EN2207 Sasitharan Gaiatri A0185045E

NUS
EN2207
Essay Prospectus and Annotated Bibliography
Sasitharan Gaiatri
A0185045E


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Essay Prospectus

In this essay I argue that George Miller’s Mad Max: Fury Road (Mad Max) is a film worthy of the

title “feminist masterpiece” (Mad Max: Fury Road… a Feminist Masterpiece?!) and is an important

work in the cannon of feminist cinema.

Before I argue for this perspective, I will first define feminist cinema, explaining what it constitutes.

For the purpose of this essay, feminist cinema shall refer to cinematic works that contain feminist

elements - including the portrayal of feminist characters - that stand for social, political, economic

gender equality and sexual autonomy for women. Hence, I shall be setting up three important

criteria for judging a whether a film is feminist: the film must deny the male gaze and restore the

female spectator, it should contain realistic depictions of women and it must “give space to things

which were…almost never shown” onscreen regarding the female experience (Bergstrom).

Mad Max successfully fulfils the three aforementioned criteria and is a cinematic work containing

feminist elements. Its feminist elements are evident in the characterisation and portrayal of

Imperator Furiosa, the storyline of the Five Wives and the duty of the Vulvani to ensure the survival

of nature and the human race. Women are ascribed the responsibility of tearing down the

oppressive, patriarchal regime of Immortan Joe subsequently freeing men and women alike. In the

film, there is also the denial of the male gaze via the depiction of female characters - namely

Imperator Furiosa and the Five Wives - and the choice of framing in camera angles as well as realist

depictions evident in the women in captivity in Immortan Joe’s Citadel (the older women kept for

lactation and looking after the younger ones as well as the younger ones kept for reproduction).

Furthermore, attention is given to the restoration of nature as an active subject in the women’s

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search for freedom and women are depicted in a manner previously unseen in the genre of action

films via the crafting of Furiosa as a female action heroine (Yates).

The central plot of the film is a feminist revolt led by the only female Imperator, Furiosa, and its

titular character is almost relegated a backseat in the action of the film (Smith). Besides this,

Miller’s choice of casting for Furiosa, his purposeful use of camera technique and framing as well

as the mise-en-scene in the film all work towards creating an intrinsically feminist narrative. Thus,

the plot and writing of the film coupled with its production and development process were essential

in ensuring it challenged the typical patriarchal structures present in the Hollywood action flick,

instead presenting a unique perspective of the female narrative in a dystopian, post-apocalyptic

world. Miller uses all aspects of film-making, from conception, to the process of production to the

final presentation of the visual spectacle to further his message a feminist director.

Currently, discourse surrounding Mad Max regarding its status as a feminist film is extremely

divisive. Despite the involvement of Eve Ensler, a reputable feminist theorist, in the production of

the film as well as the subversion of typically misogynistic techniques in filmmaking, some

theorists and film critics firmly believe that the complete absence of women in the writing and

direction of the movie negates its ability to be a feminist film (Dockterman) (King). Furthermore,

the choice of casting and cinematic depiction of the Five Wives in the film is often used as a key

example of objectification, serving to reinforce not challenge the patriarchal ideals of the field

(Bampatzimopoulos).

However, others do agree that the defiance of the male gaze, the characterisation and portrayal of

Imperator Furiosa, the representation of women in the genre of action film as well as the

ecofeminist reading of nature and the state of the earth in the film indisputably deem it an important
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feminist film. Ensler herself has praised Miller for “looking to create empowered women, not

victims, sidekicks or damsels in distress” and has expressed admiration that he believed it

importance for her to give the actresses a “perspective on violence against women around the world,

particularly in war zones” in order to realistically portray the Five Wives (Dockterman).

This essay contributes to existing conversations by presenting an argument on multiple reasons why

Mad Max is a feminist film. Rather than focusing on only one aspect of feminist cinema, I argue

that the film fulfils multiple criteria and ultimately furthers the feminist agenda in its portrayal of

women and their experiences in a dystopian post-apocalyptic word.

749 words


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Annotated Bibliography

1. Visual Pleasure and Narrative Cinema, Laura Mulvey

Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Visual and Other Pleasures, Palgrave,

1989, pp. 14–26.

Laura Mulvey coined the term ‘male gaze’ in reference to the depiction of women from a

heterosexual perspective, representing them as mere sexual objects. Her exploration of the depiction

of the female form in cinema forms the foundation of feminist film criticism and is especially

relevant in an analysis of Mad Max: Fury Road which denies the male gaze and instead restores the

female spectator to a place of importance in cinema.

2. “Recasting nature as feminist space in Mad Max: Fury Road”, Michelle Yates

Yates, Michelle. “Re-Casting Nature as Feminist Spacce in Mad Max: Fury Road.” Science Fiction

Film and Television, vol. 10, no. 3, Autummn 2017, pp. 353–70.

Michelle Yates analyses Mad Max: Fury Road from the lens of an ecofeminist, exploring how

women and nature are treated by patriarchal, masculine society (Miles). She views the film as a

rejection of the patriarchal Edenic recovery narrative and instead sees nature as a “space of feminist

possibility”, marking it as a “place of freedom from patriarchy” (Yates). Therefore, her essay is

crucial in understanding how the interconnection between nature and feminism play a role in the

film.

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3. “Female Action Hero vs Male Dominance: The Female Representation in Mad Max: Fury

Road.”, Sotirios Bampatzimopoulos

Bampatzimopoulos, Sotirios. “Female Action Hero vs Male Dominance: The Female

Representation in Mad Max: Fury Road.” Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi

Dergisi, vol. 55, Jan. 2016, pp. 205–18.

