This paper deals with the socio-cultural parameters of representation in movies, focussing on a comparative reading of Cooper's (1933) and Jackson's (2005) "King Kong"-movies.
The academic consideration of movies and their significance regarding the creation and shaping of discourse is a relatively new, yet fruitful approach to socio-cultural studies (c.f. Erb 1998: 13f. a. Benshoff & Griffin 2004: 3). Like other cultural items, movies reflect the norms and realities of the environment they are produced in and, thus, feature statements about what their respective culture of origin considers to be ‘normal’ – on both overt and covert, or, conscious and unconscious levels (c.f. Vogler 1978: 109). The presentation of these notions in Hollywood films offers “keen insights into the ways that different groups of American people have been treated (and continue to be treated)” (Benshoff & Griffin 2004: 3). It is therefore important to note that the, albeit fictive, representations of people on screen are also capable of influencing their perception in real life (c.f. ibid.).
The analysis of genre movies appears to be especially suited for socio-cultural considerations, as these movies not only provide comparable narrative structures, but also feature recurring tropes (c.f. Stymeist 2009: 395f. a. Benshoff & Griffin 2004: 30f). Furthermore, the extent of their success and endurance mirrors their respective capability of representing and mediating discourse, as well as contextualizing it with regard to current social realities (c.f. ibid.).
Taking these parameters into account, it can be argued that the horror genre is particularly promising in this respect, as it usually features a monster which counters social norms concerning notions such as race, class and gender (c.f. ibid.). In that, the monster embodies a society’s fears and is sometimes even regarded as a perversion threatening the status quo which, “in classic Hollywood horror films [...], is conventionally represented by middle-to-upper-class, white, heterosexual couples and patriarchal institutions” (Benshoff & Griffin 2004: 31).
Merian Cooper’s King Kong (1933, c.f. Internet Movie Database, IMDb) might arguably be the most striking example that comes to mind when evaluating the socio-cultural impact of horror movies, especially when focusing on the representation of race, gender and culture (c.f. Cowlishaw 2006: 1714, Stymeist 2009: 396f. a. Erb 1998: 13-15). [...]
Table of Contents
Introduction
1. ‘Black Buck’ meets ‘White Goddess’ – Race and Sexuality in King Kong
2. Spotting the Victim – Gender in King Kong
3. Nature’s Revenge on Industry – Culture in King Kong
4. Conclusion
Research Objectives and Core Themes
This paper presents a comparative and historically contextualized analysis of Merian C. Cooper’s 1933 original film King Kong and Peter Jackson’s 2005 adaptation, focusing on how both narratives delineate evolving social norms regarding race, gender, and culture over time.
- The intersection of race and sexuality through the tropes of "Othering" and "Primitivism."
- The construction and evolution of gender roles, particularly regarding female agency and "womanhood."
- Binary oppositions between civilization (New York) and nature (Skull Island).
- The critique of industrial capitalism and its impact on the environment and society.
- A comparative evaluation of how each film handles the "beauty killed the beast" narrative.
Excerpt from the Book
1. ‘Black Buck’ meets ‘White Goddess’ – Race and Sexuality in King Kong
Cooper’s King Kong, released in 1933, and Jackson’s recent adaptation, filmed roughly 70 years later, are most frequently ascribed to the horror and monster genre (c.f. Erb 1998: 22 a. 27, Stymeist 2009 a. Berenstein 1994: 315). This trivialization is, as Erb states, a problematic one: it not only neglects the roots of Kong’s character and the social implications of the manner in which he is presented, but also underestimates the original movie’s overall cultural significance (c.f. Erb 1998: 13, 20 a. 27). While this might be a rather frequent phenomenon when considering tropes of popular culture, “in the case of King Kong, one significant consequence is that the character’s historical origins in a moment of extreme racial strife largely vanish, leaving behind only a ‘cute animal’ figure” (ibid.: 20), as presented in the narrative’s current version (c.f. Cowlishaw 2006: 1714). Such sympathetic and emotional depictions of the ape, as in Jackson’s movie, are prone to erase these original notions, leaving behind a “completely domesticated, deracinated ape of mass culture” (Erb 1998: 206f.).
