Qualitative analysis of The Cutting Edge movies and their gender representations

Student Name: Klara Weygand

Student Number: 449733

Supervisor: Dr. Mélodine Sommier

Master Media Studies - Media, Culture & Society

Erasmus School of History, Culture and Communication
Erasmus University Rotterdam

Master's Thesis
June 2019
 Qualitative analysis of The Cutting Edge movies and their gender representations

ABSTRACT
This paper addressed the issue of under-researched area of understanding the portrayal
of gender in sports movies. The research focused on understanding the representation of
gender in sport movies that center on traditionally-perceived feminine sport, figure skating. The
research question asked How is gender represented in The Cutting Edge movies? The Cutting
Edge movies are four sports and romance comedy movies that have been produced in
Hollywood between 1992 and 2010. These movies in particular are interesting to study because
they depict one male and one female main character per movie, thus providing equal
importance to the characters in regard to the movie plots.
The research was conducted following the feminist film theory, masculinity studies and
cultural studies. Feminist film theory guided the research because it theorizes about unequal,
biased and discriminatory representation of women and femininity on screen. Masculinity
studies argues that a plurality of masculinities exists, but only one is commonly accepted by the
society as the dominant and manliest representation of men’s gender. Cultural studies embrace
the former two academic fields and seek to understand the portrayal of gender in cultural
products, ultimately answering what ideology is spread through the consumption of movies.
Therefore, the study is situated in critical gender perspective that paid special attention to the
progress of gender portrayal throughout the movies. Furthermore, the answers to the research
question were obtained through the social semiotic and thematic analyses. The researcher
observed patterns and themes in the movie scripts, which were created both deductively and
inductively, although they were always based on the aforementioned theoretical framework. By
utilizing the social semiotic analysis, the researcher seeked to find signifying indicators of
gender representation in the movies. The signifying indicators were technical movie elements,
such as angle and lighting.
Findings of the research showed that ample of theoretical gender-related concepts were
applicable to The Cutting Edge movies. Sixteen themes exuded from the scripts and the findings
in the social semiotic analysis resulted in 7 subsections that answer the research questions. The
subsections that explain the findings of the research are (1) Portraying gender through
sexuality, (2) Masculinity as an exclusion of femininity, (3) Virginal daughters, (4) Gendering
nicknames, (5) Shrewish behaviour, (6) Emotional expressiveness and (7) Negotiating identity.
Moreover, the analysis suggests that the four analysed movies reinforce the traditional gender
values, which in turn supports the patriarchal ideology. The applicability of concepts like
virginal daughter and shrew onto female characters reduces with the movies published more
recently. The portrayal of masculinity evolves within male characters and is accepted as an
updated version of masculinity.

KEYWORDS: Movies, sport, feminism, gender, representation

Preface
I would like to thank my mentor Dr. Mélodine Sommier for great guidance and support
through this thesis.

I would like to thank my mother Vesna, sister Lada and boyfriend Jouke for supporting
and loving me through my study in the Netherlands.

For any questions, you can contact me at klaraweygand@ymail.com

Contents
ABSTRACT........................................................................................................................................................
Preface ............................................................................................................................................................
1. INTRODUCTION ......................................................................................................................................... 1
1.1. BACKGROUND INFORMATION ........................................................................................................... 1
1.2. RELEVANCE......................................................................................................................................... 2
1.2.1. Societal relevance ....................................................................................................................... 2
1.2.2. Scientific relevance ..................................................................................................................... 2
1.3. RESEARCH QUESTION ........................................................................................................................ 3
2. THEORETICAL FRAMEWORK ..................................................................................................................... 5
2.1. INTRODUCTION .................................................................................................................................. 5
2.2. CULTURAL STUDIES ............................................................................................................................ 5
2.2.1. Representation............................................................................................................................ 7
2.2.2. Ideology....................................................................................................................................... 8
2.3. ENCODING/DECODING .................................................................................................................... 10
2.4. FILMS IN CULTURE ........................................................................................................................... 12
2.5. FEMINIST FILM THEORY AND MASCULINITY STUDIES ..................................................................... 15
2.5.1. Femininity and Masculinity ....................................................................................................... 15
2.5.2. Feminist Theories ...................................................................................................................... 16
2.5.3. Feminist Film Theory ................................................................................................................. 17
2.5.4. Masculinity Studies ................................................................................................................... 19
2.6. PREVIOUS RESEARCH ....................................................................................................................... 20
2.7. CONCLUSION .................................................................................................................................... 22
3. METHODOLOGY .................................................................................................................................. 23
3.1. INTRODUCTION ................................................................................................................................ 23
3.2. CHOICE OF METHOD ........................................................................................................................ 23
3.3. THEMATIC METHOD......................................................................................................................... 25
3.4. SOCIAL SEMIOTIC METHOD ............................................................................................................. 25
3.5. SAMPLING ........................................................................................................................................ 26
3.6. OPERATIONALIZATION ..................................................................................................................... 27
3.6.1. Televised Sports Manhood Formula ......................................................................................... 28
3.6.2. Virginal daughters ..................................................................................................................... 29
 3.6.3. Nicknames ................................................................................................................................. 29
3.6.4. Infantilization ............................................................................................................................ 30
3.6.5. Shrew ........................................................................................................................................ 30
3.6.6. Emotional expressiveness ......................................................................................................... 31
3.6.7. Mise-en-scène ........................................................................................................................... 31
3.6.8. Distance..................................................................................................................................... 31
3.6.9. Angle ......................................................................................................................................... 32
3.6.10. Costumes & Props ................................................................................................................... 32
3.6.11. Lighting .................................................................................................................................... 32
3.6.12. Colour ...................................................................................................................................... 33
3.7. DATA ANALYSIS ................................................................................................................................ 33
3.7.1. Thematic analysis ...................................................................................................................... 34
3.7.2. Social semiotic analysis ............................................................................................................. 35
3.8. VALIDITY AND RELIABILITY ............................................................................................................... 36
3.9. CONCLUSION .................................................................................................................................... 37
4. RESULTS AND DISCUSSION.................................................................................................................. 38
4.1. INTRODUCTION ................................................................................................................................ 38
4.2. RESULTS AND DISCUSSION............................................................................................................... 38
4.2.1. Portraying gender through sexuality ........................................................................................ 38
4.2.2. Masculinity as an exclusion of femininity ................................................................................. 42
4.2.3. Virginal Daughters..................................................................................................................... 45
4.2.4. Gendering nicknames ............................................................................................................... 51
4.2.5. Shrewish behaviour................................................................................................................... 54
4.2.6. Emotional expressiveness ......................................................................................................... 56
4.2.7. Negotiating identity .................................................................................................................. 58
4.3. CONCLUSION .................................................................................................................................... 63
5. CONCLUSION ....................................................................................................................................... 66
5.1. ANSWER TO THE RESEARCH QUESTION .......................................................................................... 66
5.2. IMPLICATIONS OF THE FINDINGS..................................................................................................... 68
5.3. LIMITATIONS AND RECOMMENDATIONS FOR FUTURE RESEARCH ................................................. 69
REFERENCES ................................................................................................................................................ 71
APPENDIX A: Information about the movies .............................................................................................. 80
APPENDIX B: Social semiotic analysis examples ......................................................................................... 83
APPENDIX C: Codebooks ............................................................................................................................. 86
Legend of the codebooks ........................................................................................................................ 86
Movie 1 Codebook ...................................................................................................................................... 88
Movie 2 Codebook .................................................................................................................................... 105
Movie 3 Codebook .................................................................................................................................... 121
Movie 4 Codebook .................................................................................................................................... 138
1. INTRODUCTION
1.1. BACKGROUND INFORMATION
This research is aimed at understanding how gender is portrayed and what the gender
ideology in four figure skating movies is. The Cutting Edge movies are four movies that have
been released between 1992 (The Cutting Edge, n.d.) and 2010 (The Cutting Edge: Fire and Ice,
n.d.). These films focus on a man and a woman who become a pair and train together to fulfil
their ambitions of winning at the next important competition (such as World championship or
Olympics) in Pair skating. The Cutting Edge (Movie 1)1 movie released in 1992 is a romantic
comedy with a subgenre in sports (AFI Catalog of feature films, n.d.), whilst the three sequels
are categorized as romantic dramas (The Cutting Edge: Going for the Gold, n.d., The Cutting
Edge: Chasing the Dream, n.d., The Cutting Edge: Fire and Ice, n.d.). Even though The Cutting
Edge: Going for the Gold (Movie 2), The Cutting Edge: Chasing the Dream (Movie 3) and The
Cutting Edge: Fire and Ice (Movie 4) are seen as sequels to The Cutting Edge on IMDb, all four
movies have the same premise and can be viewed as stand-alone movies as well. The premise
of the movies is that the athlete needs a new person to join him or her in pair skating. The pair
skater finds a person who comes from a community (e.g. hockey) that would likely negatively
judge one for participating in figure skating, thus has not trained the sport and is unlikely to be
good enough to win at the competition, which is the desire of the skater. However, it turns out
one has a lot of potential and talent, therefore having little trouble winning the competitions
that lead up to the major and most important competition. Secondly, despite the
disagreements at the beginning of the movie, the pair also fall in love with each other by the
end of the movie, which is a hurdle that almost prevents them from performing (AFI Catalog of
feature films, n.d.).
Moreover, this thesis studies gender specifically in figure skating movies because of the
interesting socio-historical relationship between masculinity, femininity and figure skating.
Initially, figure skating was a men-only sport and mass women participation in skating began
almost 100 years after the first figure skating club was formed (Adams, 2010). Figure skating

1
Onwards movies will be referred to by their chronological release date. The Cutting Edge is Movie 1, The Cutting
Edge: Going for the Gold is Movie 2, The Cutting Edge: Chasing the Dream is Movie 3 and The Cutting Edge: Fire &
Ice is Movie 4.

1
today is associated with femininity and male effeminization, which is in contrast with the
original development of the sport which supported the hegemonic masculinity and was
deemed to be an appropriate leisure activity and exercise for men (Adams, 2010). Therefore,
the analysis of these movies can help answer the question about how is gender portrayed in
movies about the sport commonly associated with femininity.

1.2. RELEVANCE
1.2.1. Societal relevance
Over 15 figure skating movies in the USA have been produced up until 2018, and their
popularity is rising. For example, Netflix is set to publish a 10-episode drama TV show about
figure skating (Ausiello, 2018). In addition, The Cutting Edge movie, that has grossed over 25
million USD in domestic release and has often been played on TV channels in the 1990’s
(Dobbins, 2017), can be found on multiple lists that suggest which figure skating movies to
watch, often in high ranking (e.g. Manna, 2018; Antonation, 2018; Thorne, 2017). The analysis
of The Cutting Edge movies will advance the learning about female and male athletic characters
in moving pictures, particularly in Hollywood productions, which might encourage movie
producers to rethink their future cinematic athletic heroes (Lieberman, 2015). Athletes and
those alike can find this research as a helpful guide in understanding society’s and movie
industry’s view on athletes. Viewers of these movies who read this research may discover they
were encouraged to adopt and identify with ways of thinking that might realistically be untrue.
Viewers may also realize how movies perpetuate gender stereotypes through their personal
cultural consumptions (Leavy & Trier-Bieniek, 2014).

1.2.2. Scientific relevance

As for the scientific relevance of this study, it contributes to the under-researched area
of academic interest which aims to understand the movie representations of female athletes
(Lindner, 2011). In addition, according to the researcher’s knowledge, it is one of the few
studies that research gender of athletic characters in fictional movies, particularly in sports
movies that do not revolve around overtly masculine and aggressive activities (Adams, 2010).
Movies were analysed because most of the research often methodologically analyses news
media and journalists’ comments during the competitions (e.g. Messner, Dunbar, & Hunt,

2
2000). Therefore, this research helps fulfil the gap in the academic literature that lacks the
understanding of the portrayal of gender in sport movies that are deviant cases, meaning that
the movies do not entail typical sports that perpetuate the hegemonic masculinity (e.g.
hockey), but in fact they challenge the patriarchal ideology (Adams, 2010). Furthermore, the
research contributes to the relatively new academic field masculinity studies as it aims to
understand the portrayal of masculinity. This contribution is particularly important because the
first two movies were published during the time of highly masculinized cultural atmosphere
(Wiegman, 2002), which was also evident in the performances of male figure skaters from
Northern America (Adams, 2010). Therefore, the analysis of the movies created and published
in the macho atmosphere of the 1990s and early 2000s brings additional value to the results as
they track the cultural and societal evolutionary representation of the dominant masculinity of
that era.
Furthermore, the results and discussion chapter elaborates on the found themes, which
were often based on existing concepts. This research has, therefore, proved the presence of
certain concepts, concepts which were sometimes found outside of movies, such as the
Televised Sports Manhood Formula (TSMF for short) by Messner, et al., (2000). For example, the
results of this research connect Messner et al’s (2000) study of televised sports to the fictional
cultural products. The presence of compatible concepts between fictional and non-fictional
media content implies a strong relationship between the production of fictional movies and the
influence of televised ideology onto the viewers. Those findings can complement the existing
theory in cultural studies which argues about the influence and inter-connectedness of cultural
products due to their nature to reproduce and signify cultural and societal norms and
expectations (Storey, 2001).
1.3. RESEARCH QUESTION
Considering the aforementioned, the research asks How is gender represented in The
Cutting Edge movies? This research question entails the understanding of the role of male and
female athletes in a wider societal and cultural framework through their representation in
popular Hollywood movies. The question asks how are main and secondary characters
portrayed as symbolic forms of signifying cultural and societal ideas and expectations about

3
gender. Although the majority of the analysis focused on the main female and male characters,
the secondary characters were also analysed, especially in terms of their significance to the
main characters. Furthermore, the research also seeks to understand how the representations
of women and men in the movies relate to representations circulating in society. As the movies
were analysed, special attention was also given to tracking the findings between each movie to
document the possible evolution and changes in gender representation in the movies
throughout the years.
The theoretical framework, which guides the research and helps answer the topical
question comes from cultural studies, feminist film theory and masculinity studies. Cultural
studies claim that cultural products influence the culture through their reproduction of the
ideology and vice versa. Feminist film theory emphasizes the portrayal of women on screen
being different from the portrayal of men. Masculinity studies emphasize a multiplicity of
masculinities present in society. Thus, all three disciplines were selected to be implemented in
this research because they guide the paradigm through which the movies were analysed. The
theories argue about the inequality between genders in the society and the skewed perception
of how men and women should behave, which is why this research seeks to understand gender
representation.

4
2. THEORETICAL FRAMEWORK
2.1. INTRODUCTION
The theoretical framework of this thesis follows sections about the aim of the study and
its societal and scientific relevance. The theories presented in these sections are important to
understand as those are fundamental ideas on which the research is based. It begins with the
elaboration on cultural studies, followed by two prominent concepts in the scientific field,
ideology and representation. Furthermore, the importance of movies is explained, which is
followed by a discussion on feminist film theory and masculinity studies. The latter two
concepts serve to bring forth examples of views on gender, such as traditional expectations of
femininity and masculinity. Furthermore, the reader is introduced to the encoding/decoding
model in order to understand that the aforementioned representation and ideology can be
read differently by different people. Lastly, the most relevant literature on discussions about
gender in figure skating movies is presented. As the chapter comes to an end, its content is
shortly summarized in the conclusion section which is followed by the chapter on the research
design and methodology.

2.2. CULTURAL STUDIES

Cultural studies is an interdisciplinary field of study, closely related to anthropology and
sociology whilst also borrowing concepts from semiotics. It is concerned with contemporary
cultures and how cultural practices relate to power systems (Nelson, Treicher, & Grossberg,
1992).
Culture is a web of values, beliefs, behaviour patterns, non-material goods and material
objects that guide and integrate into people’s lives. The material and non-material cultural
products are physical things and intangible ideas created by and consumed by the members of
society (Macionis & Plummer, 2008). These cultural products imply cultural practices which
consist of certain ideas, logics and directions that people follow, act upon and think of during
everyday mundane life tasks, either consciously or not. Cultural products can (re)produce and
symbolize cultural norms, ideas and values found within the society (Storey, 2001). Thus,
cultural studies explores the reproduction of those ideas and values within cultures.

5
 Production and symbolic portrayal of the core ideas of the dominant ideology in the
culture is given meaning by the members of the society. As people’s behaviour relies on
meaning and the significance of those actions for their lives, culture is an important factor that
influences their behaviour (Macionis & Plummer, 2008). However, the production of meaning in
cultural practices that are entangled with ethnicity, gender or class structures differ within and
across societies (Macionis & Plummer, 2008). The process of understanding the creation and
understanding of meanings in cultural texts is not specific to cultural studies. Academic fields
such as gender studies also search for meanings. For example, the feminist film theory, which is
used in this study, seeks to understand meanings associated with the representation of women
in film.
Furthermore, the fact that cultural studies deals with culture allows it to explore a
variety of concepts. Some of the concepts it focuses on are ideologies, class structures, gender
and ethnicity, and how they operate in society (Nelson et al., 1992). Cultural studies aims to
understand ideas, images and practices which are symbolically produced as material goods in a
cultural language. The cultural language then consists of concepts, ideas and feelings and is a
combination of other languages, such as the body language, the written language, the language
of movies and the language of music, etc. The concept of the language is borrowed from
semiotics where it is understood as a system of representation because the cultural alphabet
always provides meaning to what is being expressed (Hall, 2013).
Therefore, cultural studies, among other things, aims to understand how gender-related
practices are reinforced through cultural products and signifying messages embedded in those
products. Alongside masculinity studies and feminist film theory, cultural studies complements
this research because the three academic fields are similar and they all study gender and
representation. As gender is a social construct that resulted from cultural practices (Leavy &
Trier-Bieniek, 2014), cultural studies attempts to understand the power relations within and
around genders as one of the elements that shape society and influence cultural practices.
These power relations can be researched in cultural products, such as movies, through the
analysis of signs that make up the language (Nelson et al., 1992). Cultural studies theorizes
about the language of movies because it produces and broadcasts meanings into society.

6
 Movie language practices serve as a signifying system which can promote hegemonic
views circulating within the society (Barker, 2008). Theorists of cultural studies aim to
understand texts, which are cultural material goods. By understanding texts, these scholars
seek to identify and understand the meanings formed in society (During, 2005). Therefore,
cultural studies are concerned with understanding the multitude of ways through which people
make sense of their communities and the world (Barker, 2008). As people consume cultural
products they perceive the mediated representations put in the movies.

