The New World: Post-Feminism in Pre-America
By James "Alec" Murphy, with comment by Jena Viviano
[1] In this day and age, any observer of art has to be aware of its multi-faceted stimulus for conception and how each stimulus affects the ultimate creation. In the case of cinema, the aforementioned is especially poignant to distinguish the creative intentions of the directing team from their profit-seeking incentives. While the clash of these opposing inspirations will inevitably affect the raw form of the art as it was originally conceived, it will in no way be a malignant influence on the final product. Rather, the financial incentives behind filmmaking will spur appropriate consequential creativity, the combination of which will result in both a profitable and a provocative product. Such is the case with Terrence Malick’s The New World, in which he infuses a feminine draw into a film that, at face value, seems only appropriate to the male gender. As such, softhearted male leads, an emotionally dominant female, picturesque montages, and an unusual plot focus creates a buzz amongst female viewers, giving directorial incentive for a discrete post-feministic approach, and rounding out the audience gender demographic in the name of profitability.
[2] In order to understand the effects of Malick’s cinematic intentions as they pertain the women, it is first important to explore what influences and differentiates the contemporary female artistic desire from its sexual counterpart. To do so, the intricacies of what is known as the “post-feminist aesthetic†must be outlined. Suzanne Ferriss and Mallory Young, writing about contemporary female movie viewers, explains that movies directed toward women “illustrate, reflect, and present all of the cultural characteristics associated with the post-feminist aesthetic: a return to femininity, the primacy of romantic attachments, girl-power and a focus on female pleasure and pleasures.†A deeper look into post-feministic attitudes sheds further light on Malick’s intentions, as Ferriss and Young’s elaboration on post-feminism resonates within both the structure and form of the film. Ferriss and Young define post-feminism as “The personal as political; agenda is replaced by attitude; A rejection of second-wave anger and blame against the patriarchy; Choice is individual; A return to femininity and sexuality; Embracing of the joys of consumerism; Humor is based on the discrepancy between the ideals put forward by both feminism and the media, and the reality of life in the modern world.†Although this definition is primarily related to contemporary movies about contemporary women, it is remarkable to find that Malick’s film, taking place practically four centuries before the Post-feministic ideal, reeks of its implications. As a result, there is an inevitable draw to the modern female viewer.
[3] To begin, Malick’s focus when writing The New World egregiously stresses the depth of romantic attachments. Albeit, the story of Jamestown and Pocahontas cannot be told without mentioning her unusual and noteworthy relationships with Captain Smith and John Rolfe, but as if these relationships did not command enough attention on their own, Malick exposes them as if they were the most influential aspect of America’s birth. For example, our first recognition romantic attachment in the movie occurs when Pocahontas saves Captain Smith from death by the Indians. We are, then, immediately contemplative of the fact that if she had let him die, Jamestown could have failed and America gone with it.
[4] As if that did not bring enough attention to the power of romantic attraction, the following fifteen minutes of the movie weaves in and out of this trance-like, love-fueled montage, which is, like their love is to them, so poignant, robust, and overwhelming that the viewer is captured by the reflected sentiments. In this montage, recurring shots of nature subliminally reinforce the idea of procreation, as Captain Smith and Pocahontas walk after each other, speechless and smitten. All we hear is his voiceover meandering throughout the most serene of music, reflecting the inevitable, and occasionally nonsensical, internal thought that is present during the discovery of love. The montage continues to dive deeper into the roots of how romantic relationships are formed. By intertwining shots of Captain Smith teaching Pocahontas how to speak English, Malick shows, on a microcosmic level, that love is born by the ability to grow mentally through another person. The augmentation of their attachment ends up being the reason that Pocahontas saves the English from the winter, thereby saving America for the second time. Again, Malick overstresses the power of emotional attachment.
[5] Aside from the prevalent depiction of the use and power of emotional attachment, the individual power that Pocahontas possesses throughout the movie goes further in promoting the Post-feministic ideal. First of all, she is seen as having the ability to obtain whatever man she wants. Overcoming the evident racial obstacle, she instantaneously attracts first Captain Smith and then his replacement, John Rolfe. Furthermore, as out-lined in the post-feminist definition, she is seen as capable of adapting to a totally different and modern world when she is brought first to the confines of Jamestown and then eventually taken to England. Her ability to learn the language and assimilate to the English customs distinguishes her as the ultimate representation of a post-feminist woman. Finally, the end of the movie empowers her character completely, as she is faced with the option of choosing which of the two men to marry. (see comment by Jena Viviano)
[6] On top of the primary plot focus of relationship attachment and the concluding power that Pocahontas receives as a result of her actions, Malick’s casting choice in Colin Farrell and Christian Bale puts the nail in the Post-feminist coffin. Aside from being modern-day heartthrobs, these two men have, until this movie, been depicted as overly confident and powerful alpha males (Christian Bale in Batman and American Psycho, and Colin Farrell in S.W.A.T.). It is by no mistake that Malick cast and directed these two power symbols to wind up being at the emotional mercy of this unknown Native American. The statement is obvious, the power of a woman’s attraction supersedes the highest capacity of financial and social stability.
[7] All of this is to say that Terrence Malick conceptualized, wrote, cast, and directed this movie to attract a modern female audience. As such, he transformed a film based upon the masculine motivations of massacre and take-over, into a double-edged love story with a tone of feminine resolve. As a result, the idea of post-feminism in pre-America influenced the art of his conception and, in doing so, increased the profitability of his film.
Ferriss, Suzanne ,and Mallory Young. “Chick Flicks and Chick Culture.†Post Script 22 September 2007.
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Comments
It should be noted, however, that Malick also shows a darker side to Pocahontas -- one in which she is not the authority figure and in which no feministic, individualistic modern-day ideals are put into place. After all, she is a girl stuck between two worlds, captive. Burgoyne's essay brings to light some interesting points about Pocahontas and how the movie depicts her. As much as King James is revering her, for instance, the scene is also showing how she had to conform to the English, Christian ways. She says the right things, looks the proper way, and acts in a stately manner. Also, the film shows her being exiled by her father, illustrating she has no control over the matter. Burgoyne says it poignantly: "At several points in the film she is in exile: exiled from her father and her father’s village, walking alone among black roots and burnt trees; self-exiled from Jamestown after Smith leaves and supposedly drowns; sleeping on the dirt between the palisade walls and covering her face with ash; and exiled from her own sense of spiritual connection, “You have killed the God in me.†This does not sound like a woman who is in control of her own destiny or one that is embodying the post-feministic ideals.
