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Beyond Objectification

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Submitted By gnejmnez
Words 1685
Pages 7
Genesis A. Jimenez
Professor Abigail Manzella
English 2830 18 November 2014
Beyond Objectification: Ann Darrow’s real role in King Kong
One of the most intriguing aspects of King Kong is the power of her visual effects. The multiple exposures, processed "shots" and a variety of angles of camera aim to provide viewers of 1930’s an escape from the severe economic depression before World War II. However, in King Kong the representation of the female role as an object of pleasure is somewhat disappointing for our society nowadays. In the entire film, we are not provided by strong traits of Ann Darrow’s personality other than her helplessness and common gender stereotypes. It seemed that Ann Darrow didn’t have anything else to offer other than being the endangered beauty of the film. King Kong objectifies and enhance one aspect of Ann Darrow in the entire movie: her physical beauty, apparently her only role is to be the object of desire or wealth for Kong of the principal male roles in the film. My goal in this paper is to show that situation and her complexity, how that portrayal of Ann Darrow’s character determines the continuity of the movie and her genre. Clearly Merian C. Cooper y Ernest B. Schoedsackare portray Ann’s character in order to don’t deviate and enhance the overall concept of an adventure film and produces greater meaning to the final quote: "The beauty killed the beast" and the evidence brought in this paper helps to support my belief.
In the scene when Carl Denham is discussing with the agent, he clearly states to the audience the motif of having Ann Darrow in King Kong and not only in his movie: “Because the public - bless 'em - must have a pretty face”. This quote reveals the audience’s endless fascination with the spectral surface of bodies and their reduced and worthless expectations of Ann Darrow’s character.
Then Ann Darrow is portrayed as a helpless female in need and his character doesn’t evolve from there during the entire film. At the moment we met her, she is stealing a fruit, the setting tries to keep her face hidden until Denham grabs her and we get a close-up of his face. That close-up not only enhance the pretty face of Darrow through the use of soft lighting, it also communicates the misery and desperation of Ann Darrow’s character. She’s vulnerable since the first moment we see her. This vulnerability allows Denham to objectify her beauty making of Ann the perfect object to look at and be rescued in the film in order to justify the monster fights and other actions in the film like the climbing of Kong in the Empire state building.
An emphasis on masculine heroics is a defining characteristic of the adventure genre. The lack of complexity in Ann’s character and vulnerability also tends to enhance Jack’s heroism in the movie. She is the object and justification of Jack heroism. The mise-en-scene with the actor’s placement portrays these roles effectively. At the moment Ann and Jack are in the Skull Island; Ann is escorted by Jack all the time. The representation of Ann as a passive woman in this scene helps to achieve in Jack an image of Macho hero.
The first time Jack and Ann appear together clearly shows the effort by Cooper to contrast these two characters through their acting and costumes. His leading role in the deck as the captain of the boat and the juxtaposition with Ann’s innocent attitude reinforces Jack’s masculinity, he is in a position of power. Ann helps him to build his heroism in this scene. The fact that Ann was accidently hit in the scene clearly indicates that Ann doesn’t belong to that place enhancing her vulnerability. It not only portrays a relation to the resistance of having women executing man duties in the 30’s in the US, it also anticipates her victimization later in the film. The stereotypes of gender are clearly being reinforced by Jack attitude towards Ann when he says she should stay below. That scene is another moment where Ann is representing a figure that enhances Jack as the hero of this adventure film.
Right before Ann is kidnaped the audience expectations of romance are satisfied. However, this romance is in function of Ann being the object of desire of Jack. Carl Denham clearly states it in the previous scenes predicting Jack and Ann romance: “The beast was a tough guy too. He could lick the world, but when he saw beauty, she got him.” Ann’s beauty is the principal reason of Jack falling for Ann. She represents his object of desire.
Finally, we obtain this scene of Jack declaring his love to Ann, the motifs before getting to our all adventure setting are revealed. First we have a medium close-up shot of Ann and Jack, while Jack’s feelings are being expressed, the implied proximity is getting closer in order to reveal further Jack motifs of being Ann’s hero. It’s part of building up the expectation and explaining motifs before arriving at the Skull Island.
