Page 31 - The Staunch Test
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THE STAUNCH TEST




               10. How we use the Staunch Test categories

               The Staunch Test provides a way of framing violence to women on screen, which
               in  turn  enables  us  to  see  how  and  how  often  it  is  used.  The  Test  tends  to
               concentrate on films and TV dramas that were made as thrillers. But there are
               many  other  titles,  particularly ones  we  would  designate  ‘fails’,  that  don’t  fit

               neatly into the thriller genre. These will get a mention in our social media or in
               the database if it seems relevant, or if someone submits a rating for a film or TV
               show they’d like to see included on the listings.


               Staunch Test Pass

               The Pass category is reserved for thrillers that are about virtually anything other
               than violence to women! They may be adventures, or sci-fi (sexual assault is
               rarely a big feature of sci-fi or tales set on space craft — despite the pent-up
               urges or machismo you might expect when men with female crew mates boldly
               go.) Murder might occur in space, but probably not because she’s a woman if
               the victim is female. It is more likely to be a bid for power or control, or fear she

               has been taken over by an alien force. Overall, the body count in sci-fi is fairly
               even, although the male/female recruitment balance probably is not.


               Staunch Test Fail

               This  is  by  far  the  largest  Staunch  Test  category  in  thrillers,  with  sexual  and
               physical  violence,  including  the  rape  and murder of  women  turning  up  with
               exhausting regularity. It is usually well flagged, but not always, and sometimes
               we must wait until the closing scenes for that surprise moment. Staunch Test
               Fails  often  rely  heavily  on  well-worn  tropes  with  the  camera  relishing  and
               fetishizing women’s fear and trepidation, playing on underlying sexual threat
               (even when the danger is mainly physical), or employing life-and-death play such
               as choking to indicate a man’s power to kill a woman, even if he doesn’t carry it

               out. Pursuing, depicted as a form of hunting, turns  up frequently, as does a
               woman violently killed to kick-start the more important journey of an avenging
               man. The list is endless, though rarely very original.
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