2.2.1. Representation
Representation refers to the ways in which the world is perceived by people and to the
ways in which people depict their messages to others (Hall, 2013). Representation entails
interlinked ideas about identity that are diffused with cultural products and their processes,
such as consumption and production of movies. Studying representation is one of the central
focus points in media and cultural studies. Studying representation means asking whose
realities are shown in movies and whose realities are silenced (Kidd, 2015). Moreover, when
studying representation in movies, researchers may discuss misrepresentation and
underrepresentation. For example, misrepresentation of gender in movies refers to an
inaccurate portrayal of masculinities and femininities. Misrepresentation in movies is often
researched in gender studies and it can be understood as a way of stereotyping women’s and
men’s roles in media content. For instance, Friedan (as cited in Chaudhuri, 2006) found that
women are generally defined as obedient housewives, but feminist scholars argue that
women’s identity surpasses the singular housewife identity (Chaudhuri, 2006). By coming to
such a conclusion, it is clear that women’s realities are not accurately represented in media
content because the realities of some women are shown, whilst the realities of other women
are muted. Therefore, when representations are created, they include certain ideas, values and
attitudes that perpetuate ideologies. Continuous representation of women as obedient
housewives supports the ideology of hegemonic masculinity (Chaudhuri, 2006). Therefore, the
reinforcement of ideology in movies demands questioning power, authenticity and meaning
(Kidd, 2015). Thus, as representation in movies is a question of visibility and accuracy, cultural
studies analyse representation as a means of understanding the dominant ideology in those

7
movies. By analysing representation as a way of understanding ideology in movies, cultural
studies seeks answers in both immaterial cultural goods, such as values and norms portrayed
through representation, and material products which are movies.
Furthermore, representation is a crucial part of the meaning-making process of reading
cultural texts. This is because it is through representation that meaning is produced and
reciprocated between the members of the society who share a culture. “Representation is the
production of the meaning of concepts in our minds through language” (Hall, 2013, p. 3). The
meanings in the representation though, are not simply found by those at the receiving end,
rather they are produced and encoded by producers and they are read and decoded by the
audiences. Audiences and the producers are capable of communication through cultural
products because the dominant immaterial cultural goods are commonly understood and
shared between the members of the community (Hall, 2013). Moreover, repetitive and
dominating representations of singular ideology have an effect on social and cultural aspects of
society as people exhibit their own interpretations which consequently influence culture.
Influence on culture and culture’s influence on people may then reciprocate the same ideas if
the media content stays homogenous (Hall, 2013). For instance, representation of men in
hockey-related movies is of homogenous nature, which, in essence, implies hockey players are
aggressive, overly-masculine and remarkably strong (Cermak, 2017). If the audience has no
possibility of seeing a different portrayal of hockey players, it will affect the society’s ideology
and therefore expectations of men, which will not allow for changes in cultural norms and
values.

2.2.2. Ideology
Ideology, according to Graeme Turner (as cited in Storey, 2001, p. 2) is the “most
important conceptual category in cultural studies”. Ideology can be defined as an organized
consensus regarding the opinions and beliefs about processes and behaviours in society. It can
be understood as a ‘way of seeing’ life and its connotations, such as one’s expectations, values,
beliefs and goals in one’s life (Macionis & Plummer, 2008). Hall (1980) defines ideology as a
cluster of “themes, concepts and representations through which men and women ‘live’ in an
imaginary relation, their relation to their real conditions of existence...” (p. 65). Ideology

8
consists of categories which assume conditions in which men and women should live in. For
example, some of these categories could include conditions that relate to one’s views on the
role of women in sport or the role of men in romantic relationships. Some may believe women
have no place in sport, as has been historically the case (Adams, 2010), whilst others would
disagree. Therefore, these two groups of people share different ideologies. These categorical
beliefs, whilst often unconscious, are represented and lived through in lives of the members of
the society (Hall, 1980). Thus, some people may not attempt to engage in sport because movies
which only represent men as athletes, in turn misrepresenting female athletes, affected their
cultural and societal expectations, values and beliefs. However, it is important to note that the
ideology that dominates in society is often enforced by the member(s) of the community who
hold power or high social status (Macionis & Plummer, 2008). Therefore, cultural studies has
interest in ideology because it is connected to power relations and systems within society.
As mentioned, one of the methods for broadcasting an ideology onto masses is through
cultural products, such as movies. Considering that cultural texts like movies are reflections and
expressions of power relations in society, cultural products are thus sign vehicles of ideology.
Therefore, the ideological beliefs can be consciously or unconsciously enunciated by people
who partake in the communication process of encoding and decoding the movie, thus possibly
presenting “distorted images of reality” (Storey, 2001, p. 3). The fabricated presentation of
reality is also referred to as false consciousness and it implies that those in power spread the
ideology that works in their favour, or in other words, against those who do not hold power or
high status in the society. It is often that people who hold cultural capital are those who
reinforce the dominant ideology (Storey, 2001). The people who gained educational
credentials, cultural experiences or something else fueling cultural capital, are commonly the
producers of media content (Storey, 2001). Accordingly, the cultural texts produced by people
with high cultural capital will likely be occupied with codes which relate to the ideology of
producers. Therefore, movies can serve as ideological forms and their purpose is to serve as
sign vehicles for spreading a specific and limited representation of the world. For example,
producers’ beliefs that women are secondary to men and that the audience that identifies as
male has the privilege of gaining pleasure from seeing women being sexualized is reinforced

9
through the representation of gender in movies. Producers’ representations thus may reflect
and maintain limited cultural norms and values. By doing so, gender is misrepresented through
the continuation of movies perpetually supporting that ideology. As the patriarchal ideology
continues to be supported, it influences society’s values and belief, ultimately affecting cultural
practices and representations.

2.3. ENCODING/DECODING
The production processes of movies include technical skills and established routines,
rules and ideologies of the directors, producers and the media company. The movie-making
process is influenced by their beliefs and values, which ultimately affects the representation
they create for the movie (Hall, 1973). However, producers may or may not come from
different cultures compared to their audience or other people involved in the movie, which
consequently implies that these people may or may not share the same norms, values, beliefs
regarding gender. Representation consists of two processes and in order to understand the
meaning, one must have a developed conceptual map and a language system (Hall, 2013).
Firstly, mental representations are correlations between sets of concept definitions and
objects, people and events. However, the mental representations are also correlations between
immaterial concepts, such as sexism, friendship and love. The mental representations are
carried in people’s minds and serve to help to understand the world meaningfully, thus
representing the world. Therefore, meanings constructed through representation are
dependent on the “system of concepts and images formed in our thoughts which can stand for
or represent the world, enabling us to refer to things both inside and outside our heads” (Hall,
2013, p.3). The idea of the mental representation is the basis of the concept of encoding
through which producers create meaning, and it is reliant on the shared cultural language to be
understood. It also refers to the complicated relationships made between concepts. The order,
the clusters and the relationships between concepts are important in the system of
representation because all those processes imply an individual understanding of meaning. The
second process in the system of representation is language. Language is made up of signs which
connect the meaning of a concept to its material presence (Hall, 2013). In the theories of this
thesis, language as a term is used broadly and inclusively. For example, a language can be the

10
angle of a camera in a movie because it implies a meaning of power (bird’s view implies no
significant power, ant’s view implies a great deal of power). However, as the example
illustrates, language does not reflect the world. Instead, language serves as a representational
system through which meaning is produced culturally. Meaning is constructed within the
language because it works via signifying practices (Hall, 2013).
Therefore, if beliefs about gender roles are homogenous, the reception of the movie’s
representation of gender roles will seem as natural and will be taken for granted (Hall, 1973).
However, diverse views on gender between the producers and the audience result in people
being misrepresented or underrepresented. Therefore, Stuart Hall (1973) explains three
possible ways of reading texts.
Firstly, audiences can decode movies according to their dominant meaning. Reading the
dominant code means that the viewer decoded the hegemonic codes of the sign vehicle. The
audience, therefore, shares the ideology with the producers. The viewers not only understood
what the producers were trying to convey with the movie but also agrees with the dominant
messages encoded in the movie. In that case, the viewer is the ideal viewer because one proves
that a perfectly transparent communication between the director and the viewer is possible
through film as a medium, or sign vehicle (Hall, 1973). Decoding a sign vehicle in its dominant
meaning implies the reader is located within the dominant ideology and shares and evinces the
understanding of the codes in their intended meaning(s) (Hall, 1973).
The second approach to decoding is negotiated meaning. When a viewer decodes
movies with a negotiated meaning, it means that they acknowledge the prevailing codes in the
movie, but they do not agree with all the codes they have read. Readers are not ready to accept
the ideology within the sign vehicle as the encoder had it intended. This type of reading can be
understood as a reading that finds an exception to the rule (Hall, 1973).
Finally, it can happen that readers decode a movie in its oppositional meaning. Readers
who interpret a sign vehicle in its oppositional meaning understand the main ideology or the
dominant messages encoded in the sign vehicle, but they do not agree with it whatsoever.
Oppositional reading happens when signs that are usually decoded in dominant ways, are
starting to be read in disagreement and are thus given an oppositional reading (Hall, 1973).

11
 Furthermore, De Lauretis (1984) argues that gender is socially constructed through
language and representation, which are intertwined within movie texts. The audience, no
matter the gender or sex, is “a stable unit of consciousness” (De Lauretis, 1984, p. 14) and
audience’s ideological identification is in a state of constant formation via newly learned codes
and ideological messages. “While codes and social formations define positions of meaning, the
individual reworks those positions into a personal, subjective construction.” (De Lauretis, 1984,
p. 14). Therefore, researchers reading The Cutting Edge movies from feminist film theory and
masculinity studies perspectives requires them to read in such a way that possible negotiated
or even oppositional meanings are found. By interpreting the codes in the movies, the author
can collect data and come to conclusions about the representation of gender in four romantic
comedies which centre on sport. As a degree of representation is known, the assumptions on
the dominant ideology can also be made.

2.4. FILMS IN CULTURE

Discourse is a system of ideas and accumulation of knowledge which are created around
themes or ideologies. Discourse is then one of the more significant factors that influence the
creation of one’s identity. Power is present in all forms of culture thus making perceived ‘truth’
of how life seems, to be heavily embedded in the culture. The ‘truth’ of how life seems to be is
ingrained in cultural products through the popular representations consumed from movies.
Therefore, culture, discourse and relations of power influence the creation of an individual’s
identity, which can ultimately affect one’s conduct in different life situations, such as work,
school, home and leisure activity. Movies as cultural products tend to be both (1) created by
people who have power and cultural capital and (2) are decoded by people who have
developed an identity partially through cultural discourses (Buckland, 2004). Oftentimes
Hollywood movies can be created by producers who have been influenced by the patriarchal
ideology, and audiences who watch the movies may be influenced by movie representations of
the dominant ideology. Therefore, those who decode hold less power in influencing the
mediated representations, than those with cultural capital who encode the movies. Thus,
considering culture is a convergence point of different societal aspects, such as gender and
sport, cultural studies explore both the production and the consumption of movies as

12
representations of cultural practices’ influence on the creation of the movie, and the movie’s
influence on the cultural practices. However, it is not only movies that partake in this
representational system of affecting ideology through cultural products.
Therefore, the production of and the reception of movies are ultimately created by
socio-cultural and ideological forces and processes that operate in society. On a micro level,
these processes are not visible without detailed research, but on a macro level, the result of
these processes is also not seen because they are taken for granted by the reasoning behind
the (unconscious) ideology prevailing in society (Pribram, 2004). In essence, a movie is a
communication tool between the producer and the viewer decoding the images, sounds and
texts on the other side of the screen. It is a form of communication that displays cultural
discourses which ultimately affect the audience (Mikos, 2013). Knowing that even producers
are influenced by cultural discourses, although still maintaining a high level of cultural capital
and power, which is clear just in the fact their movies are broadcast on television, it is assumed
that movies are also subjective constructions of representation (Mikos, 2013). Although various
elements affect the production and the creation of the movie (e.g. budget, demand in the
market), the subjective constructions of representation that belong to the producer are drawn
from various cultural discourses and one’s specific interests (Mikos, 2013).
Movies are often consumed in the daily routines of people and their reach can be
enormous as they also captivate the interest of audiences on international levels. Television is
the most popular type of entertainment in the USA as it provides millions of viewers with the
information and the cultural experiences that most citizens get. Considering that a TV can
perform as a socializing agent too, it is important to understand messages projected on screens
that serve as a “socializer and cultural unifier” (Rapping, 1994, p.139).
Television and DVD forms of distribution of entertainment content were increasingly the
most popular methods of watching videos in the period when the analysed movies were being
released (Madrigal, 2018; Fischer-Baum, 2017), thus making TV and DVD the most significant
systems of representation. While Movie 1 was distributed in cinema theaters (AFI Catalog of
feature films, n.d. and The Cutting Edge, n.d.), the sequels were directly aired on ABC Family
(now Freeform) television channel thus constituting into television programming and were

13
soon released on DVD format too (Webb Mitovich, 2006; The Cutting Edge: Going for the Gold,
n.d.; “The Cutting Edge: Going for the Gold,” 2019; The Cutting Edge: Chasing the Dream, n.d.;
“The Cutting Edge: Chasing the Dream,” 2019; The Cutting Edge: Fire and Ice, n.d.; “The Cutting
Edge: Fire and Ice,” 2019). In addition, television still occupies more than half of the leisure time
in USA (Krantz-Kent, 2018) where The Cutting Edge movies can be watched.
Therefore, the Hollywood representation of gender, which is a product of USA cultural
discourses, is consumed in cultures outside of the USA. One of the functions movies have as
cultural products encoded with messages is to help shape one’s perceptions of socio-cultural
relationships and issues. The perceptions of socio-cultural issues may reflect on one’s adoption
of cultural norms and values. In effect, the messages conveyed by the audience is a result of the
broader circulation of ideologies (Dutt, 2014). Consequently, movies become one of the most
important vehicles of ideology for numerous cultures, thus influencing the perception of gender
and adoption of ideologies as geographically far as the movies are consumed. Therefore, even
though most movie genres claim to be of entertainment nature and should not be taken any
more seriously than any other leisure activity, the power of movies to (re)produce and spread
ideologies about gender is particularly pertinent (Dutt, 2014).
Moreover, it is argued that cultural products aimed at masses and consumed by large
quantities of people can desensitize the audience (Macionis & Plummer, 2008). Desensitization
of audiences may happen if the broadcasted messages are repeated on TV and appear natural
to the viewer. Continuous representation of same ideas only makes them seem trivial and
reduce the importance of the discourse about social issues on television, but it also creates a
state of mind in which the continuously consumed messages in movies are taken for granted
(Helsby, 2005). Therefore, the issue of representation is not questionable if the content being
consumed is taken for granted. Thus, the audience confirms the hegemony of messages and
reinforces ideological beliefs, which impacts one’s world views (Helsby, 2005). Movies cannot
easily show gender expectations people live through every day because such a lifestyle and
mindset is deeply integrated within the community, making it hard to be perceived as
extraordinary (Bolton, 2011). Thus, certain cultural studies and feminist and masculinity studies
focus their attention particularly at investigating the normalized representation of gender in

14
movies. Therefore, the aforementioned misrepresentation of women as mere housewives, if
frequently and repetitively represented in movies, may influence discourse around the role of
women in general and the portrayal of women in movies. The influence, however, would not be
apparent as it would be taken for granted, which is why cultural studies seek to analyse cultural
products and question representations in movies.

2.5. FEMINIST FILM THEORY AND MASCULINITY STUDIES

2.5.1. Femininity and Masculinity
Feminist and masculinity studies originate from a belief that women and men should be
politically and socially equal, although it besets a multitude of issues, theories and positions
within the terms. The focal point of these studies is gender. Gender is a social construct which is
assigned to people. It is a composite of ideas, assumptions and beliefs that are in relation to
biological sexes (Leavy & Trier-Bieniek, 2014). Therefore, women and men can be, and usually
are, judged based on how feminine and masculine they are. Women and men are put into
categories (femininity and masculinity) and criticized how well they fit into those categories
(Leavy & Trier-Bieniek, 2014). The level of fitting into the socially constructed norms of gender
within the ideology can result in the stereotypical and singular vision of gender. Men are
supposed to behave in a masculine way, whilst women are expected to behave in a feminine
way (Leavy & Trier-Bieniek, 2014).
Masculinity as a concept refers to physical and behavioural traits commonly associated
with boys and men (Macionis & Plummer, 2008). Not easily defined, these traits are
oppositional to feminine traits and they often include independence, intelligence and
competency, rationality, assertiveness, analytical skills, being strong, brave, ambitious, active,
competitive, insensitive, sexually aggressive and attractive due to the gained success and
achievements (Macionis & Plummer, 2008). Femininity, on the other hand, are behavioural and
physical traits usually associated with girls and women. Those include being submissive,
dependent on other, not capable, more emotional, having intuition, being weak and more
easily scared, unambitious, passive, not competitive but rather cooperative, the sex object and
being attractive due to their physical appearance. This notion of femininity is in opposition to
the notion of masculinity (Macionis & Plummer, 2008). So, if the representation of women as

15
good housewives entails all the attributes that are socially associated with femininity, the polar
opposite of that is masculinity, which entails ideas and associations of masculinity that contrast
femininity. Regarding the previously mentioned examples, hockey portrays masculinity as men
being strong and independent, whilst the role of a woman as a housewife represents women as
weak and dependent. The binary view of gender in western cultures means that femininity and
masculinity are seen as antonyms (Leavy & Trier-Bieniek, 2014). Singular view on gender is so
innate and familiar that their supremacy over women and men is assumed and even almost
required. The recurring unidimensional representations of gender influences ideology within a
culture (Leavy & Trier-Bieniek, 2014).
Therefore, conducting research informed by cultural studies means examining and
investigating the (lack of) changes in gender representations in relation to the overarching
ideology shared in a culture. The problem with assigning people a gender role is that the
assumptions of those roles can become over-simplified and even more stereotyped and
generalized (Leavy & Trier-Bieniek, 2014).

2.5.2. Feminist Theories

Feminist theories are essential to the feminist film theory as they are regularly applied
to the analysis of cultural products, such as movies for instance. One of the most influential
theorists is Simone de Beauvoir (as cited in Chaudhuri, 2006) whose groundbreaking “The
Second Sex” book published in 1949 heavily influenced the direction in which the feminist
movement was going. Throughout her book, she attempts to argue against the myth of eternal
feminine, which refers to the biological aspects as well as spiritual aspects of people, i.e.
women. The eternal feminine concept refers to the idea of women being the natural
embodiment of grace, inferiority and emotional expressiveness (de Beauvoir as cited in
Chaudhuri, 2006). In essence, her book argues that women are not born as women but rather,
they are moulded to become the desired vision of a woman that the patriarchal society
demands. The notion of learning to be a woman through cultural structures is also referred to
as becoming or becoming a woman. Therefore, as eternal feminine applies to attributes that
are envisioned to belong to women, it can also be understood as femininity (de Beauvoir as
cited in Chaudhuri, 2006). Thus, femininity implies learning to accept and perform the qualities

16
presumed to belong to women. In addition, de Beauvoir (as cited in Chaudhuri, 2006)
emphasizes that women are constructed as the Other. Women are the Other because they are
constantly and naturally compared to men and are therefore seen as the secondary being, as
the attribute to men. The woman, therefore, does not exist, or at least is not perceived as an
autonomous being and her existence is only relevant as a sexual being. Instead, the woman is
referred to in reference to a Man (de Beauvoir as cited in Chaudhuri, 2006). Men, then, are
associated with rationality and superbness that transcends the body, whilst women are
associated with irrationality and solely being bound to their body. The idea of the eternal
feminine was used to oppress women because the ideology demanded that attributes within
femininity are their norms for behaviour and values in life. Therefore, the concepts of
femininity and masculinity create disparity between genders (de Beauvoir as cited in Chaudhuri,
2006). Those are just some examples of perceptions on gender, but they stand as supporting
columns to feminism (Chaudhuri, 2006).

