| Junior's Academic Essays - Terminator
2, Aliens, and the Progression of Women in Action
†
20 October 2006
Terminator 2, Aliens,
and the Progression of Women in Action
Using Terminator 2: Judgement Day (Cameron,
1991) (hereafter “T2”) and Aliens (Cameron,
1986), the extent to which progressive representation of women has
been shown in contemporary Hollywood cinema will be investigated.
The institution of the military and its depiction in relation to
female characters will be examined. Technical competence will show
heroine equality with their male compatriot, a challenge in regards
the traditional hegemonic order of the social world. How combat
environments depict different emotional responses and transcend
traditional gender boundaries will be demonstrated. Furthermore,
an analysis of traditionally matriarchal traits will also present
a balanced depiction of women for the objective observer.
The military institution is used to convey strong
female characters in a male dominated world. In Aliens this is more
conventional in the form of the United States Colonial Marine Corps
female Marines have earned the right to be part of a male dominated
institution, and furthermore are part of a combat unit. In T2
it consists of an unconventional militia unit in which Sarah Conner
is provided training in anticipation of the war with Sky Net and
the Terminators.
Arguing against the tradition of women in passive
roles, these films display the association with male power. In the
action genre there is a deliberate association with violence for
the female character, most particularly in the military and survival
context, which is a break from the dependence of male characters
for protection. As the chief protagonist in Aliens Ripley
demonstrates the transition from advisor on a military mission to
competent fighting woman. After the majority of the Marines are
killed Ripley is taught Hicks to use pulse rifle she becomes an
integral part of the unit’s capacity to fight. The ability
to impress Corporal Hicks can be seen as pursuing the tomboy image.
The ability to confidently use weapons systems in a single lesson
as unrealistic but it unquestionably drives the plot forward.
Vasquez in the role of smart gunner is in the combat arms, responsibly
for the unit’s primary tactical firepower, along with Drake.
Her defiance in the face of overwhelming odds finds the hardened
marine dying as an equal to her male counterparts, which transcends
gender.
In pre deployment Hudson says: “Hey Vasquez,
have you ever been mistaken for a man?” and the female gunner
replies, “No, have you?” This example of camaraderie
in the sharing of insults defuses assumptions based on gender.
Sarah Conner demonstrates military competence such
as checking the chamber of her M4 carbine before field stripping
it down and cleaning it. In the attempted assassination of Dyson
she uses careful aimed shots and acquires a laser sight to enhance
her chances of success. In the early stages John shows more compassion
for his mother than she does for him. For Sarah it is about hard
practicality, a key military trait of survival. Both films use skill
at arms to permit characters to overcome challenges, regardless
of gender. In the case of Aliens, it also shows the nature of men
and women operating within the military institution.
While the physical talents, particularly of combat,
are obvious enough in the science fiction action genre in both cases,
technical skills may not be.
In Aliens, the most significant element
of technical skill involves Ferro, the dropship pilot. Pilots militarily
are either commissioned officers or warrant officers in rank. This
denotes intelligence and leadership qualities. Dietrich, as a medic,
is in a technical trade.
Ripley’s offer as a loader operator during
dropship preparation, informing the Sergeant Apone and Corporal
Hicks of her Class 2 rating, demonstrates her mechanical capabilities.
This can be interpreted as a way to impress the men, in a tomboy
image of equality.
Sarah Conner uses subservience only where it is
beneficial, such as her discussion with Silverman in an attempt
to bargain her. She also displays emotional detachment throughout
the film in order to preform better in her capacity as warrior woman.
In The Terminator (Cameron, 1984) Sarah
needs to be protected by Kyle Reese. Her que for new beginnings
is demonstrated when he compliments her on her good field dressing.
She will transform into the warrior woman persona in the sequel,
T2. Through the militia she has learnt resourcefulness
and subterfuge, skills such as lock-picking, hand to hand combat
including the biological nature of Jujutsu used in the hospital
confrontation, and is skilled in explosives, all traditionally male
skill sets. She has taught her son John Conner the subversive skills
of hacking.
