In Stanley Kubrick’s “Full Metal Jacket” . it is hard to find the function that adult females play merely because of the glowering deficiency of female characters. In entire. merely three adult females really appear in the film. and two of those are cocottes ; the 3rd isn’t revealed as a adult female until the concluding 10 proceedingss of the movie. and none of them are given names. In fact. until the sniper’s gender is revealed. adult females merely play a function as objects for the soldiers’ amusement. In all interactions between the genders. it is obvious that the male soldiers ever hold complete power over the adult females. able to dicker their “services” down to a paltry five dollars per soldier. For one of the cocottes. a soldier even efficaciously acts as her procurer. finding whom she services and for how much. In contrast. the function of the female sniper wholly flips this gendered strategy of power-relations by utilizing an intermediary. her rifle. to derive power over the male soldiers.
For these G. I. s. the thought that adult females don’t exist on the battleground is hammered into them from boot cantonment. This procedure starts when the drill teacher Marches into the barracks and instructs his soldiers that they should give their gun a female name and slumber with it at dark because it will be the lone female company they will have during their circuit of responsibility. In this mode. the soldiers are directed to have the same kind of pleasance from killing and conflict that they would usually anticipate from a full relationship with a adult female. On a more abstract degree. giving the gun a female name besides establishes a mentality that adult females are “tools” ( another name the drill teacher often uses to depict the rifle ) in order to accomplish pleasance for the soldier. In the battleground. the soldiers subscribe to this doctrine wholeheartedly ; taking their gun with them everyplace while go forthing their ephemeral relationships with buttocks. Similarly. the complete deficiency of female soldiers in the ground forces sets up an outlook in their heads that all soldiers are male: all soldiers uses their “women” to kill.
The debut of the female sniper badly breaks all of these prepossessions for the American soldiers in several ways. First. she is a complete going from the old female characters in the movie. Rather than being subservient to the male G. I. s she dominates them. driving them off from an otherwise abandoned metropolis. By utilizing a rifle. she is in fact co-opting the tools of masculine domination that the American forces have relied on. By taking a tool that the work forces have identified as female. she is utilizing her ain muliebrity against them as a manner of change by reversaling the traditional power functions that the soldiers have come to anticipate. Second. her presence and the close propinquity in which she is killed provides a more human and softer face than some of the soldiers had antecedently experienced.
Joker in peculiar seems horrified by the facts of war once he is able to see the female sniper up near after she has been shot down. While some of the other soldiers are in favour of allowing her suffer. Joker wants to efficaciously euthanize her. However. even when he makes the determination to hit her one concluding clip he has important difficultly coming to clasps with hiting a adult female. In this manner. the sniper one time once more demonstrates the power of her gender by coercing Joker. a self-described slayer. to waver. Thus we can see that by doing the sniper a female. Kubrick efficaciously utilizes her gender as a method of change by reversaling the power functions established early in the film and continued throughout.