class and gender in Firefly/Serenity
1 Feb 2006 10:46 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
Via my cousin-out-law Michael, an excellent blog post about class and gender in Firefly.
http://capitalismbad.blogspot.com/2005/12/in-which-i-descend-to-previously.html
I don't know that I agree with the blogger that geisha-type careers would not exist in cultures where women can hold a variety of respectable jobs, but I do agree with the blogger's dislike of the Mal/Inara relationship.
http://capitalismbad.blogspot.com/2005/12/in-which-i-descend-to-previously.html
I don't know that I agree with the blogger that geisha-type careers would not exist in cultures where women can hold a variety of respectable jobs, but I do agree with the blogger's dislike of the Mal/Inara relationship.
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Date: 1 Feb 2006 06:58 pm (UTC)no subject
Date: 1 Feb 2006 08:21 pm (UTC)First, Inara has more to offer than her labor power; she has access to privileges because of her status and she uses that to her and the crew's benefit. Second, while Mal is a property owner, he has much more in common with the independent trucker than say a landed property holder.
I also wonder why she doesnt touch on the third romantic relationship, Zoe & Wash, as it examines boundaries being crossed between the military and civilians.
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Date: 1 Feb 2006 08:39 pm (UTC)no subject
Date: 1 Feb 2006 08:34 pm (UTC)I also think that reducing her role to pleasing men and then brushing aside the time she was shown entertaining a female client and the references they made to female clients in a, "That didn't count," hand wave is a bit simplistic.
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Date: 1 Feb 2006 08:56 pm (UTC)As for Mal/Inara power issues, I don't think the power distribution is entirely unequal, as is shown when Inara saves their ass a few times with her high-class connections, etc. On the other hand, Mal's disregard for Inara's wishes that he (a) not enter her space without knocking and (b) not call her a whore are IMO classic examples of ways that men exercise power over women, and episodes like this occur more often than episodes of the former. I don't think that the ability to object to transgressions counts as power unless the transgressions stop. Inara's ability to leave does count as power, although it's kind of presented as her only choice, which limits how much power it involves.
I may be especially sensitized to the above because it's the primary way in which traditional gender issues play out in my day to day life. If someone barges into my room or takes my stuff, and I say "Hey, that's my space/my stuff, don't act like you have a right to it without asking," and they "apologize" and do it again tomorrow, I don't feel empowered, even if my "objection" wasn't punished or entirely ignored.
I agree that her role isn't meaningfully reduced to pleasing men. But the references to female clients occurred much less often so I don't think the poster was entirely out of line to discount them somewhat.
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Date: 1 Feb 2006 09:22 pm (UTC)I think that it's important that Inara's ability to leave was presented in a way that made it seem like a constant, viable and attractive option and one that would not hurt her at all and would hurt the crew a great deal. It came up multiple times that she had better options available to her and that she had control of her own destiny. In that context, I don't think that I really believe that Mal's actions were an exertion of power and that leaving being her only option was the classic power situation it's being made out to be. If anything, it felt more like Inara had the power in the situations and that her choosing to stand for his behaviour was part of her dysfunctional way of coping with her feelings for him (a theme that was played up on both their parts). In the conversation where he tried to assert that she would live by his rules while she was on his ship and she countered that as long as she was renting the space, the shuttle was her ship, not his, and she would make the rules, and he backed down, seemed like a clear situation of him saying, "I have the power here," and her saying, "No, you don't," and him agreeing.
I don't know if a a frequency approach to the references to her clients really holds *that* effectively in this case, since most of the references to her clients were included to set up jealousy and tension vis a vis her and Mal, and there is a strong idea in our society that men don't have a problem with women sleeping with other women, only other men.
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Date: 1 Feb 2006 10:31 pm (UTC)I don't know if a a frequency approach to the references to her clients really holds *that* effectively in this case, since most of the references to her clients were included to set up jealousy and tension vis a vis her and Mal
It depends on how you're going about your analysis. I see three ways to analyze it:
1. Analyzing what you and others extrapolate in your minds about the fictional setting, based on seeing the show. In that case, people can imagine her having lots of female clients, and so exactly what gets shown and what doesn't isn't all that important; what's important is that certain possibilities are presented.
2. Analyzing the show against other shows of the same time period and medium. I'm not aware of any other early 21st century Tv/movie shows that include high-class companions with female clients, so in that analysis, the show is ahead in its treatment of such controversial subjects.
