Blog #3: Systematic Elucidation of Gender in terms of Bowdlerise & The Ditz in Deep Red

"Systematic Elucidation of Gender in terms of Bowdlerise & The Ditz in Deep Red"

Matthew Henninger

CCS 202: Blog Post #3

In the late 1970s, Italian cinema was introduced to the Giallo genre, which is a cycle of stylish, psychosexually loaded Italian crime films. These films are generally plotted as "puzzle" mysteries, but with a heavy admixture and emphasis of horror and thriller elements. Dario Argento's film Deep Red (1975), which grew severe popularity not only in Italy, but also in the United States, takes the Giallo genre to the next level. Argento brings into question the stereotyping of gender roles and deviates from these facets through character development, sexual exploration, and costuming/effects. These qualities are exacerbated through the questioning of typical gender norms, how each stereotype is debunked through the presence of "monsters", and how the main protagonist will, inevitably, bring reality back into a normative state. Adam Knee claims that "Argento constructs a context of sexual ambiguity to function in tandem with his narratives of perceptual uncertainty, to contribute to a broader questioning of traditional notions of center, of norm" (Knee, 224). Argento questions what is exactly classified as "normal" and how disaster and abnormality can be brought back to a stable state. Deep Red answers these inquiries through the usage of costumes, dialogue, and editing with the characters and each behavioral trope they take on.

Deep Red's original production included scenes that detailed the developing intimate relationship between Marc (the main male protagonist) and Gianna (the main female protagonist). Throughout the film, scenes quickly alternate between English scripts and dubbed and sub-titled Italian scripts when Gianna attempts to pursue Marc. It can be inferred that these scenes were not intended to be shown in the cinemas to American audiences and thus showcases a Bowdlerise trope. This trope simply infers that scenes are cut out from a film, play, or program so that they are less rude, offensive, or sexually promiscuous. In relation to the time that this movie was released, the 1970's were a time of rising Feminism; women were self-empowered and looking to move back into the workforce and to differ from the typical "house wife" mindset. It's therefore understood that the scenes relating to Gianna's sexual desires were cut for American audiences so women could maintain this feminist vendetta and to hide a woman's weakness towards an all-powerful man. 

The film additionally creates this monstrous character, Martha, who is the mother of Marc's friend, Carlo. Martha, as the audience discovers at the end of the film, is the killer but throughout the film, Argento gives subtle hints onto this culprit through camera angles and character portrayals. One of Argento's major cinematic effects is identifying Martha as a ditz, where she is completely unaware of her environment. Marc's interactions with Martha showcase her as being stupid, silly, naive, sociable, and very fascinated in Marc's career (where she gives him the typical masculine occupation of being an "Engineer"). Argento beautifully created this monster and also conceals her until the bitter end. In a majority of Martha's scenes, she is dressed opulently with heavy make-up and sparkling jewelry, which emphasizes her high-class status. Coherently, Agrento's camera shots of Martha are always from above; the audience looks down on her and the lighting from this angle reflects her natural innocence. The audience, from this perspective, is implied to have dominance and control over her and henceforth leaves the impression that she could not be the killer as someone who is represented as so innocent and naive could never kill someone. This, once again, confirms the stereotypical gender normative of a patriarchal society on the surface and represents the audience's own ignorance as a product of our own exposure to gender identification. Argento challenges these beliefs and masterfully fornicates an elegant and horrific monster out of Martha in the face of sexual prowess and psychological trauma. 

Adam Knee writes that in Argento's films, "the norms that repeatedly end up getting thrown into question are those of sanity, of gendered identity, and of sexual desire" (Knee, 224). Deep Red not only exemplifies all three of these qualities through the monstrosity of Martha, but also through the dissociation and concealment of submissiveness and dominance in an attempt to promote the second wave of Feminism in global acculturation. 

Works Cited

Knee, Adam. "Gender, Genre, Argento" The Dread of Difference: Gender and the Horror Film.

         Ed. Barry Keith Grant. Austin: University of Texas, 1996.          213-230. Print.