Gone Girl

Gone Girl

The Respectable Woman: Dangers in Painting a Prettier Picture
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In her 2012 novel, Gone Girl, Gillian Flynn constructs a diabolical and vengeful anti-heroine in the story’s protagonist, Amy Dunne. Through Amy’s diary entries and her husband Nick’s narration we see how Amy stages her own kidnapping, frames Nick, commits murder and returns home while maintaining the presence of a respectable woman in the media. Amy’s complex and intelligent character is juxtaposed with the innocent victim she is portrayed as in the media. This duplicity allows Flynn to demonstrate traditional tropes that women criminals are represented as, while pointing out the dangerous inaccuracies of transforming women in the media into one dimensional types.

Flynn introduces Amy to readers as a fun, beautiful and dynamic young woman. A good portion of “Part One: Boy Loses Girl” is dedicated to making Amy lovable and easy for readers to connect with. Her diary entries detail how she first meets Nick. Phrases such as “I am embarrassed at how happy I am, like some Technicolor comic of a teenage girl talking on the phone with my hair in a ponytail, the bubble above my head saying: I met a boy!” (Flynn 50) paint Amy as witty and down to earth. “The bubble above my head” recalls popular culture references such as Disney’s Lizzy McGuire, granting Amy an air of girlish innocence. She is a woman, just like any other, looking to fall in love.

As readers identify with Amy’s many likable traits, Flynn overtly establishes Amy as a “respectable woman”. Described in Lizzie Seal’s Women Murder and Femininity: Gender Representations of Women Who Kill, a respectable woman “…is portrayed as embodying some of the traits of appropriate femininity…Historically, respectability for women is associated with white, middle-class, heterosexual womanhood,” (Seal 63). Amy Dunne fits explicitly into this prototype. Flynn goes as far as to describe Amy as “A smart, pretty, nice girl… a girl with so many interests and enthusiasms, a cool job, a loving family. And let’s say it: money,” (Flynn 100). Tapping into traditional social constructions of femininity and what it means to be a “good” woman, Flynn produces a character that is difficult for readers, and later the media and other characters in Gone Girl, to hate.

In the 1986 study “Perceptions of the Traits of Women on Television”, it was published that the traits deemed most attractive in female characters by viewers were “Determined, strong, independent…Professional, intelligent, skilled…Traditional, caretaker, feminine,” (Atwood, Webber, Zahn 97). Flynn is certainly conscious of these traits in her initial depiction Amy. Amy is a professional personality quiz writer, who is good at her job but also recognizes its frivolity in a hilarious manner. She is clearly intelligent and thinks for herself. As the story continues, and Amy is supposedly kidnapped, Flynn adds in elements of the traditional caretaker to Amy’s character. The now missing Amy’s previous diary entries detail how she is pregnant and Nick abuses her. At this point, we as readers are suspicious of Amy’s self-depiction in her journal entries. Nick’s portion of narration is starting to seem more reliable and Amy’s writings are starting to look contrived. However, being the mastermind that Flynn constructed, Amy has counterfeited solid evidence that proves she was indeed pregnant. This information causes Nick to seriously lose credibility. Amy now checks all the boxes of respectable femininity and it seems less probable, under social norms, that she is anything but the victim in this crime.

This sentiment is more extremely documented by the media in Gone Girl. At this plot point, Nick is suspected to have murdered Amy, and her concrete documentation as a respectable woman and now expectant mother casts him into further suspicion. When reporters find out that Amy was pregnant, they have more material to paint Nick as a malicious murderer. Judy, the national talk show host who is trying to incriminate Nick, corners him saying “Yeah, right: You didn’t want her to be pregnant, you got angry and killed her and the unborn baby,” (Flynn 683). This traditional trope that men are often put into is not subtle. Nick and Amy are both victims of media misrepresentation, and this reversal of traditional crime roles emphasizes and satirizes media bias.

