Ophelia concept. Feminism and femininity have been constructed in both Twilight, by Stephanie and Buffy the Vampire Slayer, by Joss Whedon, to present two contrasting opinions and ideals. Through Joss Whedon’s Buffy the Vampire Slayer, Buffy’s characterisation has significantly influenced her Girl Power presentation, which in turn ‘represents a new girl who is assertive, dynamic and unbound from the constraints of passive femininity’. (Between Girl Power and Reviving Ophelia, Marina Gonick, Pg 2) Through her strength, power, physical presentation and dialogue, audiences are capable of deriving the Girl Power presentation of Buffy and in turn terming her a Girl Power advocate. However, through Stephanie Meyer’s Twilight series, the main character of this text, Bella, clearly reflects the ideals proposed through the Reviving Ophelia concept, which ‘presents girls as vulnerable, voiceless and fragile beings’. (Between Girl Power and Reviving Ophelia, Marina Gonick, Pg 2) Through Bella’s relationship with Edward and through her perception of herself, the concepts of Reviving Ophelia are clearly evident, which leaves one to question its popularity. Some propose that three decades of humans not caring about gender has not created a generation of feminists, but has in turn constructed ‘a horde of girls who adore the traditional female and male roles and relationships as proposed through Twilight’. (Leonard Sax, Washington Post, August 17, 2008) Whilst feminist may applaud the presentation of Girl Power proposed through Buffy the Vampire Slayer, a contemporary female audience would much rather observe traditional ideals and sensibilities as proposed through Stephanie Meyer’s Twilight.