2.5.3. Feminist Film Theory

The feminist film theory makes gender its fundamental matter of interest and has been
developed in the context of western cinema, such as Hollywood productions (Gentile, 1985).
Most notable topics included reproduction, physical appearance and family life. Feminist film
theory assumes that motion pictures echo the ideological and socially constructed ideas and
perceptions of gender (Hayward, 1997). It is based on feminist viewpoint and ascribes gender
issues in relation to the mainstream cinema. Thus, cultural studies and the feminist film theory
are interrelated in a way that both can study representations of gender in movies. However,
the feminist film theory could be considered as a sub-theory in gender studies and gender
studies could be a part of cultural studies. Therefore, cultural studies can encompass a broad
range of subjects. Differences between the two academic fields are not very significant because
gender is studied in both fields and both fields are interdisciplinary. It is due to this openness
and flexibility of disciplines why this research draws on these fields of study.
In 1963 Betty Friedan recognized the role of and the influence of media and its products
onto the reinforcement of the patriarchal hegemony. By referring to examples from popular
culture, Friedan (1963) emphasized the repetitive circulation of the unidimensional portrayal of

17
women in media products. Replacing the eternal feminine with the feminine mystique, Friedan
argues how the feminine mystique socially accustomed women to being satisfied with aspiring
to be mothers and housewives. The recognition of feminine mystique resulted in social
backlash and controversy when women aspired to have a life outside the home and have a job.
Women were made to feel guilty for “undermining their husbands’ masculinity and their own
femininity, and for neglecting the children” (Friedan, 2001 as cited in Chaudhuri, 2006, p. 17).
The cultural definition of femininity was changing in society.
Thus, Friedan was one of the first to recognize the societal perception of women as
‘good’ and ‘bad’, which can also be understood as the virgin and the whore whereas the virgin
is the ‘good’ woman who is an obedient wife, whilst the ‘bad’ whore woman is resented for
attempting to fulfil herself with a career. The perception of women as good/bad or
virgin/whore is an example of the patriarchal domination in the society’s ideology.
The disparity between genders is due to the patriarchal culture through which gender
hierarchy and sexual inequality are reinforced. The patriarchal hegemony, though, is sourced
from religion, language, traditions and cultural products that help to construct people’s world
view, thoughts and ideas that ultimately make up the dominant ideology. “Those are the
vehicles for myths, created by men and constructed from their viewpoint, which are then
mistaken for ‘absolute truth’” (Chaudhuri, 2006, p. 16). Therefore, the hegemonic patriarchy
which defined masculinity and femininity kept being reproduced through their representations
in movies (Chaudhuri, 2006), consequently slowing down cultural and societal changes,
particularly those related to gender.
Moreover, women and men are simultaneously a part of and not a part of the ideology
of gender. Femininities and masculinities found in movies represent certain groups of women
and men. Those who were not represented in movies were also left out of the ideology and
through the lack of representation were also left out of the culture. Therefore, as certain
gender identities are left out of the gender ideology, they are accordingly not typically shown in
most movies (De Lauretis, 1984; Hayward, 1997).

18
2.5.4. Masculinity Studies
Similarly to the feminist film studies researching the portrayal of women on screen,
masculinity studies also questions the representation of men in society, including movies. For a
long time, the term masculinity and men were put together in a constant normative view that
equated sex with gender and was also a synonym with the face of patriarchy and women's
inferiority (Wiegman, 2002), similarly to how femininity and women were synonyms too.
However, in the 1990s, studies of masculinity bloomed in the overly-masculine cultural
environment, particularly in Hollywood movie productions (Wiegman, 2002), which is
particularly interesting as the first The Cutting Edge movie came out in 1992 (AFI Catalog of
feature films, n.d.). Considering the discourse on gender focused on women and femininity,
particularly the idea of being the Other to men, masculinity studies had to define what a Man
is.
A Man in this context is a man as represented by the media and perceived by society.
Media researchers had to conceptualize how exactly does media portray men. This is
particularly relevant because, historically looking, a Man has been defined by his masculinity
differently over time. For example, with the arrival of the 1970s and the cultural, social and
technological changes, masculinity was associated with the “new sensitive man” (Dennis, 2012,
p. 110). He was smart, creative, peaceful and not too worried about physical appearance and
fitness. The new sensitive man, however, was then challenged by the more ‘traditional’
masculinity in the 1990s. This newly come masculinity included aggressiveness and dominance
and other traits commonly associated with traditional masculinity mentioned earlier. Therefore,
masculinity studies seeks to understand how male privilege and male power are formed and
represented, as well as how male power and privilege affect women and men (Gardiner, 2002).
It is closely related to feminism as it also aims to further explore the institutionalized power
relations within the society. Moreover, masculinity studies aspires to learn who retains
masculinity, who restricts and who ascribes value to masculinity as an ideal identity of
individuals and society. It focuses on personal experiences men have lived through and onto
providing evidence of men’s experiences and, more importantly, their gender-specific suffering
(Gardiner, 2002). Similar to the feminist film theory, masculinity studies recognizes that the

19
notion of masculinity is constantly reinforced via produced mediated content and
representations available for reading in those contents. This field of study recognizes that
masculinity as a concept was formed through various cultural, societal and political processes,
which in turn affected individual members of the society, communities found within societies
and institutions. (Gardiner, 2002). In essence, masculinity studies is an interdisciplinary field of
study which recognizes that, alongside women, men have also been formed through biased
representations of gender in movies which influenced the dominant ideology. Such biased
representations and their effect on the ideology resulted in an unequal distribution of power
and privilege. Therefore, masculinity studies can be considered as a branch of cultural studies
because both investigate cultural representations and their power relations within society. The
often-related compound of attributes given to men and the perception of men as a singular
unit of identification leads to the myth of masculine sameness, which connotes that masculinity
has a monogamous definition adopted in the patriarchal ideology which expects men to behave
in pre-defined and restricted ways. (Gardiner, 2002).
De Lauretis (1984) argues that gender is socially constructed through language and
representation, which are intertwined within movie texts. The audience, no matter the gender
or sex, is “a stable unit of consciousness” (De Lauretis, 1984, p. 14) and audience’s ideological
identification is in a state of constant formation via newly learned codes and ideological
messages. “While codes and social formations define positions of meaning, the individual
reworks those positions into a personal, subjective construction.” (De Lauretis, 1984, p. 14).

2.6. PREVIOUS RESEARCH

Representation of gender can be analysed in relation to sport in movies. Research
regarding the representation of athletes in moving pictures is scarce, particularly of female
characters and even more so in figure skating as a sport. Lindner’s (2011) and Lieberman’s
(2015) essays investigate the representation of gender in sports movies, although each in
separate ways. The aim of this section is to relate the most relevant research with this thesis as
a way of showing the existing presence of the imbalanced representation of fictional athletic
characters in terms of their gender.

20
 Katharina Lindner’s (2011) research about female athletic characters in movies was
conducted using a qualitative content analysis. She observed almost 200 movies that have been
released between 1990 and 2006 within the European and Anglo-American socio-cultural
contexts. Lindner (2011) noted that female athletes were the main character of the movie in
only 14% of the movies she analysed, whilst both male and female athletes as main
protagonists in the movie occupied mere 6%, thus making male athletes the main character in
80 % of western sports movies. These findings are not surprising considering that in western
society “sport is a man’s world” (Messner et al., 2000, p. 282). Moreover, she recognized that
male athletes who pursue feminine sports, such as figure skating, are distinctly represented as
heterosexuals, particularly mentioning The Cutting Edge she emphasizes that the
heterosexuality is continually reinforced. Therefore, Lindner’s (2011) study provides insight
into the quantitative aspect of the representation of gender in movies. Such results indicate the
presence of the patriarchal ideology and hegemonic masculinity in movies. For example, her
findings about the heteronormative representation of masculinity indicate the reinforcement of
the hegemonic masculinity and patriarchal ideology.
Furthermore, Viridiana Lieberman (2015) wrote a book in which she drew on several
theories, such as film theory, feminist theory and cultural studies in sport. With an emphasis on
feminist view on gender, Lindner (2015) did a textual criticism and compilation of published
research. Her book entails summarized discussions of different movies with athletic female
characters. In addition, although not the whole series, she analysed The Cutting Edge movie
and provided inspiration and insight for this research. Her most poignant points are that the
movie starts with the sport but ends in romance. Framing female athletes’ journey in movies
through a love story resembles Friedan’s (1963) theory about women being represented only as
housewives. In other words, in both sports movies and movies in Friedan’s (1963) research
frame women’s stories through values ideologically associated with traditional femininity.
Furthermore, Lieberman (2015) recognized the gender differences between the main
characters, as well as the class gap. Her arguments indicate that women are not taken as
seriously in sport as men are, which supports the concept of women being the Other. However,
Lieberman (2015) also noticed that women are significantly more frequently put in sports that

21
promote feminine values, which are in society seen as feminine sports because they are
expressive. Figure skating would be one of those sports. However, her findings are more
observational and descriptive rather than products of rigorous academic criteria as she shortly
explains the scenes and what can be critiqued from a feminist viewpoint. This study will
contribute to Lieberman’s (2015) findings with rigorous and systematic thematic and social
semiotic qualitative research that follow the academic standards.

2.7. CONCLUSION
In conclusion, this chapter addressed the theories of feminist film theory and
masculinity studies, as well as cultural studies. In addition, the importance of film regarding
ideology and representation was discussed. These specific theoretical tools were utilized due to
their usefulness to accomplish the aim of the study, which is to understand the representation
of gender in movies that may have been affected by the patriarchal ideology. To sum up,
cultural theory seeks to rediscover ideologies in movies (Morley, 1992), whilst the feminist film
theory and masculinity studies focus on the gender ideology within those movies (Chaudhuri,
2007; Gardiner, 2002). As cultural theory claims the derived meanings from movies have effects
on the audiences (Morley, 1992), the feminist film theory and the masculinity studies
emphasize the reflection of the dominant ideology in movies on the society, thus pointing out
the perpetual reinforcement of patriarchal hegemony (Chaudhuri, 2007; Gardiner, 2002). The
chapter ends with the explanation of Lindner’s (2011) quantitative study on the representation
of gender in sports movies in which she shows that male characters are the main protagonists
in 80 per cent of the movies she has analysed. Lastly, Lieberman’s (2015) book is mentioned
because it analysed one of the four movies that are being researched in this thesis, although
her book lacks rigorous research methods used in academic fields. The next chapter elaborates
on the methods implemented in this research.

22
3. METHODOLOGY
3.1. INTRODUCTION
The upcoming subsections elaborate on the methodology through which the research
about the portrayal of gender in The Cutting Edge movies was conducted. It consists of an
explanation about why qualitative research was used and why were certain movies chosen. It
explains what thematic content analysis and social semiotic analysis are and why were they
used. In addition, the core meanings of the investigated concepts are explained. Furthermore,
in the subsection about the method of the analysis, the exact chronological procedure of the
data extraction and analysis process are presented. Finally, this chapter concludes with a
reflection on the validity and the reliability of the research, followed by a conclusion.

3.2. CHOICE OF METHOD

This research relies on movies as data because it is “the primary message-centred
methodology” (Neuendorf, 2002, p. 9), meaning that analysing media content is fundamentally
researched as a way of understanding meanings of mediated cultural products. Movies and
scripts as data entail cultural processes and representations which reflect meanings circulating
in society, so they inform about the dominant ideology within society (Leavy & Trier-Bieniek,
2014). Therefore, movies and their scripts represent gender through a storyline intended as
entertainment and members of society also learn the expectations of gender through the
consumption of movies (Leavy & Trier-Bieniek, 2014). Furthermore, a thematic content analysis
was conducted because it allows for the identification and understanding of implicit and explicit
themes which are related to the feminist film theory and masculinity studies. On the other
hand, a social semiotic method was used because it offers the possibility to analyse the non-
textual but instead the technological aspects of the movies, like lighting and colour, which can
signify certain meanings.

The portrayal of gender in movies was approached qualitatively because the researcher
is interested in examining the connotative and denotative meanings about gender in the
moving images, as opposed to statistical significances and numerical data (Schreier, 2013).
Moreover, qualitative approach to understanding gender is an established and popular method

23
used by feminist researches (Bryman, 2016). Even more so qualitative methods in relation to
feminism helps challenge the dominant ideology and understand encoded messages in popular
American films (Leavy, 2011). A qualitative approach is appropriate for this study because it
requires the data to be analysed and collected in an organized and uniform manner, which suits
the research because it ensures that every piece of the scripts and movies related to the
research question is examined following the same directions (Schreier, 2013). Furthermore,
qualitative analysis is suitable because the researcher can always go back to the scripts and
movies to recode or add codes inspired by the ongoing analysis (Schreier, 2013). Such flexibility
allows both inductive and deductive approaches to be implemented (Schreier, 2013), meaning
that any theoretically informed themes can be drawn from the theory or the data itself. The
theoretically driven codes are most popularly used in research studying society, whilst the data-
driven codes are anticipated in qualitative content analyses (Schreier, 2013). The combination
of using the deductive and the inductive approach for data collection is a common practice in
qualitative research (Schreier, 2013). Such open methodological approach was used in this
study and complemented the analyses as the researcher was able to assess if concepts were
present in the data or not, but also seek for new possible concepts and themes. Additionally,
the thematic and social semiotic methods are flexible as they allow for inductive and deductive
approaches. Both methods make it possible to create codebooks that entail categories created
per theoretical concepts while also creating new categories inspired through the iterative
analysis of the data (Schreier, 2013).

Furthermore, the qualitative approach helped reduce the data. As this study is only
focused on gender, the qualitative approach allowed the researcher to focus on meanings
related to gender whilst ignoring meanings related to class, for example (Schreier, 2013). Lastly,
researching existing cultural products via thematic and social semiotic methods affords
authentic data and the social norms can be identified without the risk of affecting the data
(Leavy, 2011). Therefore, the portrayal of gender in The Cutting Edge movies was deductively
analysed through a thematic analysis of the movie scripts and social semiotic analysis of the
movies.

24
3.3. THEMATIC METHOD
Thematic analysis was used in order to analyze all four movie scripts. This method is a
way of systematically recognizing patterns which manifest cogent data relevant to the research
question and then analysing the recorded qualitative information (Maguire & Delahunt, 2017).
Thematic analysis was used to identify and interpret meanings present at both latent and
manifest levels in the texts (Boyatzis, 1998). Through this process, the codes were accumulated
and consequently put into suitable categories of thematic patterns. The codes and their
interpretations were supported by the data extracted from the texts (Guest, MacQueen, &
Namey, 2014).
Thematic analysis was used because it is adequate for large amounts of texts, such as
dozens of pages of movie scripts (Guest et al., 2014). The opportunity for flexibility and
adjustability to the researcher’s needs makes it one of the popular analyses used in qualitative
research. The method’s flexibility to include different theoretical frameworks allowed for broad
social and cultural phenomena to be researched, perfectly fitting an approach that assesses
existing theories (Guest et al., 2014), such as the Televised Sports Manhood Formula, virginal
daughters and shrew. The interpretations of the texts easily accessible to almost anyone
allowed for a transparent methodological process, as well as iterative and easy access to data.
The data was easily accessed repeatedly because of the technological functions of replaying the
videos starting at different time stamps. The collection process was unobtrusive, meaning that
the data was not affected during the collection, seeing as it is an immaterial cultural good
(Guest et al., 2014). Deconstructing texts to see what data emerges is a beloved method by
many feminist scholars (Leavy, 2011). In addition, the thematic analysis produced rich and
descriptive data that made it possible to answer the research question (Leavy, 2011).

3.4. SOCIAL SEMIOTIC METHOD

Social semiotics was used for the analysis of all four of The Cutting Edge movies. Social
semiotics is concerned with learning what can be communicated with visual mediums and what
the possible interpretations of the researched movies can be (Jewitt & Oyama, 2011). The
viewer’s position can be taken while the social realities displayed in the film texts are
questioned (Iedema, 2011). Therefore, social semiotics is primarily focused on “human semiosis

25
as an inherently social phenomenon in its resources, functions, contexts and effects” (Hodge &
Kress, 1988, p. 261). Therefore, social semiotics aims to understand socially constructed
meanings that are created via various semiotic codes (Hodge & Kress, 1988). Social semiotics
consists of a mimetic plane, which implies the existence of possible alternative realities, and
semiosic plane, which implies semiotic events that link the producers of the signs and the
receivers of the signs in an important affair (Hodge & Kress, 1988). In addition, it differs from
the more commonly known study of signs as communication because instead of signs it focuses
on resources. As relations in social semiotics are constituted in power and solidarity, the
resources allow “people, places and things to be depicted from above or below (or at eye-
level), and from the front, the side or the back” (Jewitt & Oyama, 2011, p. 5). Therefore, social
semiotics allowed researchers to analyse the data, such as movie characters and locations, from
different power angles.
Social semiotics was a suitable tool for critical research as the method was applied to
different situations in which dimensions, such as representation and setting, were viewed and
analysed. Social semiotics allowed the researcher to look at meaningful data from different
angles. Those angles imply a degree of power constituted in them and can have wider socio-
cultural implications (Jewitt & Oyama, 2011). These angles and other technical aspects are
explained in the operationalization section. In addition, this method acknowledges that visuals
can deceit on their denotative levels, which is an important aspect as through this method the
researcher will look beneath the surface and interpret the connotative meanings (Jewitt &
Oyama, 2011). Moreover, three metafunctions are performed in semiotic work. The ideational,
interpersonal and the textual metafunction allow for researching representations of the
characters, interactions between the characters and the audiences, and compositions of movies
and how they are framed (Jewitt & Oyama, 2011). As the methodology assumes power, it goes
hand in hand with the feminist film theory and masculinity studies which too understand the
disbalance of power and misrepresentations on the screen (Hodge & Kress, 1988).

3.5. SAMPLING
The sample of this research consists of four movies and four movie scripts. A criterion
for the sample was to include movies that are homogenous, for the sake of consistency in data,

26
therefore movies that are sequels were a better choice (Flick, 2007). Another criterion was to
choose movies that are not overly fictional, such as Blades of Glory, meaning that the plots of
the movies chosen are somewhat plausible in real life and the sample is ordinary, meaning it is
not a collection of extraordinary science fiction plots, for example (Flick, 2007). These four
movies offer a unique opportunity to analyse both female and male gender as main characters,
which ample of other ice-skating movies, e.g. Ice Princes, do not offer. Moreover, it was
relevant that the movies were released recently, as analysing Hollywood movies from before
the 1990s, such as The Ice Follies of 1939, would be less significant for contemporary society
and science. The last criterion was to have between 3 and 5 movies, so the fact that this series
contains 4 movies was heartedly welcomed.
The data for the thematic analysis were collected from unofficial scripts found online.
Three movie scripts were taken from scripts.com, whilst the script for The Cutting Edge: Fire &
Ice (Movie 4) was manually written as no correct version was found online. The scripts taken
from scripts.com were remarkably accurate. Only occasionally few words were missing, which
were added during the process of checking the accuracy of the scripts. The data for the social
semiotics analysis were collected from the four movies for which the researcher had direct
access throughout the analysis process. The details about the movies can be found in the
Appendix A.

3.6. OPERATIONALIZATION
Operationalization is a tool through which the concepts present in this study have been
defined and according to what criteria were they recognized. Operationalization serves to
explain to the reader what is exactly meant by certain terms that he or she will later encounter
in the results and discussion section (Frankfort-Nachmias & Nachmias, 1996; Leedy, 1993 as
cited in Berg, 2001). Moreover, the explanation of the concepts contributes to the transparency
of the research and one’s understanding of the level of efficiency of the analysis. The concept
definitions presented below are constituted from attributes that have been drawn from
literature (Berg, 2001). The first six concepts relate to the thematic analysis and come from
literature in cultural studies, feminist film theory and masculinity studies. The latter six

27
concepts, starting at mise-en-scène, refer to the technical concepts in the movie-making
industry which were analysed in the social semiotic analysis.

