"Blondes
make the best victims. They're like virgin snow that shows up the bloody
footprints.”[1]
To what
extent have gender roles in horror remakes like 'Bates Motel' been adapted for
contemporary audiences?
Throughout
history, the horror genre has reflected the zeitgeist; this includes the way
that men and women are represented. In particular, we have seen a strong focus
on gender roles. In Hollywood, many successful horror films adhere
strongly to typical gender roles in order to carry their narrative. One
brazen example of this is seen in the almost 60 year old,
"sensationalist slasher movie"[2], 'Psycho'.
Hitchcock's 1960’s masterpiece remains “one of the key works of our age”[3]
and inevitably has been subject to incessant debate and commentary on its
female and male character portrayals. It is regarded as an empowering, ‘pivotal
point’[4]
in gender representation by some but highly “misogynistic”[5]
by others. In more recent times there has undeniably been a reversal or
deviation of gender roles, which arguably began due to Hitchcockian influence and
the feminist movement. This can be seen in contemporary media texts such
as ‘Bates Motel’. ‘Bates Motel’ is a prequel to Hitchcock's
'Psycho', continuing “the legacy of a beloved classic”[6],
yet also challenging “the notions of exactly what a reboot can be”[7].
It has tried to defy the fixed, prototypical gender roles seen in 1960’s
film. This contemporary text provides an ideal way of investigating how
changes in society have impacted the way gender is used in Hollywood because of
the side by side comparisons we can make to its origin text.
‘Bates Motel’ was produced in 2013; “It was developed
by Carlton Cuse, Kerry Ehrin, and Anthony Cipriano, and is
produced by Universal Television and American Genre for the cable
network A&E”[8]. The show has been hugely
successful, evident through them being awarded three People's Choice Awards and
their high ratings. The principal antagonist and
protagonist is a young man named Norman Bates, played by Freddie Highmore. He
is suffering from numerous mental disorders and runs an off-highway
motel with his mother, Norma, played by Vera Farmiga. Other characters in
the series include Max Theriot who plays Norman’s older brother Dylan Massett,
Nestor Carbonell who plays Romero who is Norma’s main love interest, Samuel
Myron who plays Sam Loomis and most notably, the fashionable singer,
song-writer “Rihanna takes on the role of Marion Crane”[9]. The depiction of these
characters is all set prior to the events portrayed in the film, ‘Psycho',
but instead in a twenty first century, modern day setting. The
relationship between Norma and Norman is the “central relationship”[10] that the show focuses on.
In particular, their relationship revolves around how Norman is “simultaneously
in love with and repulsed by his mother and his feelings for her”[11]. In other words, their
relationship is highly dysfunctional and abnormal.
Norma’s
character is perhaps the most interesting. She is typically represented in the
role of “Wife, mother, daughter,”[12]
“career woman, femme fatale”[13],
but most often the victim. Professor of Cinema Studies, Barbara Creed notes
that “these are the most popular stereotypes of woman that have been addressed
by.”[14]
In addition, Norma Bates is represented as particularly sensitive to stress;
she is temperamental and irrational, yet prepossessing and naive. Her character
attributes heavily reinforce typical female gender roles because of her fragile
mental state, the domestic roles she adopts and her innocent, playful
disposition. Many horror critics believe “women are increasingly punished for
the threatening nature of their sexuality.”[15]
These characters simply “die because they are female.”[16]
Norma perfectly demonstrates this; Norman cannot cope with Norma being intimate
with Romero so he attempts to murder them, conveniently only killing her.
This reinforces the typical gender roles because the male character survived
whereas Norma, “rendered weak and helpless by castration”[17]
was unable to do the same. Feminists may interpret this “as a reflection of the
fact that women within society are still perceived (or preferred) to be
oppressed, weak and in need of a man to protect”[18]
them. Furthermore, the fact that Vera Farmiga’s appearance fits “Hitchcock's
blonde-directed sadism,”[19]
supports this feminist reading further. As we unravel Norma’s history, we
discover how her history with men is extremely poor; almost all her partners
have had malicious intentions towards her. A prime example of the sexism Norma
faces is seen shortly after she has moved in. Keith Summers, the former owner
of the motel, threatens both Norma and Norman. He claims “they are incapable of
running the motel by themselves, for knowing nothing about the town and being
inexperienced about motels.”[20]
Later that evening, he breaks in and brutally rapes her. Norman comes to her
rescue and strikes him unconscious. However, Norma, in a fit of rage, grabs a
knife and continually stabs him and continues well after she has killed him.
