Representation of women in black comedy films: an analysis through the Theory of ambivalent sexism

Abstract

Introduction. This paper analyzes four black comedy films with female protagonists in order to raise a discussion about the representation of women in these films and whether they perpetuate a certain degree of sexism in their stories. Objectives. The purpose of this study is to analyze black comedy films from the theory of ambivalent sexism in terms of hostile sexism and benevolent sexism. Methodology. A non-probabilistic convenience sampling is used for the selection of black comedy films, and two analysis cards are elaborated based on the theory of ambivalent sexism. In hostile sexism, the following categories are used: dominant paternalism, competitive gender differentiation and heterosexual hostility. In benevolent sexism the categories are: protective paternalism, complementary gender differentiation and heterosexual intimacy. The qualitative content analysis technique is used to detail the representation of women in these films. Results. The status of women in black comedy is evidenced in a critical manner. The protagonists have strong personalities and are shown from their strengths and weaknesses. Discussion. The films show themselves to be against hostile sexism, since the very foundations of black comedy lean towards social criticism and the breaking of taboos. As for benevolent sexism, the films do not manage to overcome certain conditions in which the man is shown as complementary to the woman, in a search for the ideal heterosexual love. Conclusions. The black comedy shows the female protagonists in a role of breaking with conventionality, strong, tough and willing to do anything to achieve their goals, with a discourse openly favorable to the exposure of women. In any case, a female protagonist is infrequent in these stories and traits of benevolent sexism are still maintained in certain passages of the plots.