3.6.1. Televised Sports Manhood Formula

Messner et al. (2000) conducted a research in which they analysed TV content that was
aired in one week in May in 1999. Wanting to understand what the content that avid underage
consumers of sports see on television is, they analysed 5 channels which offered sports
programmes and the commercials that aired on those channels. In sum, Messner et al. (2000)
collected 23 hours’ worth of data in basketball, baseball, football, extreme sports and
professional wrestling programmes. They distinguished 10 recurring themes which formed a
general idea of what is a Real Man. These themes entail commentators’ use of war metaphors,
women playing the role of a gift for men or quantitative observation of the representation of
sexes in commercials. Those 10 consistent themes form a Televised Sports Manhood Formula
which indicates what a Real Man is.
According to the researchers, a Real Man is healthy, powerful, athletic, resilient, and
most of all, a winner. Therefore, for a man to be a winner, he must overcome all of his
obstacles, thus he is glorified, for example, if he plays with an injured body part or was poor
during his childhood. A Real Man is not afraid to risk long-term health nor is he afraid to face
the danger, such as fighting with other men if needed. He needs to be hostile and ready for
combat, both whilst playing the game and in all other aspects of life. In essence, a man has to
do whatever needs to be done to win the gold and become the Real Man (Messner et al.,
2000).
The winning man gets the best sponsorship deals, he gets the best consumer products
to enjoy and promote, grandeur status, popularity and recognition. He also wins the
championships and as the most significant prize, gets an almost-worshipping level of attention
from traditionally beautiful women. However, in order to be the winner, he must continuously
prove himself as such. After all, he is only a winner until someone else replaces him. The Real
Man is only as good as his last victory, a sponsorship deal or last purchase and consumption
(Messner et al., 2000).

28
 Moreover, the athlete will know he has become a Real Man, when he gets all the prizes
mentioned above, but more importantly, when the authoritarian voices confirm it. These
authoritarian voices are commonly white, male sports commentators who help reinforce the
idea of how to view athleticism and athletes. In summary, the TSMF is a way of teaching young
children and adolescents, who are mostly male, what athleticism is, how the winning athlete
behaves and gains from his sacrifices and suffering. It teaches boys that successful athletes
have to pay a price of some sort in order to gain access to fame, glory and, most valuable,
women and their admiration (Messner et al., 2000).

3.6.2. Virginal daughters

The concept virginal daughter relates to the whore/virgin dichotomy mentioned in the
theoretical framework chapter. Virginal daughter is the term referring to the Friedan’s (as cited
in Chaudhuri, 2006) virgin, one of the two main ways media portray women. Although it is
commonly applied to movies from the early cinema days, contemporary Hollywood still
maintains codes that reinforce such an idea (Benshoff & Griffin, 2004). Originally, the virginal
daughter was represented via Victorian-era codes, meaning that a woman’s purpose was to
bear children, thus was not expected to gain pleasure from sexual activities. She is worshipped
by the men in her life, which would be brothers and fathers, and is assumed to be a virgin until
she gets married. Benshoff and Griffin (2004) argue that women’s roles in early American
cinema portrays women as good as their Victorian-era models because the women would be
constructed to be situated in their homes and would be associated with child-like behaviour
and needed their fathers and husbands to protect them from men’s sexual aggressiveness
(Benshoff & Griffin, 2004). Therefore, a virginal daughter is a good woman who does historically
typical woman’s work, behaves in accepted feminine manners and serves as a prize to the men
whose children she will bear.

3.6.3. Nicknames
Nicknames can indicate several personal attributes. However, the most important
findings for this thesis are that men’s nicknames are more often associated with their
attributes, whilst women’s nicknames are more likely to be about their gentle characters (De
Klerk & Bosch, 1996). Both Phillips’ (1990) and De Klerk and Bosch’s (1996) studies found that

29
men’s nicknames are probably going to be identified with their attributes, be it physical,
personal or contextual. Men’s nicknames portray men stronger and more mature, which
popularly makes them seem to be more masculine (De Klerk & Bosch, 1996). Also, men would
usually be nicknamed by their peers (De Klerk & Bosch, 1996). Women, on the other hand, get
nicknames from their father (Phillips, 1990) which commonly used by family members (De Klerk
& Bosch, 1996). Women’s nicknames seem to implicate pleasantness, kindness, goodness, and
sometimes even childishness. Nicknames given by fathers are pet nicknames, such as honey,
babe, sweetie, etc. (Phillips, 1990).

3.6.4. Infantilization
Infantilization means treating people who are mentally and physically mature as if they
were not so mature and as if they are children. Infantilization can be demonstrated by simply
calling 25-year-old people as girls or young ladies, instead of women. Infantilization deducts
people's status and instead treats them with the status of a person they think is socially
appropriate. For example, referring to a doctor should not be done by referring to one by their
first name because the societal implication of referring to someone by their first name and by
their title is not the same and require different environments (Messner, Duncan, & Jensen,
1993).

3.6.5. Shrew
Shrew is a female stock character in literary and visual arts (Vasvári, 2002). A shrew is a
woman who is opposing the feminine standards of “obedience, chastity and silence” (Kamaralli,
2007, p. 1124), thus she is perceived as outspoken, combative, defiant and ill-tempered. Tales
which include shrews tend to have a resolution in which she is no longer a shrew, but instead,
her behaviour has been appropriately adjusted (Vasvári, 2002). She challenges the power
balance between her and her romantic partner, thus inflicting a threat to masculine dominance
in their relationship (Vasvári, 2002). Shrew’s roles in literary pieces would usually entail being
feared or ridiculed. Such characters denounce the traditional separation of gender attributes
(Kamaralli, 2007).

30
3.6.6. Emotional expressiveness
Emotional expressiveness refers to one’s capacity to non-verbally signal own emotions
(Riggio, 2017). Emotional expressiveness is conditioned by cultural factors and it can reinforce
social norms. Therefore, the relationship of displaying emotions between men and women has
been structured culturally, making expressiveness an important element to study in gender
relations (De Boise & Hearn, 2017). The traditional patriarchal structure conditioned men to be
less emotionally expressive because by not communicating own emotions men do not show
that they can be irrational, dependent and weak. Therefore, the incompetence to express
emotions implies complying with the cultural demands of the patriarchal hegemony (De Boise
& Hearn, 2017).

3.6.7. Mise-en-scène
Mise-en-scène is a term that originates from theatre and in film production practices it
refers to the staging of movie shots (Hayward, 1997). A shot is the film’s smallest unit of
meaning and its reading depends on the distance and the angle between the camera and the
object or subject being recorded. In the creation of a mise-en-scène, the directors express
themselves through settings, which include the location and its environment, costumes and
lighting (Hayward, 1997). Furthermore, analysing iconography means observing and
categorizing visual motifs in mise-en-scènes, which can also include the colour of the setting
and props, as well as “point to social and sexual changes” (Hayward, 1997, p. 179). Eelements
of mise-en-scènes present themselves on a denotative level, but substantial attention needs to
be given to the iconography because it yields the connotative reading (Hayward, 1997).
Therefore, the choices of colour, props and camera angles, for example, affect the presentation
of the movie and the viewer’s understanding of autonomous scenes and characters (Benyahia,
Gaffney, & White, 2008).

3.6.8. Distance
The distance of the camera in relation to the subjects on screen and the amount of
setting that is (not) occupied by the subject emphasizes how important is the setting or the
intimacy with the subject. Therefore, if movie characters are shown in shots that reveal only the
character’s face, the setting is not important, and the intimacy produced by a close-up shot is

31
relevant. On the other hand, if the characters are shown in a way that displays the props, the
colours of the background and size of the character compared to the setting, for example, it
implies greater importance of the mise-en-scènes elements (Hayward, 1997).

3.6.9. Angle
Furthermore, the angle of the shot also puts forth connotative meanings to the scene.
Three different shot angles signify a degree of power in the movies and always imply someone
is looking from the camera’s point of view (Hayward, 1997). A low-angle shot is a shot in which
the camera is placed below the eye level of the subject shown on screen. This point of view
represents the subject on screen as authoritarian, powerful, significant and menacing
(Hayward, 1997). Conversely, in a high-angle point of view, the camera is placed above the eye
level of the subject on screen. This camera angle suggests the character which is being looked
at as vulnerable, overpowered and desirable (Hayward, 1997). Finally, the eye-level camera
angle assumes equality with the character on screen. Therefore, the connotative meanings are
assumed through the distance and the angle of the shot (Hayward, 1997).

3.6.10. Costumes & Props

Costumes are the clothes worn by characters and props refer to any object seen in the
scenes (Benyahia et al., 2008). Clothes serve a role as a uniform, thus associating the characters
with a group of people (e.g. athletes wear gym or fitness clothes), which also signifies their
ranking within the group. Clothes and props can also indicate the character’s personality and
fundamental themes in the movies (Benyahia et al., 2008).

3.6.11. Lighting
Lighting refers to the multitude of methods that present mise-en-scènes in a desired
way through the positioning of lights. Besides the look, lighting also affects the mood of movies
and is distinguished by their positioning and muteness (Benyahia et al., 2008). Therefore, high
key light ensures little contrast between bright and dark areas (Bordwell, Thompson, & Smith,
1979) and has no shadows (McGregor, 2016) making it popular in use for romantic comedy
movies (Benyahia et al., 2008). In contrast, low key light emphasizes the contours of objects and
subjects (Pramaggiore & Wallis, 2005) and has more shadows than light (McGregor, 2016).

32
3.6.12. Colour
Movies can bring colour into the viewer’s life (Benyahia et al., 2008) and indicate at
characters’ emotions (Hayward, 1997). By using “simple natural colours” (Benyahia et al., 2008,
p. 38) the movies’ replication of reality seems more realistic, thus supporting the denotative
meaning. On the other hand, movies can accentuate colours and thus carry symbolic meanings
and set the mood of the scene (Hayward, 1997). Moreover, colour in movies is often compared
to its origin from nature. Therefore, warm colours such as red, orange and yellow, are
associated with warmth, whilst cold colours like blue and green express coldness (Hayward,
1997).

3.7. DATA ANALYSIS

The analyses of individual films and scripts were compared to each other and a
synchronic and a diachronic analysis were implemented. Thus, all four movies and scripts were
analysed with regards to the relationship of the data between the movies, and with regards to
the evolution of the content through the years (Berger, 2014). Presence of concepts in the
analysis was confirmed if the understanding of the present codes was accurate. The accuracy of
codes was acknowledged if the code was in line with the definition of a concept the codes
belong to. The themes that were a cluster of codes signified a concept. The theme would be
affirmed only if the code appeared at least twice in one movie or at least once in two separate
movies (Boyatzis, 1998). The analysis processes included both deductive and inductive
approaches. Specifically, the extracted themes were driven by data (scripts and movies) and by
the existing theoretical concepts. Therefore, this research has relied on a combination of
deductive and inductive approaches, although all themes were informed by the theoretical
framework. In other words, all themes were inspired by the theory and some even include
theoretical concepts. However, some other themes, such as Accepting figure skating, is based
on the theory which differentiates between masculine and feminine sports and the theory that
claims that men are masculine and participate in masculine activities. Therefore, although the
theories inform about the expectations from masculinity, it does not necessarily and explicitly
provide insight about specific situations found in the data, such as men participating in

33
feminine sports. The systematic method of the thematic analysis was done following Boyatzis’s
(1998) and Saldaña’s (2016) instructions.

3.7.1. Thematic analysis

Before the analysis of the script began, certain concepts and preliminary assumptions
about the possible categories were present because the researcher had checked and read the
scripts for their accuracy. The beginning of the analysis involved anticipating themes, or in other
words, “recognizing the codable moment” (Boyatzis, 1998, p. 11). During this stage, it was
crucial that the researcher welcomed all sorts of information by being open and flexible about
patterns that could be identified in the scripts. Therefore, all recognizable codable moments
were manually noted during the open coding stage. The codes were noted by writing a
description of the code next to the sentence or a paragraph (Boyatzis, 1998). Although no same
actions happen in the scripts, the behavioural and emotional patterns do repeat. Moreover, for
the sake of reliability, every time a code was present it was identified (Boyatzis, 1998). This
process was iterative because scripts from third and fourth movies, for example, showed
patterns of new themes, which is a common practice in qualitative research. As new themes
were noticed, the patterns were searched for in other scripts if possible (Guest et al., 2014).
Themes were recognized by seeking patterns that display similarities and differences between
codes, frequency of code repetition, the sequence of codes and correspondence between the
codes (Saldaña, 2016).
The end of the manual thematic analysis included writing down preliminary results and
ideas. Furthermore, the codes were transferred from the analogue version to the electronic
version. Excel was used for the categorization of codes. Transferring codes was also useful for
double coding. Double coding was also a method of ensuring the rigor of the study, meaning
that repeated coding ensured the tenacity of the coding precision (Saldaña, 2016). Moreover,
axial coding was done whilst the data was being transferred to the electronic version. Axial
coding was implemented by assigning a colour or a font effect to each theme. The colour coded
codebooks can be found in Appendix C. The process of repetition in coding and colour
assignment was done in order to improve the quality of the procured data and determine if the
analysis needs to be expanded or refined (Guest et al, 2014). Re-reading the data allowed for

34
the modification of the codebook because new observations resulted in the emergence of new
codes. Indeed, the double coding showed to be useful. The colour-coded themes grew in
number as the analysis progressed from script for Movie 1 to the script for Movie 4. New
themes that emerged include Overprotective brother, Alex D. as a strong character and
Accepting figure skating. Although codes were noticed during the initial analysis, the exact
themes including those patterns were not developed until the double coding and axial coding.
Moreover, considering this research had no other coders, the possible bias for the analysis of
the data was reduced due to a time gap between the initial and secondary coding (Guest et al,
2014).

3.7.2. Social semiotic analysis

Social semiotic analysis was conducted by watching movies and making notes of all
possibly relevant resources. The resources the researcher focused on in this study include
colour, location, camera angle, types of shots, lighting, props and clothes. The data was
inductively collected directly from the mise-en-scènes. Therefore, through the search for
metasigns of social realities that could relate to theoretical concepts and be seen in the
opposition of what is not shown was conducted (Berger, 2014). Data about the characters and
their actions and the elements of mise-en-scènes as forms of communication were collected,
organised and analysed with respect to the film theory, the feminist film theory and masculinity
studies (Berger, 2014). Additionally, the collected data were compared and contrasted between
the four movies. However, most of the data extracted during the social semiotic analysis served
for the plot development and therefore could not be rationalized in terms of the theoretical
framework.
The most significant resources regarding the portrayal of gender were props and
costumes and distance of the shots as demonstrated in the results and discussion section.
Therefore, the findings from the social semiotic analysis that contributed to the research are
related to the virginal daughter concept and the Televised Sports Manhood Formula. In
addition, the theme of the emotional expressiveness could not have been documented if it
were not for the social semiotic analysis because the scripts do not include parentheticals.
Crying and facial expressiveness were important signifiers of emotions that distinguished

35
female expressiveness from the male. Besides emotional expressiveness, no other theme
occurred in the social semiotic analysis. Instead, most of the codes emphasized the presence of
themes found in the thematic analysis.

3.8. VALIDITY AND RELIABILITY

Social semiotics supports the benefits of analysis being somewhat guided by
researcher’s interpretation (Iedema, 2011) because whilst analysing movies the researcher can
position herself as a viewer, considering movies are forms of cultural communication aimed at
an audience (Mikos, 2013). Therefore, experiencing movies as they are lived by the audience,
being one of the goals of qualitative research (Sharts-Hopko, 2002), enhances the
trustworthiness of the data (Guest et al., 2014). In addition, the inclusion of social semiotics
alongside the thematic analysis increases the trustworthiness, as it is a common method to
triangulate one-coder research (Guest et al., 2014). Moreover, the credibility of findings is
apparent in the fact that identified themes were at least inspired and guided by theory or they
were the exact concepts from the feminist film theory and masculinity studies, and it is also
apparent because the recorded semiotic signs in mise-en-scènes and their connotative and
denotative meanings were understood from film theory.

Furthermore, this research followed a rigorous and consistent methodology, which is

evident in the codebook appendices. The researcher thoroughly and consistently coded the
data in both methods, regardless of their repetition and following the same definition for a
concept for each code. Moreover, in accordance to the expert suggestions (e.g. Iedema, 2011),
the systematic and organised data collection and analysis methods decreased the probability of
illogical conclusions whilst increasing the transparency of the findings and the results (Guest et
al., 2014). Likewise, the double coding process also heightened the probability of accurate data
interpretation and that there were no unrecorded data (Guest et al., 2014). In addition, the
accuracy of the interpretation during the thematic analysis was increased because the
researcher was familiar with the characters’ intonation and the setting of the texts. The
accuracy of quotes in the results and discussion section, for example, cannot be disputed, thus
contributing to the reliability and validity of the research (Guest et al., 2014).

36
 However, whilst transcribing the dialogues of Movie 4, as there was no script available,
the researcher did not succeed to record every word. In addition, not all phrases said in Spanish
and Chinese in Movie 3 and 4 were recorded or coded because of the researcher’s lack of ability
to interpret them accurately. Nonetheless, not understanding a small number of words cannot
affect the overall results of the thesis and therefore this problem should not be regarded as
endangering the credibility of the thesis. Furthermore, the researcher is susceptible to bias as
she identifies as a feminist and used to train figure skating. However, personal bias was reduced
by following Elo, Kääriäinen, Kanste, Pölkki, Utriainen, & Kyngäs’s (2014) checklist for
researchers who want to increase the trustworthiness of their research. By informing herself
with the sample when checking the accuracy of the scripts and by asking herself the
recommended questions, the researcher of this study optimized the trustworthiness in its every
stage (Elo et al, 2014). Furthermore, continuously coding the data per the same concept
definitions minimized the chances for a biased codebook. The available codebooks and the fact
that the findings were derived directly from the movies which are available to everyone,
increases the transparency of the research (Guest et al., 2014).

3.9. CONCLUSION
This chapter has elaborated on multiple aspects of the reasoning behind the conducted
methods of the research. The Cutting Edge movies were chosen because in this context they
are an ideal sample for studying the portrayal of gender in figure skating movies. Thematic
analysis and social semiotic analysis were chosen due to their ability to complement each other
by studying textual and visual aspects of the movies. These methods also ensured transparency
and that the researcher found meanings in the texts, which are evident in the social semiotic
reports and codebooks with colour-coded themes, which can be found in Appendices B and C.

37
4. RESULTS AND DISCUSSION
4.1. INTRODUCTION
The results and discussion section presents and elaborates on the results of the
research. Seven themes in total are explained in the following pages. The first theme (1) refers
to portraying gender through sexuality, from the athlete’s perspective and women’s lack of
presence in those activities. It is followed by a discussion on (2) masculinity as an exclusion of
femininity which emphasizes the construction of athletic character as a foundation to
masculinity. Furthermore, the next section explains 5 ways in which, besides the sexuality, the
movies portray the female characters as (3) Virginal daughters. A section on (4) nicknames
follows which explains/discusses the difference between giving masculine and feminine
nicknames to characters in these movies. (5) Shrewish behaviour, a concept contrary to the
virginal daughters is also a recognized theme of this research, which is followed by the (6)
emotional expressiveness or the lack of, depending on the gender. Furthermore, the next
section explains how femininity and masculinity had to adapt to the desired expectations of
cultural ideology and Alex Delgado (Alex D. for short for the female character to be
distinguished from Alex as a male character) as an outstanding character and representation of
femininity. Lastly, the conclusion summarizes the overall findings.

4.2. RESULTS AND DISCUSSION

4.2.1. Portraying gender through sexuality
Male and female characters sexual activities are presented differently in the movies.
Two themes are present, women as prizes, which is drawn from the Television Sports Manhood
Formula, and the frequency of participating in sexual activities.