Amy’s pregnancy and Nick’s supposed physical abuse of her adds another dimension to the “respectable woman” representation. In addition, Amy is now a battered woman. This new angle renews public interest in Amy’s case, foreshadows events to come in the novel and regains reader’s trust in her diary entries for the moment. Flynn characterizes Amy as very self aware. Amy understands what the media wants out of women, and her diary entries, which she intends for investigators to find, are crafted to fit into this mold. In an ironic sense, Flynn is using Amy to both represent and criticize media stereotypes.

Surrounding her claim that she was pregnant, Amy’s diary entries detailed how she quit her job in New York City, moved with Nick to Missouri to care for his sick mother and became a bored yet supportive housewife. Again fitting into respectable women ideals, Amy now elicits sympathy from readers, both within and without the novel, for giving up her career for her husband. This characterization can be traced back to Betty Friedan’s Feminine Mystique, which Elizabeth Fraterrigo analyzes in “The Happy Housewife Heroine”. Fraterrigo supports Friedan’s argument that “Women were not without fault for their unhappy confinement at home; they had mistakenly chosen security rather than striving for a greater sense of self in the world outside its doors,” (Fraterrigo 33). This analysis is easily transferred onto Amy as it is almost painful for readers to see her wither from a vivacious city girl into a lonely Midwestern stay-at-home wife. Her loss of self is associated with her sacrifices for Nick, making her look more vulnerable, and him more evil. This role both feeds into Amy’s respectability while gaining her sympathy. Secured in her role as a respectable yet relatable woman, Amy continues to fool the media into believing that she is innocent.

As this façade is broken down for readers, and her criminality is revealed, Amy begins to shift from being a respectable woman into being something much more complex. As the plot thickens, Nick begins to find clues that Amy left behind for him. She is sending him on a sadistic treasure hunt, attempting to incriminate him for her staged kidnapping/murder in punishment for his infidelity. Now readers are certain that Amy’s diary entries are a lie, and the story’s media representation of Amy as a lovely, abused woman seems particularly one dimensional and frustrating. This shift from the respectable woman trope, to a more complex character is purely external. Flynn purposely uses dramatic irony to alert readers to the restrictive and often inaccurate molds through which the media portrays women. As our understanding of Amy grows, the media’s refusal to give Nick the benefit of the doubt grows more dangerous.

As we see Amy for who she truly is, her diary entries catch up to real time and she is on the run. After she is almost exposed in a rural Ozark motel, Amy seeks comfort in the home of her ex-boyfriend and stalker, Desi. While Amy pretended to be trapped at home with Nick, her situation at Desi’s is actually serious. Although Amy thinks that she can manipulate Desi until she can craft a new plan, she is wrong and soon becomes prisoner in his house. Fear and discomfort push Amy to again take on the role of the battered woman. After months of meticulously abusing herself, Amy has sex with Desi, murders him and runs back home to Nick, claiming that Desi was the person who abducted her in the first place. Upon her return Amy writes “I still have Desi’s semen inside me from the last time he raped me, so the medical examination goes fine. My rope-wreathed wrists, my damaged vagina, my bruises—the body I present them is textbook.” (1,006). Officially a murderer, Amy returns home with a plan in mind. As the novel comes to a conclusion, Flynn is particularly aware of the discrepancy between the Amy that readers see and the Amy that the novel’s media presents.

For those who know the entire story, Amy has taken on many of the traits that are seen as most negative in media’s portrayal of women: “immoral, selfish, aggressive, evil,” (Atwood, Webber, Zahn 98). Although her beauty and intelligence are still admirable her cruelty and selfishness outweigh these positive traits. The media in Gone Girl, however is not caught up on Amy’s true character. Presented as the battered woman who made an incredible return home, Amy is treated with love and kindness. This response totally contrasts cases portrayed in Aileen McColgan’s article “In Defense of Battered Women Who Kill”. Throughout this academic journal entry McColgan argues that “Even where women kill in the course of a violent attack upon them, defence lawyers and the courts are apparently blind to the possibilities of a self-defence plea,” (McColgan 515) because the act of murder so transgresses gender boundaries that the women who commit it are seen as deviant. However, Amy is treated differently because of her established role as a respectable woman.

