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View metadata, citation and similar papers at core.ac.ukbrought to you byCOREprovided by PassageMaulany NabillaMasculinity of a Major Female Character in Joel Coen’s The Big LebowskiMasculinity of a Major Female Character in Joel Coen’s The Big LebowskiMaulany Nabilla, Nita Novianti*English Language and LiteratureUniversitas Pendidikan Indonesiamaulanynabilla.mn@gmail.comABSTRACTIn its early emergence, the theories of masculinity are oftenassociated with men, then female masculinity theories establishedand shifted the traditional notion of masculinity concept. Thispaper is intended to scrutinize the portrayal of masculinity in amajor female character in a Joel Coen’s 1998 film entitled TheBig Lebowski. Female masculinity is chosen as the main topicconsidering the shift of gender notions in these past few yearsusing the theory proposed by Judith Halberstam (1998). In orderto determine whether the characterization of the main object ofthis paper portrays masculinity, masculinity characteristics theorypresented by Levant (1995) and film theory advanced by AmyVillarejo (2007) are also employed in this study. Using thetheories mentioned previously, this paper used the dialogues, anumber of mise en scene aspects, namely properties, costumes,hair do and makeup, and also cinematography aspects such ascamera shots, angles and frames. The data were collected bytaking notes on the character;s masculinity traits throughout thefilm. It is found that the focused character is depicted to havesome masculinity traits through her confidence, emotions hiding,the absence of intimacy in sex. Self-reliant, strength, aggression,power, and domination. Thus, this paper proves that masculinitycan also be performed with an absence of male body form.Keywords: Female Masculinity, masculinity, masculinity traits, The Big Lebowski.101
Passage 2019, 7(3), 101-113INTRODUCTIONUlinuhaThe concept of masculinity is oftenmasculinity of female characters inexclusively associated with men, untilliterature works by showing theirthe emergence of new concept calledmasculine traits. Silfiyah (2017)feminine masculinity that broke theestablished that the focused characterearly notion of masculinity and alsoin her paper shows her masculinechallenged the idea of traditionaltraits through the character’s doingsmasculinity. One of the most well-and deeds, while Ulinuha found thatknown and utilized theories ofthe masculine traits showed by thefeminine masculinity is the onefemale character she analyzed areproposed by Judith Halberstam inassertiveness,confined1998. In her book entitled Femaleindependence,andMasculinityhappiness pursuit. In Parvathi’s mininefeminine masculinity. The theorymasculinity in Hunger Games seriespropounds that masculinity is notbooks by Suzzane Collins, masculinechained with male bodies, instead,traits showed by the major femalemasculinity can also be found incharacters in the series novels give thewomen. According to her, studyingcharacters power that linked to thefeminine masculinity is one of themasculinity.many ways to fully understand theThe same theory of feminineconception of masculinity itself.Halberstam’smasculinity employed by the previousprominentstudies is used as the main instrumenttheory about feminine masculinityto conduct this research nityinMauderegarding the analysis of masculinityLebowski character in The Bigfound in women, especially inLebowski Movie by Joel Coen.literature field. In 2017, four studiesconcerningfeminineThe Big Lebowski is a 1998masculinityfilm directed by Joel Coen. Thiswere published. Silfiyah (2017) andfilm’s plot102revolvesaround an
Maulany NabillaMasculinity of a Major Female Character in Joel Coen’s The Big Lebowskiunemployed man named JeffreyBig Lebowski was not expected to beLebowski (Jeff Bridges) who insiststhe director’s big success until itto be called The Dude. The conflictsgradually drew the audiences’ notice,in the movie starts when the dudetogether with a number of scholars.experiences a few misfortunes due toWith a handful of its peculiarthe mistaken identity between himcharacters, this 1998 film has alreadyand a billionaire named also Jeffreybecome the highlight of numerousLebowskiHuddleston).research. Ashton (2009), investigatedMaude Lebowski (Julianne Moore),the connection between the cult of thethe main focus of this research, is thefilm and the issue that is depicted inonly daughter of the wealthy Jeffreythis film, the Iraq war. This researchLebowski, who throws herself intoconcludes that the attachment to thethe middle of the conflicts betweengrowth of this film’s cult is the effectThe Dude and her father.of the attachment to the morale of that(DavidInthemovie,certain time. Klinger (2010) wrote anMaudearticle focusing on the journey of TheLebowski is portrayed as a quirkycharacter.SheshareholdersisinonetheofBig Lebowski from receiving manythenegative reviews until it becomes anLebowskiAmerican Classic cult movie. AsCompany, and also an artist whoclaimed by Shaun Ann Tangneyalready made several vaginal themedart works.showed(2012), The Big Lebowski remarks theIn the film, Maude ion from the director and theassertive and sophisticated woman.script writer, Ethan and Joel Coen.Most importantly, in the ocean ofmasculine male characters, Maude isAlthough many studies havenot shown to be any less masculinebeen conducted to scrutinize thethan any other male characters.cultural aspects in the film as well asthe plot, there has been no specificConsidered as one of theresearchAmerican cult films of the 1990scenteredonMaudeLebowski character. On this account,(Comentale, 2009), Joel Coen’s The103
