Get in Loser, We’re Going Shopping: Consumerism in Chick Flicks

Clueless

Nothing was more exciting to me as a teenage girl than a sleepover party. It entails window shopping at the mall, nail painting, gossiping, and PG-13 movies. I loved bonding with fellow teenagers while painting our faces with drugstore makeup and watching movies in the middle of the night. These films fascinated me. In the exciting case of a middle school sleepover, girls would flock around a laptop to watch anything pink with women on the poster. We’d fawn over Cher’s beautiful home (and step-brother) in Clueless, Elle Wood’s pink wardrobe in Legally Blonde, and quote Mean Girls for hours. 

In the vast array of films made in Hollywood, there is a distinct and often overlooked sub-genre: the chick flick. Flashy, cheerful, and fueled by female protagonists, these films are widely recognized for being watched and loved by female viewers while facing criticism due to a lack of substance. Many films produced are trying to appeal to a stereotypical male audience with characteristics such as action sequences and silent bombshells. The chick flick genre is one of the few that tries to capture the opposite by (as the name suggests) attracting female viewers. As a result, many of these movies include traditionally “girly” sequences such as shopping sprees, makeover scenes, and soapy first kisses. The value of film genres is often credited to their cultural and artistic influence. The fashion and lexicon within these films have had a major influence.

Means Girls

From a feminist lens, this genre has been revered for decentering the male gaze and critiqued for its shallow presentation of feminine values. Does a woman’s passion for her handbag provide a progressive comfort due to the lack of male influence or does it send a message that consumerism is the key to being an accomplished woman? Etiquette about wearing pink on Wednesdays and keeping a perm dry for 48 hours was taught to many via these films, so let’s explore the subconscious lessons within some of these iconic chick flicks.

Filmmakers have targeted female audiences through “the chick flick.” A subgenre of film, these films center on a variety of female leads and oftentimes focus on materialistic elements like shopping and physical appearances. This combination of materialism and self-expression has juxtaposing narratives attached, and therefore researchers struggle to identify whether these films contribute a progressive or regressive view of femininity onscreen.

Girl Power = Consumerism

The Princess Diaries

Within the context of these films, it is implied that women use their appearance as signifiers of their social status. Shopping is a central aspect to a large portion of films in this genre and female characters often directly mention buying clothes and paying meticulous attention to their appearance. Retail therapy is frequently utilized to lift protagonists’ spirits and help them redefine themselves in a more outwardly honest and expressive way. Additionally, makeover sequences lead to better treatment of female protagonists by other characters. Popularity and respect are directly related to the stylishness and visual appeal of female leads. Within these films, female characters find joy and external success when well-dressed. Just take a look at Clueless. Cher and Dion virtuously vow to help new student Tai since her casual outfits and unplucked eyebrows are “totally helpless.”

One of the main critiques of this genre is that its emphasis on shopping and superficiality depicts an exclusionary and misogynistic portrayal of female interests. This emphasis on shopping in chick flicks can negatively portray women as shallow and materialistic. However, even more researchers suggest that this emphasis on consumerism isn’t exclusively demeaning since the appearance of a character in this genre is symbolic of self-expression and independence. 

​​Language as an Extension of Female Expression

Legally Blonde

A defining characteristic of the chick flick is the snappy dialogue shared between female characters. In many instances, films like Bridget Jones’s Diary utilize voice-overs and narration as a tool to access unrestricted thoughts from protagonists. Many women are expected to be selective with their words therefore the dialogue of these films portrays a more realistic sense of female opinions. Additionally, culturally relevant language and quick wit through quicker speech indicate stronger intellect and make characters more attractive to female leads. Punchy dialogue and the usage of voiceover narration provide this genre with a distinctly direct quality. This quick-witted dialogue has the potential to distance these leads from a strictly shallow sense of being and contribute to a full sense of character. 

