KVINNOR I ACTION: EN KAMP MOT STEREOTYPEN. Framställning av kvinnor i actionfilmer och dess förändring över tid

Abstract

Executive summary This study will explore the representation and portrayal of female protagonists' in action movies between 1990 and 2023. Movies play a significant role in reflecting and contributing to norms that shape our society, particularly gender norms. Historically, the action genre has been dominated by male protagonists and directors, commonly portraying men as strong and independent heroes. In contrast women have been limited to stereotypical roles. Awareness of gender equality in society has grown with time, however, the action genre has not adapted to this development at the same pace as society has. This study therefore addresses the following three research questions: 1. Has the representation of female characters in action movies changed between 1990 and 2023 and if so, how? 2. What role does a director's gender and creative decisions play in shaping these portrayals? 3. Does the portrayal of female characters differ between 1990 and 2023 in terms of visual depiction, roles and functions, relationships, and societal context? If so, how? The analysis adopts two theoretical frameworks. Mulvey’s Male Gaze theory (1975) emphasises female objectification in media, arguing that their representation is shaped for the male audience. This is relevant for the action genre since female characters are sexualized frequently. Representation theory further explores how media reflects and reinforces societal power structures, emphasizing the importance of analyzing representation in action films. Together, these theories provide a nuanced understanding for how gender norms in society influence both the content and creation of action films with regard to gender representation. When addressing our research questions, a mixed method approach was employed, using both a quantitative and a qualitative method. The quantitative analysis examined 160 action movies in total, with 80 movies from 1990 and 80 movies from 2023. This provided an overview of gender representation among protagonists and directors. To gain a deeper understanding, we performed a qualitative ethnographic analysis (ECA) of two movies with female protagonists, Nikita (1990) and To Catch a Killer (2023). Where we focused on visual portrayal, character roles and functions, relationships with other characters, as well as societal norms. Our findings reveal that the representation of women barely has developed over the three decades. The quantitative analysis showcased that 9 percent of the movies analysed in 1990 had female protagonists. A number that decreased to 7 percent in 2023. Male protagonists maintained their dominance with 81 percent in 1990 and 78 percent in 2023. Movies with both male and female protagonists increased from 10 to 15 percent. Regarding directors, the study noted that there was a scarce amount of women directing within the genre. They directed 2 percent of the movies in 1990 and 1 percent in 2023. Male directors dominated, accounting for 98 percent of the movies in 1990 and 2023. Movies with female protagonists were almost exclusively made by women, emphasizing the importance of a director’s gender in shaping narratives. The qualitative ethnographic analysis, on the other hand, displayed a remarkable contrast between movies in 1990 and movies in 2023 regarding the portrayal of female characters. Nikita reflects the norms of the 1990s, where Nikita the protagonist is being sexualized and dependent on male characters. This is consistent with Mulvey’s (1975) male gaze theory, which explains how women often are portrayed to cater to male audiences. The portrayal of Nikita highlights her appearance and relationships, ultimately limiting her independence. In contrast, To Catch a Killer follows the protagonist, Eleanor, with greater complexity. She is portrayed as intelligent and independent, navigating her role in a patriarchal workplace. However, even in the movie from 2023, the female protagonist is dependent on male characters. The results from our study show that despite the achieved progress in how nuanced the female characters are being depicted on screen, the action genre is still heavily influenced by traditional gender norms and structural inequalities. This study concludes that female protagonist representation has seen limited development over three decades. There is moreover still a male dominance in front and behind the camera. However, female directors are more likely to include female characters. While previous studies indicate a growing trend in the depiction of more nuanced female characters these changes are not reflected in the movie industry. This limited development reflects deeply ingrained societal norms within the action movie industry where male directors and actors continue to dominate. Our study highlights the demand from society for more inclusive storytelling that challenges traditional gender roles instead of showcasing it. Where the movie industry could play a significant role in challenging outdated societal structures. Upon completing this study, several areas can be acknowledged for future research for a more profound understanding of the topic. Streaming platforms were excluded in this research but for future research a study investigating streaming platforms, which are now dominating film consumption and the movie industry. Particularly how streaming platforms influence gender representation in movies since they, in comparison to companies that produce movies for the cinema, already have their customers who pay for their monthly subscription in advance. Therefore streaming platforms can take more risks regarding inclusivity and gender representation, since they do not have to attract a new audience for their movies. Our study concludes that there is a persistence of traditional gender norms but also that there is a potential for change within the action genre. However, we are yet to experience it or see a change worth acknowleding. The film industry has the tools to dismantle outdated societal norms and reflect broader inclusivity by not mirroring society but by addressing structural inequalities. The movie industry should therefore prioritize inclusive storytelling and underrepresented creators.