Jessica Jones, originally from the comic books, has recently been adapted to a series. The series revolves around the main character, Jessica Jones, who opens her own PI business. Jessica Jones is the first female super-heroine Marvel’s introduced as a main character (Patten, 2015). Whilst superheroes have long been associated with masculinity and the male protector (Stabile, 2009), introducing a female lead provides us with a new perspective on what distinguishes a superhero. The case of Jessica Jones fits within the larger narrative of superheroes. However, the series questions the codes of a traditional superhero genre. Series like Jessica Jones, a show that features a strong female lead and resists the explicit sexualizing of its female protagonists, give a new perspective on how we can discuss this narrative.
This leads to the question of how femininity is represented through the main character Jessica Jones within her Netflix series, Jessica Jones. Representation, in this case, refers to signs, symbols, images, portrayals, depictions, likeness and substitutions, and the idea of one thing standing in for something else (D’Acci, 2004, p. 374). Femininity is concerned with a set of attributes, behaviors, and roles commonly linked to girls and women. Traits defined as feminine include gentleness, empathy, and sensitiveness. While the defining characteristics of femininity are not universally alike, some patterns exist; caring, sweetness, compassion, tolerance, nurturance, and deference are traits commonly named feminine (Vetterling-Braggin, 1982, p. 5). However, traditional feminine stereotypes are changing. As mentioned by Pompper (2016), femininity must encompass a wider variety of contexts and differences and any definition of femininity must be flexible to include across-gender behaviors and traits.
To answer this question, this essay applies an analytical framework of narrative theory aimed at finding the underlying assumptions, plot structure and codes and conventions in the series that symbolize and represent the idea of femininity. The scenes selected in the analysis (Netflix, 2015) are relevant as they are selected according to the definition of femininity given by Vetterling-Braggin (1982) and are sufficient in order to answer the main question. A synopsis of the first season is provided in appendix A.
Throughout the trailer, there is a constant darkness and shade of grey. The coloring of the series fits with Jessica Jones’s characterization. The steeliness of her personality, in terms of her strength and her struggle with her emotional state, is visualized through the cool, desaturated, grey tone. In addition, the series lacks bright, vibrant tones. This is to some extent similar to Jones’s emotional attitude and the implication of her traumatized and troubled mind. The low lighting and many shadows cause a depressing and dreary mood.
In the sample (see Figure B1), Jessica Jones is first seen smashing a man through her own apartment door. Traditionally, violence is a common, inevitable part of the superhero narrative. Because violence has been customarily been constrained to the male characters, women’s use of power and violence is often seen as abnormal, shocking and threatening (Stabile, 2009). However, Jones is not afraid to show her powers. She is seen lifting cars, smashing windows, and throwing people a great distance.
Furthermore, the series revolves around several important themes, including abuse, rape, PTSD, and more. These themes are effectively portrayed through flashbacks and sharp cuts. The change of color and the brief black shots indicate a traumatic memory or the recollection of previous emotions. An example of this is when Jones sits on the train and is suddenly getting send back to her traumatized past where Kilgrave tortured her. This flashback leads to a burst of aggression that leaves the passengers scared. This type of editing shows that what happened in her past is the direct causality of her present actions and indicates Jones’s troubled, and traumatized mind (See figure B2; B3; B4).
Additionally, Jones is often seen with a glass or bottle in her hand. As her way of coping, she is frequently seen consuming bottle(s) of alcohol. Whilst women are seen as being well put together and having a strong composure, Jessica Jones’ erratic and continual drinking routine does not conform to that idea (See figure B5).
Nonetheless, Jessica Jones does show signs of emotion and empathy, especially in regard to her friends and co-victims. An example of this is seen in the scene of the police station (See figure B6). Here, her emotions are apparent. She is evidently upset about the situation. However, the segment lacks close-ups. Jones is generally not seen as someone who acts on her emotions and often tries to subside her more vulnerable side. Therefore, the absence of close-up makes sense. A close-up or extreme close-up can encourage the viewer’s intimacy with what is taking place on the screen (Creeber, 2006, p. 39). The only time we are introduced closely to Jones is during her most vulnerable moments. Desires and feelings of the character are shown in these shots as they reveal the devotion and motives of the characters.