Bampatzimopoulos examines the representation of the female action hero - Imperator Furiosa - in

Mad Max, determining if her portrayal eludes the male gaze and challenges patriarchal structures

typically found in the genre of action films. He focuses on the character of Furiosa and analyses

how the writing of her character and her visual depiction result in the presentation of a complex

female action hero subverting typical masculine and patriarchal depictions.

4. FILM CRITICISM AND FEMINISM: An Interview with Molly Haskell, Gary Crowdus, et al.

Crowdus, Gary, et al. “FILM CRITICISM AND FEMINISM: An Interview with Molly Haskell.”

Cinéaste, vol. 11, no. 3, 1981, pp. 2–11. JSTOR.

This interview with American film critic and feminist Molly Haskell delves into the intertwining

worlds of feminism and film theory. It discusses the purposes of the two fields separately and how

criticism works with feminism to study the evolution of images of women onscreen as well as their

presence in a male-dominated field.

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5. Vagina Monologues Writer Eve Ensler: How Mad Max: Fury Road Became a ‘Feminist Action

Film.’, Eliana Dockterman

Dockterman, Eliana. “Vagina Monologues Writer Eve Ensler: How Mad Max: Fury Road Became a

‘Feminist Action Film.’” Time, 5 July 2015, https://time.com/3850323/mad-max-fury-road-eve-

ensler-feminist/.

This interview with playwright and feminist Eve Ensler provides insight into George Miller’s

creative process when writing, directing and producing Mad Max. Ensler explains her role in

filming as well as how she imparted her own knowledge of violence against women to the actresses

in the film to create a more realistic depiction of their backstories and characters onscreen.

6. ‘Hope Is a Mistake, If You Cant’t Fix What’s Broken You Go Insane’: A Reading of Gender,

(S)heroism and Redemption in Mad Max: Fury Road, Belina Du Plooy

Du Plooy, Belinda. “‘Hope Is a Mistake, If You Cant’t Fix What’s Broken You Go Insane’: A

Reading of Gender, (S)heroism and Redemption in Mad Max: Fury Road.” Journal of Gender

Studies, vol. 28, no. 4, July 2018, pp. 414–34.

Belinda Du Plooy’s article purports that Mad Max: Fury Road presents a new perspective about the

portrayal of women in the Mad Max franchise. She instead argues that the main characters of Max

and Furiosa are “traumatised mirror images or alter egos of one another” representing a more equal

and balanced view of gender in a dystopian post-apocalyptic world where men and women have to

collaborate to achieve redemption (Du Plooy).

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7. Storytelling in the 21st Century: Fading Out on the Male Gaze, Rachel Parker

Parker, Rachel. “Storytelling in the 21st Century: Fading Out on the Male Gaze.” Medium, 11 Mar.

2017, https://medium.com/@raitchparker/storytelling-in-the-21st-century-fading-out-on-the-male-

gaze-13b05b840b78.

Rachel Parker’s article explains the male gaze, providing examples of its depiction in cinema from

the late 20th to the early 21st Century. While she eventually concludes that the end of the male gaze

is yet to be seen, Mad Max is an important film that defies it, depicting a woman as the heroes

figure in the film.

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References

Bergstrom, Janet. “Keeping a Distance: Chantal Akerman’s Jeanne Dielman | Sight & Sound.”
British Film Institute, 15 Oct. 2015, https://www.bfi.org.uk/news-opinion/sight-sound-magazine/
features/keeping-distance-chantal-akerman-s-jeanne-dielman.

Crowdus, Gary, et al. “FILM CRITICISM AND FEMINISM: An Interview with Molly Haskell.”
Cinéaste, vol. 11, no. 3, 1981, pp. 2–11. JSTOR.

Dockterman, Eliana. “Vagina Monologues Writer Eve Ensler: How Mad Max: Fury Road Became a
‘Feminist Action Film.’” Time, 5 July 2015, https://time.com/3850323/mad-max-fury-road-eve-
ensler-feminist/.

Du Plooy, Belinda. “‘Hope Is a Mistake, If You Cant’t Fix What’s Broken You Go Insane’: A
Reading of Gender, (S)heroism and Redemption in Mad Max: Fury Road.” Journal of Gender
Studies, vol. 28, no. 4, July 2018, pp. 414–34.

King, Tracy. No, Mad Max: Fury Road Is Not a Feminist Masterpiece (but That’s OK).
NewStatesmanAmerica, 20 May 2015, https://www.newstatesman.com/culture/2015/05/no-mad-
max-fury-road-not-feminist-masterpiece-s-ok.

“Mad Max: Fury Road… a Feminist Masterpiece?!” Critical Approahces to Literature, 11 June
2016, https://ctlsites.uga.edu/engl3820w-fall2016/mad-max-fury-road-a-feminist-masterpiece/.

Miles, Kathryn. “Ecofeminism.” Encyclopedia Britannica, 14 Nov. 2013, https://

Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Visual and Other Pleasures, Palgrave,
1989, pp. 14–26.

Parker, Rachel. “Storytelling in the 21st Century: Fading Out on the Male Gaze.” Medium, 11 Mar.
2017, https://medium.com/@raitchparker/storytelling-in-the-21st-century-fading-out-on-the-male-
gaze-13b05b840b78.
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Smith, Kyle. “Why ‘Mad Max: Fury Road’ Is the Feminist Picture of the Year.” New York Post, 14
Mar. 2015, https://nypost.com/2015/05/14/why-mad-max-fury-road-is-the-feminist-picture-of-the-
year/.

Yates, Michelle. “Re-Casting Nature as Feminist Spacce in Mad Max: Fury Road.” Science Fiction
FIlm and Television, vol. 10, no. 3, Autummn 2017, pp. 353–70.

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