Understanding Objectification Theory in Horror Movies
Belinda Marie Balraj, Nanthini Chandra Kanthan, Norshima Zainal Shah
To Link this Article: [Link] DOI:10.6007/IJARBSS/v11-i12/10755
Received: 19 October 2021, Revised: 21 November 2021, Accepted: 30 November 2021
Published Online: 08 December 2021
In-Text Citation: (Balraj et al., 2021)
To Cite this Article: Balraj, B. M., Kanthan, N. C., & Shah, N. Z. (2021). Understanding Objectification Theory in
Horror Movies. International Journal of Academic Research in Business and Social Sciences, 11(12), 1237–
1242.
Copyright: © 2021 The Author(s)
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Understanding Objectification Theory in Horror
Movies
Belinda Marie Balraj, Nanthini Chandra Kanthan, Norshima
Zainal Shah
National Defence University of Malaysia
Email: belinda@[Link], Nanthini9825@[Link], shima@[Link]
Abstract
Objectification Theory provides an important framework for understanding, research and
action to improve female lives in an environment of socio-culture that aims sexually the
female body and equates the value of a female with the appearance and sexual function of
her body. This concept paper examines the need to understand one media representation
theory which is Objectification Theory. The method used for this study therefore relies on
extensive literature on objectification theory. The paper finds that objectification theory is
relevant in the study of horror movies as it portrays the ways media sets the agenda on how
women are to be portrayed to garner sales. This type of study could also be extended by
future research into the social impact of stereotyping women on slashing movies. An
expanded version of this study could contain the psychological and cognitive impacts of slash
films on the viewers in a section within the literary review. In addition, actual surveys,
interviews, and focus groups could be conducted in the form of a first-hand analysis of these
cognitive effects.
Keyword: Objectification Theory, Mass Media, Women, Horror, Movies
Introduction
This concept paper examines media representation theory which is Objectification Theory.
Objectification theory (Fredrickson & Roberts, 1997) provides a framework for analyzing the
experience of being a woman in a society that sexualizes the female body. Objectification
theory has been an essential organizational viewpoint for a lot of feminist and counseling
psychology research, and it fits well with counseling psychology's multicultural-feminist and
social justice objectives. This paper therefore is divided into four sections namely this
Introduction, Overview of Objectification Theory, Objectification in Horror Movies and
Conclusion.
Objectification Theory (OT)-Overview
Prior to the existence of television or mass media, women were objectified during the
Cleopatra Era (Heru, 2003). Although men were remembered for their courage and military
victories, the women were immortalized by the objectification of their bodies such as
Cleopatra for their beauty and power over others. While their portrayals of dominant women
are hardly ever in the media today without considering the likes of their beauty. Nevertheless,
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Fredrickson and Roberts (1997) come about Objectification Theory (OT) and proposed that
many women are sexually objectified and treated as an object to be ogled at by the male
gender and the media. The comprehension of OT is that the media plays a salient role in
shaping women's thoughts on how they should or should not be looked upon in the public
reality and not reality itself in the news media. However, those reflections provide the basis
for viewer’s perceptions about the world.
Objectification may come about in many ways varying from sexual violence to sexual
evaluation (Fischer, Vidmar & Ellis, 1993). The most subtle and deniable way of objectification
is through gaze or visual inspection of the body (Kaschak,1992). Objectification also occurs
when a woman's body part is separated from her as a person and contemplated as a mere
object or which can represent her as a person (Bartky, 1990).
Fredrickson and Roberts (1997) claimed that objectification occurs in three relevant arenas.
First, it takes place within actual interpersonal and social encounters. 15 Looking at a person
as an object solely for sexual pleasure and as an object for use is classified objectification
entangled with beauty and appearance. In the opinion of Cowan (1995), for women of color,
objectifying gazes are usually immersed with racial slurs, for example, African American
women are usually looked upon as animals whereas Asian women are seen as possessing
more exotic and subservient sexuality.
Second, objectification also takes place in visual media that pictures social and interpersonal
encounters. Goh-Mah (2013) argued the objectification of women in the media as the
elephant in the room. Though this issue is seen as being too apparent to ignore, it does come
as no surprise that the issue of objectification is often side swept by media experts. Goh-Mah
further stated that because sexual objectification is so clear-cut in everyday lives, it has thus,
become the most influential sector of objectification; however, other kinds of objectification
should not be overlooked. Dichotomy and the distinction between object and subject status
is used in the simplest lines of history, whereby men are the objects of status in a society
highly gendered, whereas women are severely objective. This indicates that the sexual
objection of women in the media is based on something much more systematic than the
media photos every day. Men and women are depicted in different media in contradiction. In
the media women are depicted in the utmost photoshop to match a certain image of the
attractiveness of women as demonstrated by the media and that these women are
experiencing drastic changes in the body to be accepted by society. In the world today,
women are continually under great pressure to adhere to the perfectly fine image of 16 what
culture tells viewers about the attractiveness of women (Goodstat, 2015). Research on
mainstream movies (Kuhn, 1985), visual arts (Berger, 1972) and movies (Sommers-Flanagan,
1993) provide evidence that women's body is targeted for sexual objectification more
habitually than men.
