G.I. Jane (1997): Film Review

Today, Hollywood believes that effeminate stars poop bring audiences into theaters only rarely, and the truth is that this has rifle another self-fulfilling prodigy as decisions as to what characterisations are made are found on this maxim, after which the maxim is reinforced by the accompaniment that all the successful makes star males while the few feminine-starring take ons harbour fallen by the wayside. Here we have a film which features a female lead and so says that women send packing be equal to men, but it does so by placing that woman in a male action movie setting and so reinforces part of the stereotype it challenges.

The main character, Jordan O'Neil, says, "I'm not interested in macrocosm some poster girl for women's rights." Yet, that is precisely what she is being made to be both by certain semipolitical powers in the film and by the filmmakers. Lt. O'Neil is hardly a self-effacing woman even before she enters the training program for navy blue Seals--she whole shebang at naval intelligence headquarters and has go up far in the ranks to do so. She faces the fact that there is no true equality for women in the armed forces, of course, and her effort to become a Navy Seal is her way of challenging this truth. The film uses this as its framework for challenging the existing male social organization and for asserting that women should have equal opportunity. As if to prove they can be even-handed, they make their villain a woman as well--women can achieve the status of sleazy and self-

The film is more imagery and setting than substance. any problem O'Neil leave face is evident from the first--even the lesbianism is hinted at by the Senator when she first asks O'Neil some questions before recommending her. The filmmakers never get agone the spectacle of a woman training amidst a field of men, and that is the radical image that is given to carry the supposed social question while at the same time offering an objectification of the female trainee. She seems a sexual tease in some ways, and she never gets past this because her character is too shaped by expectations some the nature of a bid-budget Hollywood movie with a mad ideology.

The Senator never intends to change the military at all, and the filmmakers are alike not interested in changing the nature of the present-day(a) film experience in any degree.

Originally, in his trey Essays on Sexuality, Freud isolated scopophilia as one of the component instincts of gender which exist as drives quite independently of the erotogenic zones. At this transfer he associated scopophilia with taking other people as objects, subjecting them to a controlling and curious gaze (Mulvey 748).

In the beginning, the political ideology is clearer and cleaner. The male power complex body part in Washington works to support the male power structure in the military and to protect it from the "threat" posed by a unisex military. The filmmakers set up a action between the female Senator and the new cabinet member, with Lt. O'Neil being the test case who will determine which side wins. In truth, this is not the way the contest goes, for O'neil is a sacrificial lamb who is supposed to make political points for both sides without really shaking up the power structure or introducing real change.

Mulvey refers to the new structure of the American film industry and the new realities of the economic conditions of filmmaking, noting, "However self-conscious and humourous Hollywood managed to be, it always restricted itself
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