Thelma & Louise - Film Analysis - PDF

**[THELMA AND LOUISE]** ***[CONTEXTS]*** ***SOCIAL*** *Thelma & Louise explores how day-to-day social contexts---the experiences and societal constraints faced by women---impact the characters\' health, behavior, and decisions. The film highlights systemic gender inequality, revealing how limited...

**[THELMA AND LOUISE]** ***[CONTEXTS]*** ***SOCIAL*** *Thelma & Louise explores how day-to-day social contexts---the experiences and societal constraints faced by women---impact the characters\' health, behavior, and decisions. The film highlights systemic gender inequality, revealing how limited roles and male dominance stifle Thelma and Louise. Louise's job as a waitress symbolizes her confinement to low-paying, undervalued work, while Thelma's role as a housewife positions her under the control of her belittling husband, Darryl.* *A pivotal scene illustrates this dynamic when Thelma is nearly raped by Harlan after a night of dancing. Her carefree behavior---dancing and laughing---is misinterpreted by Harlan as an invitation, leading him to justify the assault with the claim that she was "asking for it." This moment exposes the entrenched belief that women must conform to restrictive norms, reinforcing a dangerous narrative that blames women for violence against them.* *The road trip thus becomes more than a spontaneous adventure; it symbolizes their quest to escape an oppressive social context. As they assert their independence, they confront a society that marginalizes women, challenging imposed roles and reclaiming control over their lives. Scott's use of vibrant cinematography contrasts their joyful moments with darker scenes of oppression, reinforcing the symbolism of their journey as liberation from societal constraints.* ***CULTURAL*** *In Thelma & Louise, the early 1990s American backdrop---marked by Southern conservatism and emerging third-wave feminism---shapes the characters' journey toward liberation. Southern society upheld strict gender roles, expecting women to conform to submissive, traditional roles. Meanwhile, third-wave feminism was rising, advocating for autonomy and the rejection of rigid gender expectations. Through their transformation in appearance, symbolic landscapes, and the climactic finale, Scott critiques these conservative norms, showing the protagonists' journey as a rebellious act of self-reclamation.* *At the start, Thelma wears conservative, feminine clothing, reflecting her restrictive role as a housewife. As the journey progresses, both Thelma and Louise shed these markers of femininity---discarding makeup, bras, and delicate blouses---in favor of rugged, androgynous clothing. Scott uses close-ups on these discarded items to visually emphasize their rejection of traditional Southern expectations. This shift reflects third-wave feminist ideals of self-definition.* *The Southwestern desert setting further underscores their break from societal constraints. Wide shots of the vast landscape symbolize freedom, contrasting with the confined domestic spaces they left behind. In the final scene, where they drive off a cliff, Scott captures their act of defiance, portraying their journey as a powerful stand against a repressive society.* ***INSTITUTIONAL*** *In 'Thelma & Louise', director Ridley Scott uses media codes to underscore the oppressive societal and legal frameworks of 1990s America, particularly through his portrayal of the justice system. This institutional context---where laws often disadvantaged women, with marital rape only recently criminalized nationwide---creates a restrictive backdrop against which Thelma and Louise's rebellion takes shape.* *Scott employs visual codes to critique the justice system, depicting law enforcement as a faceless, relentless force. High-angle shots during police pursuits make Thelma and Louise appear small and vulnerable, visually reinforcing the imbalance of power. The recurring use of siren sounds and harsh lighting creates an atmosphere of intimidation, symbolizing how authority, as an extension of patriarchal values, hunts down women who defy traditional roles. By framing the police as unyielding and impersonal, Scott emphasizes the institutional rigidity and societal norms that refuse to accommodate women's autonomy.* *The film's climactic ending, where Thelma and Louise drive off the cliff, serves as a powerful rejection of these constraints. Scott uses slow-motion and a freeze-frame of the car mid-air to amplify this symbolic moment, transforming their death into an act of liberation. The lingering shot captures a moment of transcendence, conveying that, in choosing their own fate, the women claim agency over their lives, even within an oppressive system. This final image, hanging in suspended animation, underscores a critique of the patriarchal institutions that left them no viable alternatives, making their rebellion a resonant, symbolic statement against entrenched gender inequities.* ***ECONOMIC*** *Thelma and Louise was produced with a significant budget of around 16 million - modest by 1990s Hollywood standards at the time, but sufficient to allow for high production values. A-list actors like Susan Sarandon and Geena Davis contributed to this specifically. The economic context also affected the marketing of the film, initially focused on attracting both male and female viewers, the film ultimately found stronger resonance with female audiences due to its depiction of the patriarchy and womens rights at the time. As a result, the box office success was moderate but became more profitable and culturally significant over time, showing financially that there was room for female narratives in the mainstream film industry.