(1) Women as prizes

The very first time the audience meets Doug (Movie 1) is when he wakes up from a one-
night stand and does not know the name of the woman in his bed:

“Doug: I'm just about four hours late here, Rita.

Gita: "Rita"?

38
Doug: I don't believe this.
Gita: "Rita"?
Doug: Leta?
Gita: "Leta"?
Doug: Anita.
Gita: Namen, Gita.
Doug: Gita.” (Movie 1).

The one-night stand, the fact that Doug also has relations with a woman named
Peckarovski later in the movie, and Kate’s comment: “The only problem that he has is finding
his zipper fast enough.” (Movie 1) imply Doug possesses the ultimate prize; having women’s
admiration. The listed arguments showcase continuous effort to represent Doug as a Real Man
(Messner et al., 2000) who can with no judgement (except for Kate's) engage in sexual
activities.
Male characters are sexually active without being in committed relationships. If they
were, it would nullify the value of having women’s admiration as their prizes. Men are not
portrayed as being in romantic relationships because such representation of masculinity would
contradict the dominant view on how men are supposed to behave. Therefore, male characters
do not have, or at least deny, their desire for intimacy because that way they are portrayed as
the Real Men who identify within the hegemonic view of masculinity (Mooney-Somers &
Ussher, 2010).
Furthermore, Messner et al. (2000) claim that the role of women in sports programming
is to serve as “sexy, masculinity-validating props” (p. 383). The findings in their research of
televised sports could also be argued for some secondary female characters in these movies.
Women’s roles emphasize how the main male characters are Real Men, thus women commonly
not having any other purpose than representing sexualized props for men. Secondary female
characters’ roles are diminished in two ways. In Movie 3 Celeste picks up a pair of pink, lace
panties and asks Zack if he had company last night, to which he replies “And some fun it was.
All she wanted to do was talk about skating” (Movie 3), thus quite straightforwardly indicating

39
that the girl admired Zack because of his connection to figure skating. The indication is
apparent because TSMF suggests that the role of women in televised sports is to support and
cheer for men, whilst simultaneously being the sexual objects and giving them the pleasure of
looking at their bodies (Messner et al., 2000). The woman whose panties belong to is not even
shown in the movie, which adds emphasis on how small her purpose is, both for the movie plot
and to Zack. Therefore, the first way in which secondary female characters’ importance is
diminished is through their absence, for example insinuating woman’s presence through her
pink, lace underwear with no actual owner introduced in the movie but knowing her admiration
for the main male character was his sport. The second way of decreasing the importance of
female secondary characters is done by abating their skills and intelligence, as this example
illustrates:

“Woman: Mind if I sit here?

James: You a reporter?
Woman: Yeah right. Doesn’t that involve reading or something?”(Movie 4).

Through the dialogue, it is apparent that the woman’s qualities, at least the intellectual
ones, are robustly diminished. The woman’s purpose is even further abated by the setting (they
are at a bar) which is not commonly associated with femininity (on the contrary, it can be
associated with promiscuity) and the fact she is a representative of conventional beauty
standards. Although women’s bodies, at least in the mentioned scenes, are not shown like it
was of women in Messner et al.’s (2000) study, all these women fulfil the role which is to be the
prize for the Real Man.

(2) Sexual (in)activity

Furthermore, the extent to which men and women are portrayed as sexually active is
imbalanced. It was noticed that it is more clearly insinuated that men are sexually active in all
four movies, whilst for women, such insinuation is not so apparent. Even though the main
female character in the first movie is engaged, the implication for sexual activities is far more
probable for the main male character in Movie 1, which is Doug, as the example above

40
illustrated. Moreover, in addition to no present connotation of women being sexually active,
Movie 2 emphasizes how the main female character Jackie is not. It is through the conversation
of her friends who say:

“Friend 1: I think she just needs to be alone.

Friend 2: Yeah, it's not all she needs.
Friend 1: Of course, I'm too much of a lady to say what.
Friend 2: No, you're not.
Friend1: True. Sad but true.”(Movie 2).

Not only does this illustrate Jackie’s sexual inactivity, but it also emphasizes how her
friends cannot explicitly vocalize their thoughts. The friends are influenced by the culture’s
expectation of women to be sexually passive, which is why she says she is a “too much of a
lady” (Movie 2) to even express such unfeminine thoughts. In the traditional view of femininity,
it would not be feminine to talk about sexual activities, let alone act upon such desires. Unable
to directly speak about sexual activities and the women being sexually inactive stresses seeing
women as sexually innocent, or in other words, women are sex objects as they are passive and
desired, unlike men who are sex subjects because they are active and desire others (Mulvey as
cited in Chaudhuri, 2006).
Therefore, the irrelevance of secondary female characters confirms one of the ten
themes Messner et al. (2000) noted in their research. The found themes of men being overtly
more sexually active and secondary female characters serving as prizes to men through their
admiration for them relates to the traditional definition of masculinity. Hegemonic masculinity
defines men as sexually active (Macionis & Plummer, 2008; Chaudhuri, 2006), and the analysed
movies reinforce and confirm such an ideology where only men are allowed to be openly
sexual.
In conclusion, such division in who is and who is not allowed to engage or even speak of
sexual activities in movies propagates Grindstaff and West’s (2011) and Lieberman’s (2015)
argumentations that in sport, heterosexual interests need to be present in order to retain the

41
culture’s view on gender roles. Representing men as those who have access to sex whilst not
being in committed relationships means that masculinity is defined through heterosexuality and
frequent relations with women (Mooney-Somers & Ussher, 2010). Therefore, the fact that
secondary female characters are portrayed as props to men implies masculinity appreciates
polygamy and indiscriminates men’s heterosexual behaviour. Such an attitude places women in
a position of an object, making them the Other who is inessential and dispensable. Portraying
women as sexually innocent and inactive perpetuates the idea that women are pure, virginal
and virtuous beings unless they are the bad woman who defies cultural norms (Friedan as cited
in Chaudhuri, 2006). Broadly speaking, women in The Cutting Edge movies can either behave
promiscuously and adore the winning Real Men, or they have no sexual relationship
whatsoever.

4.2.2. Masculinity as an exclusion of femininity

Masculinity can also be understood in terms of what it does not include (MacKinnon,
2003). Therefore, in these movies, it is also demonstrated through the choice of sport and
absence of female characters. Doug Dorsey (Movie 1) and James McKinsey (Movie 4) are the
only two male characters in these movies who were newcomers to Pair skating and previously
trained a sport performed on ice. Doug trained hockey, which is associated with aggressiveness,
potent masculinity and admirable physicality, and sports movies reinforce these associations
(Cermak, 2017). Making Doug a hockey player allowed the movie to reinforce the idea of Doug
as a Real Man even when he was in more feminine and attenuating environments (Cermak,
2017). For instance, Kate and Doug are fighting over which music they should skate to. Kate
suggests the conventional classical music, whilst Doug insists on rock genre.

“Doug: Kate, this is tired. Ten thousand other skaters will cue up the same boring crap. This
doesn't get it done. It's like the costumes. Let's be different. Let's kick a little ass.
Kate: If you wanna see some asses kicked...why don't you throw on some jeans and skate to
this. If you wanna win, you play it straight.
Doug: This is boring.
Kate: Unacceptable. Would you stop?” (Movie 1).

42
 Men and traditional masculinity are associated with rock (Leonard, 2007) and the
classical music Kate was playing comes from an era before women’s liberation movements thus
associated with traditional view on femininity too. Therefore, this fight emphasizes Doug as a
Real Man who likes music associated with masculinity, thus pertaining his identity of a Real
Man. He fights the traditional music suitable for figure skating because he needs to convey his
masculine values into the feminine sport and not allow for himself to be feminized. Another
example includes a scene where Doug rips off his costume because his masculine values are
against such embellished attire which may make him seem more feminine than he is.
Moreover, Doug’s hockey-related attributes are transparent throughout the movie. For
example, Doug is ready to go through ludicrous risks and methods to fix the damage on his eye
as he says “Okay, you don't do it, but somebody, somewhere... Down in Mexico City...they
shoot shark piss up your nose, and make you sit in traction for eight months.” Doug’s ridiculous
idea exemplifies how he is determined to face the risks and puts the team first. Also, he says to
a coach that he is “in the best shape of my life. I'm like a rock. I skate five, six hours a night,
speed drills, stick drills, roadwork” (Movie 1). Even though Doug has not been accepted to any
ice hockey clubs, he is still determined and loyal to the sport and training. The last example is
more distant from Doug’s hockey world as the environment is more suited to the figure skating
instead. In one of his first days training with Kate, he says “Think I can't put up with your shit?”
(Movie 1) through which he is trying to convey a message that he is resilient to problems such
as shrews.
The resilience, the determination and loyalty are some of the key attributes Cermak
(2017) noted to be characteristics of hockey players in hockey-related movies. Considering
hockey is a sport in which categories are divided by gender, i.e. women play against women,
men play against men, the fact that producers of Movie 1 decided to make Doug a hockey
player is not surprising at all. Doug was put in a sport that is already associated with hegemonic
masculinity, but for James, the short-track speed skating had to be associated with masculinity
through his nicknames. Therefore, the hegemonic masculinity was reinforced through the
portrayal of Doug and James in gender-divided, feminine-lacking, masculinity-oriented sports.

43
 Moreover, the main male characters’ families were not particularly present in the
movies. Besides two scenes of Doug talking to his brother, for all other main male characters
the family is not present whatsoever. In addition, Zack and James have tragic backstories about
their families. Zack’s parents died and he has a distanced relationship with his grandfather, and
James’s father left him when he was young, and he lived with his mother in a car (Movie 3;
Movie 4). In addition, when the audience learns about these aspects of the main male
characters’ lives, it is not presented as tragic as similar discussions women had in the analysed
movies. For example, Zack says “About 15 miles. He flies in and out in his chopper. I wave as he
[grandfather] passes.”(Movie 3), which humorously indicates at a distanced family relationship.
The portrayal of their hardships about family is quickly brushed away and the topic changes,
thus making it difficult for the audience to sympathize with them. Instead, no sympathy is
needed because the movies mostly portray them as strong and unaffected by those life
problems. When the movie informs about Alex D. (Movie 3) having to have to quit figure
skating, the scene includes her intimate conversation with her mother in which they both
confessed they cried to sleep because she had to quit the sport, comforting each other and
more distressed tone of voice (Movie 3).
However, as will be elaborated in more detail in the virginal daughters section, women
always had a family by their sides and were frequently comforted by their parents. Relating
female characters with family, whilst, on the other hand, relating male characters with
overcoming difficult family-related obstacles with no representation of nurturing family in their
lives, consequently creates a division between genders. Since Doug, Alex, Zack and James
(Movie 1; Movie 2; Movie 3; Movie 4) are hardly associated with family, the movies represent
masculinity as separated from family and family values, whilst associating Kate, Jackie and Alex
D. (Movie 1; Movie 2; Movie 3; Movie 4) with domesticity. This form of separation between
gender associations makes men seem more independent and more capable of overcoming life
hardships, whilst women are dependent on being nurtured and comforted by family, thus
creating an assumption that femininity implies upholding family values.

44
4.2.3. Virginal Daughters
The concept of the virginal daughter is present in all four movies. Five subthemes can be
tied to this concept in The Cutting Edge movies. The theme of women’s lack of sexual activities
has already been discussed at the beginning of the chapter so it is not included here.

(1) Props

Firstly, it is through the use of props that movies signify purity and innocence of virginal
daughters. For example, Kate’s accessorize includes pearls, which historically symbolize virtue,
faith, purity and virginity (de Jongh, 1975). Pearls in Movie 1 symbolize good feminine values
particularly because they are combined with Kate’s conservative clothes. Positioning pearls in
white colour, which is often a signifying colour of innocence and purity in western cultures, on
her neck over her turtlenecks overall epitomizes an embodiment of a virginal daughter. The
combination of Kate’s (Movie 1) necklace and her concealing outfits visually connects to the
conservative view on societal expectations from women. Kate’s visual presentation symbolizes
patriarchal expectations of women to be virgins and behave in an innocent, apologetic and
submissive manner, which constitutes Friedan’s (as cited in Chaudhuri, 2006) good girl.
Therefore, the main female character is represented as a virginal daughter with great
effort and attention. Through her speech and her clothes and accessories, Kate (Movie 1)
represents an embodiment of an ideal submissive and pure woman who is faithful in God and
obeys the paternal figures in her life. However, Kate as a character changes throughout the
movie, which will be discussed in more detail in the upcoming subsections.
Moreover, pink props could be seen in Alex D.’s room in Movie 4. Alex D. is a character
who is less associated with the concept of virginal daughter and is portrayed as a strong(er)
independent woman compared to the other main female characters. Therefore, considering
Alex D. is a more emancipated woman, the placement of props that are in pink colour, such as
nightgown, bed sheet or lamp in her bedroom, is a significant detail. The relationship between
Alex D. and pink accessories in her bedroom represents two opposing identities which suggest
how femininity is constructed in Movie 4. Seeing as pink has become a gendered colour
associated with girls in the 20th century in western cultures (Frassanito & Pettorini, 2008), the
accessories serve as feminizing props. Because Alex D. (Movie 4) is a character who would not

45
typically wear pink clothes (e.g. she almost always wore black on ice practices) nor was she
portrayed as feminine as other main female characters, the choice of colour for props is
particularly interesting. Therefore, pink as a choice of colour in the most intimate space one can
reside in symbolizes her inner femininity, meaning that she is, in fact, feminine but not as
overtly as Kate in Movie 1. The function of pink props is to make Alex D. essentially seem more
aligned with traditionally culturally accepted norms, values and expectations of women. The
fact that the props belong in her bedroom indicates her relationship with feminine values. She
does not portray traditional femininity when she is in public, but in private the pink coloured
props represent that even a strong woman can be associated with societal expectations of
young girls who are still learning feminine values and societal expectations of women. Thus,
Alex D. (Movie 4) is still represented as traditionally feminine, although it does not override the
independent and strong aspect of her character. Therefore, Alex D. is not the societal ideal
representation of a good girl, but she still entails elements of such expectations. The pink props,
therefore diminish Alex D.’s public gender identity as a performance and suggest her real
identity is more feminine than can be observed outside of her home. Pink props serve to
enhance the presence of traditional feminine qualities in Alex D.’s (Movie 4).

(2) Over-protective paternal figures

The second main aspect is the presence of over-bearing paternal characters. Kate
(Movie 1) has a distanced father who has a lot of influence on her life. She is constantly told
how to behave and what to do by her father, even though she is presumably an adult (no ages
are ever communicated). The idea of the father being overprotective and constricting Kate is
most clear when she says “I guess I would like to go back to the beginning and have you say...
win or lose, I could just be your daughter.” (Movie 1). The example hints at Kate’s
dissatisfaction with her relationship with her father. She feels as if his love for her depends on
her success in figure skating. For example, Kate is engaged to a man who works for her father,
which removes the possible conflict about the choice of the fiancé and supports the tight
relationship between the two men. Therefore, Kate’s (Movie 1) relationship with her father
resembles the traditional gender relations from the Victorian-era where fathers would marry
off their daughters without consulting the daughters and often for some sort of a profit. Such

46
relationships allowed men to control women, precisely like Kate is feeling controlled by her
father. Moreover, Alex Delgado in Movie 3 is at times protected by her brother. He has a habit
of defending his sister which happens on three occasions. It happens when (1) he tries to
persuade Zack to talk to Alex D., (2) when he gets in a fight with a coach because the coach did
not think highly of Alex D., (3) and when he confronts Zack for hurting Alex D.’s feelings. Alex
D.’s brother perpetuates the idea of being the member of the family who has to protect the
honour of his sister, much like Victorian-era men would stray away unwanted suitors to their
female members of the family (Benshoff & Griffin, 2004). Such behaviour by men supports the
idea of women being the Other. If women cannot defend themselves or fully make decisions for
themselves, then the independence of women is questioned. Women’s lack of autonomy in
these movies suggests that they, as the Other, need to be protected by those who can, the
men. Having such overprotective male figures reduces women’s opportunities to be capable
and strong characters, making them associated with the traditional belief in women as
incapable and dependent.

(3) Family

Thirdly, in all movies, the pair skaters had to live together. Men moved to live at the
main female character’s place in all movies. Even though there was an opportunity for women
to move to the man’s place of residence, at least in Movie 3 and Movie 4, it did not happen.
Such repetition of theme creates the idea that women cannot escape home and the men
cannot be trusted to control their sexual desires. Alex D.’s quote illustrates the subconscious
idea perfectly when she says “Well, Zack's more than welcome to move into the restaurant and
don't worry, my brother will make sure he doesn't do any sleeping.” (Movie 3). Sleeping in this
context is related to Zack making sexual advances towards Alex D. because she mentions her
brother in particular, which is significant because the role of the brother had already been
established as a protector of his innocent sister. Alex D. (Movie 3) could have instead moved to
Zack’s place considering he lives in a spacious and luxurious house by himself, whilst she. is
cramped up in a small apartment with her family. Therefore, instead of giving Alex D. an
opportunity to enjoy better housing conditions, the movie does not let her escape her home
she shares with her family.

47
 Although it is not explicitly confirmed by the movies that female characters have no to
little income, nor do the female characters explicitly state the reason why they still live with
their parents, it can be assumed that placing women in family homes implies they share the
patriarchal ideology. Considering women still live with their parents, apart from Movie 4, even
though they appear to be of age symbolically indicates their values in life. Such values imply
appreciating family, which is one of the main characteristics that make a woman a virginal
daughter. Family presence is heavily associated with traditional feminine values because of the
historical placement of women into households and oppression to aspire to be a mother
(Friedan, 1963). Thus, women live with their family until they get married. Furthermore, living
with their families removes the possibility of showing women independent and taking care of
themselves. Historically women were not part of the work force and instead they took care of
their homes and children (Welter, 1966; Friedan, 1963), meaning that women were financially
dependent on their husbands. This oppressive social norm assumed women’s position in the
society hierarchy was below men because they could not take care of themselves. Therefore,
continuously not representing main female characters live on their own or have a job suggests
the presence of the patriarchal ideology which sees women as incapable and subordinate to the
shared patriarchal values.
Both assumptions suggest that the main female characters should be associated with
the ideology in which women are married off and/or are not a part of the workforce. Removing
the family out of their residences removes the implication of women being innocent daughters
who need protection. Therefore, the fact that men always had to move into the women’s
places ensures that there will be family members present to protect women from men’s sexual
desires. If the movies would place women at men’s residences, it would imply they are capable
and independent enough to live with a man out of wedlock. Such practices, though, do not
happen in the movies, which further supports the idea of women being the Other. Women are
the Other because they cannot be sexual subjects. Women are the sexual object who need to
be defended from sexual subjects by the presence of other male figures in the house.
However, in Movie 4, Alex D. lives by herself, although her mother visits frequently.
James moves in with Alex D., but they are still not left alone to live as independent adults.

48
Instead, Alex D. and James are playing a game which would be considered as a risky move for a
woman who wants to remain innocent. Whilst they are playing a game, Alex D.’s mother comes
home and interrupts further development of the game. Thus, the mother, even though she
does not technically live with her daughter and is also a woman and not a patriarch as in other
movies, still serves a family role that protects their offspring from promiscuous activities. Such
interruption further proves the point that these movies cannot allow women to be sexual
subjects because if they were, they would no longer be feminine. Even when women are living
independently and support themselves with a job, they are still unable to have sexual freedom.

