An Object of Rebellion:

Looking into the dichotomy of feminism and objectification within the character of Princess Leia

               

       Any given Halloween night, you are guaranteed to encounter scores of young girls dressed in long white gowns with hair pulled into two tight buns, plastic blasters at their sides. Princess Leia is an admired cultural figure, adored by adventurous young feminists and revered by sci-fi nerds. Many revere her as a symbol of female empowerment, an image of strength and beauty. But when we closely analyze the representation of Leia’s character throughout the Star Wars films, it becomes less clear whether or not her character can be considered a feminist representation of women. Leia is depicted throughout the films in a number of sexually objectifying positions and situations, which according to many feminist theorists negate the empowering nature of her character. Merriam Webster defines feminism as “the theory of the political, economic, and social equality of the sexes,” or, “organized activity on behalf of women’s rights and interests.” Neither element of this definition mentions sexual objectification apart from its inherent ability to deny women the agency required to attain full equality. Though the lines are foggy, Princess Leia is a feminist representation of women regardless of the fact that she is subjected to sexual objectification.

 

        Sexual objectification of women in the media has been researched extensively in recent years. Researchers have found that when exposed to higher quantities of female objectification, women are more likely to feel angry, yet also less likely to speak out against the objectification they see, as it becomes simply the unchallengeable status quo (Guizzo). The objectification of Princess Leia contributes to this status quo, and surely enters the minds of young girls looking up to her. Similarly, images of unattainable female “perfection” represented in the media can cause women and girls to believe their bodies are not beautiful, which can contribute to the systematic devaluement of female agency (Guizzo). As research suggests, sexual objectification is harmful and inherently anti-feminist. Reducing women to objects of the male gaze limits their humanity in society, and thus their power. Yet through this depressing representation of women and Star Wars’s culpability in perpetuating it, Leia still emerges as a feminist icon. At the famed Women’s March after the 2016 election of Donald Trump, feminists stormed the streets of D.C. brandishing protest signs. Many of them were Star Wars themed, and used the imagery of Leia to deliver an empowering message, like this one (Plante):

How can this feminist interpretation of Leia exist congruently with the anti-feminist nature of her sexual objectification? 

 

       Though the objectification of Princess Leia is degrading and damaging towards women on their quest for equality, it does not prevent Leia from being read as a feminist representation of women. Simply because women are represented in a physically objectified way does not mean the story in which they appear is inherently anti-feminist. In fact, drawing attention to this overt objectification (as is done in some scenes of Star Wars) can be a strategy through which to coax the reader into interrogating socially constructed gender norms and asking feminist questions of them. To evaluate this claim I will turn to three ways in which Leia is represented in Star Wars. First, I will look at the places in the story where she is sexually objectified and denied agency. Secondly, I will analyze portions of the film in which she has power and is not objectified. Finally, I will delve into the scenes that contain Leia in both an objectified and commanding state, to display how both modes of her character can exist simultaneously.

 

       When we are first introduced to Leia Organa, she is a senator on a diplomatic mission. She commands the Tantive IV, and all the power that accompanies that duty. She is listened to, and she is respected. In Episode V: The Empire Strikes Back, however, Leia loses her agency and becomes an item, an object of sexual desire used as a plot device to further Han Solo’s character development. In this second installment of the series, Leia is fairly absent as a major character. She makes few to no decisions on her own, instead relying on Han’s choices in place of her own. This is not the feminist senator and rebel commander we know and love. She loses her ability to guide the narrative through personal decisions, which is indicative of her limited agency. A scene indicative of this diminutive dynamic displayed by Leia in Episode V is her introduction to Lando Calrissian (1:21:18). She has one word in this scene: “Leia.” Yet her coy expression and sly glance towards Han as Lando uncomfortably kisses her hand speak multitudes. Han interjects during the awkward greeting to break off the touch between his companions, and to claim her as his own. The way in which Leia remains silent and allows herself to be commented upon and touched whilst her male counterparts squabble over their claim to her beauty is an example of sexual objectification in Star Wars. Additionally, when Leia is placed in combat situations in this film (though there are few), she is helpless and confused. For example, when faced with the Mynocks in the stomach of the asteroid slug, all Leia is able to do is screech for help (58:18). This scene is a call to action for Han to rescue Leia, which advances his character development as her protector. Throughout the entirety of Episode V, Leia is an object to be protected, a helpless item that exists only to feed the male gaze. 

