This essay will critically analyse the film text Alien (1979) directed by Ridley Scott under the feminist approach to textual analysis. Alien is a science fiction thriller about a space mining crew that come across an alien life form (Xenomorph) which eventually wipes out the entire crew except for the surprising heroine Ellen Ripley (Sigourney Weaver), who not only survives till the very end but also defeats and destroys the alien.
In the case of the film text Alien the feminist criticism will be to examine the representations of women (Ripley) in the text which was created by a man (Scott), to evaluate the womans experience as the reader and to examine power relations which are formed in text and in life. From a liberal feminist point of view this essay will explore whether there is an equal or imbalanced level of power between genders within the text, particularly focusing on the levels of patriarchy within the text. I am going to analyse this piece of text as an opposition to classic Hollywood theory (Laura Mulvey 1989), castration anxiety (Barbara Creed 1993) and its salvation and punishment theory (Mulvey), 'final girl' theory (Carol Clover 1993) and an added breakdown of all the female references that could be suggested in the text leading to woman-as-a-sign which is an originally semiotic textual analysis approach.
Feminist Laura Mulvey criticises scopophilia (the love of looking) as a film text structure that is based on gender relations.
Classic Hollywood film theory, proposed by Mulvey (1989) establishes “the male character as active and powerful: he is the agent around whom the dramatic action unfolds and the look gets organised. The female character is passive and powerless: she is the object of desire for the male character(s).” (Visual and Other Pleasures, Mulvey, pg 353)
However this theory would appear to be reversed in the text Alien as the protagonist who outlives everyone, including all of the male crew members, is in fact female. Ripley is given the active and powerful role, whereas the men are shown to be weak and powerless. For example, Captain Dallas constantly makes mistakes such as breaking quarantine laws and his inability to protect his crew which inevitable leads to his own demise. Therefore it would appear that the gender roles have been reversed in Alien, which is contrary to classic Hollywood cinema (Mulvey’s main focus was on pre 1960’s cinema so it could be suggested that in relation to this text the theory is out dated and irrelevant.) as many modern horror/sci-fi thrillers offer scopophilic pleasure based on the woman instead of the man. Mulvey suggested, and Barbara Creed (1993) investigated the possibility that because of the role reversal in Alien, castration anxiety may be a result of this.
Castration anxiety is an idea which is closely related to Sigmund Freud’s theory of the female, particularly the mother figure, being a source of pleasure but also of very deep fears. One of these fears being of castration, due to the fact that the female is a reminder that she is lacking in male genitals but still has the typically male level of power. Mulvey (1989) would argue that the concept of ‘woman’ is generally ambiguous in the sense that the female character usually combines sexual attraction and seduction with "the evocation of castration anxiety” (pg 25, feminism and film). Barbara Creed investigated that this anxiety is a major underlying part of the films context. Creed supports this statement by discussing how Ripley takes her clothes off at the end of the film: “Ripley’s body is pleasurable and reassuring to look at. She signifies the ‘acceptable’ form and shape of a woman.” (Creed 1993, pg 23)
Particularly from this final scene it could be suggested that castration anxiety is caused because Ripley has taken on all the strength of the male protagonist whilst also keeping the strengths of a sexually attractive female.
In classic Hollywood films, Mulvey would argue, it can be suggested that the old fashioned norm (which Mulvey terms as 'fetishism') would be for the women to be punished or to gain salvation for the castration anxiety that they have caused purely for being female. Mulvey cites Alfred Hitchcock’s films as a key example in her case for 'fetishism' i.e. Vertigo (1958) and Rebecca (1940) as the women are commonly punished for the anxiety caused by their gender. From her guilt the common solution will be to either seal the punishment (pain, suffering caused by some form of physical or mental torture) usually by death or for the male protagonist to offer them salvation (saving their life, becoming lovers or marrying).
Though this may have been the case in classic cinema, it is clear that Alien is a text that defies those gender associated norms. Although it would appear that Ripley is punished to begin with, the punishment being that she has to watch her crew members die, it is clear that she survives to the end with only little punishment and through no male assistance saves herself and her feline friend (becoming her own saviour).
It could also be suggested that the Alien itself causes some minor level of castration anxiety. This is due to the Xenomorphs lack of gender specification. Yes it is a strong creature, which is a very masculine trait, but with no distinctly male or female features it is easy to see where there might be some possible male anxiety towards the creature.