In Aliens there is a strong sense of equality
between the sexes displayed with female combatants. Ferro’s
male comrades lives depend on her technical competence. In T2,
technical skills allow Sarah Conner to confront her predominantly
male rivals and fulfil her mission. In both films the challenge
to male dominance is significant in the sense of how this notion
of equality plays out.
Hegemonic dominance and command structure is often
overridden throughout the narrative for the purposes of propelling
the plot forward.
For contemporary cinema it can be argued the largest
part of female depiction as blatantly subordinate to men comes from
period pieces such as The Last of the Mohicans (Mann, 1993),
in the nature of historical realism. And this is predicable deeming
the literature from which it is derived, namely James Fenimore Cooper’s
1826 novel of the same name.
“The historical realist mode works by accumulating
authentic period detail. Meticulously decorated sets and costumes
evoke now-vanished eras.” (Prince 2001: 258) This includes
customs and social practices of a given chronological past. Science
fiction has always allowed for an alternative future vision, as
can be exemplified by Robert A. Heinlein’s Starship Troopers,
in regards the co-service of men and women.
In Aliens, Ripley advances from an advisor
to a leader, while Gorman degenerates from military commander to
tactical liability. Ripley overrides Gorman’s authority taking
control of the APC, while Vasquez wants to kill Gorman for his incompetence
and suggests CN20 gas to destroy the alien hive. Both women go against
Burke’s desire to preserve the species and the colony.
Hudson suffering combat stress, while Ripley gives
him something to do after striking at his warrior ego by saying:
“this little girl survived with no weapons and training”.
Giving the Marine something to do is a primary leadership tactic.
Further on she then takes part in the tactical analysis.
In T2 finds Sarah Conner assisting the
Terminator in the protection of her son, she is not subordinate
to the machine, but provides direction and command through acquired
knowledge and skills. This is in contrast to her character in The
Terminator, where she is dependant on the male character, Reese
for survival against the machine.
Despite John Conner’s future as a military
leader, his mother dominates his actions and reminds him of his
future responsibilities. Sarah works with the terminator rather
than in subservience to him. Sarah Conner challenge to male dominance
in the hospital both physically and psychologically is significant.
In Aliens, the smart gunner Vasquez shows a defiance of the male
dominated hierarchal system by having spare electromagnetic plugs
for the smart guns. This ensures some form of tactical capability
beyond her sidearm. She is also providing for her fellow gunner,
Drake. With a “Let’s rock!” the two gunners are
able to effect a fighting withdrawal due to Vasquez’s demonstrating
of contingency planning and the military preparedness of the warrior.
In the opening scenes of Aliens, Ripley
is able to confront Burke on the nature of the mission, “to
destroy, not to study, not to bring back”. Additionally she
counters his initial patronizing regards her psychological state.
In regards the board members the lead character is also willing
to challenge the formal authorities. Ripley’s challenge to
authority is a common theme throughout the film.
Both films use specific mechanisms to operate as signs of opposing
the norms of traditional social practice. This allows the medium
of cinema to act as a facilitator of alternative views from those
of the historical.
The depiction of stressful environments, particularly
in regards combat can also counter the historical claims in regards
gender. Both Aliens and T2 are able to present
an alternative representation through the military science fiction
genre.
In referring to the female character in need of
protection from the male hero, Tasker remarks: “This role
is sometimes also played by a ‘weak’ male character.”
(1993: 17)
As the dynamics of characters change throughout
Aliens, Burke has misplaced ego and a need to be protected
militarily. Gorman suffers incompetence in leadership, while Hudson
succumbs to combat stress, being reassured by her fellow marine,
Vasquez. In T2 Sarah Conner must protect her son, more
significantly as a military asset rather than the fact John is her
son. She must also protect Dyson.
In Aliens there is a definite need of female characters’ support
for their male counterparts in the practical sense of combat, while
in T2 Sarah must protect her son. This promotes the sense
of matriarchal traditions in the roles of women.