 

        Though Leia is universally accepted as beautiful, there are scenes wherein she is not sexualized, and we as viewers are able to better understand how she has earned her title of feminist icon. These scenes take place when Leia is in a position of power, making decisions for herself and others, and is not influenced by the whims of her male counterparts. In these scenes she also appears more modest, her body not depicted as the subject of her worth. Episode VI: Return of the Jedi once again reinvents the representation of Leia, showing her as a powerful character in control of her own future. Throughout the sequence on the forest moon of Endor in the latter half of the film, Leia is nothing short of fierce (58:30). She is bold, fearless, strong, and dressed in a practical way. Confronted by Imperial scout troopers, she takes the initiative to steal a speeder bike and engage in pursuit. When separated from her comrades, she keeps her head and allies with the local Ewok tribe that eventually secures the rebels their victory over the Empire. Thirty-two years after filmmakers depicted a competent Leia traversing the forest floor of Endor, they revived her character for a new generation in Star Wars Episode VII: The Force Awakens. At this point Leia is a general in the Resistance, battling against the First Order. She is an uncontested leader, her gender not a factor in any judgement she receives. I would be remiss if I failed to mention her age in this film, and comment on how the lack of sexual objectification surrounding her could be due to the fact that she no longer fits the criteria of the male gaze at this point in time. It is difficult to tell whether her feminist representation in this newer episode of Star Wars is a function of her age or a function of the changing representations of women in the media. Either way, Leia is depicted as far more powerful and competent than the scenes in earlier films during which she is objectified. 

 

        When we think of a modern feminist icon, an alarmingly thin, scantily clad woman in a golden bikini chained to a gruesome slug is not what generally comes to mind. However, many of Princess Leia’s scenes in Episode VI: Return of the Jedi challenge this notion. The iconic scene that surfaces when we discuss Leia in objectified positions is the “Slave Leia” sequence. Oddly, it is also a scene cited during conversations about Leia’s strength and competency, as it is the moment when she kills Jabba the Hutt – her oppressor (34.08). In this way, the Slave Leia sequence is an example of how Princess Leia can be simultaneously sexually objectified and feminist. The controversy lives, however. Carrie Fisher herself warned Rey actress Daisy Ridley of the damaging nature of this scene, saying “Don’t be a slave like I was…You keep fighting against that slave outfit” (Berlatsky). However, some feminist theorists have different takes on the blatant sexual objectification of women. Philosopher Willow Verkerk states “The pursuit of individual agency and progressive political action involve learning to employ the languages and methods of the hegemonic order, but with a satirical performance that upsets its foundations” (Verkerk). Leia’s outrageous bikini depiction can serve as an intentional wakeup call to the issues of female objectification, though it is unclear what the original intentions of the screenwriters were. Yet regardless of the scene’s intent, it is empowering to see Leia in her subjugated state defeat the creature who cast her in chains. Another moment in which Leia is both objectified and powerful takes place in Episode IV: A New Hope. The princess has been captured by the Empire, subjected to torture and crushing emotional loss. As Luke enters her prison cell to conduct a rescue, she is lounging suggestively on a bench, the thin white fabric of her dress hugging her figure (1:16:09):

It is very clear that the viewer is intended to see Leia in a sexual light, as an object of beauty. However, the first words out of her mouth upon seeing Luke are not words of fear or weakness: “Aren’t you a little short for a stormtrooper?” Her words are confrontational. She does not fear the might of the imperial engine, or what it has the ability to do to her. She maintains a sharp mind and a calm demeanor in the face of evil – an incredibly respectful and feminist representation of a female character. Simply because she is in a suggestive position does not negate the power of what her dialogue represents. In this way, Leia is both sexually objectified and feminist. 

 

        Feminism is one of the most crucially important and culturally overturning movements in our time. It is essential, and the work feminists have done has helped to provide women with agency and resulted in the betterment of societal conditions on the whole. But on occasion, as with many things, feminism can be too critical. Harshness of analysis and adherence to technicality can result in a dismissal of female representations that are positive but imperfect. This often translates into the powerful female characters who have agency and the capacity to inspire – yet who experience sexual objectification – being erased out of the feminist canon. Leia fits into this category. Princess Leia serves as an inspiration to young feminists looking to explore the galaxy. It is important to educate these young feminists in media literacy and teach them to see the flaws of characters, but we have no right to allow the shortcomings of imperfect representations to completely eradicate the characters we know and love. We should not ‘allow the perfect to be the enemy of the good’ so to speak, and must tone down the harshness with which we dole out criticism to problematic representations of women, as perfect feminist representation is nearly impossible to attain as quickly as we would like. We must be patient and forgiving with the process of social change, as only in this way will we make meaningful progress. 

