Gender norms and stereotypes are common and unavoidable within many societies today. Gender influences how individuals act with one another and emphasize how one ‘should’ or ‘shouldn’t’ act (Wood 31). Gender stereotypes and norms are constructed by society and enforce a ‘code’ through social manipulation. Gender stereotypes and expectations are found throughout the world and across cultures. Unfortunately, gender norms often cause individuals to act in ways that are not true to themselves. Although what is expected of individuals regarding gender is changing, norms and stereotypes are overwhelming and ever-present. Wood (32) has briefly, yet adequately explained gender stereotypes: “Typically men are portrayed as active, adventurous, powerful, sexually aggressive and largely uninvolved in human relationships. Just as’ consistent with cultural views of gender are depictions of women as sex objects who are usually young, thin, beautiful, passive, dependent, and often incompetent and dumb. Female characters devote their primary energies to improving their appearances and taking care of homes and people” (32).
“The Hunger Games” is a drama, adventure, and suspense film based on the novels by Suzanne Collins (SparkNotes, The Hunger Games Summary). The story focuses on a young girl named Katniss Everdeen. The film is immersed with many gender norms and stereotypes, as well as contradictions to such (Kirby 461). The Hunger Games embraces many forms of gender expression (The Hunger Games; Kirby 462). Femininity as a concept is challenged and replaced with the ideology of a feminist warrior, who is a woman (The Hunger Games). Additionally, violence, although intrinsically masculine, is depicted and feminine ways throughout. Non-binary individuals and those who are androgynous are a common theme in the film, being discussed in further detail below. Many of the classic stereotypes of gender (cheerleader, ‘macho man’, patriarch, etc.) are demonstrated well by various characters throughout. Finally, heterosexual tensions and sexualities will be explained in brief detail about the gender identities and portrayals of the characters in the film.
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Sexuality is not an overwhelming element of the film; therefore the analysis will focus on this only briefly. Kirby states: “[the Hunger Games] has been widely celebrated for its balanced portrayal of gender” (461). This analysis of the Hunger Games about gender depictions and sexuality is developed from a Western point of view and ideology. The film begins with the viewer understanding the difficult life of a young, sixteen-year-old girl named Katniss Everdeen. She and her family, her mom and her younger sister, live in the poorest “District” of the dystopian, futuristic society known as Panem (The Hunger Games). Once yearly, the president of Panem, Mr. Snow, has two “tributes” (one male and one female) taken from each of the twelve Districts to exercise control and fear over his people (Latham & Hollister 35). The country of Panem exercises an aggressive tyranny over its people by restricting food, exploiting labor, and enabling drastic class inequality. The tributes take part in a brutal ‘game of chance’, with those younger than eighteen competing in an arena with others, to be the last individual alive (The Hunger Games). At the sacrifice selection ceremony, the “Reaping”, presented by Capitol-native Effie Trinket, Katniss’ younger sister Primrose is randomly selected to compete. This is despite being her first year eligible, and having “the odds ever in [her] favor” (The Hunger Games).
Katniss volunteers to take her beloved sister’s spot and essentially compete to the death. The male tribute who is randomly chosen to compete alongside her is a boy her age, named Peeta Mellark. Peeta had saved Katniss from starving to death several years prior, by providing her with intentionally burnt bread despite his mother (SparkNotes). A lavish train to the Capitol sends the District Twelve tributes, Katniss and Peeta. This is where the richest elite of the country lives, where the games occur, and where the center of Panem politics is located. On the train, the tributes meet their mentor, and previous winner from district twelve, Haymitch. Once at the training facility, Katniss proves her worth by demonstrating the ability to use weapons and becomes a fan favorite gaining sponsors and terrific ratings (The Hunger Games). At the facility, the tributes meet their fellow competitors. At this time, the tributes realize that the games are skewed, and those from districts one and two, train for years to voluntarily compete to kill. Katniss and Peeta are both concerned about a muscular, aggressive eighteen-year-old named Cato (The Hunger Games). During the training period, Peeta makes a confession on live TV stating that he has had a liking for Katniss since they were children (SparkNotes). When the Games commence, Katniss runs for cover into the forest as advised by Haymitch. Katniss hides for several days before she sees the “trained Career tributes” have surprisingly paired up with Peeta, in search of killing her. Once she is found hiding in a tree, they stake her out after being unable to reach her.
