Friday, October 14, 2011
Ringu
Remember how to look at a film through a feminist lens? Choose a five-minute scene in Ringu and examine the role of women and how they are portrayed in your selected scene and the film as a whole. Be sure to discuss this topic CINEMATICALLY. How does the director show us? Do this in 3 well-developed paragraphs.
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“Ringu”, directed by Hideo Nakata, is a Japanese horror film that greatly deals with the horrors of both modern and folk traditions. However, one can easily look at the film through a feminist lens – the main character is a female journalist, the first on-screen victim is a teenage girl, and even the horrific “monster” (as a literal meaning) of the film is a young girl who was brutally killed by her own father. The main character, Reiko, can be viewed at times the ultimate feminist symbol being a strong, independent journalist who investigates the root of the death; however, she also comes to rely more on the help of her ex-husband than on her own actions as the film progresses. Cinematically, however, Reiko is much more dominant, often appearing in high angle shots. She is given power, but Nakata gives it subtly, making her a much more human character with real flaws and fears.
ReplyDeleteTo get a better understanding of the ghost-like “monster” of the film and how it fits into the feminist lens, one must look at her backstory. Sadako was a young girl with supernatural powers, which ostracized her from society and lead to her father pushing her to her death in a well. It his indirectly the male dominated society and directly her father that leads to her demise and horrific death, and the video-tape can be seen as two things: a way for her to get her revenge and a way for the world to see how the world has mistreated her (the person who watches the tape can only be saved if they copy it and show it to another person, thus allowing more people to see these audacities). In the final scene, Sadako is shown attacking Ryuji, which is the final victim before the puzzle is solved – which is ironically fitting as she herself was killed by a male figure, her father.
Sadako is symbolic herself in the final scene when she is finally seen in full form. Prior to the ending, Sadako is shown only in grainy images – being forgotten by the world and reduced to merely a mythic relic. The final scene shows Sadako not as a typical female or womanly figure, but as an anonymous creature. Her body appears to be – or at the very least looks like – it is twisted backwards and her hair completely covers her face. She is given no distinct facial qualities other than frightening eye, only shown briefly in an extreme close-up. The character is given almost asexual characteristics, and if the audience had not been aware of it before the character of Sadako could have easily been female or male depending on an individual’s interpretation. This can be viewed, or rather put, in a positive or a negative light: Nakata does not stress much importance on her physical appearance, but then why does he give such an elaborate back story to point out that she is female; and also she is lack of individuality, risking making her a cliché. Yet, Nakata is able to place even some sympathy in the viewer for the “monster” of the film. The characters do not become feminist caricatures, but flesh and blood. The women in the film are given the power: Reiko must save her life and her sons’ life, and indirectly chooses that her ex-husband dies, and of course Sadako’s power is apparent.
In his 1998 Japanese horror Ringu, Hideo Nakata goes against viewer expectation and the feminist film theory of Laura Mulvey, by using women as vehicles of power rather than solely sources of visual pleasure. This is appropriate given the growing independence of women in the 1990’s, as exemplified by the single mother and curious journalist, Reiko. Although she is beautiful, it is clear upon examining both Reiko’s actions in the film and how she is portrayed onscreen, that she is a powerful, modern women in her own right— existing to highlight the proliferating power of women, not to ignite the fantasies of the male viewers. This power that Reiko possesses is most clearly demonstrated by the film’s closing scene.
ReplyDeleteThis scene opens upon Reiko as she hears of her husband’s death. At the beginning of the scene she is filmed from a high angle, implying her newfound fear and moment of helplessness at the realization that she did not actually break the curse. She is once again trapped by the cursed video, as exemplified by the next shot in which Reiko is filmed from the other side of a room patrician. This gives the impression that she is behind bars, and in the brief moment when she has to face the video one last time, she is. However, as she sees the picture of her son, she is reminded of goal, and begins to be filmed from a low angle once again. She remembers her sense of duty and desire, and from there gains power—a power that grows as she realizes why she was spared. This realization is supported by the non-diegetic bell clanging as Reiko transitions back from the women dependent on her husband’s help back to the independent and driven women she was at the film’s opening. Her face is shot in a low-angled close-up, and it is clear that she will do what is necessary to ensure the happiness of herself and her son, as supported by the poignant raising of her eyes and her dark clothing: she is a women on a mission.
The film then transitions to Reiko carrying out this mission, video in toe, She intends on showing the video to someone else, so that her own life will return to normal. Reiko driving in this final shot is symbolic of her taking back control of her fate, as supported by the final wide shot of the car going into the distance. This shot has an open frame, inconsistent with the rest of the film, and implies that although the video will continue to kill, Reiko will save her son and continue to live her independent life. She will come out of this horrific situation relatively okay, and it is made clear by the smirk on her face that she will be successful in life, for it is women who truly rule the world.
