Abstract
The label “tough” is routinely linked to women who “act” like men, which usually means waving a gun around. Ironically, women as police officers and soldiers, despite their increasing numbers in actuality, remain rare onscreen. The gun-toting “toughness” of Demi Moore’s G.I. Jane or Halle Berry’s secret agent (and latest Bond girl) in Die Another Day is often chided for being too fantastic (as compared to the “realism” of John McClane, returning soon in Die Hard IV). Moreover, the toughness of pistol-packing women is frequently linked to an ascribed maternal instinct, which does not destabilize traditional gender roles but reaffirms them. As Yvonne Tasker notes, “The maternal recurs as a motivating factor, with female heroes acting to protect their children, whether biological or adoptive (Terminator 2, Aliens, Strange Days) or in memory of them (Fatal Beauty).”1 Even the more complex heroine in The Long Kiss Goodnight is split in two, emphasized “through the codes of costume and behaviour”: the tough, cross-dressing Charly who kicks ass and the “feminine” Samantha who is “defined by her motherhood, community role, and thence by the needs of others.”2 Aside from this kind of marauding mom or Berry’s sultry assassin, contemporary cinema limits its run of tough gals with guns (smoking or symbolic) and leaves it to the boys with toys to portray toughness as gun play.
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Notes
Yvonne Tasker, Working Girls: Gender and Sexuality in Popular Cinema (London: Routledge, 1998), 69.
See Marilyn Yaquinto, Pump Em Full of Lead: A Look at Gangsters on Film (New York: Twayne Publishers, 1998);
David E. Ruth, Inventing the Public Enemy: The Gangster in American Culture, 1918–1934 (Chicago: University of Chicago Press, 1996);
Robert B. Ray, A Certain Tendency of the Hollywood Cinema, 1930–1980 (Princeton, NJ: Princeton University Press, 1985).
See Laura Mulvey, Visual and Other Pleasures (Bloomington: Indiana University Press, 1989).
Teresa de Lauretis, Alice Doesn’t: Feminism, Semiotics, Cinema (Bloomington: Indiana University Press, 1984), 39.
Judith Mayne, “Feminist Film Theory and Criticism,” in Multiple Voices in Feminist Film Criticism, ed. Diane Carson, Linda Dittmar, and Janice R. Welsch (Minneapolis: University of Minnesota Press, 1994), 57.
See bell hooks, Black Looks: Race and Representation (Boston: South End Press, 1992); Stuart Hall, “The Spectacle of the ‘Other,’” in Representation: Cultural Representations and Signifying Practices, ed. Stuart Hall (London: Sage Publications, 2000);
Cornel West, Race Matters (Boston: Beacon Press, 2001);
Sander L. Gilman, Difference and Pathology: Stereotypes of Sexuality, Race, and Madness (Ithaca, NY: Cornell University Press, 1985).
Kim Akass and Janet McCabe, “Beyond the Bada Bing! Negotiating Female Narrative Authority in The Sopranos,” in This Thing of Ours: Investigating the Sopranos, ed. David Lavery (New York: Columbia University Press, 2002), 147.
Rupert Wilkinson, American Tough: The Tough-Guy Tradition and American Character (Westport, CT: Greenwood Press, 1984), 8.
Susan Bordo, as quoted in Sherrie A. Inness, Tough Girls: Women Warriors and Wonder Women in Popular Culture (Philadelphia: University of Pennsylvania Press, 1999), 21.
Sylvia Harvey, “Woman’s Place: The Absent Family of Film Noir,” in Women in Film Noir, ed. E. Ann Kaplan (London: British Film Institute, 1998), 38.
Robert Sklar, City Boys: Cagney, Bogart, Garfield (Princeton, NJ: Princeton University Press, 1992). See also Yaquinto, Ruth, and Ray.
Molly Haskell, “Swaggering Sexuality Before the Mandated Blush,” The New York Times May 13, 2001, sec. 5.
Jay Robert Nash, The Motion Picture Guide (Chicago: Cinebooks, 1986), 2760.
See Raymond Moley, The Hays Office (New York: Bobbs-Merrill, 1945).
See Yaquinto and chapter 11 of Steven J. Ross, Movies and American Society (Malden, MA: Blackwell Publishers, 2002).
Maria Di Battista, Fast-Talking Dames (New Haven, CT: Yale University Press, 2001), 332.
Douglas Brode, Women, Money, & Guns: Crime Movies from Bonnie and Clyde to the Present (New York: Citadel Press, 1995), 173.
Molly Haskell, From Reverence to Rape: The Treatment of Women in the Movies (Chicago: University of Chicago Press, 1987), 402.
Quoted in Glen O. Gabbard, The Psychology of the Sopranos: Love, Death, Desire, and Betrayal in America’s Favorite Gangster Family (New York: Basic Books, 2002), 68.
E. Ann Kaplan, Motherhood and Representation: The Mother in Popular Culture and Melodrama (London: Routledge, 1992), 219.
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© 2004 Sherrie A. Inness
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Yaquinto, M. (2004). Tough Love: Mamas, Molls, and Mob Wives. In: Inness, S.A. (eds) Action Chicks. Palgrave Macmillan, New York. https://doi.org/10.1057/9781403981240_9
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DOI: https://doi.org/10.1057/9781403981240_9
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