To look at this text from a radically feminine point of view, it could be suggested that the company that Ripley works for and the alien she must defeat are much deeper and possibly male orientated representations. The company is a clear representation for the anxiety felt from dehumanisation and computerisation of society, which was predominantly created by men in power. The Xenomorph is wanted by the company at any cost and as the alien grows it begins to resemble a mechanical person: "It's like a man," observes Parker, the black ship engineering crew member. From a capitalistic perspective the alien can be seen as versatile (can survive in almost any condition), with strong defence mechanisms (acid for blood) and (as the company's male robot Ash points out in admiration) "unclouded by conscience, remorse or delusions or morality," making it the 'perfect organism' for the already dehumanised companies potential defence purposes:
"It is in fact a kind of ultimate Company Man and the company means to use it in its own defence, as part of the weapons division." (Judith Newton, Alien Zone, Chapter 7 - Feminism & Anxiety in Alien)
As a woman of white middle-class stance with moral purity it could be suggested that Ripley fulfils a radical feminism fantasy on an economic and social level as well as a female fantasy. By killing the Xenomorph she expresses the relief from the capitalistic and dehumanising horror of both the company owned ship and the alien which of course it what causes the feeling of anxiety throughout the text. From a feminist point of view this also brings the female viewer the fantasy that once a woman is integrated into the work force she will somehow save everyone from the dehumanising yet predominantly male patriarchy.
Besides the company, patriarchy does not seem to be an issue within the text, as the companies’ computer is called 'Mother' and the men appear to be weak, even within their high ranking roles.
It is clear from examining the text that female empowerment is a very strong theme. For example, the computer generated voice over which plays during the ships self-destruct count down is that of a female. Therefore it could be suggested that it is a woman that is in control of destruction or salvation. This is emphasised further by Ripley shouting ‘You bitch!’ when it becomes too late to stop the self-destruct timer as bitch is a generally feminine insult.
When studying horror films as a text, particularly modern horror films, it is important to at least reference Carol Clovers 'Final Girl' theory: "Final Girl: the one girl who fights, resists and survives the killer/monster, acquires the gaze, and dominates the action, and in thus is masculinized." (Clover, 1992, Men, Women & Chainsaws, pg 357)
Ridley Scott masculinizes Ripley by giving her the audiences gaze deservedly by being the last survivor and dominates the films action by blasting the alien out of the air lock. The 'final girl' theory in modern cinema is a positively feminist movement. Although in some pieces of text the masculinisation of a woman can be deemed as negative, in Ripley’s case, her masculinised character development works as a celebration of the feminist movement and creates a sense of empowerment at the expense of the male characters. This of course goes against Mulveys (1989) claim that women are represented in films as being passive and powerless.
Other ways that women can be represented in text is through the study of signs, formally known as semiotics; a theory created and developed by Ferdinand de Saussure a professor of general linguistics at the University of Geneva (1906 - 1913). Semiotics is the study of signs within text and in life. Signs come together to form codes, universally or at least nationally known, and develop into highly complex patterns of association. Within the text Alien there are many feminine patterns of association. For instance, the room where communication with 'Mother' takes place is round, soft and warm looking, possible reference to the 'Mothers' womb. There appear to be many female signs in the text, particularly in reference to the alien life form and the alien ship that sent the SOS call. The corridors within the crashed alien space craft are wet and appear to be ribbed almost like the inside of a ladies genitals and lead to a room filled with eggs so possible reference to female fertility also.
To conclude this essay I would like to finally evaluate the text through feminine criticism. The representation of women within the text is strong and most definitely pro-feminism, it is clear that Ridley Scott has a great appreciation for women and what they really stand for. The woman’s experience as the reader of the text would be that of empowerment and fulfilment as it takes in the ultimate female fantasy of having control where men have none. The power relations within the text seem to be on an even level up until the alien attack and then the power appears to shift towards the female, Ripley. The only hint of patriarchy comes from the companies disregard for the crew’s life over the Xenomorph, other than this there appears to be very little strong male control.
By looking at the different theories proposed my Mulvey, Creed, and Clover, it is thoroughly evident that Alien directed by Ridley Scott is a text which can be picked apart by feminist criticism piece by piece and be found to be a very feminist film.
