Abstract
This paper seeks to explore the strategies Hollywood utilizes to capitalize on feminist social movements through replacing hegemonic male characters with female ones or updating traditional stories through a more “feminist” retelling. By analyzing both 2017’s Star Wars: The Last Jedi and Beauty and the Beast as representative of this corporate trend, we critique the ways in which these pseudo-feminist texts not only contribute little to the social conversation surrounding the evolving roles of women and their representations in media through the lenses of critical political economy, feminist political economy, and feminist film criticism. We conclude that creating “feminist” reimaginings of classic narratives ultimately serves to uphold the existing economic structures that maintain social and financial capital within the largest Hollywood studios. Thus, little to no social progress is made through the creation of these retellings.
Highlights
Introduction and Literature ReviewIn 2017, Hollywood saw two contradicting trends
In the interest of exploring the specific ways in which this is done, this analysis is positioned at the intersection of feminist film criticism, political economy of film, and feminist political economy of media
The political economy of film, feminist political economy, and feminist film criticism will be used to peel the layers off the success and celebration of Star Wars: The Last Jedi and Beauty and the Beast as “triumphantly feminist films” and interrogate their position in relation to contemporary feminism
Summary
In 2017, Hollywood saw two contradicting trends. On one hand, it was rocked by sexual harassment and abuse scandals, with women coming forward and revealing the names of their abusers, and the rampant prevalence of such harassment. In the interest of exploring the specific ways in which this is done, this analysis is positioned at the intersection of feminist film criticism, political economy of film, and feminist political economy of media. By utilizing these methodologies and approaching the films from a critical perspective, Disney’s commodification of feminist movements are highlighted. Specific examples of this are analyzed in the narratives of both the films, as well as details from their production, to underscore that these texts are not made to empower the audience; rather, they are made to sell merchandise
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