“‘Respectable’ women who kill are not perceived as deviant or transgressive in terms of social expectations…They are not threatening or dangerous. Representation as respectable can appear to contribute to securing conviction of a lesser charge, a lighter punishment or an acquittal by constructing the woman as someone who does not deserve to be found guilty.” (Seal 63)

Amy represents the double standard that society holds when prosecuting wealthy, beautiful, white women instead of poor, unattractive, minority women.

Although Amy’s place as a respectable woman saves her within the story, it also flattens her character. Flynn does an excellent job in separating the readers from the other characters within the novel. Although we grow to hate Amy, we also grow to appreciate the complexity of her character. At some points in the novel, such as when Desi begins to be a little too protective over her, we almost root for Amy as the anti-heroine. She is awful, but in a genius way that commands a certain level of respect. However, her portrayal in the media does not have room to show these complicated parts of her personality. In order for Amy’s story to sell to the masses, she must be understandable: her role as a respectable woman must stay intact, even if it means taking her story of Desi’s abuse without much further questioning.

Through her narration style, Flynn is able to instill a heightened level of awareness in her readers. As outsiders, gaining information outside of the media’s lens, we see the dangerous implications that female-villain tropes present for the criminal justice system as well as the perception of women in society. Gone Girl clearly denotes that women criminals are judged based on their beauty, normalcy and likability. If these criteria are met, media outlets and society as a whole will be willing to create and believe in a story that places the blame on someone else. This focus on a female criminal’s aesthetic reduces women from people into caricatures. Emotions, intellect and motives are sacrificed for a good story that sells.

While Gone Girl does a poignant job of showing how problematic the use of female tropes is, the fact that these constructs exist in fiction is still very dangerous. As concluded in “Perceptions of the Traits of Women on Television”, “…people actively construct meaning from their message environments, and that they are uniquely qualified for and capable of providing useful insight into such experiences,” (Atwood, Webber, Zahn 100). The danger that Amy Dunn presents is not confined to the pages of her novel, rather it permeates our culture and the way we view women and their ability to kill.

Bibliography:

Atwood, Rita A., Susan Brown Zahn, and Gail Webber. "Perceptions of the Traits of Women on Television." Journal of Broadcasting & Electronic Media 30.1 (1986): 95-101. Web. 26 Oct. 2016.

Flynn, Gillian. Gone Girl. New York, USA: Broadway, 2012. IBooks, 2014. Web. 23 Oct. 2016.

Fraterrigo, Elizabeth. "“The Happy Housewife Heroine” and “The Sexual Sell”: Legacies of Betty Friedan's Critique of the Image of Women." University of Nebraska Press 36.2 (2015): 33-40. JSTOR. 31 Mar. 2016. Web. 25 Oct. 2016.

Mccolgan, Aileen. "In Defence of Battered Women Who Kill." Oxford Journal of Legal Studies 13.4 (1993): 508-29. JSTOR [JSTOR]. Web. 25 Oct. 2016.

Seal, Lizzie. Women, Murder, and Femininity: Gender Representations of Women Who Kill. New York: Palgrave Macmillan, 2010. Print.

Cover Image Credit: http://thefilmexperience.net/storage/2014/Gone-Girl-aprilshowers-poster.jpg?__SQUARESPACE_CACHEVERSION=1460978356564

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I Went To "The Bachelor" Auditions

And here's why you won’t be seeing me on TV.
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It’s finally time to admit my guilty pleasure: I have always been a huge fan of The Bachelor.

I can readily admit that I’ve been a part of Bachelor fantasy leagues, watch parties, solo watching — you name it, I’ve gone the whole nine yards. While I will admit that the show can be incredibly trashy at times, something about it makes me want to watch it that much more. So when I found out that The Bachelor was holding auditions in Houston, I had to investigate.

While I never had the intention of actually auditioning, there was no way I would miss an opportunity to spend some time people watching and check out the filming location of one of my favorite TV shows.

The casting location of The Bachelor, The Downtown Aquarium in Houston, was less than two blocks away from my office. I assumed that I would easily be able to spot the audition line, secretly hoping that the endless line of people would beg the question: what fish could draw THAT big of a crowd?

As I trekked around the tanks full of aquatic creatures in my bright pink dress and heels (feeling somewhat silly for being in such nice clothes in an aquarium and being really proud of myself for somewhat looking the part), I realized that these auditions would be a lot harder to find than I thought.

