Wonder Woman and Pygmalion
There has been a large influx of articles about Wonder Woman (2017) being the ground zero of empowerment in woman via cinema. The debate is on though as not one but two Buffys have rose their head to remind people that they battle the ghouls in the night long before Gal Gadot tied up Chris Pine. The soft memory of this is clearly from less than well studied students of film who wish to ride the wave of this film. where were they when Wonder Woman stole Batman vs Superman (2016). no where, they didn’t watch it, didn’t care. The outrage is superficial and manufactured. Wait isn’t this a Hollywood film, superficial and manufactured?
God created man in his image and man requested woman. The ancient greeks saw fit to carve stone into the goddess Aphrodite, degraded by time to loose both arms. this pygmalion prevalence of course seeped its way into cinema.
Fritz Lang’s Metropolis in 1927 saw a robot taking on the form of a woman to have her social reputation ruined by the hands of the powers that be. A war later and the German output of surrealism and expressionism fizzled.
1935’s Bride of Frankenstein saw Victor Frankenstein up to his old tricks, ultimately his studies had left him no where else to go and the sceintific method would require multiple trials. This was missed out in Shelly’s book but Hollywoods always there to get the facts straight.
John Hughs steped up to the marble to chizzle his own adventure in self asembly of woman around 1985 where two high school student’s hijack a power company through phone lines and wish a barbie doll to life who has genie like powers. This truly was an elevation for the whole genre, it saw followers replicate the success story Hugh’s carved out.
in 1990 Herbert West returned from his own death at the end of Re-Animator 1985 to steal the body parts of the neighbouring graveyard to make a body for his room mates deceased fiance. just as we don’t know how west survived we don’t know what became of the rest of her, we can move under the assumption the actress was busy. Around the same time as this another breakthrough of cinema to emerge was Frankenhooker. Where the would be Frankenstein’s lady friend is dismembered in a lawn mowing accident. Mowed down in her prime he sets about at creating Super Crack which no Hooker can resist and will eventually dismember them for him, this plot device really chopped out the chopping.
Although by this point German cinema had gone down the tubes with Leni Riefenstahl’s (didn’t do well at the international box office) France and Italy was not afraid to carve up and reshape a woman. In the shape of Eyes Without a Face. Obviously coming from a influx of British Horror and the femme fatals of Hollywood at the birth of the 60’s. so good at leaving its mark ideas of it could be felt in 1989’s batman where Jack Napier is restarted as the joker by batman who is a revamp of bruce wayne and then seeks to inflict similar physcial scaring to Gerry Hall(no idea what her character was in that film, just assumed she played herself)
wait a minute batman is DC and Wonder Woman is DC so I guess we have come full circle. The point here is anyone thinking Wonder Woman is pioneering probably thinks Clark Kent is a really good writer.