This scene demonstrates stereotypes of women being illogical in comparison to men.
Despite Norma standing up for herself, it is constructed to be seen as neurotic
and a male character still eventually came to her rescue, reinforcing “Propp’s character
roles”[21] by her
fitting the ‘damsel in distress’ trope.
Furthermore, of the numerous horrifying, shocking revelations we discover, the
worst is that Norma was victim to her own brother regularly raping her and that
she became pregnant with Norman's brother, Dylan, as a result of these
incestuous acts. With Norma’s demoralising, degrading past, her over-sexualised
appearance and her generally being a liability, she embodies the typical gender
roles a woman has in the horror genre.
Norman
Bates is a far more dimensional character. He is represented as conflicted
which intelligibly reflects on his personality disorder(s). From his exterior,
we can gather that he is polite, unwieldy yet endearing. However, beneath this
façade, he is deluded, neurotic and above all severely mentally ill; He appears
to be “desperately”[22]
trying “to cling onto the reality he has carefully constructed for himself”.[23]
He is a dangerously “marginalized character”.[24]
Perhaps the reason his mother is such a maladjusted and neurotic character is
to suggest it is due to her influence largely that Norman is such a detached
character. Perhaps the commentary on gender here is that although Norma outwardly
appears to be an archetypal matriarch, she is the one to blame for Norman
becoming a murderer, defying the stereotype of a strong single mother doing the
best for her children. This is point is reinforced by who Norman's second
persona is - Norma. This comprises of Norman dressing up like her, adopting her
mentality, speaking like her and even envisioning himself as her. The show
utilises Norman’s brother, Dylan, to act as a literary foil, emphasising
Norman's insanity with his composed demeanour. He is much more socially
competent in comparison to Norman, despite being a child conceived from
incestuous acts.
The
character of Marion Crane, played by Rihanna, reinforces gender roles at
certain points but primarily completely disestablishes them with a “fresh twist”[25]
in her story. The leading lady of the show only appears for two episodes, yet
leaves the most lasting impression and turnabout to the series. Marion Crane
does not adhere to the typical image of a woman. Instead she puts a unique spin
on the typical behaviours associated with females, specifically those
associated with Marion Crane’s character. This is expected as the
actress, Rihanna is known for being one that never “adhere[s] to tradition.”[26]
Her character completely undermines the audiences expectations and subverts “everything
that was expected from”[27]
her. In contrast, Sam Loomis strongly reinforces male gender roles with his
manipulative actions. He engages in adultery and manipulation as well as being
aggressive towards other males such as Norman. However, his fate subverts
typical gender roles.
Alfred
Hitchcock’s masterpiece, “hailed as the first 'modern' horror film”[28],
‘Psycho’ “may be known for its suspense, mystery, and famous shower murder
scene, but it also is full of male and female role commentary.”[29]
The characters in the film, specifically Marion Crane, are much more explicitly
constructed to adhere to gender roles. It is clear that “Marion's sexual
behaviour is drawn attention to from the very beginning of the film.”[30]
On the other hand, the men “are shown as damaged and needing help”.[31]
They are represented as conflicted, violent, and merciless “while women are
shown as care-givers.”[32]
The extent of use of gender roles in ‘Psycho’ is blatant enough that “one
doesn’t have to dig very deep into Hitchcock’s work to see the director’s views
of men and women.”[33]
The characters may have been subverting the typical gender roles at the time,
especially considering “the sexual liberation movement of the 60s,”[34]
but a contemporary audience would interpret their roles as relatively
rigid.
