Introduction
The depiction of female characters in television has long been one of Feminism’s great worries and battles. Throughout the decades, females have been shown as one dimensional and weak, often reduced to mere companions or prizes for the lead, male characters. The popular television saga Game of Thrones has long come under the view of these critics, yet many have reached opposite conclusions. Even though some contend that it is deeply Feminist, other critics believe that it is extremely misogynist, painting women in a negative light. The present text will argue that historical considerations and character development show that the show is Feminist, and even the position of detractors may be reconciled with the series championing females and their values.
Game of Thrones as Feminist
There are many thinkers that believe Game of Thrones to be one of the greatest champions of women on the small screen at the present moment. For example, Smith writes that it is “one of the strongest shows on cable for female characters.” Many people praise the way the creators have developed female characters that resonate with the population because of their characters, not just because of their looks.
The show has a very vast and varied cast, yet there are numerous women that critics hail as positive representations of women. “Among the show’s lead characters are an intimidating heiress, a child vigilante, and a brutish warrior — all of whom are strong and developed female characters” (Hull). As one can see, there is a plethora of adequate depictions of women. Unlike many television shows that only have one or two ladies, in this series there are many, and they have many different roles in society.
This is especially noteworthy due to the genre that the series may be placed under. First, it is a fantasy. Even though this type of material may have strong women, it is usually written for men by men. This is also the case of adventure and action tales, where women are usually denigrated to being either vulnerable and in need of saving, a sexual object or a nuisance. Finally, due to the historical nature of the story, if the storytellers were aiming for accuracy, they should have portrayed women as vastly inferior to men, being constantly mistreated. Nevertheless, this is not the case, as the series constantly paints women in a very favorable light.
History
One of the most interesting arguments as to why this series is Feminist is that it anachronistically portrays women as being in the same ranks as men. Medieval tales depict women as a lady, stereotypically weak and suffering, waiting for a man to save her. This is especially true when there is a hero involved, who risks everything he has in order to save the lady in peril.
Not only is this true historically and in literary conventions, but the Medieval genre commonly employs females as a sort of prize for men, especially in the heroic and sexual dimensions. “Female roles in these works are historically minimized. Princesses exist as treasures for heroic men, to have sex with and ignore” (Hull). This sort of caricature, even though historically honest and common to the genre, is missing in Game of Thrones.
Development
Nevertheless, the women in Game of Thrones are far from the characteristic women of Medieval times. As a whole, critics and audiences praise the makers for character development. However, the development of the female characters is especially noteworthy just because it is on par with that of the men. Women are depicted not just as strong and independent, but as complex as the males.
There is no doubt that there are many strong women in this series. They constantly hold their own with men in terms of independence and will. Even though they may not be as physically powerful as the men, evidenced by the frequent and notorious rapes, they still enter the power struggle as strong as men do. In fact, they usually exert considerable influence over the men, controlling their actions. Smith sums this up by writing, “The women basically run everything.” As one can see, they are not the typical Medieval females.
Nevertheless, one of the greatest points that Smith raises is that the women on the show are not just part of the “strong female character archetype”, which basically reduces women to acting like men. On the other hand, women are “incredibly complicated”, including exploring “different aspects of femininity” (Smith). Therefore, the women on the show are not just counterparts to men, but are depicted in a complex way, which is not only interesting, but also closer to the truth.
It is true that there are many women that are still lodged in the domestic sphere, such as Catelyn Stark, Olenna Trell, Cersei Lannister and other female royalty. Nevertheless, they “also show keen shrewdness about the way the world is stacked against them” (Lady T). Female characters in this series are aware and intelligent. Even though they may still hold typical female positions, they are not two-dimensional objects that are created in relation to men.
This psychical complexity extends to their problems with respect to their own actions. Lady T believes that the women in Game of Thrones are “as complex and complicated and morally gray as any male character on the show.” Even though this may cast an unfavorable light on women every once in a while, it also pulls them out of the simplistic ghetto and makes them into full-fleshed characters.
Criticism
Nevertheless, the show has had some criticism against it. One of the greatest critiques is that it portrays women’s bodies differently than it does men’s. Iversen argues that, even though this television series never escapes the opportunity of exhibiting naked women in various circumstances, sexualized or not, naked men are rarely seen, and if they are, it is usually not in a sexualized way. This is a very valid critique, as there are considerably more instances where the female form is depicted than the male one.
This is an argument done through a comparison, yet there is also one where the treatment of women is considered absolutely unacceptable. David reports that the greatest quarry feminists have with respect to the series is that “the violent and sexual treatment of (and sometimes crass talk by the men on the show about) women goes over the line of acceptability.” For them, even though men may be treated the same way, it is a problem how far the show takes the treatment of women. In all fairness, the show is considerably harsh, and the majority of the pain and humiliation is inflicted on the women, not the men. Even though this may respond to societal standards both then and now, some believe that it is completely unacceptable.