Katniss releases a nest of poisonous wasps onto them, killing one of the Career tributes. In the process, Katniss is stung and is unconscious for two days. A young girl takes care of her and Katniss returns the favor. They come up with a plan to blow up the food and weapon supply, but the young girl dies in the process. Katniss creates a proper ‘burial’ for her, which creates an uprising against the tyranny of power in those districts watching the Games (SparkNotes). The riots occur because sympathy and caring are shown, in what is usually a violent Game. The citizens of Panem now see Katniss as “the face of a revolution” (Latham & Hollister 33). After sponsors of the Games enjoy the perceived romance between Katniss and Peeta, the ‘gamekeepers’ announce that two tributes from the same District can now both win, and Katniss seeks out Peeta to compete with. During this time, Peeta and Katniss’s relationship develops as she mends his mutilated leg [he had been attacked by Career tribute Cato] (SparkNotes). Eventually, after the remaining tributes die, Katniss and Peeta are told that the recently executed ‘two-winner rule’ no longer applies (The Hunger Games). Instead of having one individual die, Katniss and Peeta choose to both die together via poison. Before this can happen, the gamekeepers, who tell them they are the winners, stop them (The Hunger Games). Once crowned, Haymitch explains to Katniss and Peeta that the President and his tyranny are not happy, due to the beginning of the District's uprising in the rebellion of the Capitol and the Games (The Hunger Games). Katniss Everdeen, the main character of the film does not embody the typical teenage girl often seen in Hollywood movies (Guanio-Uluru 210). She is not overly feminine but for her long braided hair (The Hunger Games). She dresses in dark clothes and leathers suitable for the outdoor train that she spends the majority of her time in. Katniss is the main source of income and sustenance for the Everdeen family, as she was needed to fill the place of breadwinner after her father’s passing (SparkNotes). Although Katniss also acts as the mother for Primrose and keeps the family grounded, these matronly acts are done out of necessity rather than out of desire to be a homemaker.
Katniss hunts a small game with the use of her bow and arrow (Guanio-Uluru 217). She contradicts the norms of what something or someone means to be feminine, and would be known as a classic “tomboy”. Providing for the family is generally considered to be a ‘man's job’, within society and Katniss is challenging these stereotypes (Guanio-Uluru 217). Slaughtering animals and preparing fresh game was/is generally considered being a man’s job. Men throughout history have been the hunters and women generally take the passive role of gathering edible plants and alike. After Katniss had volunteered, during the ‘tribute’ presentation pageant, the personal stylist capitalized on Katniss’ strength (The Hunger Games). Yet he also makes her appealing to the sponsors and viewers by stripping away her naturally masculine persona and replacing it with a feminine ideal (Guanio-Uluru 212). The stylist chooses a strong, fiery dress for Katniss, unlike the other districts engulfed in jewelry and overly feminine attire (The Hunger Games). Katniss’ goal is to appear strong, emotionally and physically. She does not want to be underestimated or to appear an underdog to those who will be watching the games and she will be competing against them. Katniss has been stated to be a ‘catalyst’ for political change (Kirby 470).
The gender representations of Peeta are somewhat complex to other male roles in the film. Peeta is not as masculine as the gender norm of a man might be. Peeta is not afraid to show signs of vulnerability and compassion contrary to the hetero normative gendered sexual masculinity. Although Peeta is heterosexual, until he confesses love to Katniss, the viewer may be unsure due to his willingness to show emotion and be vulnerable, contrary to the hetero-normative stereotypes of males (The Hunger Games). Peeta is somewhat similar to the male character previously analyzed in the movie titled Juno (Willis 252). Peeta is very similar to the character of “Bleeker”, who is also sensitive, and not at all dominant in their relationship to Juno (Willis 252). Peeta is similar to Bleeker who allows the female (Juno & Katniss) to make her own decision and takes on a beta male role (Willis 252). Before the Games, Peeta was a baker and cake decorator, which is further non-conformance of the stereotyped male ‘ideal’ (Latham & Hollister 45). When Peeta is selected to be the male competitor at the reaping, to fight alongside Katniss in the games, he does not show strength or courage the way she does. Peeta is visibly scared and begins to cry when chosen (The Hunger Games). Additionally, he is used as a pawn to allow Katniss to be seen as a feminine graceful female. His act of ‘professing his love’ depicted him as a non-violent ‘beta’ male (Guanio-Uluru 212).