(4) Tolerance

The last subtheme refers to women tolerating behaviour which they did not enjoy and
did not do themselves. For example, in Movie 4 James comes to Alex D.’s door intoxicated in
the middle of the night and she does not want to speak to him. She tries to close the door four
times, but each time James puts a hand on the door, stopping her from closing it. Such
behaviour may indicate at the power relationship between the two characters, meaning that
James is trying to assert his dominance and persuasive powers over Alex D. to get what he
desires. Moreover, women had a pattern of apologizing more frequently than men.
Additionally, when they would apologize, women would show more remorse and be harsher to
themselves, compared to men. For example:
“Celeste: No, it was me. I was stupid and out of position. I should’ve stopped, but I just froze.
Zack: I was going too fast. I was… I was pushing you too hard.” (Movie 3).

The dialogue exemplifies how Celeste, who fell down whilst being held by Zack, calls
herself stupid, arguably a harsher criticism than skating too fast. Even if it was not their fault,
women would apologize, whilst men might argue it was not her fault, but would still not say
sorry. Such apologetic and polite behaviour where women tolerate impolite manners done by
men relates to the theory of politeness, as described by Brown and Levinson (1988). Although
their theory is specifically aimed at explaining verbal language used in social situations, the
arguments of the theory of politeness can be applied to non-verbal behaviour too, considering
politeness includes behavioural multiplicity. Therefore, the theory states that people behave

49
politely because they are motivated by their desire they want to fulfill, or they want to be
excused from an unwelcome situation (Brown & Levinson, 1988). Behaving politely in those
situations is due to being socially inferior in comparison to the other person, not knowing the
other person well and increasing the chances of displaying consideration towards the other
person’s feelings (Brown & Levinson, 1988). Therefore, since Brown and Levinson (1988) argue
that politeness is a result of feeling socially inferior, then it can be argued that female
characters in The Cutting Edge movies oftentimes seemed more polite and submissive to
impolite behaviour because they were represented as accommodating to male characters.
Furthermore, research shows that men and women apologize equally frequently. However,
men have a higher threshold for believing an apology is required, meaning that women judge
their offenses more harshly and consequently apologize more often (Schumann & Ross, 2010).
Thus, female characters’ tendency to be more apologetic and tolerant of others’ behaviour
represented theoretically correct behaviour (Schumann & Ross, 2010; Brown & Levinson, 1988)
due to their lower threshold for judging offenses and impositions that would make someone
else uncomfortable.
The representation of women as customarily polite, docile and amenable relates to the
aspect of the patriarchal ideology that assumes women as good virginal daughters. The women
from the movies analyzed are constructed as virginal daughters because they lack control and
interpret social norms in a manner that makes them seem more susceptible to apologizing.
Considering lives of virginal daughters are heavily controlled by men, male characters’ sporadic
apologies and their unwanted behaviour being tolerated by women could be understood as a
method of showing that women are still submissive to men’s way of conduct. Such display of
cultural expectations and women’s tolerance for dismissive demeanour represents modern
characteristics of the patriarchal ideology in western societies.
To sum up, the main female characters, particularly Kate (Movie 1) and Jackie (Movie 2),
were mostly represented as virginal daughters. Their portrayal was done through props, lack of
(insinuation for) sexual activities, presence of the over-bearing family members, tendency to
apologize and tolerating bad behaviour and finally, patronizing nicknames which are explained

50
in the upcoming subsection. Virginal daughters, therefore, are associated with family values
and traditional view on women as innocent, kind, pure and incapable.

4.2.4. Gendering nicknames

Three types of gendered nicknames that refer to different behavioural traits were
identified in the analysis. The first nickname categorization is related to the virginal daughters
concept because it implies innocence and kindness, whilst simultaneously also incapability and
powerlessness, which are synonymous with the description of the virginal daughters (Benshoff
& Griffin, 2004; Chaudhuri, 2006). Female characters are frequently called patronizing names,
such as “sweetheart”, “honey”, “sweetie” or “baby” (Movie 1; Movie 2; Movie 3; Movie 4).
Although calling someone by one of those nicknames may seem endearing and as an act of
affection (Wierzbicka as cited in De Klerk & Bosch, 1996), women also understand them as
patronizing or condescending. The relationship communicated via patronizing nicknames
between opposing genders is an indicator of the social attitudes represented in the movies
(Phillips, 1996). “Sweetie” does not entail the same intensity of power and respect as much as
calling someone “miss” does. Public consensus on the discussion of the matter argues that
calling adult women by such names makes them feel less respected and belittled, and is seen as
condescending (Sharma, 2016; Valenti, 2014). Presumably the only appropriate context in
which it is acceptable to refer to women like that is in intimate relationships, such as those of
couples or parent-child relationships. Main female characters being called sweetie by their
parent is a noticeable pattern in the movies. However, even though it is between parent-
offspring, the daughters are no longer children, thus making it less appropriate to be called like
that even though it is done by their parents. Therefore, dependent on the context, but still
significant, female characters are infantilized throughout the movies.
Moreover, women reported (Sharma, 2016; Valenti, 2014) they feel that they are made
look weak and vulnerable particularly when strangers refer to them as “darlings”. For example,
the main male characters referred to their skating partners with patronizing nicknames whilst
dismissing their authority (e.g. “Yeah, but that’s on you sweetheart” (Movie 4)) or they
commanded their partner to reconsider something in a rude and condescending tone (e.g.
“Hold that thought, honey”, (Movie 1)).

51
 Although the literature does not directly inform about these specific nicknames, authors
like Messner et al., (1993) observed infantilization and the hierarchical disparity between
genders in sports commentators’ speeches. Therefore, the patterns the authors noticed
implicate female athletes being referred to by their first names and gender-orienting words like
girl or young lady (Messner et al., 1993). Previous research has shown that female athletes are
addressed by names that abate their power and status and instead bridge the representation of
female athletes with children’s attributes. Therefore, by comparing previous research with
findings from these movies, it can be deduced that using infantilizing vocabulary undermines
women’s importance and their opinions and status are lessened. Moreover, the implication of
meaning in “sweetheart” when used by men in everyday speech normalizes the idea that
women are supposed to be a representation of kindness and dependence. Therefore, the
virginal daughters will always be “honeys”. The prevalence of such demeaning habit prompts
women to be the Other who is not seen as equal to those to whom people do not refer to in
infantilizing pet nicknames, that is, men.
The second type of nicknames refers to Messner et al.’s (2000) theme of sport being a
place of war. The movie viewers learn that not only Doug appeals to women, but he is also very
successful at hockey. The way in which the hockey tournament sports commentators referred
to Doug is: “Doug Dorsey, the phenom from Mayhorn, Minnesota. What a super story. A writer
called him: "The Minnesota Machine."” (Movie 1). Therefore, not only does the commentator
refer to him with a glorious adjective, but he also mentions that other journalist nicknamed him
using war jargon. Using war and weaponry language is one of the 10 reiterating themes in the
TSMF (Messner et al., 2000). Although in their analysis the jargon was used to illustrate sports
action, “The Minnesota Machine” is synonymous and indicative of Doug’s own athleticism at
hockey matches. The use of such language when describing player’s aggression and method of
playing serves to blend with military destruction (Jansen & Sabo, 1994, according to Messner et
al., 2000), thus creating an association between a historically masculine-only activity of being in
the military with the also historically masculine-only sports activity. Such military-related
comments whilst speaking of sport perpetuates the idea of masculinity to include
aggressiveness and associated sport to this vision of masculinity. This consequently excludes

52
women from relating to the sport, positioning them as the Other. The fact that the movie made
the audience aware of Doug’s nicknames is a signal that the authoritarian voices, who are often
white male sport commentators (Messner et al., 2000), as they are in the analysed movies too,
metaphorically proclaimed him to be a Real Man. The confirmation by the voices of authority is
the last step in being recognized as a Real Man in the world of sport (Messner et al., 2000).
The last recognized category of nicknames is related to the theme in TSMF about men
behaving in a deviant and violent manner. James McKinsey’s nicknames in Movie 4 include:
“James Bad Boy McKinsey”, “King of the bad boys” and “King of short track speed skating”. The
viewers also learn that “his antics are legendary” (Movie 4). These nicknames and the
description of his behaviour are symbolic representations that suggest how to view and
understand this character. They indicate that he is not the most well-behaved athlete. Messner
et al. (2000) found that sports commentators emphasize the deviant behaviour of athletes
when expressing whimsical and playful attitudes whilst talking about physical or verbal fights,
which is accompanied by video footage. The Cutting Edge movies reflecting real-life sports
journalists’ habits implies that the portrayal of James Bad Boy McKinsey could be considered as
an accurate representation of a male athlete in gender-divided sports. In addition, as men
occupy more jobs as sports journalists than women, they play a significant role in perpetuating
the masculine stereotypes found in sport (Messner et al., 2000). Therefore, as was found in
Messner et al.’s (2000) research of television programmes, these figure skating movies reflect
the cultural practices, consequently helping to reinforce the gender stereotypes found in sport
as a cultural practice.
Although it is never explained what James’s antics include or how he got the nicknames,
the suspicion that James is ill-behaved on or off ice is thus clearly understood by the viewers.
The viewers give meaning and reasoning for those nicknames due to their explicitness and
because the nicknames echo traditional televised sport discourses (Messner et al., 2000),
therefore one can understand what the nickname represents from one’s previous experiences
with televised sports. Implementing such nicknames leads to the conclusion that the movie
confirms Messner et al.’s (2000) theory about aggressiveness being very appreciated and
valued in sport. Thus, James McKinsey is a Real Man who is not afraid to be the aggressor on

53
and off the ice, which, in the movies, ultimately brings him the best sponsorship deals and the
admiration of women.
In conclusion, main male characters are given masculine nicknames that emphasize the
attributes one is expected to admire about them; strength, decisiveness, aggressiveness and
readiness for combat, for instance. Consequently, giving men those nicknames supports the
hegemonic view masculinity and its association with sports. Main female characters, on the
other hand, never got any validating, celebratory nicknames about their skills or character.
Instead, the only nicknames they are given signify the society’s pressure on women to be the
kind, gentle, caring good girl that can be addressed in paternalizing style.

4.2.5. Shrewish behaviour

Besides being portrayed as virginal daughters, main female characters can also be
represented as shrews. This concept is particularly pertinent with the main female character in
the Movie 1 and is substantially evident in the second movie too. Movies 3 and 4, however, do
not display shrewish behaviour to the same extent, it is lessened. Kate, the main female
character in Movie 1, is a great example of a shrew, nonetheless simultaneously also being a
virginal daughter. She is not afraid to speak her mind when she decides to do so. Although
when she does, her father and the coach try to coerce her into submission. For example:

“Father: Kate, this has to stop right now. Rick knows what's best, honey. He's the one that got
us here.
Kate: How sweet. He lets us tag along.
Father: You're gonna go back out there, you're going to apologize, and you are going to get to
work.
Kate: I wouldn't bet the ranch, Dad.
Dad: Where do you think you're going?
Kate: I'll be in my cell.
Father: What--? What are you--?” (Movie 1).

54
 This conversation could be understood simply as rude, but further proof of Kate being a
shrew comes in the movie. For example, Kate has been searching for a new partner but
apparently, she has been difficult and the cause for new partners to quit. Or, as the coach
summarized it:

“Coach Pamchenko: Two years, eight partners. This one too small. That one too big. Too loud.
Too much sweat. Not enough sweat. Jack, she is a tremendous skater. Everyone is saying this.
Petite. Powerful. Intelligent. But always is coming to the big B. What a bitch.
Father: What about Spindler?
Coach Pamchenko: Spindler? Spindler say before he skate with her... he wear garlic from neck
and sleep with cross.” (Movie 1).

Therefore, the shrewish behaviour is communicated by Kate and commented on by

male characters, thus affirming her behaviour as unacceptable. Female characters are shrews
because they dare to disobey direct orders from men, they are not afraid to insult and curse
and they have the audacity to speak their minds. Therefore, The Cutting Edge movies
introduced shrews to be feared, or at least difficult to handle. The representation of women as
shrews perpetuates the idea that women who stand up for themselves, voice their opinion and
communicate dissatisfaction are not wanted or accepted by society. Shrewish behaviour does
not lead to success or reward because the unfeminine qualities do not align with the values of
the patriarchal ideology (Guillén, Mayo, & Karelaia, 2018). Moreover, as seen in the
example/quotation above, the father tries to convince Kate to correct behaviour by using a
patronizing nickname. The nickname’s purpose is to revive her feminine side. By calling her
“honey”, Kate’s (Movie 1) father reminds her that she is the virginal daughter. The message he
sends across means that she is a good girl who should listen to the authoritarian masculine
figures, both him and the coach. Therefore, as female characters rebel and behave as shrews,
others try to contain her unwanted behaviour in order not to disturb the hegemonic patriarchy.
Considering shrewish behaviour is a social construct imposed by the patriarchal
ideology, it can be connected to the women’s hardships in climbing the career ladder. Research

55
shows that women must balance their own assertiveness with the ideological demand for
traditional femininity (Guillén et al., 2017). For women to succeed at work, such balance is
needed because they are not perceived equal to men in business environments. Pure
confidence without the display of feminine characteristics does not lead to success (Guillén et
al., 2017). Thus, considering training a sport also has hierarchical figures, like coaches, and co-
workers, like partners, female characters need to level their shrewish behaviour with their
feminine behaviour if they want to be liked and not be identified with “the big B” as Kate was
referred to by her coach (Movie 1).
On the other hand, the main female character in Movie 3 and 4, Alex D., was not
portrayed as a shrew. Instead, her character seemed more capable and independent, compared
to Jackie (Movie 2) and Kate (Movie 1). It is through the wording of her sentences that indicate
she is less combative, ill-tempered and defiant, whilst still being outspoken. Instead of throwing
insults that associate with primitivism like Kate, Alex D. claims her arguments more subtly. For
example: “All you saw was my dust, baby. Not a great selling point for you.” (Movie 3). It is also
because of the lack of scenes with verbal fights that Alex D. seems more emancipated and less
of a shrew. Therefore, the first two movies intentionally contain scenes which perpetuate the
stereotypical representation of angry women, making them occupy the role of a shrew. Alex D.,
whilst still entailing elements of both a shrew and a virginal daughter, is depicted as a character
with a multitude of attributes and versatile individuality. Therefore, she embodies the
stereotypical and common duality of female characters in movies far less than Kate (Movie 1)
and Jackie (Movie 2), who are great examples of virginal daughters and shrews, do.

4.2.6. Emotional expressiveness

Throughout all four movies, women generally show more emotion. Female characters
are shown crying several times, and occasionally it can be assumed they have cried. In addition,
through facial expression and tone of voice, the viewers can understand the emotional distress
even if characters are not crying. Furthermore, only women were comforted, which was
exclusively done by their family members. Setting female characters in such position requires
them to be close to their family, which movies ensured by providing the presence of the family
who can comfort them any time. Moreover, perpetually showing scenes where female

56
characters are emotionally distressed and being comforted, reinforces the myth that women
are excessively emotional (Heesacker, Wester, Vogel, Wentzel, Mejia-Millan, & Goodholm,
1999). The saturation of scenes with emotional female characters implies that they are weak
and the excessive scenes of them crying indicates irrationality. Such connotations align with the
view of the patriarchal ideology that women are weaker beings and not as strong and rational
as men are (de Beauvoir as cited in Chaudhuri, 2006). Moreover, mental weakness of female
athletes is an established theme within sports media (Nicely, 2007). Emphasizing mental state
of female athletes, which in the analysed movies entails showing only female characters cry,
represents them as weak and incapable of dealing with pressures in life (Nicely, 2007).
Considering The Cutting Edge movies are based on romance, it is understandable that the
characters are portrayed more upset about dissatisfaction with their love lives than with their
success in sport. However, portraying female athletic movie characters as excessively
emotional, therefore, reinforces the widespread idea that women do not have sufficient
“motivation and mental strength to achieve athletic success” (Nicely, 2007, p. 29) whilst
encountering problems in life.
Men, on the other hand, are not portrayed with emphasized emotional elements,
making them follow the masculinity guidelines which support the myth of men being
emotionally stronger (Householder, 2015). Although men also get angry and hurt, they do not
express their feelings so directly, such as women do when they cry or almost cry. The closest
men were to show signs of vulnerability was when the coach tried to have James speak about
his absent father and a difficult childhood. James does not confront the topic but instead
angrily walks away. In the next scene, James (Movie 4) is wearing sunglasses inside his home.
Considering what is the proper use of sunglasses, it can be assumed that James is trying to
masquerade his face and hide his eyes as they might be showing signs of crying. Therefore,
James acts according to the ideals of the traditional masculinity and does not allow anyone to
know he is vulnerable, has weaknesses and needs comforting too. James’s (Movie 4) behaviour
aligns with the patriarchal expectations of men.
However, the movies do not portray men emotionless. In fact, men do get hurt almost
as much as women do due to the romantic tensions being the theme throughout the four

57
movies. However, the message that men’s feelings are hurt is sent differently than those of
women. Women cry but men do not do anything. It is through the silence and passive-
aggressive remarks that men (do not) express their feelings. For example, Doug asked Kate to
remove her engagement ring while they practice, “Do me a favour, will ya, take off the rock
while we work. It's cutting the hell out of my hand.”(Movie 1) in which not only was he unable
to call the ring for what it is but asked it in a rude manner, almost commanding. The
connotative reading of that query suggests that he is hurt because Kate accepted the proposal,
but he is unable to express his emotions.
Furthermore, figure skating is an expressive sport, meaning that it is socially agreed that
the sport is adequate for women to participate (Lieberman, 2015). As figure skating, then,
requires expressiveness and emotional signalling, the fact that the main male characters who
entered the world of figure skating (i.e. excluding Zack from Movie 3) mocked it for its artistry is
not surprising. Since men suppress their emotions (De Boise & Hearn, 2017), the judgmental
attitudes of them towards the expressive and feminine sport is rightfully explained by the
influence of the hegemonic masculinity which dictates to be opposite of what women are.
However, considering the pinnacle of main male characters’ emotional expression is when they
admit they are in love with the main female characters at the end of the movies is parallel to
them winning a competition, thus demonstrating they dismiss certain masculine traits. Men
accept that they too can be expressive and even feminine in sport, which is further elaborated
in the next subsection.

4.2.7. Negotiating identity

“Sport is a man’s world” (Messner et al., 2000, p. 232), thus making it difficult for society
under the patriarchal ideology to accept feminine sports and female athletes as equal to men
and masculine leisure activities. Masculine sports heavily perpetuate the idea of
heterosexuality as a norm (Roper & Polasek, 2014), as can be seen in the TSMF and the fact that
heterosexuality is one of the traits of a Real Man (Messner et al., 2000). Feminine, or
expressive, sports, such as figure skating (Lieberman, 2015), are today viewed as a sport
suitable for women due to its perception as lacking focus on strength and speed (Roper &
Polasek, 2014). Therefore, sport as a popular leisure activity and televised programming is

58
bound to mediate, construct and reproduce certain views on gender (Roper & Polasek, 2014).
As such, transitioning between a masculine to a feminine sport induces certain gender identity
negotiations.

