Abstract
Starz’s Outlander and Hulu’s The Handmaid’s Tale follow the stories of two women as they come to terms with the new spaces they are forced to enter. In the series Claire Randall of Outlander and Offred of The Handmaid’s Tale are taken from one space and placed in a new, oppressive space dominated more heavily by patriarchal norms than the one they stem from. Offred and Claire display similarities when dealing with women’s issues such as motherhood and female sexuality. The series also highlight how women must deal with shifting times and discourses regarding societal expectations of women. Due to the complexities that Offred and Claire project when confronting challenges, both women are represented as ‘difficult’ women who defy hegemonic gendered norms of female representation on television. As they experience oppression, subjugation, empowerment, and rebellion, they develop as individuals, are far from perfect, have complicated pasts, and represent how women come to terms with convoluted identities.
Works Cited
Arsonal (2017). “Hulu’s The Handmaid’s Tale: The Future is a Fucking Nightmare.” Culver City, CA: Arsonal. Poster. <arsonal.com/project.php?category=print§ion=television&id=344> (December 1, 2018).Search in Google Scholar
“Baggage” (2018). Dir. Kari Skogland. The Handmaid’s Tale. Hulu.com, MGM Television.Search in Google Scholar
Benson-Allott, Caetlin (2017). “No Such Thing Not Yet: Questioning Television’s Female Gaze.” Film Quarterly 71.2, 65–71.10.1525/fq.2017.71.2.65Search in Google Scholar
Blake, Meredith (2017). “From The Handmaid’s Tale to I Love Dick, the Female Gaze Is Thriving on Television.” Los Angeles Times. May 5. <latimes.com/entertainment/tv/la-et-st-female-gaze-television-20170505- htmlstory.html> (September 10, 2018).Search in Google Scholar
Dow, Bonnie J. (1996) Prime-Time Feminism: Television, Media, Culture, and the Women’s Movements since 1970. Philadelphia, PA: University of Pennsylvania Press.Search in Google Scholar
“Dragonfly in Amber” (2016). Dir. Philip John. Outlander. Starz Network, Sony Pictures Television.Search in Google Scholar
“Faithful” (2017). Dir. Mike Barker. The Handmaid’s Tale. Hulu.com, MGM Television.Search in Google Scholar
Hendershot, Heather (2018). “The Handmaid’s Tale as Utopian Allegory: ‘Stars and Stripes Forever, Baby.’” Film Quarterly 72.1. <https://filmquarterly.org/2018/09/14/the-handmaids-tale-as-ustopian-allegory-stars-and-stripes-forever-baby/> (September 14, 2018).10.1525/fq.2018.72.1.13Search in Google Scholar
Hoffman, Courtney A. (2018). “How to Be a Woman in the Scottish Highlands.” Srividhya Swaminathan and Steven W. Thomas, eds. The Cinematic Eighteenth Century: History, Culture, Adaptation. New York, NY: Routledge, 103–117.10.4324/9781315206912-8Search in Google Scholar
Lagerwey, Jorie (2017). “The Feminist Game of Thrones: Outlander and Gendered Discourses of TV Genre.” Mary Harrod and Katarzyna Paszkiewicz, eds. Women Do Genre in Film and Television. London: Routledge, 198–212.10.4324/9781315526096-14Search in Google Scholar
“Offred” (2017). Dir. Reed Morano. The Handmaid’s Tale. Hulu.com, MGM Television.Search in Google Scholar
“Sassenach” (2014). Dir. John Dahl. Outlander. Starz Network, Sony Pictures Television.Search in Google Scholar
The Refinery (2014). “Starz’s Outlander: What if Your Future Was the Past?” Sherman Oaks, CA: The Refinery. Poster. <www.therefinerycreative.com/#!/project/5973> (December 1, 2018).Search in Google Scholar
“The Wedding” (2014). Dir. Anna Foerster. Outlander. Starz Network, Sony Pictures Television.Search in Google Scholar
“Unwomen” (2018). Dir. Mike Barker. The Handmaid’s Tale. Hulu.com, MGM Television.Search in Google Scholar
Vineyard, Jennifer (2018). “‘Outlander’ Takes Manhattan.” The New York Times. November 2. <https://www.nytimes.com/2018/11/02/arts/television/outlander-caitriona-balfe-sam-heughan-season-4-starz.html> (February 26, 2019).Search in Google Scholar
©2019 Walter de Gruyter GmbH, Berlin/Boston
Articles in the same Issue
- Frontmatter
- Editorial
- Articles
- Difficult Women: Changing Representations of Female Characters in Contemporary Television Series
- “Trust no one”: Narrative Complexity and Character Opacity in Damages
- Veep, Invective Spectacle, and the Figure of the Comedic Antiheroine
- “I imagined a story where I didn’t have to be the damsel”: Seriality, Reflexivity, and Narratively Complex Women in Westworld
- Shifting Spaces and Constant Patriarchy: The Characterizations of Offred and Claire in The Handmaid’s Tale and Outlander
- Book Reviews
- Enemies of all Humankind: Fictions of Legitimate Violence
- Keywords of Mobility: Critical Engagements
- Über Raymond Williams: Annäherungen. Positionen. Ausblicke
- Books Received
Articles in the same Issue
- Frontmatter
- Editorial
- Articles
- Difficult Women: Changing Representations of Female Characters in Contemporary Television Series
- “Trust no one”: Narrative Complexity and Character Opacity in Damages
- Veep, Invective Spectacle, and the Figure of the Comedic Antiheroine
- “I imagined a story where I didn’t have to be the damsel”: Seriality, Reflexivity, and Narratively Complex Women in Westworld
- Shifting Spaces and Constant Patriarchy: The Characterizations of Offred and Claire in The Handmaid’s Tale and Outlander
- Book Reviews
- Enemies of all Humankind: Fictions of Legitimate Violence
- Keywords of Mobility: Critical Engagements
- Über Raymond Williams: Annäherungen. Positionen. Ausblicke
- Books Received