The film Tomboy, directed by Céline Sciamma, made in 2011, is a strong example of Judith Bulter’s idea of gender performativity. It follows a 10 year old girl, named Laure, who moves to a new neighborhood and decided to present herself as “Mickaël,” a boy. As the film continues, the story shows that gender isn’t fixed, instead it’s something people perform through how they act, dress, and talk. Once Laure starts wearing boyish clothes, cuts her hair, and playing soccer with other boys, the everyone around her begins accepting her as “male”. Nothing about her physically changes, it’s all about performance, which reflects Butler’s belief that gender is created through repeated social behaviors.
The film also looks at heteronormativity, which is where society expects people to fit either in the female or male roles. When Laure’s mother finds out the truth, she forces her daughter to wear dresses again and “act like a girl.” This shows compulsive heterosexuality, meaning society pressures people to behave in ways they that support traditional gender and relationship norms.
By showing how Laure feels more comfortable as Mickael, the film creates gender trouble and challenges the idea that gender has to match people’s biology. Tomboy questions why being yourself outside the binary causes such discomfort for others.
Overall, this film demonstrates Butler’s theory by showing that gender is not something natural, it’s learnt and enforced on others. By using Laure/Mickael, it reveals to the audience and other fi how fragile and constructed gender identity really is.
Here below are trailers from four different eras of James Bond films:
An extract from You Only Live Twice (1967)
An extract from Live and Let Die (1973)
An extract from Die Another Day (2002)
An extract from Skyfall (2012)
Across the four James Bind trailers, we can see Gilroy’s idea about racial otherness and civilizationism in different ways. In the Conney era (You Only Live Twice), Bind travels to Japan and even disguises himself as a Japanese citizen. This clearly separates him from the people and the culture around him.Japan is shown and depicted as strange, secretive, and different, while Bond stays the “normal” white British hero. This shows racial otherness because it treats non-western culture as something weird rather than equal. It also fits Gilroy’s idea of civilization since Bond is used to represent western logic and order, while the East is shown as foreign and untrustworthy.
In the Moore era (Live and Let Die), race is shown through fear. Most of the antagonists/villains are Black, and the filmmakers use voodooo and superstition to make them seem threatening. This makes the story about a white hero saving people from “uncivilized” others, which shows a clear binary worldview. It suggests that white-western culture is safe and advanced, while anything different is dark/risky.
By the Brosnan era (Die Another Day), the idea of minorities begins to become political. The villain here is from North Korea, and the movie uses that to create fear of foreign power. It doesn’t focus on race as much as older films, but it still showcases West vs East.
Finally, in the Craig era (Skyfall), the focus shifted more towards threats inside Britain (internal threats) but traces civilizationism remain. The trailer shows Bond defeating “home” and British values from chaos. Although race isn’t central here, the idea of western order vs instability remains. Across all four trailers, Bond stays the face of civilization, calm, white, and controlled. While his enemies, often foreign or culturally different, represent the “other” that must be defeated.
In Tenet, identity is confusing and often conflicting, similar to the film’s structure. The audience is forced to figure out who the main character truly is and what his motivations are. It also adds complexity since in the film, time moves backward and forward. This makes the viewers actively build meaning and think about how identity can shift depending on time and perspective. It fits Gauntlett’s idea that audiences help create meaning instead of just receiving it.
B) Aspirational narrative- Erin Brockovich (2000)
Erin Brockovich tells the story of a single mother who redefines herself as a powerful legal advocate/authority. Her identity grows from being underestimated and oftenly dismissed to respected no strong.This links to Gauntlett’s theory that media order offers aspirational role models who show how identity can be rebuilt through self belief, persistence, and confidence, especially for women challenging expectations.
C) Fluid identity- The Prestige (2006)
In The Prestige, both magicians constantly reinvent/change themselves to maintain mystery and power. Their work depend in hiding truth and crafting illusions, blurring where their “real” selves end and their persona turns on.This reflects on Gauntlett’s belief that media presents identity as fluid and performative, that are built on choices and secrets.
D) Multiple diverse leads- No Country for Old Men (2007)
This film contrasts three different versions of masculinity: the good sheriff, the determined outlaw, and the emotionless killer. Each man represents distinct identity, showing there is no single way to define strength or purpose. It matches Gauntlett’s idea that media now portrays diverse identity instead of one universal type.
E) Encouraging identity play- The Lighthouse (2019)
In The Lighthouse, two men slowly lose their sense of who they truly are. Their personalities meshed through isolation and madness, blurring lines of dominance, sanity and even humanity. This connects to Gauntlett’s idea that media encourages people to explore and question identity, seeing it as something flexible rather than fixed
Feminist Theory: Gender is constructed heavily from media and that its meaning vary depending on the cultural/historical context.