Passage 2019, 7(3), 101-113the author of this paper will examineanalyzed using the film theoryMaude Lebowski on her masculineproposed by Villarejo (2007). Severalperformance in the entire film.studiesregardingtheguidetointerpret color will also be used in thisTo complete this study, a filmpaper. By doing this research, thetheory by Amy Villarejo in her 2007author expects to contribute newbook entitled Film Studies: Theinsights in the field of literature,Basics will be used alongside Judithespecially in film and gender relatedHalberstam’s feminine masculinityissues analysis, more specifically intheory. According to Villarejo, therefeminine masculinity studies.are two significant aspects in breakingdown a scene from a film, which aremise en scene and cinematography.METHODOLOGYCinematography in film points theThis paper used the dialogues, severalelements of the frame such as theelements of mise en scenes and alsoframe compositions, camera shots,cinematography in Maude scenesangles, movements, etc. while misethroughout the whole film as its mainen scene focuses on the elementsdata. A numerous aspects of mise encontained in the frames of the filmscene used in this paper are limitedregarding the visuals of the settings,only to wardrobes, properties, hairdocostumes, makeups and hair do,andlightings and the characters’ figure. Incinematography, the aspects that werethis case, this study will limit theselectedanalysis only to several aspects ofcharacter were limited to cameracinematography and mise en scene.angles, shots, and frames. Maude’sFrame compositions, camera shotsdialogue,andfromcinematography in her scenes werecinematography as well as the visualselected because of the object of thisof the settings, costumes, makeup andstudy is a character from a motionhairfocusedpicture. Moreover, the dialogues andcharacter in this study will bemise en scenes in this film scrutinizeeninMaudesceneand
Maulany NabillaMasculinity of a Major Female Character in Joel Coen’s The Big Lebowskicollected by watching the film andof masculine traits proposed bytaking notes on Maude’s masculinityConnel (1995) and Ronald F Levanttraits that were shown in the movie.(1995)focusedto the standard of being masculine aswere examined with the help ofstated by Connel (1995) and Levantfemale masculinity notions from(1995). Furthermore, the discussionHalberstam (1998) with the additionof how Mude character depicts someof mise en scene film theory byof the masculine traits in the entireVillarejo (2007). Maude’s dialoguefilmand action are examined by usingwillbe explained inthefollowing paragraphs.Levant’s (1995) and Connel’s (1995)masculinitythenumber of masculine traits accordingall the data were assembled; the dataofthatcharacter in this paper portrays aAfter the note were taken, andtheoryshowstraits.ConfidenceAfterwards, the mise en scene andIn the film, Maude Lebowskicinematography aspects of Maude’sis portrayed as a confident andscene were analized using the theoriesexpressionless, wealthy woman whoof mise en scene and cinematographyleads one of the parts in her parents’by Mamer (2008), color interpretationbig company. In this scene where shetheories by Cerrato (2012) andfirst appears in the movie, MaudeHallock (2003). Jacobs and Šlausmeets The Dude with no clothes on.(2012). theory about power was alsoIn the scene, Maude is not shy to showused to strengthen the findings of thisher naked body to a man that shepaper.meets for the first time in front of twoof her assistants.FINDINGS AND DISCUSSIONThe analysis of Maude Lebowskicharacter in The Big Lebowski filmusing Halberstam (1998) theory offeminine masculinity and the concept105