(1) Men accepting figure skating as a legitimate sport

Doug Alex and James(Movie 1; Movie 2; Movie 4), are the three main male characters
who have not trained figure skating before, thus making it an obstacle for them to identify as a
figure skater as easily as Zack (Movie 3) does. Therefore, those three characters were presented
as having difficulties accepting they are involved with figure skating. Doug (Movie 1), for
example, lied to his brother and said he joined the navy. Alex (Movie 2) was more transparent
about his transition to figure skating, but also experienced prejudice about it and was not taken
seriously by his girlfriend. James initially started figure skating as a PR stunt and experienced
consequences in which he lost sponsorships and was ridiculed by his coach and manager. All
these men also initially mocked figure skating because it is more expressive and seemingly does
not entail masculine traits. They also demanded more “ass-kicking” (Movie 1; Movie2; Movie
4). In the context of The Cutting Edge movies, ass-kicking refers to more aggressive, defiant,
coarse and rebellious way of skating, as opposed to graceful, elegant, soft and traditional way
of skating. For instance, negotiation with masculine identity is illustrated in the conflicts over
music and outfits for the choreography. The main male characters refuse to skate to classical
music and wear highly decorated, sequined and pink outfits, as they are not how one would
describe “ass-kicking”. Going against the traditional figure skating music, costumes and
choreography earned the pairs victories at competitions. As pairs won by implementing
dangerous and never-before performed elements to their routines, the movies imply that the
contribution by a Real Man to the sport is what it needs in order to be accepted by the
patriarchal hegemony. Otherwise, if male characters did not have had to go through the
negotiation of identity, they would have been presented as part of the marginalized masculinity
as that is the masculine categorization of men who dare to figure skate (Lieberman, 2015;
Grindstaff & West, 2011; Leavy & Trier-Bieniek, 2014). However, the characters’ cultural
environments changed from those in which masculinity is highly validated, appreciated and
expected, to the culture in which male expressiveness is desired, whilst certain other masculine

59
traits are not wanted. This kind of negotiation of gender identity allowed the male characters to
evolve and expand their own identity. Admitting to likiking figure skating and even confessing it
is harder than their previous sports means that the hegemonic masculinity was no longer the
appropriate norm dictating one’s behaviour and values. However, the male characters did not
represent the marginalized masculine men. They introduced elements from dominant
masculinity into figure skating which made it appropriate for all other Real Men to accept this
sport. Introduction and social and cultural acceptance of new masculine traits, such as not
being ashamed to desire a romantic commitment and embrace expressiveness and feminine
sports, can be seen through Doug’s brother, for example. Initially, Doug (Movie 1) was
embarrassed to confess he is training figure skating and was laughed at when he told the truth
at his brother’s bar. However, the end of the movie shows a scene in which the whole bar is
celebrating Doug’s performance, including his brother. Therefore, portraying men who
embodied a Real Man as reluctantly joining and even suffering consequences for being figure
skaters, but eventually accepting figure skating as a legitimate sport and consequently
negotiating own masculine identity implies that the traditional masculinity traits may be seen
as outdated and disliked. In other words, main male characters successfully retained their
identity as Real Men even after joining an activity designated for marginalized masculinity,
presumably because they successfully acquired the admiration of the desired women and won
the major competition, thus fulfilling (some) requirements of being a Real Man (Messner et al.,
2000).

(2) Becoming a woman

In addition, women also negotiated their identity. Throughout the movies, the female
characters were set up to become women. It is due to the shrewish behaviour and heterosexual
interests that Kate, Jackie and Alex D. (Movie 1; Movie 2; Movie3; Movie 4) could become
women. The shrewish behaviour had to be present so that female characters have an
opportunity to grow their personalities. The heterosexual interests were a major aspect of the
movies because, besides the plot of the movies, it ensures that the female athlete does not
represent a deviation from the patriarchal norm. Establishing female characters as heterosexual
is an important aspect of their personalities because it subdues to the patriarchal norms, but

60
more importantly it refutes the fear of lesbian characters. Female athletes constantly prove
their heterosexuality or hide their homosexuality because that helps them be perceived as
more feminine, thus be more accepted by the societal patriarchal standards. The patriarchal
ideology that requires heteronormativity in female athletes does so because by mere pursuit of
a (masculine) sport, the women are perceived as less traditionally feminine (Roper & Polasek,
2014).
Therefore, Kate and Jackie (Movie 1; Movie 2) successfully balanced their shrewish
persona with the societal expectations of them having to be feminine. They successfully
displayed the desired feminine traits which were appreciated by the romantic love interests,
similarly to how businesswomen have to balance their identity to get promoted (Guillén et al.,
2017). Moreover, considering sports are commonly associated with and celebrate and reinforce
masculinity, women have difficulties establishing themselves as equally successful athletes who
are not the Other to male athletes and masculine sports (Lieberman, 2015). The movies
portrayed the main female characters negotiating their athletic identity and balancing it with
one of feminine and heterosexual identity. It is not appropriate for women to do sport, so their
role in the movies must shift from the one which threatens the hegemonic masculinity to the
role that shows women wanting men and not the medal. Even Jackie in Movie 2 says “I don't
know what I want.” (Movie 2) amid competition and Alex D. (Movie 4) almost misses a
competition because she is being too emotional and irrational about her relationship with
James. It is through the concept of virginal daughters that the main female characters
represent femininity, which ensures the audience does not question their sexuality.
Questioning others sexual orientation is a common social habit in sports environments and
much effort is put into presenting the female characters as heterosexual. Therefore, women are
represented as virginal daughters so that they can display feminine traits even off ice, thus
distancing themselves from assumptions about non-conforming lesbian behaviour (Roper &
Polasek, 2014). Since female characters are virginal daughters it made it easier to establish a
heterosexual love interest and become women. It is through the crying, family presence, scenes
that display their womanly bodies, apologetic behaviour and being placed in the domestic
environment that the movies establish foundation ground for female characters to identify

61
themselves as feminine and throughout the movies become the desired women. Admitting love
to their partners reinforces the heteronormative expectations in sport and the
heteronormative ideology in society. Female characters behave less as shrews as the movies
come to an end, meaning that they have adjusted their roles and their behaviour to be in
accordance with societal expectations. As women adapt and enter the role of a romantic
partner, they then represent the traditional view on femininity which implies women are the
Other to men and their legitimate place in society is as obedient and submissive wives.
Therefore, as heterosexual relationships are continuously displayed in the movies, it places
women and men in the stereotypical categories of femininity and masculinity. Perpetuating the
typical views on gender supports and reinforces the heteronormative and patriarchal interests
in society.

(3) The successful woman who is not successful

Special attention needs to be addressed to Alex D. (Movie 3; Movie 4) as she is in two

movies and does not embody a virginal daughter and a shrew as much as Jackie (Movie 2) and
Kate (Movie 1) do. As already mentioned, Alex D.’s independent personality is diminished
through the props and the active presence of her mother and brother. In addition to that, it is
also lessened through sexualization because she takes off her shirt multiple times in the
movies. Although still having clothes underneath the shirt, the fact that she took off her shirt so
many times in the movies was noticeable and hard not to bring up in the results section. Such a
small, yet very persistent method of sexualizing a seemingly independent woman indicates that
her lack of feminine traits needs to be compensated for through her womanly body. Alex D.
becomes a woman in Movie 4 before it ends. She is the only main female character for whom it
is certain she is sexually active because she sleeps with James in the middle of Movie 4. Taking
into consideration she embodies a more modern feminine female character, Alex D. becomes a
woman earlier than female characters in other movies because only saying that she loves James
or hearing James loves her would not be sufficient enough for her character.
The main characters of both genders tend to be successful in their own previous
occupations. Unlike other characters, Alex D. has already won a gold in Pair skating, which
happened in Movie 3 and was acknowledged in Movie 4. However, her authority and even the

62
representation of her as a successful athlete is negated through the framing of the scenes.
Besides tolerating men’s dismissive behaviour such as James walking away while she is still
talking, she is also symbolically represented as less authoritarian and less powerful than James.
For instance, she can be seen several times close to James’s (Movie 4) van which has a large
picture of his face on it. Such positioning of Alex D. in relation to the bus on which the male
figure is grandiose implies her minuscule value.
Therefore, although Alex D. initially seems like a female character who is liberated from
patriarchal expectations of women, she is still represented in a way that compliments
hegemonic masculinity. She is only as liberated as the patriarchy allows her. For example,
instead of showing Alex D. acquiring a flattering nickname like James and being happy and
wealthy after winning a gold medal, she is dependent on her job as a coach and romantically
unhappy and single. Although coaching figure skating is fine on its own, the Movie 3 insinuated
coaching children is unsatisfactory and is not something one should aspire to. Although Alex D.
claims she does not have time for a boyfriend and is not actively looking for one, she still ends
up with James. Thus, Movies 4 does not allow femininity to be liberated from patriarchal
expectations as they present Alex D.’s current life situation after winning the gold medal as
unsatisfactory, therefore making her become a woman and her true self. After Alex D. becomes
a woman, she is more emotional, irrational, needing her mother’s comfort and also cares more
about winning the man rather than the medal. Thus, by the end of Movie 4, her identity is
represented as closer to the virginal daughter than it was at the beginning of the movie.

4.3. CONCLUSION
This chapter outlined the most pertinent themes found in the analysis of the four The
Cutting Edge movies. Women as prizes and the sexual inactivity of female characters indicated
the stereotypical but historically popular view on feminine values (Leavy & Trier-Bieniek, 2014).
The portraying gender through sexuality theme implies that women do not seek pleasure in
sexual activities, instead, their presence in the movies is as sexual objects for the Real Man to
use and gain pleasure from. The reinforcement of heterosexual relations and romantic
couplings continuously represents only one out of many sexual orientations, thus making other
sexual orientations invisible. The masculinity as the exclusion of femininity and nickname

63
section explained that through the choice of sport and nicknames, the main male characters’
masculinity is pre-established before they enter the world of figure skating. Moreover, the
virginal daughters section explains in detail 4 methods in which, mostly Kate (Movie 1) and
Jackie (Movie 2), but Alex D. (Movie 3; Movie 4) too to some extent, were represented as
polite, traditionally innocent and feminine figures, which is also connected to the infantilizing
nicknames. Virginal daughters section comes in contrast with the section about shrewish
behaviour as yet another way to demonstrate patriarchal hegemony and stereotyping women.
This is followed by the emotional expressiveness section which explains that men are generally
less emotionally expressive throughout the movies than women, which is in accordance with
previous research. Finally, the negotiation of identity section elaborates on female characters
becoming women and traditionally masculine men accepting modern traits, as well as
expanding on Alex D. as a particular character. Therefore, the results show that the movies do
not portray masculinity and femininity as polar opposites. To some extent the men and the
women are represented with multidimensional identities. However, the majority of findings
point to the representation of gender in the traditional terms.
A subquestion of this thesis asks if there are any changes throughout the movies,
considering the span of movies releases is between 1992 and 2010. In the 18 year span, the
movies do differentiate in some aspects. The representation of the main female characters as
virginal daughters decreased significantly, as can be seen in the last paragraph of the
negotiation identity subsection being dedicated to Alex D., the main female character in last
two movies. Alex D. (Movie 3; Movie 4) and Kate’s (Movie 1) representations of femininity
differ significantly, as the latter is practically an embodiment of a virginal daughter, whilst the
former only entails few aspects ascribed to virginal daughters concept. Parallel to that, the
representation of shrewish behaviour also decreased. Although it was not as accentuated as
representation of virginal daughters, it does decline after Movie 1. As far as masculinity is
concerned, the traditional portrayal of it decreased with Alex and Zack, the main male
characters of Movies 2 and 3, but then it unquestionably increased with the portrayal of James
as a “Bad Boy” in Movie 4. In addition, although Zack was already a figure skater when he was
introduced, that does not mean that he represented a completely oppositional category of

64
masculinity. In fact, he struggled to maintain his masculinity through aggressiveness, for
example. However, the gender-attributed nicknames and the emotional expressiveness did not
change. The nuanced changes across movies indicate a slight ideological change in the
expectations of women and a greater tolerance for inclusion of feminine sports within the
hegemonic masculinity.

65
 5. CONCLUSION
This thesis contains 5 chapters through which the researcher elaborated on the research
question and its importance to the scientific fields and society and it contains the theoretical
framework in which the relevant gender theories were explained. Furthermore, the
methodology chapter justified and explained the methods utilized for the analysis and the
results and discussion section entailed the presentation and explanations of the main findings
in their relation to the theory. The final chapter is the conclusion chapter in which the research
question will be answered and the implications of the findings, the limitations of the research
and suggestions for future studies will be explained.

5.1. ANSWER TO THE RESEARCH QUESTION

This research asked how is gender portrayed in four movies centered on pair skating and
romance. Through the social semiotic analysis and thematic analysis, the research has
demonstrated that traditional masculinity and femininity values are symbolically encoded in
The Cutting Edge movies. Feminist film theory, masculinity studies and cultural studies guided
the content analyses as those theoretical approaches study and criticize uniform and
stereotypical representation of gender in cultural products such as movies.

The findings suggest that the representation of gender in The Cutting Edge movies
perpetuates the patriarchal ideology in which women behave and should aspire to behave as
kind and innocent virginal daughters, and men embody the stereotypical view on masculinity.
However, the representation of masculinity had adapted accordingly to the male characters’
social and physical environments. Masculinity, therefore, was aligned with society’s traditional
expectations of men, although when men left their overly masculine environments, their
masculinity adapted to new values and norms. The adaptation of masculinity and the
negotiation of own identity was the result of participating in a feminine sport where non-
masculine traits were appreciated. The representation of femininity in all four movies aspired
to represent women as those who are subordinate to men and can mostly be found in family
homes, regardless of the extent to which female characters are portrayed as a virginal daughter
or a shrew. According to the theoretical framework and, in comparison to movies’ male
characters, emphasizing women being surrounded by family, increased emotional diegetic and
66
visual expressiveness and minimum sexual activity, The Cutting Edge movies support the
patriarchal ideology in which the portrayal of women is reinforced as the Other. In the
patriarchal ideology, these Other beings should strive to satisfy the society’s expectations of
femininity (de Beauvoir as cited in Chaudhuri, 2006). For the reasons mentioned above about
the portrayals of gender, masculinity is allowed to evolve and accept new traits and still be
respected by the society, whilst on the other hand the four movies continuously persist to
represent femininity as inflexible and formulaic signifiers which are inferior to patriarchy.
Moreover, the genders were not represented as polar opposites, as the definitions of
masculinity and femininity suggest. Although the analysed movies portray genders quite
differently, the level of difference between them is not as strong as was suggested by the
theoretical framework (Macionis & Plummer, 2008).

Furthermore, a subquestion of this thesis asked if the portrayal of gender varied in-
between the four movies, considering they were published across a span of 18 years. The most
meaningful evolution of gender lies in the fact that the last two movies entailed a woman who
is unquestionably represented less as a shrew and a virginal daughter, compared to the first
two movies. However, femininity in Movies 3 & 4 is still portrayed in terms of traditional
expectations of women’s behaviour. Secondly, male characters in Movies 2 & 3 were not
represented as traditionally masculine as they were in Movies 1 & 4. Alike the main female
character in Movies 3 & 4, the main male characters in Movies 2 & 3 were represented in a way
that validated the hegemonic masculinity, but the extent to which their portrayed masculinity
was deemed traditional was lesser. Therefore, the movies reflected the changing societal
attitudes and expectations of femininity across years only in a nuanced way, whilst different
degrees of masculinity are likely not connected to the evolution of the movies throughout the
years.

In conclusion, the answer to the research question shows that, although the disparity
between genders is not as strong as anticipated, the main finding of the research is that the
traditional expectations of gender are highly present in symbolic codes of the movies. Most
signs indicate at the patriarchal ideology, but the characters, particularly female characters, are
not represented as one-dimensional as they were in early cinema. The social construction of

67
gender in The Cutting Edge movies perpetuates gender as traditionally feminine and masculine,
which ultimately supports the patriarchal ideology.

5.2. IMPLICATIONS OF THE FINDINGS

The findings of this research have societal implications. Firstly, in this paper it was found
that the Televised Sports Manhood Formula theory was quite applicable to the analysed
fictional movies. Considering TSMF is based on research of non-fictional television broadcasting
of sports competitions (Messner et al., 2000), the connection between the findings of this
research and the TSMF implies producers may be influenced by their experiences of watching
broadcasted sports television programming. Moreover, the connection implies that, besides
news media, fictional movies also participate in the ideology which educates young boys about
their mental and physical masculinities which lead boys to learn, appreciate and possibly strive
to become the Real Man (Messner et al., 2000). Therefore, these findings and their implications
may contribute to the theory which states that consuming the encoded messages in media
content influence the audience.

Furthermore, following the theory that media consumption and ideology can influence the
representation of gender in movies (Storey, 2001), the findings about femininity and female
characters reflect the treatment of female athletes in non-fictional media reporting. The
Cutting Edge movies, therefore, signify real-life media practices in sports reporting, which
implies that the societal attitudes and the dominant ideology towards athletes is biased and
unequal (Carty, 2005). In other words, the movies support the cultural and professional sports
reporting practices, which insinuate that men must sacrifice their health or social acceptance,
the ultimate prize they will get is admiration of women and aggressiveness is acceptable and
glorified (Messner et al. 2000). Whilst on the other hand, compared to men, women are
inferior, family-oriented and less capable as athletes (Nicely, 2007). The aforementioned
implications and the findings may help advance the academic fields of research that study the
connections and interrelations between the news industry and entertainment industry’s
portrayal of gender of athletes.

68
 Secondly, the patriarchal hegemony accepted evolving masculinity in the analysed movies,
but the un-traditional display of femininity was not accepted. Therefore, the efforts put in
keeping the traditional femininity preserved seems more important and more likely to happen
than preserving the traditional masculinity values. The fact that men can fluctuate between
masculinities whilst women always must become women implies the power difference and the
difference in given respect and value to women in the society (Carty, 2005). Therefore, the
findings about the fluidity and acceptance of gender, or lack of, connotate that women are
secondary to men and that the traditional femininity is more valued than traditional
masculinity. This understanding is in opposition with the theory which states that men cannot
challenge masculinity by effeminizing themselves (Richardson, 2014). Thus, this research may
inspire academic fields to investigate the representation of acceptance or rejection of changing
gender in cultural products. Furthermore, as movies are cultural products made for
consumption and knowing the encoded messages and themes the analysed movies carry, the
implications of the findings may have an impact on the viewers. The audience may perceive The
Cutting Edge movies’ representation of gender as a norm, as expected in the society and also
inhibit such values and expectations onto themselves.

5.3. LIMITATIONS AND RECOMMENDATIONS FOR FUTURE RESEARCH

One of the main limitations of this study is the fact that the sample size only allowed for
four movies to be analysed. Due to the time constriction and formal requirements, more
movies could not have been studied. Therefore, although samples tend to be smaller in
qualitative studies, it would be best to analyse more, if not even all, Hollywood movies that
involve figure skating. By doing so, a coherent study would be conducted that would be able to
fully understand the portrayal of gender of ice-skating athletes and other characters in those
sports movies. In addition, such research, like this one too, would fill the gap in the academic
literature whereas little is known and research about sports movies that do not depict
traditional sports associated with masculinity. Presumably insightful implications and findings
would be drawn from such a research because it would indicate at professional movie-making
norms for gender and it would also understand the main gender-related messages sent in figure
skating movies.

69
 Furthermore, another limitation of the study is sample criteria. Considering the sample
had to follow certain criteria, it was not suitable to study just about any movie about figure
skating. The researcher was limited to study The Cutting Edge movies because the majority of
other figure skating movies were released in mid-20th century, thus making them hard to come
by and not particularly relevant for the society and science, or they were filmed in languages
which the researcher does not understand. Since the researcher is fluent only in Croatian and
English, she was constricted to study any movies released by English-speaking countries.
Considering USA produces more movies than any other English-speaking country, it was
inevitable to study Hollywood productions. Therefore, besides analysing a greater sample, the
recommendation for future research would be to analyse movies produced outside of
Hollywood. Findings about research on, for instance, Canadian-produced figure-skating movies
could provide understanding of movie representations of gender in cultures that differ from
USA culture and bring insight of a variety of cultures. Additionally, for future research it may be
interesting to study if the phenomenon of evolving masculinity, as described above, is present
in other movies and other cultural products, and whether the men who adapted their
masculinity were socially accepted or rejected.

