MEST4 Critical Investigation
Kishan
Pandya
___________________________________________________________________________
‘No offence, but, uh, men being
in charge has never done me any good.’[1]
To what extent does Orange Is the New Black
promote a
liberated representation of women in society?
______________________________________________________________
Jenji Kohan’s
Netflix comedy-drama television series, ‘Orange Is The New Black’ (OITNB)
stands as the latest flagship for the women in prison (WIP) genre of film and
television. Serving as a potential catalyst for reinvigorating the sub-genre’s
original outlook, the show arguably fulfils a need for ‘more realistic
portrayals of women since the media are said to reflect society[2]’,
which obliges that ‘such reflections should always be accurate[3]’.
Despite a rarity in itself, TV shows with a predominantly female cast have
earnt a reputation for persistently reinforcing a hegemonically crafted
representation of women - one which is in compliance with the patriarchal
values traditionally pertaining to the WIP sub-genre. OITNB however, being a
show directed by Kohan who is ‘known for telling stories about women[4]’,
earns the stature of a deployed ‘response to cultural changes[5]’
as it unapologetically topples all notions of ‘what a television series about
women looks and sounds like[6]’.
Correspondingly,
this should mean that the Netflix exclusive promotes a liberated representation
of women in society, by inviting audiences to witness a tapestry of many
narrative strands which are centred on multidimensional women who might
otherwise be reduced to their stereotypical representations in mainstream
media. Furthermore, a particularly celebrated, yet debatable, critical focus is
on the show’s endeavours to ‘raise significant ontological and epistemological
questions[7]’
about the portrayal of women, as well as women of colour and those of LGBT
groups. Nonetheless, despite the appraisal for its capability to highlight ‘the
rich, diverse experiences of women through all walks of life; not just behind
bars.’[8],
many critics propose an alternative reading of these narrative inclusions as a
mere reinforcement of traditionally misogynistic ideas. This is inclusive of a
consideration for the forms by which the screened content is designed to
appease the erotic spectacle of a ‘patriarchal conscious’[9], being one of many ways
which stands instead to jeopardise the show’s credibility in achieving the
purpose of presenting a liberated representation of women in society.
With the many
intersectional categories[10]
of identity prevalent among the women in OITNB, gender representation becomes
complicated in assessment. The women’s struggles are greatly perpetuated by
other marginalising attributes, such as their race and expressed sexuality as
well as their level of conformity to the normative behaviour expected from them
as women in TV.
Television itself
as a field of entertainment has experienced a revolution[11] in a multitude of ways
throughout the past seventeen years of Netflix’s presence (as of 2016),
although most particularly within the passing half-decade as it has maximised
the benefits to be reaped from the widespread developments of new and digital
media[12].
Within its recency of conception, OITNB has been critically acclaimed for not
only its audacious depiction of particular groups of class, age, gender, race
and ethnicity[13],
but also for its symbolic worth as it represents a “profound change in the
psychological calculus of entertainment”[14]. OITNB’s notoriety in the
TV industry is validated by its accumulation of over three million viewers in
the initial weeks of its availability on Netflix, already surpassing HBO’s
‘Boardwalk Empire’ and AMC’s ‘Breaking Bad’[15]. The WIP show thus
exemplifies the success of Netflix, and more so the concept of online streaming
for television as it stands to compete with elder premium networks such as HBO,
already in its initial streaming debut. Henceforth, the online attention
amassed by the show presents a winning formula whilst liberating itself from
traditional rules of television having neglected the concept of delayed
gratification[16]
by a ‘Sunday night dosing model’[17]
and by employing a nearly all-female cast of inexperienced actors, thus
eliminating the marketing worth achieved by starring popular figures. As a
result, these factors compile into further accentuating the focus on the show’s
thrilling narrative which eloquently explores themes of identity.
Audiences are immediately drawn to
a debate of sexuality and gender politics with the expository sequence of
scenes layered over Piper Chapman’s introductory voice-over, alongside The
Staple Singers’ ‘I’ll Take You There’ as background music to connote a blissful
reminiscence in the protagonist’s story as an initially affluent, privileged
white lady prior to her unprecedented imprisonment for a decade-aged crime. One
of the scenes included in this introductory montage exhibits Piper’s past
lesbian romance through a sequence of medium close-ups framing a shower sex
scene, hence instantaneously presenting a debatable approach for the show’s
representation of women. In light of an interpretation supportive to the revolutionary
intentions of the show, the display of what is essentially, a lesbian
relationship, demonstrates the unapologetic nature of the show in its decision
to present a liberated representation of women who effectively (from a
conservative standpoint) choose to break the traditional agenda for
heterosexual relationships. A feminist lens may justify this as empowerment for
women because of their challenging decision to indulge in non-traditional
sexual activity which exhibits the exclusion of direct male participation. This
idea of a social system which entails the practice of romantic intimacy
exclusively to women, is reinforced by Hanna Rosin’s ‘The End of Men’[18], a ‘landmark,
once-in-a-generation book’[19] which insists on the
extinction of men as an inevitable ‘new paradigm shift’[20]
correlating with the empowerment of women. In fact, this ‘modern feminist
anthem’[21] makes a thematically
relevant appearance in the final episode of the first season, as the
correctional officer Sam Healy cites it as a warning to a troubled inmate, whom
he deters from lesbianism with the other inmates due to what he claims is a
ploy of “the lesbian agenda”, as a consequential dystopia for men.