* ***POLITICAL*** *Politically, the film was released during a time when women\'s issues were gaining political attention particularly in the USA. The Anita Hill hearings - which highlighted issues of sexual harassment - took place the same year 'Thelma and Louise' was released. In this way, the film portrayl of women fighting back against male oppression resonated politically with audiences. A poignant example of this is the film's controversial ending in which Thelma and Louise symbolically choose women death over capture, insinuating the oppressive forces of the patriarchy on womens autonomy. Therefore, the underlying themes of justice and defiance, specifically targeted the patriarchal structures, are emblematic of 1990s America, and represent a larger political statement Scott aimed to implement about the lack of power women held within legal and social systems in 1990s Amercia.* ***HISTORIC*** *Thelma & Louise premiered at the tail end of the second wave feminist movement, a period marked by significant advancements in women's rights, particularly regarding autonomy and self-determination. The film captures this cultural shift while introducing complex female characters who defy traditional roles.* *A pivotal moment occurs when Thelma and Louise encounter a male truck driver who harasses them on the road. Ridley Scott uses the codes of camera and sound to illustrate the shift in power dynamics. Initially, the scene features close-ups of the women's frustrated expressions, conveying their anger and helplessness as the truck driver taunts them. The camera then shifts to a low-angle shot of the truck, emphasizing its intimidating presence and the threat it represents.* *As the women decide to take control by blowing up the truck, the sound design amplifies the transformation. The driver's mocking laughter is abruptly cut off, replaced by a tense score that builds suspense. When Louise pulls the trigger, the explosion erupts in a deafening roar, accompanied by a triumphant musical score. This contrast between the earlier tension and the explosive release signifies their reclamation of power.* *Through these codes---close-ups that capture emotional shifts, low-angle shots that depict dominance, and sound design that enhances dramatic tension---Scott effectively illustrates the characters\' journey from vulnerability to empowerment. This scene not only marks a turning point in the narrative but also symbolizes the broader cultural conversation about women's liberation and resistance during this pivotal time in American history.* **THELMA AND LOUISE AUDIENCES** **Consumption (emotional)** - - **Consumption (intellectual)** - **Women and Men 1991 (contemporary vs. modern)** *"Thelma & Louise\'\' empowers both modern and contemporary female audiences specifically by exemplifying women's lives beyond the typical heteronormative imperatives of 1990s America; allowing female audiences to connect with Thelma and Louise's struggle against patriarchal oppression and their reclamation of power. However, the lack of racial and sexual diversity within the film may have affected this connection with a broader, modern audience. Thelma and Louise, both straight, white, thin females, serve as an extension of the societal expectation of female appearances at the time, dejecting minority groups from the film due to the lack of diverse representation on screen. Alongside this, men too may have responded poorly to the film due to their own representation on screen. The film playfully subverts the 'male gaze' through a female lens, depicting the male characters in the film as common stereotypes of women; Notably, JD as a bimbo, Daryl as hysterical and Jimmy as needy, prompting male audiences of the time to disconnect with the film as their depiction is poignantly stereotyped "degrading".* **[PRODUCTION]** **Stages of a media production** *Brainstorming* *Research* *Documentation* *Experimentation* *Pre-production (intention, narrative, audience, style and genre, opportunities and constraints)* *Production (logbook, production tasks)* *Post-production (feedback, evaluation, appraisal of proficency)* **[Genre codes and conventions]** ***Action:** Use of close up/Insert shots/fast paced editing/High Key Lighting/cause and effect/character development/three act structure* ***Comedy:** point of view/close ups/bright natural lighting/mise en scene props* ***Romance:** non-diagetic soundscore/close ups/editing montages/soft, natural lighting/voice over/cause and effect* ***Sci-fi:** setting and mise en scene/ambient score/long shots* ***Drama:** character development/point of view/close ups/dramatic music scores/harsh natural lighting/cause and effect/three act structure* ***Horror:** fast paced editing sequences/close ups/landscape shots/ambient score/non-linear structure/dark lighting* ***Western:** Harsh, hostile, wide-open setting and landscape/hero, victim, and villain archetypes/harsh lighting/southern soundtrack* **[Forms ]** *Moving image → film, television, animation, video* *Still image → photography* *Audio → radio, podcast* *Print → magazine, zine, comic* *Digital → video and audio, magazine, comic, newspaper, video game* *Convergent → photography and animation, print productions and digital game* ***[Perfect statement of intention]*** Within the proposed campaign to promote/advertise/endorse \_\_\_\_\_\_\_ to \_\_(audience)\_\_, a \_(media form)\_\_ , "**name of production",** will be produced. In order to highlight \_\_\_\_\_, the primary themes of \_\_\_\_\_ the production \_\_\_\_\_\_\_ will reflect the \_\_\_\_\_. By exploring topics like \_\_\_\_\_\_\_\_\_, the production will resonate with (audiennce) because \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_. My inspiration for this project comes from \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_, which influenced me because \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_. Therefore, an example of this display will be *(codes and conventions example).