Firstly,
is the fact that Norma isn’t represented at all and that we only see her corpse.
This implies she is Norman’s ‘framework’. Norma’s character simply serves to
his safety needs and acts as a coping mechanism; this is a very literal example
of objectification. British feminist film theorist, Laura Mulvey’s claims that “women on screen exist therefore only as
objects.”[35]
This applies heavily here. Furthermore, superficially, Norman, like in Bates
Motel, is represented as a very polite man yet beneath his peripheral, he is
fundamentally corrupt and deranged. Norman’s deceptive nature is widely
associated with men; this trait is also true for Sam Loomis because he engages
in adultery and deception. Marion Crane, needless to say, plays the most
archetypal female role. Her actions and situational factors are all synchronous
with the typical female gender role. Even at the very beginning of the
film, “Marion and her co-worker Caroline work under a male boss”. “This
scene also features an aggressive male, Mr. Cassidy, attempting to flirt with
Marion in a rather patronizing way. Mr. Cassidy's flirtation is significant in
that rather than complimenting Marion, he attempts to woo her by demonstrating his
financial superiority and power. Marion plays her predetermined female part
well, acting shy and demure.”[36]
Within the first ten minutes of the film, gender roles have already been well
established.
It is
believed by many that “cinema has not been the same since”[37]
Hitchcock’s iconic shower scene. “No one had seen anything like it.”[38] This
scene that shook many and shattered conformity to censorship but also served as
an intense reinforcer of the
1960s gender roles. The scene initiates with a medium shot of Marion and
follows her. This is an example of the popular “recurrence of the theme of
voyeurism”[39]
for women in horror. In other words, Marion “is never really out of the
gaze of the power of men including the director himself, the enunciator.”[40]
Like John Berger said, women are “continually accompanied by”[41] their
own image. Either “Men look at women”[42] or
“Women watch themselves being looked at.”[43] Marion soon enters the shower, most of the high
angled shots utilised are to position her as inferior and defenceless. Also,
the primarily high key lighting symbolises her purity and over-trusting
attributes. The camera then cuts to a high angle shot of Marion facing the
camera for two purposes. Not only does it make Marion look small but it also
allows the audience to see an intruder approaching her. She remains blissfully
unaware of their advancements towards her. Then, a sudden slashing, abrupt
sound when the killer pulls back the shower curtain along with loud and fast
paced pleonastic sound can be heard. Then her body is seen “sliding
down the white tile, slumping to the floor, as the curtain is torn from its
hooks.”[44] Using the rule of thirds to make her appear even
more unimportant, Marion is placed at edge of the screen, where she is
represented as powerless over her body and fate. The fact that Marion is naked
throughout this whole scene mirrors her vulnerability and exposure and
positions her killer as dominant. Her "violent death can be read as the
patriarchal holly system's extreme reaction to the threat of feminist at a
time when women were being freed from the constraints of childbirth by new
methods of contraception, and were thus taking on a more active role -
both sexually and in terms of employment.”[45]
It is undeniable that gender roles have significantly changed; from a
time where it was unheard of to see a woman in lingerie, we have come a long
way. This is mainly due to how “the social attitudes towards sex and violence
that have changed over the years.”[46] David
Thomson, America’s pre-eminent film historian, claims that ‘Psycho’ “opened the
floodgates”[47] to the considerable
changes in censorship apparent today. The easiest comparison demonstrating this change is the differences seen
within the iconic shower scene. In ‘Bates Motel’, their shower scene is
described as the “boldest
source-material detour to date.”[48]
Marion Crane is played by Rihanna who “has never been one to adhere to
tradition when it comes to her music or fashion. So it’s fitting
that the pop singer’s two-episode arc on A&E’s “Bates Motel” would buck
convention.”[49]
Co-creator of ‘Bates Motel’ explained the importance of her casting. They
wanted someone who "really embraced our idea of redefining the character.”[50]
However, they still wanted for “the character’s background”[51]
to “remain similar”. [52]
Executive producer Kerry Ehrin commented on this, saying, “We’re taking threads
of that story and definitely using them so it’s recognisable, it’s just where
we go with it is very different.”[53]
Despite the fact that Marion Crane still committed a crime, checked into Bates
Motel and got into the shower, all of which “a nod to “Psycho”[54],”
“the camera zoomed in on the translucent shower curtain, which Marion pulled
back to reveal … nothing.”[55]
Instead, “Ehrin orchestrated a story that ended with Marion’s cheating
beau, Sam Loomis, stabbed to death instead.”[56] This
“very clever twist on the Norman Bates mythos”[57]
demonstrates the transgression of what is seen as the stereotypical victim. In
this day and age, women are no longer expected to always be the victim.