Whilst Healy (like every other
male character of the show) is presented negatively; particularly as a
homophobic misogynist; he is also crafted within the show as a villainous[22] symbol of the oppressive,
yet power-paranoid patriarchy. Henceforth, this scene exemplifies one of the
ways by which OITNB attempts to liberate women - by its exploration of “gender
based issues”[23] through the “eyes of [...]
female characters who possess distinct viewpoints”[24].
Pennsatucky, a troubled inmate whom he converses with in the stated scene,
epiphanises her utopia in a world where women are no longer “catering to some
misogynistic neanderthal mentality”[25]
and thus retorts Healy’s paranoid impositions: “No offense, but men being in
charge hasn’t ever done me any good”[26].
Considering Pennsatucky’s horrific past, (familarised to the audience in the
preceding episodes) as a rape victim who is repeatedly exploited by the men in
her life, this serves as a tactful narrative choice employed by the show to
“emphasise issues that are more personal than explicitly political”[27]. In doing so, the show
demonstrates success in presenting a liberated representation of women in
society by developing an emotionally compelling narrative in which the effect
of assigned character types[28], specifically, the
designation of a villainous character type[29]
to Healy, and that of a sympathetic heroine to the female character, serves the
audience with a compelling presentation of pro-feminist ideologies evidently
withheld by the producer of this text, and intended for reinforcement through
its predominant purpose of entertaining viewers.
Alternatively however, the
inclusion of the opening shower sex-scene, among many others throughout the
show, can be deemed a reinforcement of the misogynistic nature of traditionally
exploitative WIP drama designed to cater to a male audience[30],
as the original agenda for the sub-genre dictates a scopophilic gratification
for the heterosexual male looking at the women as the ‘erotic object’[31]. Originally, sexploitation
in WIP drama takes the form of transgressions in order to construct a
sexualised look to provide erotic stimulation, effectively thus titillating the
heterosexual male audience. However, the use of lesbianism and sadomasochism in
OITNB conversely tweaks the heterosexual dynamics of the S/M relationship,
which states the man as the sadist and the woman as the masochist. The
alteration of this rule can be perceived liberating for women, because a man is
no longer represented as the oppressor in romantic intercourse, thus
reinstating patriarchal insecurities[32]
in terms of losing power in social positions to women.
The expression of gender identity
is another important aspect in considering the show’s representation of women.
Contrary to the belief that “women are still represented according to long
standing cultural stereotypes”[33], OITNB raises complications
to this notion by the portrayal of Piper’s feminine expression, which she uses
to her privilege. Her normative femininity at the start of the series is
manipulated to her advantage as she gains the approval of the correctional
staff, particularly Healy who takes her side in the episode “Lesbian Request
Denied,” in which he describes Piper as a “nice girl”[34].
Moreover, Caputo, the assistant warden of the prison is discovered by the
inmates as a man who dislikes the sight of women crying, which Piper exploits
in the first episode “I Wasn’t Ready” in order to be able to make a call to her
fiance out of Caputo’s sympathy. These instances reinforce the depiction of
Piper as a damsel in distress[35], who is faced by
challenging situations in which she needs the protection of men in authority[36], and thus evidences a
counter-intuitively servile representation of women. On the other hand,
considering the producer’s intentions as the pilots of this plane[37] it can be argued that the
‘politicisation of women’s roles’ in this case serves a ‘betrayal of[...]ideals
of femininity’[38] as Piper undoubtedly uses
her patriarchally perceived reliance on men as a strength to fuel her personal
agenda, hence exposing the illogicality of misogynistic ideology.
Other characters such as Daya are
also depicted in a manner comformative to traditionally assigned gender roles.
Dayanara Diaz, being a poverty-stricken maternal guardian of her
mother’s children, takes orders from Cesar to fetch him groceries from the
store and allow him to use her house as a way for him to control his drug
business so that she can provide for her family. Evidently, serving as one of
the ways by which the show achieves a realistic portrayal[39] of women, by simultaneously
fulfilling the “will to create the context for struggle and liberation”[40]
as the show reconstructs the reality of the “ways class complicates women’s
oppression, for these girls are learning rituals of their social class”[41].