However, they also enable the previously mentioned activation of Kong’s character under other circumstances and his resultant success in the first place, which is also due to the original’s many layers that allow for such varying interpretations (c.f. ibid.: 13, 27 a. 33). In that, as Erb and Berenstein argue, there is a lot more to the narrative structure of the original King Kong than its elements of horror and monster movies (c.f. ibid.: 27 a. Berenstein 1994: 315). The movie’s contemporary audience probably associated the film with the genres Cooper’s earlier works belong to, namely, “travel documentaries and jungle adventure films [...] that were arguably most salient at the time of [King Kong’s] release” (Erb 1998: 27).
Summary of Chapters
Introduction: This chapter establishes the theoretical framework for analyzing how Hollywood horror films, specifically King Kong, reflect socio-cultural discourses on race, class, and gender.
1. ‘Black Buck’ meets ‘White Goddess’ – Race and Sexuality in King Kong: This section evaluates how both films engage with the racial archetypes of the "Black Buck" and the "White Goddess," investigating how these constructs reinforce or challenge historical fears of miscegenation.
2. Spotting the Victim – Gender in King Kong: This chapter analyzes the transformation of gender roles, focusing on the characterization of Ann Darrow and how her function as a "victim" evolves from a passive Victorian ideal to a more active, though still gendered, role.
3. Nature’s Revenge on Industry – Culture in King Kong: This chapter contrasts the films' depictions of the binary opposition between technological civilization and the natural world, arguing that the films reach different conclusions regarding the "justification" of exploitation.
4. Conclusion: The conclusion synthesizes the findings, highlighting that while Jackson’s adaptation is more progressive, both films ultimately rely on and perpetuate certain troubling racial and gendered stereotypes.
Keywords
King Kong, Merian C. Cooper, Peter Jackson, Race, Gender, Culture, Othering, Primitivism, Horror Genre, Western Civilization, Black Buck, White Goddess, Ann Darrow, Socio-cultural studies, Miscegenation
Frequently Asked Questions
What is the primary objective of this paper?
The paper aims to provide a comparative and historically contextualized reading of the 1933 and 2005 versions of King Kong, focusing on the representation of race, gender, and culture.
Which theoretical framework does the author use?
The author utilizes socio-cultural studies, drawing on concepts such as "Othering," "Primitivism," and tropes common to the horror and jungle film genres.
How does the author define the horror genre's function in this context?
The author argues that the horror genre acts as a mirror for a society's fears, often using monsters to counter or interrogate social norms regarding class, race, and gender.
What central themes are analyzed in the work?
The work centers on the intersection of race and sexuality, the construction of Victorian versus modern gender roles, and the thematic conflict between technological civilization and nature.
What is the conclusion regarding Jackson's adaptation compared to Cooper's original?
The author concludes that while Jackson’s version is more progressive and empathetic toward the monster, both films ultimately perpetuate problematic stereotypes regarding femininity and racial whiteness.
What are the essential keywords characterizing this analysis?
Key terms include King Kong, Othering, Primitivism, race, gender, culture, and the critical evaluation of industrial capitalism.
How is Ann Darrow's characterization compared across the two films?
In the original, she is a passive victim in a Victorian mold, whereas in the 2005 version, she is portrayed with more agency, talent, and compassion, though still depicted as needing a male companion to be "complete."
What is the significance of the "beauty killed the beast" quote?
The author identifies this phrase as a major plot element that persists in both films, harboring misogynistic ideas that blame women for the destruction of the natural world or the male monster.
- Quote paper
- Lena Meyer (Author), 2015, Notions of Race, Gender and Culture in Cooper’s and Jackson’s "King Kong", Munich, GRIN Verlag, https://www.hausarbeiten.de/document/299334