Another
key factor here is the different representation of the killer - who was still
Norman Bates. However, he was not seen sporting his mother’s clothes and
persona but rather he was ‘himself’. This decision was said to be “not letting
it slip or slide into anything transphobic”[58]
according to producers. Naturally, this came under harsh criticism. Audiences
felt that Norman’s dual personality disorder had nothing to do with being
transgender and to be perceived as demonising transgender people was a huge
leap. One viewer exclaimed that “If you feel like being offended by it, why
even investigate the Psycho universe at all?”[59]
Perhaps this choice reflects on the overly sensitive generation of the Twenty
First Century. In 1967, a book called The Society of the
Spectacle was written by Debord “in which he commented on a trend in
Western society that began in the late 1920s, where we are increasingly driven
by image rather than actuality.”[60]
Debord commented that the “finely crafted images of wealth or success began to
take precedence in our collective consciousness over the actual, living reality
of such things.”[61]
In other words, we are “dominated by modern conditions of production”[62].
This can be applied to today’s society whereby “people are far more sensitive
to an attack on their self-image than they were, say, 50 years ago, because the
image is more socially and economically salient. The more a society deals in
appearances rather than actualities, the more valuable appearances become.”[63] This
perhaps explains the decisions behind Norman Bates representation as a murderer.
It is
evident that gender roles in the media have changed, and there is no doubt
society’s attitudes towards them have also changed. However, ‘Bates Motel’ was created
almost 60 years after ‘Psycho’, yet its key elements are still the same. The
killer “is the psychotic product of a sick family but still recognisably human”[64]
and “the victim is a beautiful, sexually active woman”.[65]
Even with the “fresh twist”[66],
“The positioning of woman as victim”[67]
remains the same. From this, we can argue “that little has changed over the
centuries; in a male dominated world, where directors are conventionally and
overwhelmingly male, women are supporting characters or victims”[68]
and in fact “traditional patriarchal culture”[69]
is still strongly pervasive. It appears that the horror genre still depends on outdated,
original gender stereotypes roles - even if they avoid making this exploitation
of gender especially subdued. Ultimately directors of the past with an arguably
“patriarchal ideology of Hollywood”[70]
have an “imprint [that] lingers on today.”[71]
Works
Cited
Moving
Image Texts:
Cuse, Carlton, television series.
Bates Motel. A&E Networks 2013-2017.
Hitchcock, Alfred, director. Psycho. Shamley productions, 1960.
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Clover, Carol J. (1992) Men,
Women, and Chainsaws: Gender in the modern Horror Film.
Creed, B. (1993). The monstrous-feminine film, feminism,
psychoanalysis. London: Routledge.
Debord, Guy. (1992). Society of the Spectacle.
Durgnat, R. (2010). A long hard look at psycho. S.l.: BFI.
Grant, B. K. (2015). The dread of difference: gender and the
horror film. Austin: University of Texas Press.
Hein, C. (2006). Laura
Mulvey, visual pleasure and narrative cinema. München: GRIN Verlag.
Mulvey, Laura. “Visual Pleasure and
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Braudy and Marshall Cohen. New York: Oxford UP, 1999: 833-44.
Propp, V.
(1968). Morphology of the folktale. Austin :University of
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The
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Bouzereau, Laurent, director. The
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Philippe, Alexandre, director. 78/52.
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Abrams, Jerold. (2007). The Philosphy of Stanley Kubrick.