Whilst also developing a consensus by which women over the show can be
exhibited in a manner supportive of the purpose to liberate women through
representations as this particular one serves with credibility. Another episode
in the second season reaffirms this value of the show, as Daya and another of
the Latina inmates express their need for male intimacy. After doing so, the
sequence is crafted with a series of enigmatic close-up shots hinting towards a
kiss between the two female inmates. Momentarily, the male gaze[42]
is appeased as the women engage in this practice of lesbianism, and thus
satisfies an “existent fetishisation and pathologisation of […] Latina
sexualities”[43]
which therefore endangers the liberative aims of OITNB. Nevertheless, this also
reinforces a realistic representation of women in society which also succeeds
as a liberated one because of the absence of radicalised hyperfeminism in the
discourse between the two women. Instead, they outwardly profess their heterosexual
desires and are yet a demonstration of how OITNB “brings these culturally
invisible women”[44]
into a frame which embraces a social realism that taps into the thoughts,
conflicts and reasoning concerning the actions of oppressed women in society,
and in this case, literally confined to the walls of a prison.
Originally the
purpose for WIP drama has been identified as a means for exploiting women by
reducing them to the role of serving sexual gratification to a male audience. A
historically primitive example of this is the 1950 released crime-drama
'Caged', which celebrates the exploration of the prison as manifested world in
which viewers can "know women [...] without men!". Similarly to
OITNB, the film begins with the protagonist, Marie Allen, turning into the
penitentiary as a 'doe-eyed innocent' woman and gradually progresses for her
harsh experiences to coarsen her into a 'hard-nosed con'. This transition is
attributed to the mistreatment inflicted by the antagonistic Evelyn Harper, who
is continuously presented as a symbol for female pretensions celebrating
patriarchal conformation around the time of second-wave feminism. Harper's
eagerness to please the men in her life is confirmed in a scene towards the
climax of the film, where she is presented with a vertically panning medium
close-up, dressed in clothing which evidently causes her discomfort. She is
shunned by the inmates and retorts by boastfully exclaiming: "The guy
outside likes the way I look! *fidgets in her outfit*"[45]. This subtle instance is
symbolic of the many ways by which women in society have had to conform to what
is pleasing to the man[46],
despite of it causing discomfort. This idea of reluctance is deeply ingrained
into the women depicted. Most of the women have back-stories which involve
their self-sacrifice to the judiciary system in order to protect their
husbands. as one woman states: "I never wanted to, but I couldn't leave
him". [47]Correspondingly,
some women also express their resentfulness to the patriarchal oppression
imposed upon them, as an inmate convinces another: "You're lucky your
man's dead, he can't turn you into a loser like mine did"[48].
The ventilation of such anti-patriarchal catharses are manifested through the
environment of the WIP film as a voyeuristic intrusion into the thoughts of
women representative of those in society, thus providing a mouth-piece for
characters in WIP drama, that in the wake of second-wave feminism selectively
deploy feminist discourses[49]
as a means for encouraging the liberation of women.
The translated
intention for WIP dramas throughout the years also demonstrates how this
paradigm-shift within the genre[50]
has occurred as the genre’s outsetting purpose was to objectify women in an
imprisoned environment in order to appease the male gaze[51]. Shows such as ‘Prisoner’
(also known as ‘Cell Block H’)[52]
demonstrate this religiously, repeating the conventions[53] of female submission to
male authorities whilst being sexualised on-screen for the patriarchal
conscience’s gratification. However, OITNB turns the tables on this notion as
it amends this consensus of a WIP drama in order to present the viewpoints of
the represented women instead. Accordingly, this insight into the thoughts of
the represented women is one of the ways by which this show achieves in its
endeavours to represent women accurately[54]. Within season three, a
significant scene marking the debut of Ruby Rose casually intervenes mid-way
through a laborious lingerie manufacturing session for the prisoners of
Litchfield penitentiary. Immediately, this establishes a sense of comic relief
as the scenario subverts common expectations of prison demeanour. This is
achieved by distancing away from the anticipated severe atmosphere of a prison,
which would be seen to restrain prisoners to the extent of even their
amusement. The frame pans across Piper Chapman, the blonde-haired protagonist,
as she approaches her work station with bright pink underwear in her hands, the
colour of which contrasts the dullness of the surroundings, possibly in order
to reinforce this sense of absurdity for comic effect. A personal discussion of
bedroom etiquette between Piper and an elder inmate emerges to gratify viewers
with voyeurism. Audiences are granted a peek into the ideologies of women
(represented by the general layout of the WIP show), who are exhibited
advocating opinions on personal matters on issues involving sexual engagement
which would otherwise be subdued to a level of censorship (content control) in
the media. The conversation is then intervened by Stella Carlin, a young
short-haired brunette played by LGBT activist actress Ruby Rose. She laughs at
Piper’s claim that wearing lingerie during sexual encounters “can make you feel
powerful”, which immediately unravels a socio-political discussion among the
women. Debating whether many physically attractive woman (such as Piper is
represented) faces the “burden of genetic perfection” and must hence strive to
attain self-worth by attaining academic qualifications to credit their value,
as exemplified by Piper’s retorting declaration of her “double major in
communications and comparative literature”. Extracting this conversation from
its entertaining standpoint provides audiences with reasons to consider the
reception of women in daily life in first-world capitalist societies, in a
sense that women do more than just 'appear'[55] for the gratification of
what is recognised as a primarily white, heterosexual and relatively youthful
and affluent[56]
audience.
