Quashing the Male Gaze
A look at Jane Campion’s Oscar Winning Film The Piano (1993)
“The “male gaze” invokes the sexual politics of the gaze and suggests a sexualised way of looking that empowers men and objectifies women”.
https://theconversation.com/explainer-what-does-the-male-gaze-mean-and-what-about-a-female-gaze-52486 -Janice Loreck, 2016
The male-centric gaze in film in Hollywood has continually dominated the box office from the beginning of cinema itself. Think Rear Window (1954) with its framing of the female physique and sexuality, Wolf of Wall St (2013) and the charismatic male figureheads or even James Bond (1962-) with the “charming masculine hero” protagonist. Rarely in the industry is there the defined perspective of a female put at the forefront. Even so usually it is in the format of an over saturated erotic film such as Magic Mike (2013) which does the reverse and puts male figures purely in a position of visual gratification and with little complexity.
Jane Campion’s Oscar winning film The Piano, however, is a clear departure from the “male gaze” format, instead opting to focus on the trials and tribulations of Ada, its protagonist, through her perspective. Ada is a pronounced and complex character and her presence in particular, shapes much of the story and even cinematography around her. This divergence from the male-centric norm is shown predominantly by representing the female arc as the focus of the film, irrespective of the classical patrinormative view. The film represents Ada’s sexuality as an object of empowerment, her perspectives are paralleled with her unique communication and her use of the piano separates herself from the men. The female gaze is rarely shown in cinema but Campion’s modern use of a diverse, yet distinctly feminine view diminishes the overtly dominating nature of the original male gaze.
Empowerment Through Sexuality
A duality is exhibited in most female characterisations in Hollywood–respect and rebellion, beauty and brains, power and submission, sexuality and timidity, etc. — so all viewers relate to and enjoy something.
-LSE MSc Dissertation - Behind the curtain: women’s representations in contemporary Hollywood, Reema Dutt 2013
Campion did not shy away from the usage of erotic scenes to add passion to the film, however the focus of Ada taking on the female gaze subverts itself over the male desire and lust in the film. During the emergence of Baines’ desire to be with Ada, Baines holds the power of the male gaze over her and can watch her play the piano for his pleasure and within the confines of his home. He is literally looking down during this time, the camera pans downwards from Baines towards Ada and she is placed below eye level. This representation of the male predatory gaze is important because it shows the acknowledgement of the struggle that a female has faced, under the suppression of male forced sexuality.
However, Campion is also able to reverse this and put Ada as the dominating force of the gaze later, when she is negotiating deals. In this scene the camera is in constant focus of Ada as she plays for Baines, he is in the blur smelling her dress. When she realises this, she takes advantage of the moment and negotiates a deal with Baines; a trade using her sexuality as a means of bargaining with Baines The scene puts Baines in a lower camera position to Ada with her on top of him where her eyes look down upon him off scene. This foremost shows how Ada reverses the previous scene and uses her sexual prowess and takes control away from the male centric sexual desire. She puts herself in a dominant position and is not subject to Baines’ advances.
Physically, as well in the next scene, the camera is on a zoom focus towards Ada’s unphased face, putting her abstention of being his object clearly in view for the audience. The unmoved look does not give Baines the satisfaction of her subjugation, in fact she is the one defying him and putting only her gaze in view. The ‘gaze’ itself gives the viewer (Ada) a sense of power, turning the subject of the ‘gaze’(Baines) into an object of sexual desire or disgust. Whoever has the gaze becomes autonomous and dictates where and what the viewer sees and how they feel.
The gaze itself also continues without necessarily having Ada’s presence in the scene. In traditional cinema sexual or erotically provocative scenes show naked or semi naked women first in normally vulnerable or sexually appealing states. This use of female sexuality has normally been a cornerstone of male gaze cinema, in order to conform films to fit male standards and viewing pleasure. The Piano conversely instead flips this on its head by portraying men as sexually vulnerable and showing off their nudity in a more effeminate and submissive manner. Baines as an example is the first character on screen that nude in contrast to the typically female filled position that is normally the case. Moreover, what we see as the camera pans down is a full posterior view of his body which is very rare in any cinema even modern-day feminist films.
A Cornell GSS blog revealed that 26.2% of female actors get partially naked whereas 9.4% of men do in films.
The camera frames Baines in a submissive view as he cleans the piano for his beloved Ada, he is looking down and putting attention to detail as we see in eyes, effectively making him more effeminate and appealing to a female gaze. His nudity adds to the fragility, breaking the masculine stereotype of male sexual appeal. The oddity of his very masculine, muscular body in such a vulnerable scene becomes ironic as his portrayal becomes completely softer and palatable. Baines’ presence in this scene in the nude is uncommon amongst cinema itself and is usually a position female are subjected too. Hence Baines fulfilling this outcome during the early stages of the film are very much a purposeful inclusion and definitely sway attention away from the patriarchal imposed nudism on women common amongst male gaze films.
In later scenes too we see Baines succumbing to this vulnerability, finally realising his shameful actions, providing an admission of guilt that would never be said in a male perspective. The conception of this idea stems heavily from female oriented or feminist backgrounds where men are the proponents of apologies in a relationship. Thus, Campion’s adaptation of it to Baines’ character shows the audience that her film is purposefully designed to look at women and their relationships with men in a different way. The quote also provided in accompaniment with the remorse, is one of the most empowering in the film and sets precedent for the female gaze Campion has used.