Hideo Nakata’s “Ringu”, a Japanese horror movie, is not explicitly a study of gender relations. However, upon closer inspection it is apparent that gender plays a crucial, if implicit, role in “Ringu”. In fact, one of the key differences between “Ringu” and the book it was based off of the same title, is that the protagonist of the novel is a male. Nakata felt that a female protagonist would incite a more sympathetic response from the film’s audience. Furthermore, the male protagonist in the book is married; Reiko is a single mother, and this obviously caters to the viewer’s sympathies as well. Regardless, though, as Alex and Flora reiterated in earlier posts, women in “Ringu” are very much portrayed in positions of power, especially cinematically.
ReplyDeleteYet at times there are moments when Nakata purposely, and implicitly portrays Reiko, the female protagonist, in a submissive role. Such intentions are particularly evident when Reiko and her ex-husband, Ryuji, interact on camera for the first time in Reiko’s apartment. Through this scene the viewer is introduced to the relationship between Reiko and Ryuji. Reiko serves Ryuji tea and asks about his life; it is important to note that neither does he thank her for the tea nor ask how she’s been. As they sit, Reiko’s head is bent, her eyes are lowered and her shoulders are hunched. Her position may symbolize female submission in the presence of Ryuji, her ex-husband, or general apprehension over her seemingly impending death. Conversely, Ryuji sits comfortably, with his legs apart, his coat slung carelessly over his chair and his arm rests impassively on the arm of his chair. His presence is clearly that of the dominating male figure while Reiko fidgets on the couch. Furthermore, rather than feeling sympathy for his ex-wife, Ryuji is noticeably cavalier about Reiko’s fears. He blatantly mocks her as he advises her to “Go to a shrine and get exorcised” after she shares her concerns with him.
While some might perceive Reiko’s behavior towards Ryuji as demeaning, Reiko’s submissive posture may subliminally coerce Ryuji into assisting her with her investigation of the cursed videotape. Arguably, Reiko’s behavior throughout the scene is a clever manipulation of her ex-husband. Nakata reaffirms this position through his camera work. Throughout the entire scene, the camera remains perfectly level; there is never a high angle nor low angle shot to implicitly suggest a power shift to either Reiko or Ryuji. Yet, Nakata’s camera work is felt implicitly in other moments of the scene. In the shot where Reiko serves Ryuji tea, the camera moves seamlessly from a long shot to a medium shot of Reiko and Ryuji as though the camera sits as the characters sit. This creates the creepy appearance that there is a third party witnessing the conversation.
Hideo Nakata, director of 1998 “Ringu,” highlights many of the less traditional aspects of the feminist film theory. Unlike Mulvey’s “Visual Pleasure and Narrative Cinema” essay, Nakata presents a much deeper and important side to women. In contrast to the way women were perceived in early film history, the women portrayed in “Ringu” embody strength and independence. Reiko, the films protagonist, proves to be a very powerful feminist symbol throughout the entire film. Serving as the leading investigator on the murder case, she is often viewed as fearless. Although even though towards the end, the viewers do see more of her vulnerable side, she never fails to seem powerful.
ReplyDeleteReiko’s strength is shown most notably in the well scene with her ex-husband, Ryuji. Here, the viewers are given a chance to see Reiko in a very vulnerable and emotional state. Regardless of the poor situation she’s in, she stays strong because she knows that if she breaks down, she will not survive. The scene begins with a long, eye level shot of Reiko and her husband sneaking into the well. As the montage of filling buckets progresses, the viewer really is shown the extent of Reiko’s mental, as well as physical strength. Granted, the constant pulling of water does make her weaker towards the end of the scene, her stamina and womenly power remains.
Throughout this scene she is generally shown from a low or eye level angle, to emphasize her power and vigor. There are constant close-ups (very rare long shots) during this scene, to highlight her emotional state. With the use of the close-up, viewers can readily see and understand the pain she is going through. This cinematic technique really brings any viewer into the mind of the characters and into the world of the story. Especially here, Reiko is not at all seen as just visual pleasure, but rather, she is shown to be a real women, as strong as any man.
Who runs the world?! GIRLS! (No offense to Alex and Miles...)
Leah Suleski said...
ReplyDeleteAbstractly, Hideo Nakata’s Ringu (1998) can be analyzed through a feminist lens, yet the film does not at all serve as an example of Laura Mulvey’s Feminist Film Theory of 1973. Films have, of course, changed since the early seventies along with the social standing of women worldwide, so it is appropriate that the protagonist, Reiko, happens to be an independent journalist/single mother living in urban Japan. This immediately expresses to the viewer Nakata’s attitude toward women throughout the film. Consistently, they are empowered whether it be through motivation to save a loved one or a born supernatural gift.