OITNB does
portray some women who have been almost invisible in television. It has a
prominent transwoman character as well as a butch lesbian, both, types of women
which have often been invisible in other television series, including those
specifically designed for LGBT audiences. The series also portrays a large cast
of individuals with complex detailed histories. Women are not just single
narratives but are built up of complex storylines representing each part of
their identity.
Considering the
predisposing implications on the representation of women, race in OITNB is
largely portrayed through a white lens. Whiteness becomes a privilege identity[57]
during the series because Piper, the main character, is white. The stories of
women of colour as well as other minority women are told through the voice of
Piper Chapman. In having Piper bring issues forward minority women’s voices are
silenced, and their stories are validated or made visible only through the
intervention of a white woman[58].
Further, Piper is portrayed as greatly benefiting from her white privilege in
being able to go beyond the role of an inmate in her relationship with prison
staff such as Healy, her counselor. Having Piper come into prison and change or
expose the problems that women of color or other marginalized women are
experiencing during the series portrays Piper as a white saviour[59].
The portrayal of
sexuality in the first season of OITNB is a little more complicated. Whilst
Daya is represented as straight in her relationship with Bennet, a guard at the
prison, the majority of the series focuses on the lesbian relationship between
Piper and Alex. Although Piper and Alex are not the only relationship portrayed
in the series, the relationship between Sophia and Crystal is not able to be categorised
as Sophia is portrayed showing affection for Crystal but the two are never
shown in overt or suggested sexual behaviour during the first season - which is
seen as the determinant for romantic associations throughout the show.
Furthermore, Crystal is portrayed as having interest in a man she met at church
and asks Sophia permission to pursue him. Lastly, Big Boo acknowledges she is a
lesbian, but never is portrayed in sexual acts with another women, at least not
to the extent that Piper and Alex are shown.
Gender
presentation in OITNB season one is largely centered through a feminine
presentation. Sophia, Piper, and Daya all have a feminine gender presentation,
while Big Boo is portrayed with a more masculine presentation[60],
particularly through the employment of aesthetic codes instead of narrative[61].
Halberstram[62]
uses the term butch to describe lesbian women who have adopted a female
masculinity. Further, characteristics such as toughness and physical strength
aid in giving butch lesbians a more masculine expression[63]. Big Boo embodies both of
these characteristics during the first season; she is portrayed as tough and
unforgiving to those who upset her. In many ways the style that women from
minority groups are represented provides an extensive credibility to the show's
liberation of women through the ambassadors (represented characters) of each
intersectional category[64].
In conclusion,
OITNB achieves more than just providing a liberated representation of women.
Within the expository four hours of the show, the audience is familiarised with
the conviction stories of characters including of course - Piper, but also Red,
the cafeteria mogul of the prison, for whom the audience is placed on the brink
of a multitude of opinions instead of simply disliking her due to her
unfavourable representation towards the protagonist. The reason for this is
because of the narrative’s exhibiting retrospective scenes of the characters’
pasts preceding their conviction. These flashbacks are further laudable for
their diligent integration into the script as the dialogue featured in the
scenes are synchronised to the present experiences of the character in question
- leaving the audience gasping in awe and questionability regarding the
seamlessness of the narrative. The manner in which characters are continuously
developed is purposefully exploitative of the audience’s limited knowledge of
the prisoners, exemplified as we are led into accepting fallacies about
characters who are temporarily vilified, but may even be righteous and likeable
at a later stage. Warranting this, it is important to acknowledge the
producer’s liberated representation[65] of women in the show
boasting a brand identity which stands for transcending beyond the traditional
boundaries of television and its symbiotic relationship with social issues, to
the extent that patriarchal ideologies are eroded to a greater extent than they
are debatably withheld.
WORD COUNT: 3408
________________________
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