* The message I intend to convey is \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_, enhancing the overall purpose of the media product is to \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_ (entertain/inform/provoke thought/evoke emotion), aiming to make the audience feel \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_ and think about \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_. Alongside this, the production will aim to include \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_ (camera techniques, sound design, etc.) to enhance \_\_\_\_(example)\_\_\_\_\_\_\_\_\_\_\_\_. Specifically, planning to use \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_ to create a sense of \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_ and support the theme of \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_. Creatively, I aim to achieve \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_ (visual style, pacing, tone) by \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_. This choice supports my intended message by \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_ and helps the audience feel \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_. ***Perfect SOA*** - - - **[AGENCY AND CONTROL]** **AGENCY →** the capacity of individuals or groups to act independently and make their own choices within the modern media landscape - - - **CONTROL →** the ability to regulate or manage the creation, dissemination and reception of media content - - - **[AUDIENCES]** 1. 2. **SPREADABLE MEDIA** - **TRANSMEDIA STORYTELLING** - ***[INSTITUTIONS, GOVERNMENT AND INDIVIDUALS]*** ***The way media is used by globalised media institutions, governments and the individual.*** 1. - - - 2. - - 3. - - **ISSUES WITH REGULATING** - - - **[TRADITIONAL VS. MODERN MEDIA AND AUDIENCE RELATIONSHIP]** **Traditional =** media was considered to hold most of the power, shaping opinions, culture and behvarious through content production, distribution and control over what was being broadcasted or printed **Modern =** the rise of digital platforms and social media has shifted some power to audiences with the ability to share, create and influence content more easily through user-generated platforms **[GOVERNMENT REGULATORY BODIES ]** - - - - **[EXAMPLE QUESTIONS]** **Question 10 (5 marks) There are issues and challenges relating to the regulation and control of the media. Discuss one example that demonstrates a rationale for the regulation of the media in Australia.** *Without the Advertising Standards Bureau, harmful messages can be spread to both children and adults. the Advertising Standards Bureau implements and creates codes for producers to follow, and allows for people of society to submit complaints. If it were not for this, damaging advertisements may be shown. For example, the Brut deodorant advertisement was taken down as it involved showing the objectification of two women, one who was stated as having the 'wrong' body type, and the other with the 'ideal' figure. This encourages for women to be seen as objects, promoting women to be viewed through the male gaze and advocating the message that some women\'s bodies aren\'t correct. If this had not been regulated and removed, the unobtainable and unrealistic expectations of women\'s bodies would've further been promoted, a toxic notion already encouraged on social media.* **[I'D LIKE TO BUY THE WORLD A COKE ]** - - - - - - - **[DUMB WAYS TO DIE ]** - - - ***Audience →*** younger demographic (aged 18-29), chosen due to their high likelihood of engaging in dangerous behaviours near trains such as crossing tracks illegally or being distracted by their mobile devices. ***Ethical issues*** - - - ***Results of injuries*** - - - ***Audience engagement*** - - - - - - **Complaint** - ***Global impact*** - - ***HENRY JENKINS DWTD*** **Henry Jenkins\' Participatory Culture:** Jenkins' participatory culture describes a media environment that promotes low barriers to artistic expression, civic engagement, and informal mentorship, where participants feel their contributions matter and experience a social connection with others. In the \*Dumb Ways to Die\* campaign, participatory culture empowered fans to create and share memes, parodies, and fan art, amplifying the campaign's railway safety message through a globally engaged community. **Spreadable Media:** Spreadability emphasizes user-driven distribution of media across platforms. The \*Dumb Ways to Die\* campaign, crafted to be highly shareable, used catchy songs, animations, and humor that fans spread across YouTube, Instagram, and other social media, encouraging remixable content that expanded the campaign\'s viral reach. **Transmedia Storytelling:** Transmedia storytelling involves using multiple platforms to share parts of a narrative, enriching the audience experience. The \*Dumb Ways to Die\* campaign leveraged this approach with animated videos, interactive mobile games, posters, songs, and merchandise, each adding depth to the campaign and engaging audiences in various ways to reinforce its safety message across diverse formats. **MUST-KNOWS FOR AGENCY AND CONTROL** **PROSUMER =** as a result of rapidly modernising relationship between media and audiences and the launch of Web 2.0, audiences now have the agency to exert autonomy over the content they consume and the ability to produce content themselves - - - **Individual algorithms example** - **Influence that audiences have on media example** - **Influence media has on audience example** - - **WEB 2.0 and the introduction of user-generated content** - **What is web 2.0** -