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Berger, John. (1972) Ways of Seeing.
Bloch, Robert. Psycho: A Novel. 1959. The Overlook Press, 2010.
Cook, P. (1999). The cinema book. London: BFI.
Clover, Carol J. (1992) Men,
Women, and Chainsaws: Gender in the modern Horror Film.
Creed, B. (1993). The monstrous-feminine film, feminism,
psychoanalysis. London: Routledge.
Debord, Guy. (1992). Society of the Spectacle.
Durgnat, R. (2010). A long hard look at psycho. S.l.: BFI.
Grant, B. K. (2015). The dread of difference: gender and the
horror film. Austin: University of Texas Press.
Greven, David. (2013). Psycho-sexual:Male
desire in Hitchock, De-Palma, Scorsese, and Friedkin.
Hein, C. (2006). Laura Mulvey, visual pleasure and narrative cinema. München: GRIN Verlag.
Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Film Theory and Criticism :
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Propp, V.
(1968). Morphology of the folktale. Austin :University of
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Rebello, S. (2013). Alfred Hitchcock and the Making of Psycho. Berkley,
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Skerry, Philip J. (2008) Psycho in
the Shower: The History of Cinema’s Most Famous Scene.
Thompson, David. (2010). The Moment
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Wells, A. S. (2001). Psycho: Director Alfred Hitchcock. York Press.
Žižek, S. (2010). Everything you always wanted to know about Lacan: (but were afraid to ask Hitchcock). London: Verso.
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Network Orders 'Bates Motel' to Series". A&E. July 2,
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original on October 6, 2013.
Retrieved November 19, 2012.
B. (2010,
October 21). What's wrong with Hitchcock's women. Retrieved November 21, 2017,
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[1] Hitchock, A. (1977).
[2] Wells, A. (2001).p.5.
[3] Wood, R. (1965).p.5.
[4] Martins, D. (2017).
[5] Soman, S. (2008).
[6] Bergmoser, G. (2017).
[7] ibid.
[9] Guardian Staff. (2017).
[10] Bergmoser, G. (2017).
[11] Commenter ‘Goodwolfe21’. (2017).
[12] Creed, B. (1993).p.151.
[13] ibid.p.151
[15] Grant, B.K. (2015). p. 33.
[16] Clover, C. (2015).P.34.
[17] Grant, B.K. (2015). 348.
[18] Media Magazine issue 46. (2013 ).
[19] Mulvey, L. (2010)
[20] Fandom Staff. (2013).
[21] Propp,
V. (1968).
[22] Boghani, A. (2016).
[23] ibid.
[24] Subarna, M. (2017).
[26] Butler, B. (2017).
[27] Bergmoser, G. (2017).
[28] Wells, A. (2001).p.75.
[29] Elliott, B. (2012).
[30] Wells, A. (2001).
[31] Elliott, B. (2012).
[32] Ibid.
[33] Ibid.
[34] Scorzo, G. (2015).
[36] Cohen, M. (2009).
[37] Mamata, B. (2010).
[38] (2011).
[39] Wells, A. (2001).
[40] Skerry, J. (2009).
[41] Berger, J. (1972).
[42] ibid.
[43] ibid.
[45] Wells, A. (2001).
[46] Media Magazine issue 46 (2013).
[47] Thomson, D. (2010).
[48] Ausiello, M. (2017).
[49] Butler, B. (2017).
[50] ibid.
[51] Guardian Staff. (2017).
[52] ibid.
[54] Butler, B. (2017).
[55] ibid.
[56] Trevers, B. (2017).
[58] ibid.
[59] Trevers, B. (2017).
[60] Kahn, H. (2016).
[61] Ibid.
[62] Debord, G (1967).p.18.
[63] Kahn, H. (2016).
[64] Grant B K. (2015).
[65] Ibid.
[66] Dowling, A. (2017).
[67] Grant, B K. (2015).
[68] Media Magazine issue 46 (2013).
[69] Miller, R. (2014).
[70] Bullock, S. (2010).
[71] ibid.
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