On the other hand, we cannot forget of the representation of Ann as an object of desire. In order to reinforce Ann’s beauty in the film, the director clearly tried to enhance her whiteness through the use of light-colored costumes and dying Ann’s hair who was a brunette before making King Kong, for Cooper whiteness was the standard of beauty. In addition, this idea of beauty is explicitly strengthened in the scene showing the negotiation between the tribulations and the indigenous of the island. Ann’s value is the same as the value of six black women. It clearly reveals that the maximum expression of beauty for Cooper/ Schoedsackare is equated to a white face. This clearly shows humans as articles as Rhona J. Berenstein supports in her book: “Women, similarly to blacks, appear not as people or potential partners, but as objects of others’ stares, a sort of visual capital”
Ann’s human value is reduced to a simple tool to satisfy Denham’s ambition. He tries to depreciate Kin Kong’s value from God in one culture to a simple spectacle in what he calls civilization. As James Snead notes:
“Ann Darrow the girl has more in common with King Kong than it seems at first. If Kong is objectified blackness (beastliness in the white aesthetic), then the girl is objectified beauty-both are freed from a lowly state, but must then serve Denham’s design. They only exist to satisfy the male viewers’s active and erotic look”
However treating Ann Darrow as an object to satisfy Kong’s scopophilia clearly prepares the audience to the final quote: “Beauty killed the beast”. This pleasure of looking at Ann Darrow is expressed in several times through King Kong’s male gaze.
As opposed to James Snead’s and Rhona’s thoughts, her role sometimes goes beyond only satisfying the male viewer’s active and erotic look. Ann also has some kind of power implicitly expressed in the film: the power of softening Jack and Kong aggressiveness through her role as an object of desire. It also helps Cooper to states the motifs of this epic adventure portrayed in the film. This power is expressed in her screaming. This duty of Ann Darrow is critical in her relationship with King Kong, it’s one of the few times we see Ann has some kind of supremacy in the film by awaking Kong’s most protective side towards her. One of the many examples is when Kong rushes to her when he hears her screams and rescues her from a huge lizard in a prehistoric wrestling match. This scene is part of the epic adventure Cooper wanted to denote in King Kong, and Ann’s screaming was the perfect tactic to get in that point. The use of long shots clearly aims to focus more on the environment than Ann’s and Kong’s emotions in that time. For Cooper is more about the product of character’s emotions than their emotions themselves. Despite her image of the helpless beauty, in this scene we have to recognize her role as the figure that makes the movie keep going and her feminine power of desirability as a threat during the film.
On the other hand, that doesn’t erase the fact of her objectification and incredible sexist stereotypes in detriment of women. Quotes in the movie like “But women just can't help being a bother” and “I guess you don't think much of women on ships? No, they're a nuisance” reveals Ann as a simple object that doesn’t offer anything else other than being object of the male gaze. However the actions speak louder than words and this representation as an object of desire offers Cooper a logical plot and motifs to make King Kong be considered one of the 50 best U.S films by the American Film Institute.
The motifs of including Ann’s character were clear since the first scene not only in the Carl Denham’s “film”, also in King Kong. Cooper’s background reinforces this belief. In “the exploits of Merian C. Cooper” He was showed as a natural adventurer, so clearly giving complexity to character’s personality was irrelevant for him. He just needed a motif or object of desire to cause these monster fights and satisfy audience expectations of romance and what a better motif than a woman in danger. Her vulnerability, innocence and helplessness enhancing Jack heroism truly complements and defines the adventure genre in the film. In addition, it signifies and clearly implant the final quote “Beauty killed the beast” in the audience memory.

Bibliography
Berenstein, Rhona J. Attack of the Leading Ladies: Gender, Sexuality, and Spectatorship in Classic Horror Cinema (Chapter 6). New York: Columbia University Press, 1996.
King Kong. Dirs. Merian C. Cooper and Ernest B. Schoedsack. Perf. Fay Wray, Bruce Cabot and Robert Armstrong. 1933. DVD.
Snead, James. "White screens black images. Hollywood from the Dark side." New York: Routledge, 1994. 20-21.

Appendix

1. First close-up of Ann

2. First scene of Jack and Ann

3. Scene of Ann Darrow screaming

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