American Film Promising Young Woman and Joker - Answer
How useful is an ideological critical approach in examining the impact of the film you
have studied and the switch between passive and active spectatorship for the
spectators?
In terms of an ideological critical approach, Stuart Hall’s reception theory is constructed
through both films to depict the spectators’ switch between passive and active spectatorship.
His theory proposes that spectators interpret films in three different ways, such as a
preferred reading (passive), negotiated, and oppositional (active).In Fennell’s Promising
Young Woman (2020), Hall’s reception theory and Mulvey’s male gaze are used so
audiences are not only positioned to align with the protagonist Cassie but to also understand
her plight from her vantage point. In Phillip’s Joker (2019), Hall’s theory is constructed so
that the audience is positioned to align with the character Arthur Fleck, as he is constructed
as an anti-hero throughout. However, it brings up the argument as to whether his actions
conform to the hypodermic syringe model; this theory proposes that mass audiences are
passive and, therefore would be influenced by what is seen.
In the opening sequence, the long take and extreme close-up shot of men in slow motion in
the nightclub to the non-diegetic soundtrack of Charli XCX's "I’ve been busy thinking about
boys" satirically inverts male gaze stereotypes, to unnecessarily objectify men. The abrupt
cut to a long shot in real-time of these men on the dancefloor highlights the absurdity of male
Casanova and modifies gender binaries to ridicule the male ego. Furthermore, the mid shot
of three men in suits by the bar discussing women shows that Jim conforms to the
stereotype of a predatory misogynist who leers at Cassie, Jerry gives the initial impression of
the nice guy stereotype, as he presents his decision to address Cassie out of chivalry. The
long shot of a drunk Cassie paired with low-key lighting, in a slumped gesture code with
arms splayed out demonstrates Cassie positions herself in a stereotypically vulnerable
manner, making her a Proppian damsel-in-destress, that will either attract gentlemanly
protective behaviour or those with predatory intent. Also, her splayed arms and biblical
allusions throughout the film have sacrificial connotations that could allude to Jesus'
crucifixion, reinforcing her as a modern saviour, forsaking herself for the sins of the modern
world under the patriarchy. Her devotion to her friend is the one thing that drives her, but it
seems that everyone around her has either forgotten or given up, including Nina’s mother.
This could be an allusion to the Greek mythology of Cassandra, who was cursed to foresee
the future accurately but was never to be believed. Both Cassie and Cassandra deal with
themes of prophecy, betrayal, and struggle against societal norms (as seen in Cassie’s
positioning in the centre of long shots).
When in the Taxi, the contrapuntal connotations of the romantic radio song are contrasted
with the predatory intent of Jerry; the reflection of neon lights on city streets is presented as
gaudy rather than glamorous, making the menace of the scene grow. Moreover, the long
shot of Jerry infringing Cassie's personal space on a large couch, as she remains
half-conscious paired with the mid-shot of prolonged snogging is portrayed as grotesque and
unromantic. Therefore, Jerry is presented as taking advantage of her rather than being
romantic. The birds-eye-view shot of Cassie lying on Jerry's bed half-asleep is centrally
composed. The breaking of the fourth wall from Cassie gazing at the camera reveals that
she is sober, and despite there being no internal diegesis, this direct address positions
spectators to gain allegiance with Cassie’s point of view; it also acts as a moment of
How useful is an ideological critical approach in examining the impact of the film you
have studied and the switch between passive and active spectatorship for the
spectators?
In terms of an ideological critical approach, Stuart Hall’s reception theory is constructed
through both films to depict the spectators’ switch between passive and active spectatorship.
His theory proposes that spectators interpret films in three different ways, such as a
preferred reading (passive), negotiated, and oppositional (active).In Fennell’s Promising
Young Woman (2020), Hall’s reception theory and Mulvey’s male gaze are used so
audiences are not only positioned to align with the protagonist Cassie but to also understand
her plight from her vantage point. In Phillip’s Joker (2019), Hall’s theory is constructed so
that the audience is positioned to align with the character Arthur Fleck, as he is constructed
as an anti-hero throughout. However, it brings up the argument as to whether his actions
conform to the hypodermic syringe model; this theory proposes that mass audiences are
passive and, therefore would be influenced by what is seen.
In the opening sequence, the long take and extreme close-up shot of men in slow motion in
the nightclub to the non-diegetic soundtrack of Charli XCX's "I’ve been busy thinking about
boys" satirically inverts male gaze stereotypes, to unnecessarily objectify men. The abrupt
cut to a long shot in real-time of these men on the dancefloor highlights the absurdity of male
Casanova and modifies gender binaries to ridicule the male ego. Furthermore, the mid shot
of three men in suits by the bar discussing women shows that Jim conforms to the
stereotype of a predatory misogynist who leers at Cassie, Jerry gives the initial impression of
the nice guy stereotype, as he presents his decision to address Cassie out of chivalry. The
long shot of a drunk Cassie paired with low-key lighting, in a slumped gesture code with
arms splayed out demonstrates Cassie positions herself in a stereotypically vulnerable
manner, making her a Proppian damsel-in-destress, that will either attract gentlemanly
protective behaviour or those with predatory intent. Also, her splayed arms and biblical
allusions throughout the film have sacrificial connotations that could allude to Jesus'
crucifixion, reinforcing her as a modern saviour, forsaking herself for the sins of the modern
world under the patriarchy. Her devotion to her friend is the one thing that drives her, but it
seems that everyone around her has either forgotten or given up, including Nina’s mother.
This could be an allusion to the Greek mythology of Cassandra, who was cursed to foresee
the future accurately but was never to be believed. Both Cassie and Cassandra deal with
themes of prophecy, betrayal, and struggle against societal norms (as seen in Cassie’s
positioning in the centre of long shots).
When in the Taxi, the contrapuntal connotations of the romantic radio song are contrasted
with the predatory intent of Jerry; the reflection of neon lights on city streets is presented as
gaudy rather than glamorous, making the menace of the scene grow. Moreover, the long
shot of Jerry infringing Cassie's personal space on a large couch, as she remains
half-conscious paired with the mid-shot of prolonged snogging is portrayed as grotesque and
unromantic. Therefore, Jerry is presented as taking advantage of her rather than being
romantic. The birds-eye-view shot of Cassie lying on Jerry's bed half-asleep is centrally
composed. The breaking of the fourth wall from Cassie gazing at the camera reveals that
she is sober, and despite there being no internal diegesis, this direct address positions
spectators to gain allegiance with Cassie’s point of view; it also acts as a moment of