The Female Gaze in Male Romantic Interests

Pride and Prejudice

Many chick flicks also fall into the category of the (largely heteronormative) rom-com, in which male romantic leads often try to impress the female gaze. Since female protagonists in this genre are often impressive, it is essential that their romantic interests treat them as such to reinforce their power. Additionally, these male characters are largely influenced by the speech and eloquence of the female protagonist.  An extension of the materialism of the genre, many male romantic leads (such as films like The Proposal and classic stories like Pride and Prejudice) have material value which reinforces the value of consumerism in chick flicks. Like material objects, male characters in this genre strengthen the power of female protagonists and aim to appeal to capitalistically advantageous female interests.

I’m Confused… Let’s Speak to the People!

When Harry Met Sally

There’s a strong historical influence of capitalism in media as a whole that cannot be ignored when discussing the chick flick. I spoke to a range of people about their thoughts on the genre. An anonymous source in women's studies explained, “In the 1950s suddenly everybody was consuming to sort of define their gender. Capitalism incentivizes sexism because they can make more money through it.” They went on to say, “I think I choose representation over limited representation, but I think there is something quite harmful in the message that you have to change through consumption to have happiness.” But another anonymous person I interviewed referenced Clueless and stated, ``I think I’ve always been intrigued by fashion and fashion design and Clueless was the first movie that ever made sense…  it is really beautiful to me.” Some movies like Legally Blonde manipulate materialism in the genre, using self-awareness about these tropes. Everyone agreed that there is a consistent trend of consumerism within the genre and that this theme is damaging to the portrayal of women. Yet, there was a strong belief that the consumerism attached to female protagonists made a significant impact on the plot, characterization, and legacy. They also all agreed we should also dedicate a significant amount of focus to the context behind the creation of the films. Most people I spoke to referenced how capitalism incentivizes filmmaking choices and production. Similarly to how we reflect on the effect films have on female viewers, it’s essential that we take their production into consideration.

Problem Solved? Ugh, as if!

The Devil Wears Prada

Since chick flicks target female viewers, it is important to leave audiences with a well-rounded and supportive depiction of gender. Limiting female characters to their material possessions reinforces misogynistic stereotypes so it is valuable to explore methods used in film to depict female characters. Cultural influences on consumerism and film production influence the portrayal of characters on screen were discussed with interviewees. However, the positive stories and characters cause an ultimately positive effect. Sure, the presence of consumerism in chick flicks should be acknowledged but so should the characters’ independence and agency. At its core, the genre aims to tell women’s stories. These stories have excited audiences for generations and will hopefully only become more inclusive and complex.

Written By Mary Leer

Creative Director: Cam Lyken

Photographer: Mark Bluemle

Talent: Celeste Nieves, Joceline G, Madison Willett, Malia Corinne

Hannah Grae’s “Hell Is A Teenage Girl” Is An Angsty Ode To Girlhood

This one goes out to the literal teenage girls and the 20-something teenage girls whose emotions have been brushed off and patronized for a little too long. Hannah Grae puts an arm around you before handing you a sledgehammer to take out all of that bottled-up rage while letting you know that it’s perfectly fine to break down into tears afterward. Her voice is as acrobatic as Olivia Rodrigo, giving her slower ballads a cinematic swell, yet able to convey anger like Hayley Williams, making her fast-paced musical rants confrontational in their nature. Grae often chooses to make her voice loud and clear either by paring down instrumentals or belting loud enough that she practically shouts over the ascending cacophony. 

The album kicks things off with “Time Of Your Life”, a weary, snarky anti-motivational cheer told by a young woman who has been put through the ringer of girlhood. Grae’s melodic voice welcomes you to the “best time of your life” that involves toxic friends, insecurity, and backstabbing until you lose your mind altogether. It’s best described as the opening to a coming-of-age movie from the 2000’s with its cynical lyrics set to upbeat instrumentals and illustrations of anxiety walking down the school hallway. If the opening track sounds gentler than some of the other songs then that’s because she was just easing you into the forthcoming rage and sadness that will soon flood your ears.

