Authors: Kenna Johnson
Mentors: Nicole Dib
Insitution: Southern Utah University
My paper is an interpretative analysis of Thomas Harris’ 1988 novel The Silence of the Lambs as analyzed through the lens of feminist film critic Laura Mulvey’s concept of the masculinization of spectators. In her essay collection Visual and Other Pleasures, Mulvey discusses how cinema, as a traditional medium, has misogynistic, voyeuristic characteristics. Through camera angles and editing, the audience is subconsciously led to identify with the protagonist (who is typically male). As a result, we, the audience, follow his gaze to his object of desire: the woman. This phenomenon she deems the masculinization of spectators. In my paper, I have applied Mulvey’s theory to Harris’ novel and concluded that the masculinization of spectators is, in fact, subverted in The Silence of the Lambs. Here, the audience identifies with Agent Clarice Starling, a young FBI trainee. We follow her gaze to the man she has been tasked with hunting: Jame Gumb, who is referred to colloquially throughout the novel as “Buffalo Bill.” Throughout my paper, I analyze the stark differences in characterization between these two. While Starling is depicted as a pillar of feminine strength, Gumb, a male to female transgender character, is depicted as gaudy and grotesque. In comparing the notable differences in characterization, I determine these characters to serve as each other’s foils. Having been denied as a candidate for gender reassignment surgery, he creates a ‘girl suit’ out of his victims’ skins as an attempt to pass as a woman. Gumb’s atrocities paint the transgender population in a monstrous light; Starling’s actions, conversely, portray her as fiercely independent, and a hero for the feminist cause. Drawing from this analysis, I argue that The Silence of the Lambs is a stark support for the trans-exclusionary radical feminism, or TERF, movement. Through an in-depth analysis of the literary symbols present in the novel in conjunction with the two main characters’ characterization, I determine that TERF rhetoric beats strongly underneath the novel’s surface feminism.