Passage 2019, 7(3), 101-113does not sound like just a question,but more likely to be a challengingquestion for him, which indicates herconfidence over her body and thenotion about nudity. Here, Maudeshows her confidence, the first(00:43:18 – 00:43:50)masculine essential quality stated byLevant (1995). Maude is not onlybeing confident about her body form,but she is also confident about herbizarre artworks by showing it to astranger she barely knows.Her masculinity in this sceneis also supported by the straight eyecontact she makes with the Dude shotin close up. According to Mamer(2008), the close up helps and forcesthe audience to put their focus on the(00:44:00 – 00:44:13)character’s details in the frame.Within this close up scene, it isAfteroneofhermalevividly seen that Maude is lookingassistants handed Maude’s robe, shestraight to the eyes of the personapproaches The Dude and asks howwhom she is talking to concerning athe female body form makes Thesensitive content. Hence, Maude’sDude uncomfortable. Based on herconfidence is even clearer through theexpression seen in the frame, Maudesupporting framing techniques asdoes not show any expression orscreened in this scene.utters something about how she is notcomfortable to be naked in front of allthe men in the room. Other than that,Ability to Hiding Her Emotionsthe question she proposes to the Dude106
Maulany NabillaMasculinity of a Major Female Character in Joel Coen’s The Big LebowskiThenextmasculinetraitinstead, she tells the Dude with aportrayed in Maude character is goodstraight facial expression. Slightlyat hiding emotions. From the nextafter that she calmly commands thedialogue Maude has with The Dude,Dude to return the rug. Here, Maudeshe tells The Dude that she knows thatshowsThe Dude is taking one of the rugscharacteristics proposed by Ronald Ffrom her father’s house. The rug turnsLevant (1995), which is good atout to be the one that Maude gave tohiding emotions.her birth mother before her motheroneofthemasculineIn the second picture framepassed away.composition’s, Maude’s position is inthe left of the frame, which accordingto Mamer (2008) this unbalancedcomposition technique is often usedin films from the 60s and 70s. Mamer(2008) further explains that thisconstructionpropositiondemonstrates that an event will occur,in order to load the audience’sexpectation of what might happennext. While Maude tells the Dudeabout the history of the rug, Maude isexpected to show her anger or(00:44:016 – 00:44:26)disappointment; instead, Maude talkscalmly with a flat expression duringMaude is upset and does notthe whole conversation.want her mother’s rug to becomeSelf-Relianceanyone else’s property. When shetells the Dude about the rug, she doesnotshowanyexpressionAnother masculine essentialthatstated by Levant (1995), besidesrepresents her anger or sadness whenconfidentshe is talking about her late mother;107andgoodathiding
Passage 2019, 7(3), 101-113emotions, is good at solving theproblems that her family is facing onher own. In the film, Maude knowsabout the abduction of her stepmother and is determined to help herfather and the Dude to get the moneyher father is about to give to the(00:47:20 – 00:47:40)kidnappers, because she believes thatInthemiddleofthethe kidnappers are lying about havingcomplicated problems that her familyher step mother. Because Maudeis facing, Maude offers a deal to solvebelieves so, she offers a good amountthe problem to a stranger who isof money to the Dude if he can get herneither the member of her family norfather’sthe member of her family’s company.moneybackfromtheShe chooses to solve the problem inkidnappers.her own way so her family’s andcompany’s name will not have a badreputation raised to the media. Here,she makes a good solution to the bigproblem in a clean way for her familyand company, so it makes her acharacter who is good at solvingproblems by herself. The fact that sheis also offer a huge amount of moneytotheDudewithpromisingstatements makes the Dude trust herand alsomakes her a reliable characterthat other characters can rely on.In this scene, her masculinityis also shown through the propertiesin the setting of the scene, starting108
Maulany NabillaMasculinity of a Major Female Character in Joel Coen’s The Big Lebowskifrom the colors of her costumes,makeup and the properties in theframe that are mostly shady in colors.Maude is wearing a dark green robe,and brown lipstick and eye shadow.Her properties in this scene is alsodominated with a shady and blacktinted colors, which according toHallock (2003), are mostly preferredby men.Sex without Intimacy and ThePursuit of HappinessToalwayspursueoneshappiness is one of the traits ofmasculinity proposed by Levant(1995). Here, Maude is content withher own self and her own wealth, butthere is another thing that she wants inher life, a child. In order to get whatshe wants, Maude tricks The Dude todo medical test to see if he is having asex transmitted disease then laterseduces the Dude to have sex with her(01:30:39 – 01:31:09)so she will have a child from a manThe absence of intimacy inwho is not related to her but has thethis scene is depicted through whatsame family name with her. From theMaude and Dude do after thescenes below, it can be seen thatintercourse. After the sex, they cuddleMaude will do anything to get whatshewantsandtopursueand talk about the Dude’s past for ahershort time but then leave each other’shappiness.109