Taking a cue from Fleabag and bluntly stating the insecurities that plague our angsty narrator, Grae puts herself on blast in “I Never Say No”. She rants about how she is “so hardly self-aware” and “about every song [she writes] is about somebody else”. She manages to articulate the feeling of being acutely aware of your flaws, but not being sure what to do about them. But all she really needs is to shout them out and acknowledge the things that society wants us to hide. Grae deliberately puts on an exaggerated whiny tone as she simply states “I just don’t know”. As young women, we are told that our feelings are irrelevant and that nobody wants to hear them. The toned-down instrumentals make Grae’s voice all the more prominent making us listen to the things that bother her.

How many of us hate ourselves in pictures? Or prefer the version of ourselves that we present to others? Can you admit when you just don’t know anymore?

Grae puts down the electric guitar for “Beneath Your Jeans” using only a piano accompaniment. The lyrics detail the fear that many young women experience when walking alone at night. She describes the fear of walking alone in a deserted area with your shoulders out, running to a bus stop like it’s a haven. Grae asks “When I smile do you think that means that I wanna see beneath your jeans?” and the message is clear. She gets straight to the point, wondering why it is that a simple smile leads to being objectified? Do the men who look at her truly only think of her as a sex object? She looks straight at them asking them this question. Her anger here isn’t loud or flashy, but it is deeply hurt. She thinks about the girls that came before and after her asking “will the boys think she’s a liar? Will the girls think that she’s weak?” The stripped back instrumentals force you to focus on what she is saying, perhaps it mirrors the way that her personhood is stripped when she is objectified.

The cathartic title track, “Hell Is A Teenage Girl”, encourages you to sing along, preferably while holding up a lighter. At first, her voice is soft and bounces along with the staccato guitar as she describes stalking a girl scrutinizing her appearance in a school bathroom. But then she says “I’m scared of her” almost like there is something secretly terrifying about this girl. The first minute of the song is creepy, after getting used to Grae’s penchant for swelling vocals, you can’t help but wonder when the noise will get louder. Like a teenage girl, at first it is quiet and tidy, until suddenly everything that was being held back comes crashing down. Close to the 2-minute mark Grae suddenly draws out the word “same” getting louder until she is practically screaming and at that moment the music comes flooding in. You can’t tell whether you are listening to the chorus, the bridge, or a mantra that Grae wants you to remember. 

Written by JD Valdepenas

Photography by Thea Wiener and Molly Galke

Creative Director: Veronica Anaya

Talent: Emma Juska and Laila

Talking About Lisa Frankenstein

Written by Diablo Cody who wrote the script for movies like Jennifer's Body and Juno and is the feature film debut for Zelda Williams (daughter of Robin Williams). The two of them showcased their personalities and created this movie in a way that was so stylistically distinct. The vision for this movie was executed so well, 10s across the board. 

Lisa is a misunderstood teenage girl and a reanimated Victorian corpse back from the dead. The two go on a journey together of pleasure, melancholy, and coming of age. The atmosphere of the film is a mix of Heathers meets John Huges meets Tim Burton. I loved the overall playfulness of how the late 80s is presented. A perfect movie to see for Valentine's Day if couples are looking for something out of the ordinary, lol. 

It was clear before the movie even started that Kathryn Newton would be its biggest highlight and right after leaving the theater that opinion is valid. Like Kathryn’s Performance in 2020's Freaky, she gives her character, “Lisa Swallows” her own heart and enjoys every minute of it. In support of her, Cole Sprouse gives a physical performance as “The Creature.” Audiences may somehow fall for the chemistry between him and Kathryn even though he is mute, which works for most of the comedic and satisfying scenes in the movie. 

Campy, chaotic, and gloomy. The jokes remain relevant, humorous, and a little bit naughty. It showcased technicolor visuals, a hilarious and morbid script as well as cool retro set design along with costume, makeup and hairstyles. Even though I haven’t experienced the 80s, the movie is naturally nostalgic and could pass off as lost media of that period. Kathryn Newton has certified herself as a scream queen and she does a great job portraying the early stages of madness. It will be very much appreciated by horror lovers even at a PG-13 rating. Let the music relax you and take in all the nods to classic movies and well-timed comedy moments and you are  guaranteed a spooky fun time.