The person struggles to preserve their unique identity by seeing the Media take the stage in
establishing their view of themselves. The person dives the media's performance as the way
of life and thus sees those sexes, cultures and understandings forming a perception. The
media feeds these individuals to the degree that their thought and their lives are affected.
Many people feel that they are resistant to the media. Scholars studying the media however
claim that most people rely on the media to establish their viewpoints, identities, and lives
(Calvert, 1999). A media scholar, Kellner (1995) claimed media culture conveys the values of
men or women to the public. The media create the ideas of what is appealing for women and
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men by providing audiences with representations of women and men. In return, this produces
a stereotyping individual who, for example, disregards the opposite sex based on media
perception. Kellner also argued that gender cannot be analyzed and that in the end it is
difficult to determine oneself. One explanation is that the objectification of gender is virtually
inseparable from daily life. The role of men and women in society is regulated by their
economic and social position, and the ties of power within these frameworks. It can be
regarded as a personal or public distress.
It is therefore befitting to link OT to studying the effects it has on horror movies to this study
will attempt to apply objectification demonstrate the important role that entertainment news
plays in the generation of today’s news agenda.
Objectification Theory in Horror Movie- An Overview
The horror genre has a long history of portraying the female body as abject. 'Woman are
especially connected to contaminating things, which fall into two categories: excremental and
menstrual,' according to Kristeva. As a result, women have a unique connection with the
abject. Sexist stereotypes abound throughout the horror genre. It frequently engages in
objectification and, on occasion, blatant sexism. Slasher flicks' harsh moral code is so
antagonistic to women that it's become a cliché.
The theoretical framework for this study uses Laura Mulvey's Male Gaze Theory (1975). This
study aims to look at the way Mulvey has explained how women are objectified and portrayed
through the camera lens according to a man’s perspective. As stated by Muvley (1975),
women are frequently being the object of the male gaze’s endless entrenched habit in the
perspective of the heterosexual male. Mulvey categorizes women as ‘the bearer of meaning,
not maker of meaning. In addition, the quotation of Mulvey notes that unlike men, women
seldom are the role of observers, but preferably the object, whereas men are mainly the
subjects or the strong character. The principle of Male Gaze was used in filmmaking. In some
cultural studies, theory was used to see how women often target themselves in other types
of media.
The female spectator, according to Linda Williams, is a passive creature that refuses to return
the masculine gaze and so refuses to look. A lack of identifiable onscreen representation and
her unwillingness to bear witness to violence and humiliation perpetrated against women,
according to Williams, are two variables that drive the woman to look away.
Women, according to Williams, cannot find pleasure in spectatorship since they are the target
of male gaze and so exist as an object to be gazed at, incapable of reciprocating the attention.
Women are horrified when they are penalized for staring. The gaze that objectifies the female
is likewise directed towards the monster, and Williams believes that with this motive, female
viewers may feel empathy and sympathy for the monster. This viewpoint allows female
viewers to enjoy the film in the same way that male viewers do, without fear of punishment,
vengeance, or objectification. Rather than becoming the object of the gaze, the female
observer might embrace and welcome it.
Conclusion
As a result, female horror lovers are sure to be disappointed by the lack of suspense
in many slasher flicks. Half-naked women scream and fear about a masked killer with a phallic
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weapon who never appears to die in these films. The movies regularly gratify the masculine
gaze, pausing to objectify an attractive woman's half naked body seconds before her
gruesome demise. Based on the discussion, it is palpable that objectification theory is
embedded in media theories and studies. Objectification theory was created to media and its
role in creating an image for the public. This theory is also relevant for this study as it able to
research women and how media representation affects their physical health and wellbeing.
When the media objectifies on the representation of women, viewers or researchers alike at
times demand for equal rights and representation, but though numerous studies have
pointed out this issue, media still underrepresents women as the notion has been embedded
in the minds of the viewers for a long period of time. It will take a long time to fully
comprehend the intricacies of the female horror fan. Given the fundamental dearth of
knowledge regarding consenting female spectators, it is critical that study in this field
continues and advances. The literature reviewed for this study painted a picture of horror
fandom as a male-dominated activity that actively and brutally opposes female input.
Previous literature ignored the female horror watcher (and especially the female horror lover)
and regarded her as an improbable anomaly, unworthy of investigation, based on societal
preconceptions that women are incapable of getting enjoyment from horror films. This type
of study could also be extended by future research into the social impact of stereotyping
women on horror movies. An expanded version of this study could contain the psychological
and cognitive impacts of slash films on the viewers in a section within the literary review. In
addition, actual surveys, interviews, and focus groups could be conducted in the form of a
first-hand analysis of these cognitive effects.
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