“This arrangement is making you a whore, and me wretched”- Baines
Overall allowing Campion the leeway to subvert traditional standards of the male gaze, replacing it with nudity and submission in order to place at the forefront of the film the female gaze. Hence, Campion introduced this different type of gaze for a woman to conquer her sexuality or feminise the male one. Using it to her discretion and thus subverts the male-centric way of viewing sexuality in cinema.
Silence Is deafening
“Mother says most people speak rubbish, and it is not worth a listen”- Flora
Ada, as an elective mute, can be interpreted as having more power over the male characters in the movie as the camera must focus on her as a woman; her body, her gestures and her sign language for her to be understood. This necessary focus makes her the center of the story and the holder of the audience’s attention. Ada knows her unique position in communication gives her the upper hand because people are forced to listen to her and cannot pretend to be unaffected by her presence.
“For silence affects everyone in the end”.- Ada
The deliberate decision by Campion not to translate Ada’s signing unless done so by her daughter is used to show the audience that they along with the characters must interpret Ada on her terms. Every time Ada signs or talks it is her body that is projecting the language; hence the camera has constantly focused on her when she is “speaking”, framing her hands as the center point of the shot. Forcing the audience’s attention to her gestures to understand context. Anyone else can be put off frame when she is being watched or speaking, but it is always she who must be in frame in order to portray her message.
This technique ensures that Ada is always seen, always heard and her silence is effectively louder because the men cannot speak until she’s done, and the camera can pan over to them. Her communication is key because it puts Ada in a position of power. It dictates where the people should focus their attention to, effectively making her gaze the only gaze that theoretically matters.
And if it is not hers it is done through her daughter.Continual female representation lets Campion concede that Ada cannot always be heard but it is her daughter who can shout and yell for her. Flora herself is a sassy character who acts with agency, and her use as translator empowers Ada even further, as the child has the attention then focused on her.
Ada’s silence is looked upon as a weakness by the men and a manufactured deficiency by first glance. However it is the visual focus of the film and the draw of the audiences eyes that remove the need to an aural voicing and literally placing and framing a female gaze at the forefront of the screen.
Musicality subverting masculinity
Ada is also able use the piano as a source of communicable empowerment, through articulating her independence and control over her sexuality. The musicality she possesses is not only for the purpose of exhibition, but to also make her mark. In the scenes where she is playing the piano, especially on the beach, the camera is purposely creating a two-shot technique that shares the screen between Ada’s playing and Baines captivation.
Her use of the piano is an expression of how her emotions play and the rejoice of her seeing it again clearly puts Baines in a position of awe as well. Her silence speaks much further than anyone.
“I don’t think of myself as silent. That is because of my piano”.- Ada
The piano’s usage is a way to express herself differently and, in this case, it has made people become infatuated with her. Breaking the male gaze stereotype of men being infatuated for the sake of good looks and instead focusing on how the female gaze norm can ultimately still make a man desire a woman, through her skill and nonverbal communication.
The piano piece Ada repeatedly plays “The heart asks pleasures first” also alludes to the power of the heart and Campion’s representation of females. Composer Michael Nyman took the name from Emily Dickinson’s 536 poem which speaks about how the heart desires pleasure for itself and if not, seeks a life without pain. This literary allusion deliberately chosen by both Nyman and Campion includes not only a famous female poet’s work but also a message saying that love transcends the bound meanings of male domination. Hearts can seek pleasure, just as Ada seeks pleasure from Baines but also a removal from pain by Alisdair meaning her gaze is the one that is seeking, meanwhile the men are a means to an end.
Ada also uses the piece because it’s flexibility in both major and minor keys represent to the audience her current state of mind. The image on screen may show one thing, but the sound of a slow adagio minor key played by Ada or a lively allegro major key convey emotions of joy or sorrow respectively in scenes. Again giving her an advantage over others. Her use of the piano as her medium lacks the verbal nuance but also comes with the ability to put her gaze at the forefront. Music and the motifs of it are always heard, even during scenes of little or no exchange of words. While Ada is at the piano she is always heard, hence her gaze is always present and with the aid of a deep meaning piece it is always prominent.
Nyman also took inspiration for the music from 16th century Baroque era greats such as Purcell up until the 18th centuries contemporaries. He noted that Holly Hunter, the actress who plays Ada, plays much more lyrically and slow moving pieces well given her piano background. Hence Ada in the films plays much more masculine formatted music with heavy emphasis on note runs, virtuosity and emotional lyricism from within. Which is typically designed for men to play. The Victorian era history of musicianship too would also mean that Ada broke norm and was one of the rare female players to play such a lyrical style denoted normally for men and we see this surprise and even annoyance in many of the characters too. This is a small detail but it effectively shows she breaks female musicality stereotypes, increasing her visibility and thus her gaze and influence too.
“She does not play the piano as we do Nessie….. No, she is a strange creature, and her playing is strange, like a mood that passes into you. Now your playing is plain and true and that is what I like, to have a sound creep inside of you is not at all pleasant.”- Aunt Morag
Concluding remarks
The predominance of the male gaze and its overuse in cinema will never be rectified by one film, but Jane Campion has ultimately shown that the female gaze is possible and can even subvert the male gaze. Campion has shown that the female protagonist can use her sexuality to be above the male gaze, communicate on levels that promote the female gaze as necessary and finally use Ada’s piano skill to speak in replacement of her own voice. Not only is Campion able to subvert the male gaze but she is able to quash any preexisting notions about the female gaze and make The Piano a film that speaks loudly even when its main heroine silenced.
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