An excerpt from The Silence of the Lambs (1991)
A) This extract mostly goes against Van Zoonen’s theory about the male gaze, objectification, and patriarchy in media. Her theory says that women in media are often shown as passive objects for men to look at, while men are active and powerful. In The Silence of the Lambs, the woman, Clarice, is the leading protagonist and leads the story, so she’s the one in control. The camera moves with her, not at her. She is often depicted in male-dominated fields and is not shown in any sexualized manners. This challenges Van Zoonen’s theory because Clarice is not framed as a sexual object, instead she is presented as capable and professional.
B) In this title sequence, it both reinforces the idea of the female body as spectacle, and acknowledges the potential power of the female objectification (the female spectator). First, acknowledges that men around her notice her, and she becomes the center of attention. For example, in the elevator scene, Clarice is surrounded by tall men in uniform, reinforcing her as a visual aspect, and we can feel her being stare at. On the contrary, the film gives her power over that objectification since we see the story from her point of view. She also remains calm, and strong despite the stares, which grants her power.
C) The men in the elevator represent traditional masculinity (They are tall, uniform, and silent). Their physical power and lack of emotional expression match Van Zoonen’s idea that media portrays men as strong and powerful. But at the same time, they say nothing, while Clarice has a purpose. This reverses the usual dynamic as she’s the one with action while the men stand there and look.
D) Clarice is shown as active, while the men around her are mostly passive. In the beginning training scenes, she is running through the forest, climbing ropes, and pushing herself. The camera moves with her and shows her determination and skill. On the other hand, as mentioned before, the men in the elevator and around the buildings mostly stand still and stare at her. Ther gazes make her visible, but they don’t do any of the activeness. This switch is important because it breaks the traditional gender pattern in films where the men are active while the women are passive.
E) The extract is a subversive female representation. Evem though Clarice is almost constantly watched by men, the film lets the audience see through her perspective and understand her point of view. She is never sexualized and is depicted as professional, calm and serious. This subverts the “male gaze,” since she is the one doing the actions, analyzing, and surviving, and not just there to be stared at. This turns her into an active subject rather than a passive object, which makes her a subversive and powerful female representation.
Theory of Representation: Hall states media does not simply reflect reality, but actively constructs it through a system of sign and language.
An extract from Spider-Man: Into the Spiderverse (2018)
The purpose of this scene is to show Miles’ world and how he struggles to fit his school and home life. The central idea is that Miles is caught between two identities (who he is expected to be vs. who he truly wants to be), this sets up his journey into becoming his own version of Spiderman later on. The filmmakers use appropriated representation by reusing familiar concepts/ideas (A superhero coming of age movie) but with a more diverse character, Miles who represents/shows Black and Latino cultural makers, street art and a more diverse family dynamic. It introduces the concept that anyone can wear the mask. Then they counter typical representations of the ‘superhero’ genre by showing Miles as artistic and unsure, not the confident/perfect heros we typically see/expect. It makes him more “human” and relatable to the audience and it also counters the “chosen one” trope. The filmmakers also deconstruct representation by showing that identity is not simple or fixed. Miles struggles between two environments but neither one fully define him. This is evident by how the film mixes comic art styles, bright colors and graffiti textures to show his mix of influences. It also explains that adults, like his father and uncle, aren’t just either good or bad, they represent two sides of life. That being order vs. freedom, which miles is caught inbetween. Altogether, the use of different representations is to reveal that Miles’ path to becoming Spider-man will be about finding his own identity, not anyone else’s.
Postmodernism: A way of looking at the world that challenges the idea that there is only one way of understanding things.
An extract from The Truman Show (1998)
In the opening to The Truman Show, the film shows that media is everywhere by hinting that every part of Truman’s life is being secretly filmed/broadcasted. His home, job and town are all fake sets made for TV, which reveals how his reality is/can be completely manipulated by the media. This connects to hyperreality, where what’s real and what’s fake begin to blend together. The use of bright lighting and fake smiles show how the media can create a world that isn’t real but feels so. It is one of postmodernism’s main idea, which is reality can be replaced by imitation. All in all, The Truman show is a postmodernist film because it blurs the line between reality and fiction.
Structuralism Theory: An analytical model that suggests that human behavior is directed by a universally applicable set of rules. Lévi-Strauss’s suggests that the ways humans naturally explain the world in terms of opposition is a structuralist argument.
Applying the Lévi-Strauss theory of Structuralism)
An extract from Shaolin Soccer (2001)
It starts by presenting two teams, the Shaolin Team and the Puma Team. The purpose of this excerpt is to demonstrate how the underdogs (The Shaolin Team) translates their martial arts disciplines into winning a soccer match. Structurally, there is a binary opposition between traditions vs. modern corruption. Emphasizing this by showing Shaolin’s teamwork and Puma’s cheating. It is used to clearly explain ideas and creates identifiable character types. By showcasing authenticity vs corruption, underdogs vs champions, it makes moral stakes visible.
