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Frame by Frame

The Narcissistic Sociopathology of Gender: Craig’s Wife and The Hitch-Hiker, Part One

Here’s an important new article by Gwendolyn Audrey Foster on two key feminist films in Film International.

The image above shows director Dorothy Arzner on the set of her 1936 film Craig’s Wife, with Director of Cinematography Lucien Ballard at her side. As Foster writes, “it’s instructive to study the work of Dorothy Arzner and Ida Lupino in context with one another. Though at first glance, one might easily conclude that the only thing they have in common is that they were the only women who managed to direct films during the days of the classical Hollywood studio system, a deeper look into their work exposes a stronger connection between the two; an ability to decimate and undermine the values of home and hearth as they are offered in the union of marriage under the umbrella of capitalism and an expose of the hypocrisy of American gender roles as deeply sociopathic and destructive.

Dorothy Arzner’s bleak “women’s picture” Craig’s Wife (1936) a Depression era adaptation of a stage play – and I’d argue, a feminist horror film – made as a major studio project for Columbia Pictures, revolves around the sociopathy of a destructive female narcissist, while Ida Lupino’s darkly expressionist film The Hitch-Hiker (1953), is based on the true story of male serial killer independently financed, and combines elements of several genres: horror, noir, suspense, the home invasion film and the crime thriller. These films are from different decades and genres, and may seem, at first glance, to have little in common. What I find most interesting and full of critical potential is that both are dominated by sociopaths; characters who suffer from malignant narcissism who act as mirrors held up to America; and both have queer potential.

Though I must stress that they were unique as individuals and had very different directorial styles, Arzner and Lupino remain historically linked by the fact that they were the only two women in the sound era to direct films in Hollywood and the first two women to belong to the Director’s Guild. Women, who had once flourished as film directors in the silent era, had by the sound era been pushed out of the field.Yet, both these filmmakers despised the special attention the media paid to their gender and they were equally vocal about their deep distaste for such attention, even when their uniqueness as female directors was routinely used as a selling point in the studio trades and publicity materials.”

There’s much more here to read; click on this link, or the image above, to read this important essay.

For more free articles and videos, visit my website at wheelerwinstondixon.com

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About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu. Visit him at his website wheelerwinstondixon.com.

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