3. Analyzing what is actually shown in the episodes. If you focus on this, then the fact that most of her clients shown are men does send a message that her work is primarily pleasuring men; the reasons behind that choice aren't relevant. And the choice to show sexual jealousy frequently sends a message that sexual jealousy is culturally expected and appropriate.
The third kind of analysis is similar to feminist analysis of language in which we argue, for example, that using "man" to mean both male and female people is sexist because it makes women invisible. In this kind of analysis, what does not get shown or said is just as much a part of the sexism as what does. The theory behind it is that people's ideas of what's common, appropriate, and so on depend on what they see and don't see as much as or more than what they think about what they see and don't see.
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Date: 2 Feb 2006 03:01 pm (UTC)There's also the question of statistical necessity -- if she sees, say, six male clients to one female client, does that mean that her function is to please men? At what point do we get to ignore the explicit female client?
If nothing else, I also think that it's at least as likely that the difference in gender frequency may have been a conceit to the widespread disbelief that women, as providers/gatekeepers in the provider/consumer model of sexuality that is very popular, would never need to use such a service.
As to the choice to show jealousy frequently sending a message that sxual jealousy is culturally expected and appropriate, I'm not sure that that's not exactly the message being sent. I mean, I don't know Joss Whedon as a person, but that seems to be a common perception in our culture and I didn't get any impression from the show that he didn't agree with it. Unfortunate as it may be, there's definitely a widespread idea taht jealousy is a part of love and a signifier of love.
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Date: 2 Feb 2006 04:32 pm (UTC)no subject
Date: 2 Feb 2006 04:34 pm (UTC)no subject
Date: 2 Feb 2006 05:22 pm (UTC)BTW, I am not claiming "Joss Whedon is a big sexist". He's clearly one of the more feminist writers in TV.
And I do think differently about prostitution/geisha work than the original poster, I believe.
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Date: 1 Feb 2006 09:30 pm (UTC)no subject
Date: 1 Feb 2006 10:09 pm (UTC)no subject
Date: 1 Feb 2006 10:33 pm (UTC)no subject
Date: 1 Feb 2006 10:57 pm (UTC)My theory is that Inara, personally, has fucked-up intimacy issues. And when I say "intimacy", I am not talking about sex -- I'm talking about intimacy. I think that the reason she left Sinon to ship out to the Rim on a tramp freighter was that she was developing intimacy with the other people who were there that she grew up with -- and she couldn't deal with it. She couldn't deal with having a family, so ran away from it.
I base a lot of this on "Heart of Gold" -- I think that what ACTUALLY happened in Inara's head during that episode is that she discovered that Mal was sleeping with what's-her-face, discovered that she had feelings of jealousy about that fact, and dealt with them fine -- but THEN she realized that the REASON that she had feelings of jealousy was that she genuinely CARED about Mal in a way that implied intimacy and family, and THAT'S why she broke down crying -- because she felt that this meant that she had to leave. She realized that she'd created the sort of family, on Serenity, that she had run away from on Sinon, and therefore felt compelled to run away again.
WHY she feels like that, I've got no idea, however.
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Date: 1 Feb 2006 11:24 pm (UTC)So to speak.
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Date: 1 Feb 2006 10:59 pm (UTC)no subject
Date: 2 Feb 2006 02:43 am (UTC)no subject
Date: 2 Feb 2006 02:49 am (UTC)no subject
Date: 2 Feb 2006 03:51 am (UTC)Thanks for linking to my post - you were right about what I had intended about the relationship between class and gender. I wasn't talking about how it is in the world, but how it is usually portrayed in fiction (oh and the point of making the truck driver comparison was simply to show that I did think that the class analysis of Mal/Inara was complicated, I'm not claiming a simple economic description of class is the only way to describe it).
I do think that both prostitution and companionship are primarily portrayed as a commodity women are and men buy. Not just because this is what is shown (and I think that's important), but because of the way people react to anything besides this. For example, it's a big deal for the crew when Inara takes a female client. Likewise when Kaylee (who is very inquisitive, and is shown asking Inara about Companions) sees male whores, her first question is "I wonder if they service girlfolk", rather than assuming they service girlfolk (as you would if both women and men bought sex in equal amounts).