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Evidence that The Hunger Games is not pro-girl<br />

If The Hunger Games was to be judged only on Katniss, I think<br />

it would be easy to characterize it as pro-girl. However, The<br />

Hunger Games exists in a post-apocalyptic universe in which<br />

other female characters exist. Basically all of these characters<br />

fall into gendered stereotypes. Katniss’s mother, for instance,<br />

has a mental breakdown when her husband dies. effie is overly<br />

cheery, materialistic and is constantly concerned about Katniss’s<br />

lack of lady-like qualities. Rue seems to only be female as a contrast<br />

to Katniss’s younger sister. Foxface, while being extremely<br />

important to the plot (she finishes fourth in the Games, losing<br />

to Katniss, Peeta, and Cato), never receives a real name. Thus,<br />

the only other strong female character in the book is accused of<br />

being manipulative and sly like a fox and is given a corresponding<br />

nickname.<br />

First, let’s draw a distinction between settings. The Hunger<br />

Games’ dystopia is penned in heavy ink, yet gender issues must<br />

compete on each page with myriad other social critiques. It is<br />

more pessimistic, but also broader in its pessimism.<br />

The world of Brave is foremost a patriarchy. This is clear<br />

from the beginning. Merida’s incompatibility with the patriarchy,<br />

too, is more a premise than a plot. Brave’s critique is<br />

often understated. If you don’t recognize patriarchies in the<br />

real world, you might not in Brave either. Just skim a few<br />

movie reviews and you’ll find many critics thought Brave was<br />

too safe a story for Pixar and featured a conflict driven principally<br />

by teenage angst. As is often the case with criticism,<br />

Brave is told using a language in which we’re all variably fluent.<br />

That is certainly a weakness, but I would argue it’s also<br />

a strength. A muted message is more true to the experiences<br />

of women living under patriarchy, who are often told that the<br />

oppression they encounter is imagined. Dramatizing those experiences<br />

into a dystopia that everyone can see misrepresents<br />

the many women living in covert dystopias across the globe.<br />

Their plots can be distinguished using similar logic. In<br />

both stories, the protagonists are the only female characters<br />

who challenge gender norms in any serious way. In Brave, this<br />

is necessary. It is a story about a young girl defying patriarchy.<br />

The patriarchy is a character. It needs to exist onscreen. And<br />

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