Passage 2019, 7(3), 101-113side slightly after that and change theshe bought for her late mother beforesubject of the conversation. Thisshe passed away. Another aspect ofindicates that both Maude and themasculinity that Maude shows in thisDude do not have interest in eachscene is strength (Levant, 1995),other, and the sexual intercourse,power, and violence as part ofmainly for Maude, is nothing moredomination (Connel 1995). By hiringthan a tool to provide her the one thingtwo hitmen, Maude is showing thethat she wants, which is a descendant.Dude what her wealth can buy her,which are strength and power, andStrength and AggressionAnotherthealso the ability to violate others.traditionalMaude’smasculinity norm proposed by Levantstrengthened by the angle of thecharacter Maude is showing strengthaggression.Inherandaggression in this scene is also(1995) that can be observed in theandpowercamera. Low camera angle is used byfirstshooting Maude and her two hitmenappearance in the film, Maude comesfrom below. This approach explicatesto the Dude with two hitmen and shea menacing, powerful and frighteningorders the hitmen to beat the Dude bycharacter or situation, (Levant, 1995).gives a single glance to one of them.This explanation of the angle appliedin this scene supports Maude’sdomination and power to harm theDude.Another aspect that supportsthe idea of Maude’s wealth is the(00:29:46)Here,Maudewardrobe she wears. In this scene,showsherMaude wears dark green clothing,aggression to those who intrude herwhich according to Cerrato in hiscomfort, which is explained later thatbook entitled The Meaning of Colorsthe rug the Dude took previously from(2003), is often associated withher father’s residence is the rug thatmoney and wealth. As explained by110
Maulany NabillaMasculinity of a Major Female Character in Joel Coen’s The Big LebowskiJacobs and Šlaus (2012), two of theshe turns and walks to the oppositemany functions of money is as a basisdirectionof military strength and source offormation to give Maude space topeople’s political power. In thewalk.thedancersopenthemovie, Maude is portrayed as awealthy woman who owns a hugeamount of money, which instantlygivesher power. Here, Maudemanages to use her wealth as herstrength to be more powerful thanothers and do things as she desires.Power and DominationThelastmasculinetraitobserved in Maude is her power anddomination which can be seen in theDude’s dream scene. In this scene,Maude appears standing in the middleof many female dancers. As thedancers dance, they make a circularformation while bowing several timesto Maude as she is standing in themiddle of them wearing a gold Vikingcostume while holding a spear. Thespear Maude holds in this scene has asimilar shape with the trident ofPoseidon, the sea god from ancient(01:21:47 – 01:23:12)Greek mythology. After breaking theIn one of the shots in this scene,circletheMaude is shot from above her head,dancers, they stand behind Maudewhich is called the high angleshapedformationofforming a one line formation, and as111
Passage 2019, 7(3), tion, this particular approachcharacterizationthroughindirect characterization. With thehelp of the mise en scene elementsproposed by Villarejo (2007) and theCONCLUSIONinterpretation of its several elements’In conclusion, even though MaudeinterpretationLebowski is a female character, she(2013), Maude’s masculinity traits areportraysmasculinealso strengthened by the cameracharacteristics proposed by Levantangle, shots, makeup, and wardrobe.(1995) and Connel (1995). Based onEven though most of the mise enthe findings, Maude shows herscene supports Maude’s masculinity,masculinity essence through herthere is also one shot in the film thatpower,strength,negates the meaning of its mise enaggression, reliability, and ability toscene as proposed by Mamer (2008).hideasBased on the findings that areperforming sex without any intimacy.collected with the help of masculinityThe masculine traits aretheory,somedomination,her emotions aswellmostlystatedmisebyenMamersceneandportrayed through the elements ofcharacterization theories, Maude cancharacterization in the film, namelybe said to successfully exhibit nity,ofthat(2002), those elements approve thatmasculinity can also be performed bythe film The Big Lebowski revealsfemale.REFERENCESAM, Y. T., Kuncara, S. D., Setyowati,R. (2017). Analysis of the maincharacter needs in Life of Pimovie using Maslow’s theory.Jurnal Ilmu Budaya, 1(1),.Ashton, W. A. (2009). Deception anddetection: the Tricksterarchetype in the film, The BigLebowski, and its cult following.Trickster Way, 5(1). 1-16.Cerrato, H. (2012). The Meaning ato.com.Comentale, E. P. (2011). The year’swork in Lebowski studies. TheJournal of American Culture,43(3). 318-319.112
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Self-reliant, strength, aggression, power, and domination. Thus, this paper proves that masculinity . and a billionaire named also Jeffrey Lebowski (David Huddleston). Maude Lebowski (Julianne Moore), . growth of this film's cult is the effect of the attachment to the morale of that certain time. Klinger (2010) wrote an .
