The Objectification of Women in Film: The Use of "Female Abuse Shots" in Cinema
- XiaoShuiZhu
- Dec 9, 2024
- 4 min read
Introduction
The concept of "female abuse shots" gained public attention this summer through the release of the film Silent Kill. In this movie, the camera zooms in on the body parts and facial expressions of female victims of violence, amplifying their struggles, resistance, hysteria, and unbearable pain. This disturbing approach has left many viewers uneasy.
In film and television, "female abuse shots" are most often seen in scenes depicting sexual violence and abuse. The victim's suffering is gruesomely displayed, while the perpetrator is often hidden in the background. But is this really necessary for narrative purposes? Does it aim to provoke sympathy and vigilance in viewers, or is it something else? When female viewers feel uncomfortable, the answer becomes clear.
The allure of cinema lies in the communication between the director and the audience through imagination: the language of the camera offers infinite possibilities, and a single narrative can be told in various ways. In many cases, focusing on the victim or using close-up shots is not required. In the Chinese drama Don’t Talk to Strangers, which analyzes domestic violence, and the South Korean film The Crucible, which exposes child abuse, the camera focuses on the face of the abuser, portraying their cruelty in a way that chills the viewer. By contrast, the claim that "female abuse shots" are more effective in raising awareness seems absurd.
Gendered Violence and Objectification
In contrast, films often focus on male characters in violent conflict, emphasizing the physicality of violence, such as close-ups of knives piercing the body. These shots often highlight the brutality of the act, but they portray the male character’s suffering with stoicism and resilience, often leading to a heroic portrayal. This differs significantly from the objectifying and humiliating portrayal of women in similar violent scenes.
The use of "female abuse shots" in cinema conveys a twisted set of values. After a woman is raped, her loss of purity is often depicted as leading to suicidal thoughts. These images subtly bind female viewers to the shackles of sexual shame, emphasizing the importance of "virginity." Meanwhile, the screen overtly promotes sexual violence by magnifying the victim's vulnerability and "sexualizing" her suffering, allowing certain viewers to "experience" the gruesome thrill of dehumanizing a woman. This, in turn, diminishes respect for female dignity and could even incite criminal behavior.
Soft pornography, sexual innuendos, the male gaze, and the desire for conquest—these are the truths behind "female abuse shots."
The film industry, as a commercial product, needs to cater to market demands. In this process, certain male directors and male audience groups derive satisfaction from degrading female characters, while the subjectivity of women is torn apart by this male-driven spectacle.
The objectification of female characters under the lens is a long-standing phenomenon in the history of cinema, with "female abuse shots" being one of the more extreme branches of this issue.
The Male Gaze and Power in Film
In her documentary Brainwashed: Sex, Camera, and Power, director Nina Menkes analyzes over 80 classic films from 1896 to 2020, discussing the pervasive patriarchal perspective in cinematic framing. The speakers in the documentary explore the limitations and dangers of visual art under the dominance of straight male hegemony in the film industry, from the framing of subjects and composition to lighting and narrative roles. Female characters are often reduced to objects, their voices silenced while male characters dominate the narrative. Slow-motion is frequently used to highlight the sensuality of female bodies, while male characters are slowed down in action films to accentuate their heroism. The lighting for female characters is often flat and ambiguous, focusing on their smooth, immaculate skin, while male characters are lit in three-dimensional ways, showing depth and complexity.
"If the camera is predatory, the culture will inevitably be predatory," Menkes says. The objectification of women through cinematic language reflects the oppressive patriarchy not only in the film industry but in society at large.
In the film, Menkes also discusses gender inequality in the industry, where straight men dominate, making it difficult for female directors to break through. Female actors, with few choices, often find themselves trapped, reliving painful moments in films that become a permanent scar on their career. When this male-centric cinematic language is repeatedly propagated and even celebrated as "masterpieces," it deeply internalizes its influence on the audience, reinforcing the "rape culture" in society.
The result is a stable triangular cycle: "camera language - female discrimination in the film industry - gender violence in society."
Conclusion
The uncomfortable "female abuse shots" are not a form of aesthetic expression. The visual language that objectifies women is not an ideal artistic expression. It is crucial to understand that these shots are not necessary to tell a story or to provoke empathy. Rather, they perpetuate a harmful cycle that diminishes the humanity and dignity of women both on screen and in society.
Edited by: Claire, P-Jiang
Translated from Chinese, first posted on our Official Account:
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