Thus, empathy, traditionally seen as feminine, is not completely absent on the show. When the viewer is introduced to Jessica Jones’ superpowers, Jones finds one of her neighbors attacked and decides to come to his rescue. Intermittently, Jones is shot from below, showing her in a heroic stand (See figure B7). This framing indicates a feeling of leadership and heroism (Creeber, 2006, p.39). Her struggle with being a failing superhero is emphasized by the shortage of low angle shots.
Jones poses a stark constant to Trish. The two female characters are placed at opposite places of the spectrum of femininity. Trish Walker is a traditionally cosmeticized, Barbie-blonde, and well-dressed character (See figure B8). Compared to the grungy, grubby, black outfit Jones is consistently seen in, Trish is impeccably dressed and is perceived as taking great care of her appearance.
Lastly, I want to look at Jones’ archetype and plot placement. She is not afraid to use violence when she feels it is necessary and yet, she cares. She is ready to sacrifice herself to reach the best outcome. She is strong, but mostly in the physical sense. As described previously, she is a damaged person with an unstable state of mind. Her struggles with her past trauma and her inability to perform as a traditional ‘superhero’, leads to an interesting paradox. Jones can be seen as both playing the victim/survivor and the hero. Vladimir Propp argued that although different tales may feature different characters, these characters fall into seven types of personae; hero, villain, helper, princess (who needs saving), etc. (Propp, cited in Kozloff, 1992, p. 71). Many television characters can be slotted into certain categories of narrative personae, an example of this is the stereotypical villain, Kilgrave. But as also mentioned by Kozloff (1992), whilst it is tempting to fit television narratives into a schema of function and categories, we should question Propp’s theory’s validity. Jessica Jones challenges Propp’s theory. Jessica Jones switches between a superhero, struggling victim, survivor, and a normal human being. Jones is clearly traumatized by her loss and abuse, however, she also shows indications of a superhero. Her strength and determination to find the person responsible fit with what is traditionally seen as a hero (Kozloff, 1992, p. 71).
As one of the only female Marvel television leads, Jessica Jones provides the viewer a strong female protagonist, who resists the sexualization of women, and that deals with heavy subjects like rape, PTSD, and more. Whilst Jessica Jones fits within the larger narrative of the superhero genre, she questions traditional values of masculinity and male protectionism that often
comes with the genre (Stabile, 2009).
One can conclude that Jessica Jones does not conform to the traditional ideas of femininity, where women are seen as empathic, sensitive, gentle, sweetness, and nurturing (Vetterling-Braggin, 1982). However, she does fit the more modern standard of femininity as described by Pompper (2016), where women are allowed to have cross-gender traits and where femininity is more flexible. She is not necessarily the happiest and sweetest character that one might expect from a heroine protagonist. Jones is a violent character, who is often seen smashing a client through her own door or throwing a man many feet in the air. Through flashbacks, the viewer gets a sense of her troubled and traumatized mind. Unlike the sensitive and gentle trait ascribed to a female, Jones shows a clear indication of a selfish and unstable personality. The lack of femininity in the portrayal of Jessica Jones is evidently seen in her contrast to Trish. Unlike Jones, Trish Walker is portrayed as a traditionally glamorized, sweet, and caring character.
Nevertheless, Jones does show empathy and emotion. During her most vulnerable moments, close-up shots of her face display her emphatic and emotional side. Furthermore, Jessica Jones is seen coming to rescue, like a true hero, when a friend is in danger. Every so often, Jones is shot from below, showing her in a more heroic, leadership stance.
Lastly, Jessica Jones switches between the hero and victim personae. As mentioned, Jones is a hurt, unstable and traumatized person, who has indications of PTSD and a history of rape. Arguably, she is the victim of violence and manipulation. The role of victim, however, is often one played by a female. They are often seen as weak and need someone to save or protect them (Stabile, 2009). On the other hand, her wanting to save people from becoming the victim of the main villain and stopping him from hurting others, evidently illustrates Jessica Jones’ heroism.
Thus, whilst one can argue that Jessica Jones taking on the victim personae fits with the larger idea of victims often being female, her unstable, insensitive state of mind and her being quick to use violence, can be seen as her lack of feminine characterization.