Finally, I followed the scent of hairspray leading me up the elevator to the third floor of the aquarium.

The doors slid open. I found myself at the end of a large line of 20-something-year-old men and women and I could feel all eyes on me, their next competitor. I watched as one woman pulled out her travel sized hair curler, someone practiced answering interview questions with a companion, and a man (who was definitely a little too old to be the next bachelor) trying out his own pick-up lines on some of the women standing next to him.

I walked to the end of the line (trying to maintain my nonchalant attitude — I don’t want to find love on a TV show). As I looked around, I realized that one woman had not taken her eyes off of me. She batted her fake eyelashes and looked at her friend, mumbling something about the *grumble mumble* “girl in the pink dress.”

I felt a wave of insecurity as I looked down at my body, immediately beginning to recognize the minor flaws in my appearance.

The string hanging off my dress, the bruise on my ankle, the smudge of mascara I was sure I had on the left corner of my eye. I could feel myself begin to sweat. These women were all so gorgeous. Everyone’s hair was perfectly in place, their eyeliner was done flawlessly, and most of them looked like they had just walked off the runway. Obviously, I stuck out like a sore thumb.

I walked over to the couches and sat down. For someone who for the most part spent most of the two hours each Monday night mocking the cast, I was shocked by how much pressure and tension I felt in the room.

A cop, stationed outside the audition room, looked over at me. After a brief explanation that I was just there to watch, he smiled and offered me a tour around the audition space. I watched the lines of beautiful people walk in and out of the space, realizing that each and every one of these contestants to-be was fixated on their own flaws rather than actually worrying about “love.”

Being with all these people, I can see why it’s so easy to get sucked into the fantasy. Reality TV sells because it’s different than real life. And really, what girl wouldn’t like a rose?

Why was I so intimidated by these people? Reality TV is actually the biggest oxymoron. In real life, one person doesn’t get to call all the shots. Every night isn’t going to be in a helicopter looking over the south of France. A real relationship depends on more than the first impression.

The best part of being in a relationship is the reality. The best part about yourself isn’t your high heels. It’s not the perfect dress or the great pick-up lines. It’s being with the person that you can be real with. While I will always be a fan of The Bachelor franchise, this was a nice dose of reality. I think I’ll stick to my cheap sushi dates and getting caught in the rain.

But for anyone who wants to be on The Bachelor, let me just tell you: Your mom was right. There really are a lot of fish in the sea. Or at least at the aquarium.

Cover Image Credit: The Cut

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11 Amazing TV Shows That Are Ending in 2019

All good things must come to an end.

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It might just be the beginning of 2019 but there are many TV series wrapping up already. There are many breathtaking and original pilots around along with several reboots coming. This might be one of the greatest year for TV.

However, all good things must come to an end. Some series have been planned out and are going to be finished while others have been cut short. Sadly, here's a list of TV series to say goodbye to this year.

1. The Big Bang Theory (CBS)

Final Date: May

12 Seasons//279 episodes

2. Orange is the New Black (Netflix)

www.youtube.com

Final Date: End of 2019

7 seasons//91 episodes

3. Jane the Virgin (CW)

www.flickr.com

Final Date: Mid-late 2019

5 seasons//100 episodes

4. Games of Thrones (HBO)

HBO

Final Date: Summer

8 Seasons//73 episodes

5. Broad City (Comedy Central)

Comedy Central

Final Date: March

5 seasons//50 episodes

6. VEEP (HBO)

HBO

Final Date: Spring

7 seasons//67 episodes

7. Homeland (Showtime)

Showtime

Final date: Summer

8 seasons//96 episodes

8. Unbreakable Kimmy Schmidt (Netflix)

Final date: January 25

4 seasons//52 episodes

9. The Affair (Showtime)

Amazon

Final Date: End of 2019

5 seasons//42 episodes

10. Friends From College (Netflix)

Final Date: End of 2019

2 seasons//16 episodes

11. Crashing (HBO)

HBO

Final Date: End of 2019

3 seasons//24 episodes

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