The Girl With the Dragon Tattoo (is nothing new) by alice bee toklas, at burst market 6:57 pm / 30 December 2011
I found that this film does nothing to challenge the male gaze, nor does it pass the Bechdel test (1. It has to have at least two women in it, 2. Who talk to each other, 3. About something besides a man). In fact, when we are introduced to Rooney Mara as Lisbeth, she is not looking at the men who had hired her/the audience straight-on. Instead, we see her from the side. This scene is perhaps the most literal illustration of the male gaze: here, Lisbeth is to be looked at, and it is the men who are doing the looking.
The film also assumes a hypermasculine, hyperviolent audience. In fact, my friend and I had to close our eyes at several points; were our possible reactions, or the reaction of sexual abuse survivors, not taken into account? Although the issue of rape is central to the book/movie, the main rape scene was unnecessarily long and sensationalized. My friend and I agreed that its inclusion wasn't even necessary since she shows a snippet of it on her personal video camera later.
Also, although Lisbeth is a protagonist, the story begins and ends with and is told from the POV of a rebellious journalist "manly man" who uses a 23 year old, exoticized ("different in every way," never mind the fact that she was white, thin, & good-looking & could therefore pass for a wealthy/powerful woman later in the film) woman & tosses her at the end to pursue another affair with his boss... Besides, (and I know here I'm also being critical of the book) what does Lisbeth's character tell victims and survivors of sexual violence? In the real world, how often does "fighting back" work?
Finally, The Girl With the Dragon Tattoo allows for simultaneous interpretations, including overtly misogynistic ones. Polysemic openness, or the strategy of allowing for various meanings at once, can be positively useful in a lot of instances. It allows for a lot of women/LGBT individuals in culture to carve spaces for themselves while remaining appealing enough to be circulated in the mainstream. However, in this case, I'm uncomfortable knowing that a sexist can go to this movie and have their ideas confirmed re: violence as a successful peacekeeping tactic & rape as a personal problem (& the heroine as one who deals with it as such).
So I guess my final question is: does a film's adherence to mainstream, patriarchal guidelines negate its revolutionary potential? Is a film feminist if I, as a feminist, feel personally empowered by a film, even though a misogynist may react similarly?