Conciliation
Obviously, this marks a contradiction between the two points of view about the same series. One is left wondering if the show is Feminist or misogynist; or, even more perplexing, if it is both. Even though these are valid criticisms, there is a way to understand that which they are decrying in a Feminist light.
First, there are some that contend that the show is both sexist and not at the same time. They believe that the source of the controversy lies in the duplicitous portrayal of women. “The conversation around its sexism continues endlessly because of its intriguing contradictory nature. There will always be merit to both sides of the argument” (Sarner). Therefore, it is important not to prematurely discard either position, as they could both hold water.
This paradox produces a shock in the viewer. At one moment, they are watching a Feminist fantasy, and the next, women are being treated as sexual objects. This view is somewhat harsh, like if the show was indicating that women are equal to men, and immediately after they are exhibited in a sexual manner, as if they were toys. The show presents two very different, irreconcilable views on femininity at the same time.
Nevertheless, some critics believe that this contradiction is purposeful. They purport that it forces the viewer to attempt to reconcile both the equalitarian and the misogynist positions, something that is obviously impossible. “The show is very conscious and purposeful in their choices to portray a world in which women are objects and their use of the Alienation Effect to spawn strong reactions from audience members” (Mandracchia). Therefore, Game of Thrones would be using this paradox to shock the audience and turn them into active viewers who are forced to reexamine their views on women in society.
Conclusion
Game of Thrones is a show that depicts females in a very positive light, and even its detractors’ critiques can be reconciled through a Feminist reading. Most people agree that this series has portrayed women exceptionally well. They are not only strong, acting as men would, but are also complex, sometimes harboring the same moral dilemmas that are usually reserved for male characters. Furthermore, one can see that the makers of the series have gone out of their way to do this, as it is both anachronistic and unusually for the genres it fits in as well.
Nevertheless, the show does have many detractors who consider it to be misogynist. Their main arguments are that they expose the female form more blatantly and gratuitously than the male one, and that the treatment of females is absolutely unacceptable. Even though these two points of view contradict each other, a reading through the Alienation Effect allows one to understand that this is done in a Feminist way.
The series Game of Thrones shocks the viewer into realizing that there are still two very significant ways to depict women in society. Even though there have been many advances with respects to women’s rights and depiction, there is yet a considerable way to go, as they are still constantly framed as sexual objects. It is fascinating to see how such a mundane and popular series can raise such important societal issues.
Works Cited
Brant, David. “‘Game of Thrones’ feminist criticisms irrelevant, say female stars in the show”. Inquisitr, (n.d.). Web 14 Apr. 2016. < http://www.inquisitr.com/2817721/game-of-thrones-feminist-criticisms-irrelevant-say-female-stars-in-the-show/>.
Bust Magazine in TV. “Gratuitous Female Nudity And Complex Female Characters In Game Of Thrones”. Bust, (n.d). Web 14 Apr. 206. <http://bust.com/tv/9685-gratuitous-female-nudity-and-complex-female-characters-in-game-of-thrones.html>.
Hull, Nicholas. “Game of Thrones confronts gender inequality with strong female characters.” Amherst wire, Apr. 2015. Web 14 Apr. 2016. <http://amherstwire.com/10728/entertainment/game-of-thrones-confronts-gender-inequality-with-strong-female-characters/>.
Iversen, Kristin. “Where Are All the Penises?: Why the Lack of Male Nudity on Game of Thrones Is a Problem.” Brooklyn, Nov. 2014. Web 14 Apr. 2016. <http://www.bkmag.com/2014/04/11/where-are-all-the-penises-why-the-lack-of-male-nudity-on-game-of-thrones-is-a-problem/>.
Mandracchia, Christen. “How A Feminist Watches Game of Thrones: Power Is Power.” The artifice, Jan. 2016. Web. 14 Apr. 2016. http://the-artifice.com/feminist-watches-game-of-thrones/.
Smith, S. “Why ‘Game of Thrones’ Is Awesome for Women.” Xojane, Feb. 2015. Web 14 Apr. 2016. <http://www.xojane.com/entertainment/women-game-thrones>.
Sarner, Lauren. “Game of Thrones' Created TV's Greatest Female Anti-Hero in Cersei Lannister.” Inverse, Apr. 2016. Web Apr. 2016. <https://www.inverse.com/article/14126-game-of-thrones-created-tv-s-greatest-female-anti-hero-in-cersei-lannister>.
