This paper is about Tod Browning’s controversial movie "Freaks". It serves to explain how the movie "Freaks", deconstructs what is understood as the category of “normal” people. What leads the viewer to judge the “normals” as such in the beginning of the movie is going to be examined throughout this work.
This paper illustrates what is understood as “monsters” and what the function of this constructed borderline between “normals” and “freaks” is. Therefore it is looked at the meaning of deformity in history. It is going to be analyzed how the viewer is introduced into the movie by the preface.
At the film’s turning point (wedding banquet), what is firstly presented to the viewer as “freak” suddenly is understood as “normal”. How this deconstruction of the “freak” proceeds is going to be described in the following.
In the movie, terms for referring to disabled people play an important role in determining how the viewer perceives the characters that are presented. Already the movie title Freaks is very provocative for it is the term describing a failed product of procreation. Throughout this paper the term “freaks” is going to be used. No other terms like “disabled” or “handicapped” appeared more reasonable as the term “freak” for it expresses best how the assumed category of the “freak” is a construct and dependent on the condition of a relation, in addition it is connected to perspectives. From an anthropological perspective it is always recommended, in case of doubt, to call a group by its self-imposed name. Moreover the term “freak” refers to the relation of a person whose deviation from the norm is used for the entertainment of others and the person who is entertained. This describes best that this category is a construct and underlines that to be a “freak” is not primarily a body condition but rather a social relation.
Table of Contents
1. Introduction
2. Context
3. Negative Associations
3.1. Freak’s preface
3.2. The monster in history
4. Deconstruction and conceptualization
4.1. Terms and conceptualization of “monster/ freak” and “normal”
4.2. Deconstruction of the norm
5. Tools helping the deconstruction
5.1. Names
5.2. The camera
5.3. Deconstruction by pictures
6. Exploitation
7. Conclusion
Objectives and Research Focus
This paper examines how Tod Browning’s film Freaks deconstructs the societal category of "normality" by challenging the binary opposition between "normal" people and those labeled as "freaks." The research explores how the film shifts the viewer's perception through narrative, camera work, and character dynamics to reveal that monstrosity is a social construct rather than a physical reality.
- The historical and social construction of the "monster" and "freak" categories.
- The impact of visual storytelling, including camera angles and character naming, on viewer identification.
- The role of the wedding banquet as a pivotal turning point in the film's narrative.
- The debate surrounding the film’s status as an exploitation movie versus a progressive social critique.
Excerpt from the Book
4.2. Deconstruction of the norm
In the western world the term “monster” since the antiquity served to exclude people with deformed bodies from society and deny them all political rights. Like in Freaks this exclusion legitimates itself by its own understanding of normality.
Certainly the norm fails to define itself; therefore it needs the category of the “monster” as a borderline. The viewer is needed, for monstrosity in movies is created through the eyes of the beholder. In the following I want to explain how a new norm is created:
At the movie’s beginning stands the viewer’s identification, with the “normals”. They behave nicely and the viewer feels that their body condition- a healthy, for perfection striving body (Dellmann 54), appears more likely to be “normal” (which they consider themselves), than the bodies of the group of “freaks”.
At the climax, when the wedding banquet approaches and Cleopatra cannot longer hide her rejection to the “freaks”, her malice comes to the surface. At this tuning point the viewer denies to put himself into the category of the “normals”. He can put himself in the “freaks” position and is able to understand how hurtful it must be, to be fooled in the context of love. Although, still the appearance and their deformities of the “freaks” seem odd and strange he can now rather identify with the “freaks’”. The movie presents it as: to associate oneself with a ”freak” is still better than to belong to the group of scheming “normals”.
Summary of Chapters
1. Introduction: Outlines the scope of the paper, emphasizing the deconstruction of the "normal" category in Freaks and establishing the theoretical perspective on social constructs.
2. Context: Details the production history of the film, its source material Spurs, and the initial controversy and reception surrounding its release.
3. Negative Associations: Analyzes how the prologue and historical context associate deformity with evil, serving to initially alienate the viewer from the "freaks."
4. Deconstruction and conceptualization: Investigates the theoretical framework of binary oppositions and how the film systematically blurs the boundaries between the "normal" and the "monstrous."
5. Tools helping the deconstruction: Examines specific cinematic techniques, including character naming conventions, camera perspective, and visual juxtapositions used to dismantle the established norms.
6. Exploitation: Discusses the ethical controversies of the film’s production and marketing, questioning whether it relies on voyeurism or achieves genuine social subversion.
7. Conclusion: Summarizes that Freaks successfully shifts perspectives by revealing that monstrosity is a relational category and that human emotions and morality are not tied to physical appearance.
Keywords
Tod Browning, Freaks, deconstruction, normality, monstrosity, social construct, binary opposition, sideshow, voyeurism, film analysis, disability, exploitation, perspective, identity, representation.
Frequently Asked Questions
What is the core subject of this academic paper?
The paper explores how the 1932 film Freaks by Tod Browning deconstructs traditional societal categories of "normality" and "monstrosity."
What are the primary themes discussed in the work?
Key themes include the social construction of identity, the power dynamics of "othering," the ethics of representation in cinema, and the relationship between physical appearance and perceived moral character.
What is the main objective or research question?
The primary objective is to analyze how the film Freaks reverses the viewer's identification, transforming characters initially perceived as "monsters" into relatable, humanized figures, thereby challenging the viewers' own biases.
Which scientific or theoretical methods are applied?
The author employs cultural and film studies perspectives, drawing upon theorists like Elizabeth Grosz and Sarah Dellmann to analyze narrative structure, character relationships, and the sociological impact of the film.
What aspects are covered in the main section?
The main section covers the historical context of "freak" shows, the use of cinematic tools like camera angles to facilitate empathy, and a detailed look at how character names and visual contrasts force the viewer to reconsider their definitions of normal and abnormal.
Which keywords best describe this research?
The work is defined by terms such as deconstruction, social construct, binary opposition, identity, representation, and exploitation.
How does the camera specifically contribute to the film’s message?
The camera is used to maintain a neutral, eye-level perspective with the "freaks," which prevents them from being viewed as spectacles and instead presents them as active, human subjects within their own environment.
What is the significance of the "wedding banquet" mentioned in the text?
The wedding banquet represents the narrative turning point where the "normal" character Cleopatra reveals her malice, causing the audience to shift their alliance away from the "normals" and toward the "freaks."
Does the author conclude that the film is strictly an exploitation movie?
While acknowledging the controversial production methods and marketing, the author argues that the film ultimately transcends simple exploitation by granting the "freaks" moral complexity and subverting the audience’s expectations.
- Quote paper
- Anonym (Author), 2014, Deconstruction of the norm in Tod Browning's "Freaks", Munich, GRIN Verlag, https://www.hausarbeiten.de/document/319093