Instead of the masculine way of performing for the elite with weapons and skills, however, Peeta’s strategy is to win over sponsors from the elite by stating that he and Katniss are in love (Guanio-Uluru 212). Cato is a member of the “Career” tributes, who has trained for years to battle for glory in the Hunger Games. He is from District One and is a front-runner for the majority of the competition (The Hunger Games). Throughout the film, Cato appears as a masculine, aggressive young man in comparison to Peeta and the other male tributes. He embodies the classic ‘bully’ or ‘macho man’. Cato is the classic stereotype of a teenage boy entering adulthood. He is proud, athletic, and aggressive in his actions and interactions (The Hunger Games). Until the end of the film, Cato has on his “man face”, meaning that he conceals his true emotions to appear tough (and manly) to others (Edwards & Jones 210). Before his death, he very quickly removes the mask stating: “Go on! Shoot, and we both go down and you win. Go on. I’m dead anyways. I always was, right? I couldn’t tell that until now. How’s that, is that what they want? I can still do this… I can still do this [kill Peeta]! One more kill. It’s the only thing I know how to do, bringing pride to my district. Not that it matters” (The Hunger Games). This quote is extremely telling of the mindset that Cato was in and the impact of wearing a “mask” for so long. Cato felt as if he had masculine expectations to uphold for his District and himself (Edwards & Jones 214). Only at the end of the film, does Cato realize that his “performance of masculinity” was incredibly limiting and disabling for him. At this point he accepts his death, realizing that he has never truly developed his personality due to the mask he had been constantly wearing (The Hunger Games; Edwards & Jones 214).
President Snow is the dominant antagonist patriarch in the film (The Hunger Games). He is the enforcer of the Hunger Games and rules demanding cooperation through his oppressive tyranny (Latham & Hollister 42). Snow is the epitome of traditional patriarchy, in search of constant control and obedience from his citizens (The Hunger Games). At the end of the film, before Katniss and Peeta attempt to dismantle the Game, President Snow instantly regains control, by telling them they have now won, preventing them from committing suicide (Latham & Hollister 38) President Snow’s character is a representation of the patriarchal society in which Western society lives (Kirby 468). Snow is in control of all media and what is shown, and he does not want to show tributes as anything less than lethal competitors (Latham & Hollister 35). President Snow continues further exerting his stereotypical, powerful patriarchal control (Latham & Hollister). Up until recently, women have been limited about opportunity and President Snow’s character is a nod towards the ever-tight grip of the dominating patriarchy. Effie Trinket is the depiction of the classic ‘cheerleader’ stereotype. She works for Capitol and is the presenter who originally chose the names of the competitors [Katniss and Peeta] (The Hunger Games). She is the physical embodiment of true feminine gender and sexuality (Wood 31). She is almost always dressed in pink and flamboyant beautiful colors, and she is first pictured with a parasol (The Hunger Games). She acts feminine and polite, with good manners in parallel with the stereotype (The Hunger Games). She is also young and thin, further embodying the ideal media depiction of femininity (Wood 32).
Additionally, and unfortunately, she is embodying the cheerleader stereotype of a ‘dumb blonde’ who is uninformed (Lamerichs 1). Effie has been brainwashed by the Capitol to believe that the Games are beneficial, further enabling the regime of Panem. In the train car on the way to the Capitol, after first being introduced to Katniss and Peeta, Effie takes a matronly approach. She does not concern herself with the politics of the Game, or the arguing of Haymitch and Katniss. Effie has been noted to be so overly feminine that she appears almost ‘queer’, as she is a part of the Capitol population who are drenched in androgyny (Lamerichs 1). The population of the Capitol embodies a new form of gender depiction not yet seen in the film. The entire body of people dresses in bright, flamboyant colors (The Hunger Games). Androgyny is a common theme, with many individuals boasting similar colorful hairstyles and makeup looks (The Hunger Games). Much of what would be considered ‘outside the norm’ in Western cultures (Wood 31). Unlike District Twelve, poor and masculine with their coal-mining profession, the Capitol is the opposite with rich and luxurious feminine ideals (SparkNotes). The film capitalizes on femininity as an ideal of wealth and the elite that many throughout Districts cannot aspire to be (The Hunger Games). Finally, the use of violence (specifically Katniss’) in the film is indicative of a somewhat feminine gender projection. Katniss does not hunt with a knife, but a bow and arrow (The Hunger Games). Indicating she is not intrinsically violent but is careful and talented in what she does. Those tributes in the movie who are extremely aggressive use swords, throwing stars, and methods like bludgeoning to murder their victims (The Hunger Games).