From a feminist perspective, Reiko’s representation cinematically is idealistic, as she is primarily shot at eye level or from a slightly low angle with the exception of when her ex-husband, Ryuji, is present, in which case she appears frail and lowly in comparison. The opposite is true of the scene in which Ryuji is accompanied by a horrific Sadako, who is also extremely significant in terms of how she is portrayed through shot composition. Of the very few shots of the monster included, it is implicit through cinematic techniques including framing and shot angle, that she is dominant. Within this particular scene in which Ryuji is unexpectedly killed, he is first taken by surprise, in an eyelevel shot, by the television turning on abruptly. As the figure on the screen creeps closer, Ryuji is brought to his knees. The shot of his reaction is extremely noteworthy when considering its composition, with the TV in the foreground and he very small and insignificant compared to his surroundings. It is here where Ryuji is portrayed as the most vulnerable, which can be expected in the moments before his death.
Sadako, on the other hand, begins to dominate the majority of the frame from the moment she emerges from the TV screen, but appears especially large and powerful in the following medium-closeups. Paralleled with these shots are those of the cowering Ryuji, who becomes increasingly small within the frame as time continues. The growing contrast in the way each character is viewed only adds to the suspense felt by the audience, until finally an extreme closeup of Sadako’s eye peeking from behind her long black locks solidifies Ryuji’s fate as he is immediately killed.
Ringu directed by Hideo Nakata has many cinematic facets that could be explored in a deeper sense. The feminist outlook of the film is definitely one of the first facets a viewer would choose to investigate, being that the main character and the protagonist in the film is a female. Along with the protagonist, the antagonist is also female and the film focused a lot on the empowerment of both the protagonist and the antagonists. Which seems to be a recurring theme within the other posts of my classmates. The opening scene, which included two girls having a sleep over and one of them being murdered is almost a foreshadowing of the underlying feminist importance.
ReplyDeleteIn taking a deeper look at the main character Reiko and what she stood for, I think empowerment is definitely one of the biggest parts. Reiko is a journalist and a single mother. Often she finds her work keeping her late hours away from her son.
Right away you can get a sense of what she is most dedicated to. When her niece dies and her cause of death is not established she sets out on a mission to find out what killed her. Reiko exceeds the viewers’ expectation for how far she will actually take the search of what killed her niece. Reikos will to get to the bottom of every case is the first obvious portrayal of empowerment. After she watches the video and shows it to her ex-husband Rieko is shown more in dominating way. More low- angle shots and cu’s of Reiko are shown. She is aware now that she only has seven days to live and again she exceeds the viewers’ expectations of what she will do. Instead going and living her time to the best of her ability she further investigates what the video is about and the actual meaning of it. This is where Nakata is brought into the picture along with Sadako.
Sadako’s mother represents the deeper issues of the feminine character. The way she was put on display in a room full of men who doubted her. Her “master” uses her or countless experiments and even for sex, then parades her talents around as if he was the one to discover them. Sadako represents the empowerment that her mother lacks. Which is one reason why she was found to be more powerful than her mother. Explicitly she represents the “monster,” but implicitly she represents the anger and frustration oppressed within her mother and herself for the abuse of her mother. It is easy to believe that Sadako may have been a little rebellious and resentful against her father for his abuse of her mother. This may have been one reason why he killed her. The idea that a female could have so much power, more power than him, which he could not control, was threatening to him. When Sadako saves Reiko she is in a way saving herself and her mother. Likewise when she kills Ryuji she kills her father, which then leads to the end of the series of murders because the puzzle is solved.
"Ringu", the Japanese horror film directed by Hideo Nakata, is a film that incorporates modern aspects of horror, as well as Japanese folk tales. Now to examine this film through a feminist lens should be no problem, considering the films protagonist is a female journalist and most of the films major roles are played by women. Even the "monster" of the film was a female. As stated by my peers, Reiko, the protagonist, can be viewed as strong, dominant, and independent, but also human.
ReplyDeleteOne instance in which we are shown her dominance in the film is at the beginning, when she is attempting to solve the several murders. When in her office, she is shown predominantly at eye level, and her figure is shown largely towards the middle of each frame, giving the viewer the sense that she is an important figure to the film. She is shown from a low angle as well when she is with her son, showing her dominance as the parental figure. During the next few shots at the funeral of her niece and the home of her sister, she is shown mostly at eye level making her to be more human and normal at this point. The emphasize her emotions, there are close ups and medium shots. This also shows her strong nature.
The only instances in which she is shown in a weakened position is after directly after viewing the cursed film, & when she is in the presence of her ex-husband, Ryuji. Other than that, she as shown as a truly dominant figure throughout the film, especially in the beginning of the film and towards the very end, after Ryuji's death, which as Flora stated, was when she was taking back control of her life.