intelligent woman, inferior chick
7 Jan 2011 10:47 amAwhile back I posted about damselfied action girls, and several comments protested my exclusion of non-fighting female characters in the cited animanga. The counter-argument was that although the female characters were not as strong as the male characters (physically, martially), the female characters contributed in other ways. Then, and now, I don't disagree, but I still think such an argument borders on disingenuous if taken in light of a story's embedded standards.
The majority of stories -- in any format, from nearly every culture, at least from what I've seen, read, and researched -- revolve around male characters. It takes a pickax and night goggles to find the exceptions that pass the Bechdel Test, and that's not exactly a really high standard. It's just taken as a given that the center of a story will be the male protagonist. Either he's the hero, right-up, to get the focus, or he's the woman's objective (and therefore becomes the focus) -- even if, in the latter case, the story is predominantly through the woman's point of view. Her perspective is, more likely than not, going to be fixed on the male character/love interest, and that means the male character remains effectively in the center of the viewing screen. Hell, he'll probably be her main topic of conversation even when he's not on-screen.
That's a duh to most women viewers, I think (and if it's not a duh, or comes as a surprise, you may be reading the wrong journal) but it means that the default is to judge secondary/female characters within a framework, or against a standard, of that main male protagonist. Thus while it may be true that women in Naruto or Bleach do contribute in some way to plot, development, or general support, they're still inferior when measured against what makes the hero so great.
If the hero's main qualification (to be declared/considered the hero) is that he's a strong fighter, the women around him may be savvy, sharp, and wildly successful at whatever they do... but they're inferior when measured against the story's criteria for "what makes the main character be the main character". For a story that posits the hero (or love interest) is worthy of this singular attention -- from the narrative or from the main female protagonist -- by virtue of some quality, more likely than not, the female character will have less of that quality in comparison, and in some cases, may even lack it altogether.
I only just realized this as I've begun watching more East Asian dramas, where there is a greater likelihood (especially in Taiwanese, Thai, and Chinese dramas, at least what I've seen so far) that the female lead will have some ass-kicking skills. In some cases, she's actually a better fighter than the male lead. It's when I analyze what's supposed to set the hero apart that I realize: the more a story emphasizes the woman's fighting skills, the more likely it is that what sets the hero apart isn't his fighting prowess but his mental prowess.
Thus, it's the flip side of Naruto and its "smart girls, bad fighters". Where the hero/male prowess is predominantly defined by intelligence, knowledge, or worldly experience, either the narrative or the other characters (possibly including the male lead) considers the female characters as less-intelligent, even outright stupid. The story sets its value-priority on the hero's brain, not his brawn... which means there's plenty of room to be brawny, for the female, but little room to be brainy. The hero's already gotten first and second shares of that quality.
( Read more... )
The majority of stories -- in any format, from nearly every culture, at least from what I've seen, read, and researched -- revolve around male characters. It takes a pickax and night goggles to find the exceptions that pass the Bechdel Test, and that's not exactly a really high standard. It's just taken as a given that the center of a story will be the male protagonist. Either he's the hero, right-up, to get the focus, or he's the woman's objective (and therefore becomes the focus) -- even if, in the latter case, the story is predominantly through the woman's point of view. Her perspective is, more likely than not, going to be fixed on the male character/love interest, and that means the male character remains effectively in the center of the viewing screen. Hell, he'll probably be her main topic of conversation even when he's not on-screen.
That's a duh to most women viewers, I think (and if it's not a duh, or comes as a surprise, you may be reading the wrong journal) but it means that the default is to judge secondary/female characters within a framework, or against a standard, of that main male protagonist. Thus while it may be true that women in Naruto or Bleach do contribute in some way to plot, development, or general support, they're still inferior when measured against what makes the hero so great.
If the hero's main qualification (to be declared/considered the hero) is that he's a strong fighter, the women around him may be savvy, sharp, and wildly successful at whatever they do... but they're inferior when measured against the story's criteria for "what makes the main character be the main character". For a story that posits the hero (or love interest) is worthy of this singular attention -- from the narrative or from the main female protagonist -- by virtue of some quality, more likely than not, the female character will have less of that quality in comparison, and in some cases, may even lack it altogether.
I only just realized this as I've begun watching more East Asian dramas, where there is a greater likelihood (especially in Taiwanese, Thai, and Chinese dramas, at least what I've seen so far) that the female lead will have some ass-kicking skills. In some cases, she's actually a better fighter than the male lead. It's when I analyze what's supposed to set the hero apart that I realize: the more a story emphasizes the woman's fighting skills, the more likely it is that what sets the hero apart isn't his fighting prowess but his mental prowess.
Thus, it's the flip side of Naruto and its "smart girls, bad fighters". Where the hero/male prowess is predominantly defined by intelligence, knowledge, or worldly experience, either the narrative or the other characters (possibly including the male lead) considers the female characters as less-intelligent, even outright stupid. The story sets its value-priority on the hero's brain, not his brawn... which means there's plenty of room to be brawny, for the female, but little room to be brainy. The hero's already gotten first and second shares of that quality.
( Read more... )