WP1: How We Can Use The Bechdel Test To Point Out Female Misrepresentation Within The Film Industry
As a kid, I loved going to the movie theater. However, as much as I loved watching the stories unravel onscreen, I was oblivious to the blatant lack of unrealistic female characters within the film industry. Most of the female characters I saw in theaters were always the epitome of the weak, love interest archetype. They always needed assistance when faced with a problem, or would always find themselves in situations where they would get kidnapped or hurt by another man, only to be saved by yet another man. Within the last few years, I re watched many of the same movies I saw as a child and noticed the significant lack of female representation within these films. It was then when I learned about the Bechdel test — a test to see if a particular work of fiction has proper female representation. Ultimately, the Bechdel test is not meant to be a measure of the quality of a movie, or even a measure of how “feminist” it is. The Bechdel test simply shines a light on how male-dominated the film industry is and begs the question — what are the implications of female misrepresentation in the film industry?
In its entirety, the Bechdel test is really quite simple. In order for a work of fiction to pass the Bechdel test, it must have two female characters with names. If these two female characters talk to each other about anything other than a man, then the work passes the test. The Bechdel test actually revels in its simplicity. It is because the test is so simple that is so useful in providing a useful critique on female misrepresentation within the film industry. In Bechdel Test 2017 Breakdown: Which Blockbusters Passed, Failed, and What Needs to Happen Next, author Kate Erbland writes:
No, it’s not perfect, and its application isn’t always essential to determine the value of a film, but tests like the Bechdel ask audiences to more closely consider what they’re watching, how it’s crafted, and what it’s trying to say. More often than not, that’s a message delivered by things that aren’t said, especially between two women (Erbland).
Ultimately, the Bechdel test does come with its limitations, but like Erbland says, it’s not meant to be a concrete way of determining the value of a film. The test serves more as a way to have audience members actually analyze the content they’re watching, and to pay attention to women in prominent roles who don’t necessarily seem as active or present as the Bechdel test asks them to be.
Misogynistic values are so deeply rooted within our society that this sexist ideology is not only normalized, but taught to younger generations. My analysis of the Bechdel test is not meant to simply point out the gender gap within the film industry, but rather, to understand what the implications are of female misrepresentation within the industry. Drawing from my personal experience as a female, I have only recently realized what the impact of female misrepresentation has had on me. I know that misogyny also exists outside of the theater, and part of my internalized sexism comes from other places as well, but a lot of it can be attributed to what I saw in the theater throughout my childhood. The Bechdel test points out how oftentimes women ultimately serve a singular purpose in film, and that is to further the plot or provide context for a male lead. The fixation that the film industry has on male characters not only justifies the gender gap within the film industry, but also creates a space that makes women feel like they are not as capable or strong as men.
With the popularization of the superhero movie industry, specifically Marvel, I began to look further into the Bechdel test, and how results varied from genre to genre. I found that specifically superhero or action type movies had a lower average passing rate for the Bechdel test. For example, In Iron Man 3, Tony Stark’s love interest, Pepper Potts, is leading Stark Industries and is in a very high position of power. To be fair, this does provide an example of how women can be in positions of power. But ultimately, Pepper is the only notable female character in the film. Granted, Iron Man 3 is supposed to be centered around a male lead, but that doesn’t mean there isn’t any room for more female characters. This movie just serves as another example of how the hyperfixation on male characters supports the toxic idea that women can’t remain in the spotlight. For example, in Avengers: Endgame, during a very typical superhero type battle scene, there is a brief moment where a group of some of the female superheroes gather together on the battlefield to take the villain on head on. This scene is still empowering, but it is apparent that the scene is being forced and is just a low budget way of promoting female empowerment. The female superheroes ultimately get about a minute of screen time before the camera focuses onto the male superheroes once again. If we take a look at the history of superhero films, it’s always been one specific blueprint: male superhero takes on evil villain by himself. But then when female superheroes come into play, they cram all the female fight scenes into one scene and parade it around as female empowerment.
So, why is it that so many films, specifically superhero movies, are unable to pass the Bechdel test? A watered down answer would be that there is a major lack of proper female representation within an extremely male-dominated industry. The film industry is oversaturated with male employees. Male actors, directors, producers, and writers thrive in the industry, and receive so much praise for their work. In Sizing Up Hollywood’s Gender Gap, author Robin Smith states, “Previous studies suggest that men do twice as much talking in most films — a proportion that has remained largely unchanged since 1995. The reason, researchers say, is not because male characters are more talkative individually, but because there are simply more male roles” (Smith). The film industry remains so hyper focused on it’s male workers, women are unable to receive proper recognition for their work on and off the screen. It’s this lack of recognition that breeds the inability for change. So many people, both men and women, have become complacent with the way the industry operates, that no one is driving for change.
Ultimately, the Bechdel test is not meant to just point out how flawed the film industry is. It’s also not meant to be a measure of how “feminist” a film is. The point of the Bechdel test is meant to simply point out there is a gender gap within the film industry. The Bechdel test allows us to acknowledge the gender gap so that we can actively work towards shaping new genres of film where women can be properly represented. Female empowerment should not have to be forced into a film, only to have the female character be ultimately overpowered. Ultimately, the Bechdel test creates a space where we can discuss female representation within the industry and allows us to have conversations about what can be done within the industry to inspire change.
Works Cited
Erbland, Kate. “Bechdel Test 2017 Breakdown: Which Blockbusters Passed, Failed, and What Needs to Happen Next.” IndieWire, IndieWire, 27 May 2018, www.indiewire.com/2017/12/bechdel-test-2017-blockbusters-passed-failed-1201911052/.
Garber, Megan. “How the Standard for Women in Culture Became Known as the ‘Bechdel Test’.” The Atlantic, Atlantic Media Company, 25 Aug. 2015, www.theatlantic.com/entertainment/archive/2015/08/call-it-the-bechdel-wallace-test/402259/.
Smith, Robin. “Sizing Up Hollywood’s Gender Gap.” Research Blog, 17 Oct. 2017, researchblog.duke.edu/2017/08/04/sizing-up-hollywoods-gender-gap/.