An extract from Spider-Man: Into The Spiderverse (2018)
The purpose of the excerpt is to reveal one of the main villains and to showcase Miles gaining a new ally. It begins by having Olivia Octavius (Doc Ock) reveal her arms and have her innocent facade slip away. Later on, Miles meets Gwen Stacy again and forms a new alliance with her. It creates a binary opposition between evil vs good and hidden vs revealed. Both Doc Ock and Gwen Stacy hide themself for a moment before they reveal their true identity to Miles. The function of this binary opposition is to create identifiable character types because although they both did the same thing, one is revealed to be a villain while the other is a hero.
Genre Theory: Genres repeat familiar patterns but also change things up to surprise their audience.
The trailer to Everything Everywhere All at Once (2022)
Genre: Based on the trailer, I believe it is Sci-fi/Action.
Convention: Narrative/Character is what I believe is the best to use to determine the genre. The trailer shows the main character switching between multiple universes while dealing with family conflict, blending action, and emotion.
Text Genre Subdivision: Social Effects- It centers around Asian-American immigrant family issues instead of cliche sci-fi hero stories.
Hybridity: Tonal shifts- The shifts between absurd comedy, high-stakes action, and drama expand audience appeal and make the film feel unique, unpredictable and contemporary (?).
The trailer to Phantom of the Paradise (1974)
Genre: Possibly horror/comedy/musical.
Convention: I think Iconology fits best. This extract shows glowing stage lights, masks, dramatic performances, and wild costumes that mix scary and funny visuals.
Text Genre Subdivision: Historical effects and Social context - Reflects the 1970s glam rock culture and criticizes the commercialization of music at that time.
Hybridity: Mixes musical, horror and satire to create a strong individual style, and remix high/low cultures in order to create a theatrical, exaggerated tone.
The trailer to Electric Dreams (1984)
Genre: I believe the genre is Romance/Sci-fi.
Convention: (High) Verisimilitude - The story reflects a believable vision of what people in the 1980s imagined computers could do. While the computer is personified, it appears to interfere with the man’s life and his relationship, and its artificial intelligence makes this threat feel like a plausible future scenario, even though the machine itself isn’t human.
Text Genre Subdivision: Cultural effects- The extract reflects cultural effects through the introduction of new technology. The trailer highlights how computers were still a concept at the time, helping the audience relate to the society depicted in the film.
Hybridity: Expand audience appeal- The film appeals to more people by mixing supernatural events with romance, which changes the mood and feelings for the audience.
Equilibrium Theory: Show a story moving from balance, to disruption, to a new balance.
The opening to Mission: Impossible - Rogue Nation (2015)
Proppian Characters: Ethan (The Hero), Benji (Helper), Luther (Helper) Brandt (Dispatcher), the Russians on the plane (The Villains)
Equilibrium: The equilibrium is the beginning of this scene where the characters are following their plan to retrieve the package. This scene is balanced even though it is not entirely “peaceful.”
Disruption: The disruption is when the plane takes off with the package and Ethan hanging off its side all while Benji struggles to open the doors for him. It breaks from the package/mission and focuses on the safety of Ethan, which interrupts the balance.
New Equilibrium: Is established when Ethan boards the plane and carries out the mission. It returns the scene back to balanced and order is restored.
In Media Res: This extract starts in the middle of the mission instead of giving backstory, instantly grabbing attention.
Multiperspective Narrative: Shows different layers of the same event using different perspectives from all the characters. Ex. Ethan’s physical struggle in the sky and Benji’s point of view from ground-level.
1) Applying the Equilibrium Theory
This opening uses equilibrium theory to show how fast order can collapse and be restored through teamwork. At first, the team works smoothly, but when their plan is disrupted and Ethan is in danger, everything becomes chaotic. By the end of the scene, Ethan completes the mission and restores balance as a result of them working together, which proved trust and strength are what keep their world from falling apart and it sets the new equilibrium.
Semiotic Theory: The study of how humans construct meaning for themselves and others.
The opening to Punch-Drunk Love (2002)
Sign : The harmonium
Signifier : The signifier would be how the red van stopped in front of the man (Barry Egan) and placed a harmonium calmly in front of him directly after a violent car crash.
Signified : The signified could be a sudden change/arrival/emotion forthcoming Barry’s isolated life.
Denotative meaning : A car crashed in front of Barry and the van behind it dropped off a harmonium for Barry.
Connotative meaning : Foreshadows how something unexpected but positive is going to happen in Barry's life in the future. It symbolizes emotional disruption.
Code : The harmonium is a hermeneutic code. By zooming into it, it highlights its importance in the story. It makes the audience question what is about to happen next and creates a sense of mystery. How does the harmonium change or relate to his future?
1) Applying the Semiotic Theory
The purpose of this extract is to show how the sudden arrival of the harmonium is related and relevant to his futurity. In the first half of the clip, the emptiness/lack of props and the long shot establishes Barry's loneliness and isolation. Using further context, the harmonium is known to create harmony in churches and homes, producing both melancholic and cheerful music, ultimately, the use of the harmonium is to disrupt his daily "mechanical" routine and to symbolize an unanticipated but mostly positive arrival/change in his life later on as the film progresses.