While the popularity of the strong warrior women
has steadily increased, it is rarely shown without some connection
with traditional views of their roles in classic Hollywood cinema.
For Aliens, the issues of motherhood for
Ripley are made more apparent in the extended version where her
having had a daughter is added to the narrative. This makes the
relationship between her and Newt more significant. Additionally,
the role can be parallelled, witnessed as opposing clans or families
if the Alien Queen is viewed in the same light for the species.
For T2, this notion has the more blatant equivalence in
the relationship between Sarah and her son, John.
Ripley has a calming effect on the surviving child
Newt, who becomes a substitute for her own daughter who has died.
This is in stark contrast to Gorman’s incompetence dealing
with children, a pressing of contemporary stereotypes.
Having to get Newt back at all costs after her being
abducted by the aliens relates back to Ripley’s lost daughter.
This represents her maternal connection to her biological daughter,
for which Newt becomes a surrogate replacement. Ripley defiantly
protects her after Burke has planted the facehuggers in their sleeping
quarters.
The two-part confrontation with the Queen alien,
both in the nest and in the hanger bay, is a symbolic representation
of opposing matriarchal power. After the final victory and Ripley
has shut the airlock Newt says: “mommy”, powerfully
reinforcing the notion of their mother daughter relationship. Ripley
then reassures her she can dream.
In T2, Sarah maintains elements of femininity
such as long hair. Costume has her with arms, neck and face exposed
in this attack even though she is operating at night. This presents
voyeuristic appeal to a presumed male audience. This provides an
emphasis on feminine features though she is in a traditionally masculine
role. She finally rediscovers her maternal characteristics after
breaking down to the pressures of trying to take Dyson’s life.
One of the most compelling pieces of dialogue of
the film comes when she says: “I love you John”. She
then goes on to reinforce this notion when she says: “Men
like you built the hydrogen bomb. [...] You don’t know what
its like to really create something, to create a life, to feel it
growing inside you.”
When Dyson wants to abort the mission, Sarah encourages
him to continue. Ripley does the same with regards Hudson when he
is breaking down under the strain. This is not a motherly issue
but a leadership issue of a dominant character.
Since the issues of matriarchy are more concerned
with nurturing and support, these issues are more readily displayed
throughout films in a universal sense, rather than a specific plot
device. The stresses of combat and the inter-character relationships
in both films allow them to serve as quality agents for the issues
of matriarchy.
An analysis of two of the most successful science
fiction action films has shown how there can be a contravention
of traditional female roles. These action heroines placed in military-like
situations and environments are depicted as capable both technically
and improvisational with regards changing narrative.
“I like to hang onto the fact that the
Alien movies were blockbuster hits. Then I try to imagine such
hit movies like these, with such a female hero, being made and
released by a major studio in the late 50s to the late 60s. Hard
to imagine, isn’t it?” (Mathi: 1988, 7-8)
This assists in countering arguments of women in
predefined roles and is therefore progressive when compared to a
large number of subordinate roles played by female characters throughout
cinematic history. Concerning the current war in Iraq, McGirk (2006:
30-35) demonstrates the lines blurring as women occupy combat support
roles, these cinematic depictions can no longer be deemed unrealistic.
Bibliography
Cooper, J. (1998) The Last of the Mohicans
Oxford: Oxford University Press
McGirk, T. (2006) “Women Warriors” TIME
Magazine, No.8, pp. 30-35
Maio, K. (1988) Feminist in the Dark California:
The Crossing Press
Prince, S. (2001) Movies and Meaning: An Introduction
to Film (2nd Ed.) Boston: Allyn and Bacon
Tasker, Y. (1993) “Women Warriors: Gender,
Sexuality and Hollywood’s Fighting Heroines” Spectacular
Bodies: Gender, Genre and the Action Cinema London: Routledge
Films
Cameron, J. (1986) Aliens Twentieth Century
Fox
Cameron, J. (1991) Terminator 2: Judgement Day
Tri-Star Pictures
Cameron, J. (1984) The Terminator MGM
Mann, M. (1993) Last of the Mohicans 20th
Century Fox
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