Katniss never directly murders anyone. Arguably, individuals die due to her actions (i.e., cutting down the nest of poisonous wasps, resulting in the death of a tribute), however, her goal was to hide and wait out the games in the trees (The Hunger Games). At the beginning of the Games, unlike others who run towards the cornucopia filled with weapons, Katniss grabs a survival pack and immediately leaves the areas to avoid violent conflict (The Hunger Games). Gender expressions and portrayals in the media are extreme and often very binary (Wood 31). However, the Hunger Games embodies many various gender depictions that are not limiting (Kirby 461; The Hunger Games). The Hunger Games is an important film for feminist culture. Additionally, It endorses gender inclusivity although being a dystopian action film. Evaluating gender norms and stereotypes in media is important because it allows individuals to understand boundaries and limitations placed among them. Critiquing these stereotypes, breaking them down, and observing non-normative gender projections are important for normalizing LGBTQ+ individuals in society.
Works Cited
- Edwards, Keith E., and Susan R. Jones. 'Putting My Man Face On': A Grounded Theory of College Men's Gender Identity Development.' Journal of College Student Development, vol. 50, no. 2, Mar.-Apr. 2009, pp. 210-28, mycourselink.lakeheadu.ca/d2l/le/content/56512/viewContent/675494/View. Accessed 4 Feb. 2019.
- Guanio-Uluru, Lykke. 'Female Focalizers and Masculine Ideals: Gender as Performance in Twilight and the Hunger Games.' Children's Literature in Education, vol. 47, no. 3, Sept. 2016, pp. 209-24, doi:10.1007/s10583-015-9263-1. Accessed 3 Feb. 2019.
- The Hunger Games. 2012. Directed by Gary Ross, Lionsgate Films, 2012. Kirby, Philip. 'The Girl on Fire: The Hunger Games, Feminist Geopolitics and the Contemporary Female Action Hero.' Geopolitics, vol. 20, Apr. 2015, pp. 460-78, DOI:10.1080/14650045.2014.984835. Accessed 3 Feb. 2019.
- Lamerichs, Nicolle. Cosplay: The Affective Mediation of Fictional Bodies. Maastricht U, 2014, s3.amazonaws.com/academia.edu.documents/31127664/ID_Press_Lamerichs_fan1.pdf?AWSAccessKeyId=AKIAIWOWYYGZ2Y53UL3A&Expires=1549321860&Signature=LJILQunllawsW7tXkG95kCNn6V4%3D&response-content-disposition=inline%3B%20filename%3DCosplay_The_Affective_Mediation_of_Ficti.pdf. Accessed 4 Feb. 2019. Manuscript.
- Latham, Don, and Jonathan M. Hollister. 'The Games People Play: Information and Media Literacies in the Hunger Games Trilogy.' Children's Literature in Educated, vol. 45, no. 1, 1 Mar. 2014, pp. 33-46, doi:10.1007/s10583-013-9200-0. Accessed 3 Feb. 2019.
- SparkNotes. 'The Hunger Games Summary.' SparkNotes, revision 2019, www.sparknotes.com/lit/the-hunger-games/summary/. Accessed 3 Feb. 2019.
- Willis, Jessica L. 'Sexual Subjectivity: A Semiotic Analysis of Girlhood, Sex, and Sexuality in the Film Juno.' Sexuality and Culture, vol. 12, 27 Sept. 2008, pp. 240-56, doi:10.1007/s12119-008-9035-9. Accessed 3 Feb. 2019.
- Wood, Julie T. 'Gendered Media: The Influence of Media on Views of Gender.' Gendered Media: The Influence of Media on Views of Gender, www1.udel.edu/comm245/readings/GenderedMedia.pdf. Accessed 3 Feb. 2019. Originally published in Gendered Lives: Communication, Gender, and Culture, Wadsworth Publishing, 1994, pp. 231-44.
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