 

Works Cited

 

Berlatsky, Noah. “The ‘Slave Leia’ Controversy Is about More than Objectification.”

         The Guardian, Guardian News and Media, 5 Nov. 2015, 

         www.theguardian.com/film/2015/nov/05/slave-leia-controversy-star-wars           

         objectification.

 This source is an evaluation of the classic “Slave Leia” scene, during which Leia is chained to Jabba the Hutt whilst wearing a golden bikini. It is an opinion piece, wherein the author provides their own thoughts on the subject, and discusses the cultural criticism associated with the scene. The writing style is casual and conversational, though the Guardian is known to be a reliable and serious source of information. The author comes across as offended and emotional, which helps the reader to understand the severity of how sexual objectification can impact consumers of media. The article is reasonably short, perhaps three pages in length, however the comments section of the piece is a gold mine for gaging the public opinion on the subject. 

 

“Feminism.” Merriam-Webster, Merriam-Webster, 

        www.merriam-webster.com/dictionary/feminism.

 Very short, unbiased dictionary entry defining the term “feminism” and offering examples of the word used in context. 

 

Guizzo, Francesca, et al. “Objecting to Objectification: Women’s Collective Action         

         Against Sexual Objectification on Television.” Sex Roles, vol. 77, no. 5-6, 2017,   

        pp. 352-365. ProQuest, http://libproxy.vassar.edu/login?

         url=https://search.proquest.com/docview/1927950801?ac

         countid=14824, doi:http://dx.doi.org/10.1007/s11199-016-0725-8.

This piece is a social science research project published in a journal article. It is written in very academic language, with multiple pages of data tables scientific explanation of findings, and statistical calculations. The study is a look into how exposure to sexually objectifying media influences the public’s drive to engage in collective action, and how that drive changes with regards to the demographic group being studied (ie. men or women). The study was based in Italy, and consisted of showing a test group a series of video clips with various depictions of women with follow-up questions about how they reacted to sexual objectification. The study appears to be quite thorough, and contains fascinating findings regarding what exposure to negative images in the media can do to one’s self worth and ability to challenge the status quo. 

 

Plante, Corey. “Mark Hamill Praises Princess Leia Signs and Cosplayers at the

        Women’s March.” Inverse, 2018, www.inverse.com/article/40399-women-s-

        march-2018-star-wars-princess-leia-organa-carrie-fisher.

This is a short internet article on a casual website which appears to post articles on pop-culture topics. It is roughly a page in length, and reports on the Star Wars imagery present at the 2018 Women’s March. It is not very detailed, but adequately raises the point of how Star Wars is used to further social justice movements such as feminism. The article dwells on a Tweet by Luke Skywalker actor Mark Hamill in which he praises all of the Leia imagery present at Women’s March protests and uses it to honor the memory of Carrie Fisher. I used this source only for the image of the Princess Leia protest poster included in my argument. 

 

Star Wars Episode IV: A New Hope. George Lucas. 20th Century Fox, 1977. 

        Film. 

 

Star Wars Episode V: The Empire Strikes Back. George Lucas. 20th Century 

        Fox, 1980. Film. 

 

Star Wars Episode VI: Return of the jedi. George Lucas. 20th Century Fox, 1983. 

        Film. 

 

Star Wars Episode VII: The Force Awakens. George Lucas. 20th Century Fox, 2015.

        Film. 

 

Verkerk, Willow. “Reification, Sexual Objectification, and Feminist Activism.” The Spell

        of Capital: Reification and Spectacle, edited by Samir Gandesha and Johan F.

        Hartle, Amsterdam University Press, Amsterdam, 2017, pp. 149–162. JSTOR, 

        www.jstor.org/stable/j.ctt1pk3jqt.11.

This source is an excerpt from a larger book entitled The Spell of Capital. This chapter looks into the ways in which reification, objectification, feminism, and economic structures are intertwined. It dwells extensively on the idea of reification, and also on the analysis of Marxist theory. The chapter is 12 pages in length, but is quite dense and academic in language style. It contains interesting insights into how the objectification of women can be used to further feminist activism, and discusses the commodification of sex. A very small portion of the piece is relevant to the topics discussed in my essay, but there is an exceptional amount of information packed into a very small space. The work is thorough and well done.