70
REFERENCES
Adams, M. L. (2010). From mixed-sex sport to sport for girls: The feminization of figure
skating. Sport in History, 30(2), 218-241. doi:10.1080/17460263.2010.481208

American Film Institute. (n.d.). The Cutting Edge [Online entry on a website]. Retrieved from
https://catalog.afi.com/Catalog/moviedetails/59220
Antonation, A. (2018). Ten Ice-Skating Movies From Fails to Gold (Including a New Colorado
Film) [News Article]. Retrieved from https://www.westword.com/arts/ice-skating-
movies-ranked-10380389
Ausiello, M. (2018). Emma Roberts to Star in ‘Edgy’ Ice Skating Drama Spinning Out at Netflix
[Online article]. Retrieved from https://tvline.com/2018/10/11/emma-roberts-spinning-
netflixfigure-ice-skating-series/
Barker, C. (2008). Cultural studies: Theory and practice (3rd ed.). Los Angeles: SAGE
Benshoff, H., & Griffin, S. (2004). America on film: Representing race, class, gender, and
sexuality at the movies. Malden, MA: Blackwell Publishing.

Berg, L. B. (2001). Qualitative research methods for the social sciences (4th ed.). Pearson:
Needham Heights, USA.

Berger, A. (2014). Media analysis techniques. Los Angeles: SAGE.

Benyahia, S., Gaffney, F., & White, J. (2008). As film studies : The essential introduction (2nd ed.,
The essentials series). London: Routledge.

Bolton, L. (2011). Film and female consciousness : Irigaray, cinema and thinking women.
Basingstoke England: Palgrave Macmillan. doi:10.1057/9780230308695
Bordwell, D., & Thompson, K. (1990). Film art: An introduction (3rd ed.). New York: McGraw-Hill.

Boyatzis, R. (1998). Transforming qualitative information: Thematic analysis and code

development. Thousand Oaks: Sage Publications.
Bryman, A. (2016). Social research methods (5th ed.). Oxford: Oxford University Press

71
Buckland, W. (2007). Film Semiotics. In A Companion to Film Theory, T. Miller and R. Stam
(Eds.). doi:10.1002/9780470998410.ch6
Carty, V. (2005). Textual portrayals of female athletes: Liberation or nuanced forms of
patriarchy? Frontiers: A Journal of Women Studies, 26(2), 132-155.

Cermak, I. The Cinema of Hockey: Four Decades of the Game on Screen. [Google books version].
Retrieved from
https://books.google.nl/books?id=l_EHDgAAQBAJ&pg=PT4&lpg=PT4&dq=cermak+2017
+hockey&source=bl&ots=ZPLiiUvh8A&sig=ACfU3U04k0b2jqz4BN0uAaIeOqA08mOhZg&
hl=nl&sa=X&ved=2ahUKEwiwm4z8iYXjAhUSalAKHZBFAfAQ6AEwE3oECAgQAQ#v=onepa
ge&q=cermak%202017%20hockey&f=false

Chaudhuri, S. (2006). Feminist film theorists: Laura Mulvey, Kaja Silverman, Teresa de Lauretis,
Barbara Creed. London: Routledge
De Boise, S., & Hearn, J. (2017). Are men getting more emotional?: Critical sociological
perspectives on men, masculinities and emotions. Sociological Review, 65(4), 779-796.
doi:10.1177/0038026116686500

De Jongh, E. (1975). Pearls of virtue and pearls of vice. Simiolus: Netherlands Quarterly for the
History of Art, 8(2), 69-69. doi:10.2307/3780417

De Klerk, V., & Bosch, B. (1996). Nicknames as sex-role stereotypes. Sex Roles, 35(9-10), 525-
542

De Lauretis, T. (1984). Alice doesn't: Feminism, semiotics, cinema. Bloomington: Indiana

University Press.
Dennis, J. P. (2012). Men, Masculinities, and the Cave Man. In The Handbook of Gender, Sex,
and Media, K. Ross (Ed.). doi:10.1002/9781118114254.ch7

Dobbins, A. (2012). How Does The Cutting Edge Hold Up? [Online article]. Retrieved from
https://www.vulture.com/2012/07/how-does-the-cutting-edge-hold-up.html
Messner, M., Duncan, M., & Jensen, K. (1993). Separating the men from the girls: The gendered
language of televised sports. Gender and Society, 7(1), 121-137

72
Dutt, R. (2013). Behind the curtain: women’s representations in contemporary Hollywood
(Master’s thesis, London School of Economics and Political Science). Retrieved from
http://www.lse.ac.uk/media@lse/research/mediaWorkingPapers/MScDissertationSerie
s/2013/msc/112-Dutt.pdf
During, S. (2005). Cultural Studies: A Critical Introduction. London: Routledge.
Elo, S., Kääriäinen, M., Kanste, O., Pölkki, T., Utriainen, K., & Kyngäs, H. (2014). Qualitative
Content Analysis: A Focus on Trustworthiness. SAGE Open.
https://doi.org/10.1177/2158244014522633
Fischer-Baum, R. (26th November 2017) WHAT ‘TECH WORLD’ DID YOU GROW UP IN? [News
article]. Retrieved from
https://www.washingtonpost.com/graphics/2017/entertainment/tech-
generations/?utm_term=.d0e4fc294f4f
Flick, U. (2007). Sampling, Selecting and Access. In U. Flick (Ed.), Designing Qualitative Research
(pp. 25 – 35). London: SAGE
Frassanito, P., & Pettorini, B. (2008). Pink and blue: The color of gender. Child's Nervous
System, 24(8), 881-882.

Friedan, B. (1963). The Feminine Mystique. New York: W. W. Norton & Company, Inc.

Gardiner, J. K. (2002). Introduction. In J. K. Gardiner (Ed.), Masculinity studies and feminist

theory. New York: Columbia University Press.
Gentile, M. C. (1985). Film feminisms: Theory and practice. Westport, Connecticut: Greenwood
Press.
Grindstaff, L., & West, E. (2011). Hegemonic masculinity on the sidelines of sport: Hegemonic
masculinity on the sidelines of sport. Sociology Compass, 5(10), 859-881.
doi:10.1111/j.1751-9020.2011.00409.x

Guest, G., MacQueen, K., & Namey, E. (2014). Applied thematic analysis. Thousand Oaks,
California: SAGE Publications.

73
Guillén, L., Mayo, M., & Karelaia, N. (2018). Appearing self‐confident and getting credit for it:
Why it may be easier for men than women to gain influence at work. Human Resource
Management, 57(4), 839-854. doi:10.1002/hrm.21857

Hall, S. (1973, September). Encoding and Decoding in the Television Discourse. Paper presented
at the Council Of Europe Colloquy on “Training In The Critical Reading of Television
Language”. Retrieved from
https://www.birmingham.ac.uk/Documents/collegeartslaw/history/cccs/stencilledoccas
ional-papers/1to8and11to24and38to48/SOP07.pdf
Hall, S. (1980). Cultural studies: Two paradigms. Media, Culture and Society, 2, 57 – 72.
Hall, S. (2013). The work of representation. In S. Hall (Ed.), Representation (pp. 1-15). London:
SAGE
Hayward, S. (1997). Key concepts in cinema studies. London: Routledge.
Helsby, W. (2005). Understanding representation (Understanding the moving image). London:
BFI Publishing.

Heesacker, M., Wester, S. R., Vogel, D. L., Wentzel, J. T., Mejia-Millan, C. M., & Goodholm, C. R.,
Jr. (1999). Gender-based emotional stereotyping. Journal of Counseling Psychology,
46(4), 483-495. http://dx.doi.org/10.1037/0022-0167.46.4.483

Hodge, R., & Kress, G. (1988). Social semiotics. Cambridge: Polity Press.
Householder A.K. (2015) Girls, Grrrls, Girls. In: Trier-Bieniek A. (Ed.) Feminist Theory and
Pop Culture. Teaching Gender. Sense Publishers: Rotterdam
Iedema, R. (2011). Analysing Film and Television: a Social Semiotic Account of Hospital: an
Unhealthy Business. In T. Van Leeuwen & C. Jewitt (Ed.) The Handbook of Visual Analysis
(pp. 183 – 206). London: SAGE
IMDb, (n.d.). The Cutting Edge [Entry on IMDb]. Retrieved from
https://www.imdb.com/title/tt0104040/?ref_=nv_sr_1
IMDb, (n.d.). The Cutting Edge: Going for the Gold [Entry on IMDb]. Retrieved from
https://www.imdb.com/title/tt0463953/?ref_=nv_sr_2

74
IMDb, (n.d.). The Cutting Edge 3: Chasing the Dream [Entry on IMDb]. Retrieved from
https://www.imdb.com/title/tt1110626/?ref_=nv_sr_3
IMDb, (n.d.). The Cutting Edge : Fire & Ice [Entry on IMDb]. Retrieved from
https://www.imdb.com/title/tt1600058/?ref_=nv_sr_4
Jewitt, C., & Oyama, R. (2011). Visual Meaning: a Social Semiotic Approach. In T. Van Leeuwen,
& C. Jewitt (Ed.), Handbook of visual analysis. London: SAGE.
Kamaralli, A. (2007). Female characters on the jacobean stage defying type: When is a shrew
not a shrew? Literature Compass, 4(4), 1122-1132. doi:10.1111/j.1741-
4113.2007.00447.x

Kidd, J. (2016). Representation (Key ideas in media & cultural studies). Abingdon, Oxon:
Routledge Taylor & Francis Group.

Krantz-Kent, R. (2018). Television, capturing America's attention at prime time and beyond.
Beyond the numbers, 7 (14). [Publication by United States Department of Labor, Bureau
of labor statistics] Retrieved from https://www.bls.gov/opub/btn/volume-7/television-
capturing-americas-attention.htm

Leavy, P. (2007). The feminist practice of content analysis. In S. N. Hesse-Biber, & P. L. Leavy
(Eds.), Feminist research practice (pp. 222-248). Thousand Oaks, CA: SAGE Publications,
Inc. doi: 10.4135/9781412984270
Leavy, P. & Trier-Bieniek, A. (2014). Introduction to Gender & Pop Culture. In A. Trier-Bieniek
(Ed.) Gender & Pop Culture (pp. 1 – 25). Rotterdam: Sense Publishers.

Leonard, M. (2007). Gender in the music industry: Rock, discourse and girl power. Aldershot:
Ashgate.

Lieberman, V. (2015). Sports Heroines on Film: A Critical Study of Cinematic Women Athletes,
Coaches and Owners. Jefferson, North Carolina: McFarland & Company, Inc. Publishers
Lindner, K. (2011). Bodies in Action: Female athleticism on the cinema screen. Feminist Media
Studies, 11(3), 321-345. DOI: 10.1080/14680777.2010.535316
Macionis, J. J., & Plummer, K. (2008). Sociology: A global introduction (4th ed.). Harlow, England:
Pearson/Prentice Hall.
75
Madrigal, A. C. (2018). When Did TV Watching Peak? [News article]. Retrieved from
https://www.theatlantic.com/technology/archive/2018/05/when-did-tv-watching-
peak/561464/
Maguire, M., Delahunt, B. (2017). Doing a thematic analysis: A practical, step-by-step guide for
learning and teaching scholars. AISHE-J: The All Ireland Journal of Teaching and Learning
in Higher Education, 8(3), 3351 – 33514. Retrieved from:
http://ojs.aishe.org/index.php/aishej/article/view/335
Manna, K. (2018). 13 figure skating movies to binge watch, because the winter Olympics can’t
come soon enough [Online article]. Retrieved from https://www.romper.com/p/13-
figure-skatingmovies-to-binge-watch-because-the-winter-olympics-cant-come-soon-
enough-8134867
McGregor, L. (2016, May 16)). Lighting 101: A Quick Guide for Lighting Film [Blog post].
Retrieved from https://www.premiumbeat.com/blog/basic-light-placements/
Mikos, L. (2013). Analysis of Film. In U. Flick (Ed.), The SAGE Handbook of Qualitative Data
Analysis (pp. 409 – 423). London: SAGE.
Messner, M., Dunbar, M., & Hunt, D. (2000). The televised sports manhood formula. Journal of
Sport & Social Issues, 24(4), 380-394.
Mooney-Somers, J., & Ussher, J. M. (2010). Sex as Commodity: Single and Partnered Men’s
Subjectification as Heterosexual Men. Men and Masculinities, 12(3), 353–373.
https://doi.org/10.1177/1097184X08322620
Morley, D. (1992). Television, audiences, and cultural studies. London: Routledge.

Nelson, C., Treicher, P. A., & Grossberg, C. (1992). Cultural Studies: An Introduction. In C.
Nelson, P. A. Treicher, & C. Grossberg (Ed.) Cultural Studies (pp. 1 – 19). London:
Routledge.
Nicely, S. (2007). Media Framing of Female Athletes and Women’s Sports in Selected SAports
Magazines (Master’s thesis, Georgia State University). Retrieved from
https://scholarworks.gsu.edu/communication_theses/31/
Neuendorf, K. A. (2002). The content analysis guidebook. [Google books version]. Retrieved
from

76
 https://books.google.nl/books?id=huPVtmu4sigC&printsec=frontcover&source=gbs_Vie
wAPI&redir_esc=y#v=snippet&q=primary%20message&f=false
Phillips, B. (1990). Nicknames and sex role stereotypes. Sex Roles : A Journal of Research, 23(5-
6), 281-289. doi:10.1007/BF00290049

Pramaggiore, M., & Wallis, T. (2005). Film: A critical introduction [Google books version].
Retrieved from
https://books.google.nl/books?id=7CYJUwg69KsC&printsec=frontcover&hl=nl#v=onepa
ge&q&f=false

Pribram, E. D. (2007). Spectatorship and Subjectivity. In A Companion to Film Theory, T. Miller

and R. Stam (Eds.). doi:10.1002/9780470998410.ch9

Rapping, E. (1994). Media-tions : Forays into the culture and gender wars. Boston, MA: South
End Press.
Richardson, S. (2014). Blurred Lines of a Different Kind: Sexism, Sex, Media and Kids. In P. Leavy
(Ed.), Gender and Pop Culture: A text reader (27 - 52). Rotterdam: Sense Publishers
Riggio H. R. (2017) Emotional Expressiveness. In: Zeigler-Hill V., Shackelford T. (Eds.)
Encyclopedia of Personality and Individual Differences. Springer, Cham
Roper, E. A., & Polasek, K. M. (2014). In P. Leavy (Ed.), Gender and Pop Culture: A text reader
(151-173). Rotterdam: Sense Publishers
Schreier, M. (2013). Qualitative Content Analysis. In U. Flick (Ed.), The SAGE Handbook of
Qualitative Data Analysis (pp. 170 – 183). London: SAGE.
Schumann, K., & Ross, M. (2010). Why Women Apologize More Than Men: Gender Differences
in Thresholds for Perceiving Offensive Behavior. Psychological Science, 21(11), 1649-
1655.
Sharma, S. (2016). Dear Men, Please Stop Calling Me 'Sweetie' [News article]. Retrieved from
https://www.elitedaily.com/life/stop-calling-women-sweetie/1496233
Sharts-Hopko, N. (2002). Assessing rigor in qualitative research. The Journal of the Association
of Nurses in Aids Care: Janac,13(4), 84-6.

Storey, J. (2001). Cultural theory and popular culture. Essex: Pearson Education Limited.

77
Saldaña, J. (2016). The coding manual for qualitative researchers. London: SAGE
Thorne, A. (2017). 11 must-see movies about ice skating if you just saw "I, Tonya" [News
article]. Retrieved from https://hellogiggles.com/reviews-coverage/movies/i-tonya-11-
ice-skating-movies/
Valenti, J. (2014). Men who use nicknames for women to win fights are creepy, sexist and dumb
[News article]. Retrieved from
https://www.theguardian.com/commentisfree/2014/apr/28/men-nicknames-for-
women-sexist
Vasvári, L. (2001). Examples of the Motif of the Shrew in European literature and film. Clcweb:
Comparative Literature and Culture, 4(1). doi:10.7771/1481-4374.1142
Wiegman, R. (2002). Unmaking: Men and masculinity in feminist theory. In J. K. Gardiner (Ed.),
Masculinity studies and feminist theory. New York: Columbia University Press.
Webb Mitovich, M. (2006). Cutting Edge 2 Tails Doug & Kate's Kid [News article]. Retrieved
from https://www.tvguide.com/news/cutting-edge-2-39976/
Welter, B. (1966). The cult of true womanhood: 1820-1860. American Quarterly, 18(2), 151-151.
doi:10.2307/2711179

78
APPENDIX A: Information about the movies ................................................................................ 80

APPENDIX B: Social semiotic analysis examples ........................................................................... 83

APPENDIX C: Codebooks ............................................................................................................... 86
Legend of the codebooks .............................................................................................................. 86
Movie 1 Codebook ........................................................................................................................ 88
Movie 2 Codebook ...................................................................................................................... 105
Movie 3 Codebook ...................................................................................................................... 121
Movie 4 Codebook ...................................................................................................................... 138

79
APPENDIX A: Information about the movies

Title The Cutting Edge The Cutting The Cutting The Cutting Edge:
(Movie #) (Movie 1) Edge: Going for Edge: Chasing Fire & Ice (Movie 4)
the Gold (Movie the Dream
2) (Movie 3)
Main Kate Moseley Jackie Dorsey Alex Delgado Alex Delgado
character (female) & Doug (female) & Alex (female) & Zack (female) & James
name Dorsey (male) Harrison (male) Conroy (male) McKinsey (male)
(gender)
Director Paul Michael Sean McNamara Stuart Gillard Stephen Herek
Glaser
Writer(s) Tony Gilroy Dan Berendsen Randall M. Badat Holly Brix
& Tony Gilroy & Susan E.
Jansen
Date of 27th March 1992 7th February 16th March 2008 14th March 2010
release in 2006
USA
Duration 101 minutes 98 minutes 91 minutes 87 minutes
Suitability PG PG-13 PG-13 TV-14
Synopsis Kate is a Jackie is a Zack is a pair Alex D. is now a
temperamental spoiled daughter skater who figure skating coach
pair figure skater of Kate and accidentally hurt who has not had a
who is in a need Doug and she his partner and new partner since
of a new partner. aspires to win needs to find a Zack. James is a
Doug is a former her own gold new one. Alex D. talented but ill-
hockey star medal at is a student at behaved short track
whose career Olympics in the local speed skater who

80
ended too soon. Ladies figure community was banned from the
Coach skating. She is college and sport. As a stunt,
Pamchenko injured and helps out in her James beings
brings them needs to find a family training Pair skating
together and they new way to restaurant and and invites Alex D. to
train to win at the reach her recreationally be his partner. James
Olympics. Kate childhood goal. plays hockey. sees Alex D. being
breaks up with Alex is a surfer Although Alex D. kissed by someone
her fiancée and and a quit figure else and due to the
finally stands up rollerblader skating at the misunderstanding
to her father. In living a carefree age of 10, she the pair breaks up.
the end, Kate and and agrees to be Convinced by her
Doug become irresponsible life Zack’s new mother, Alex D. goes
romantically that leads him to partner. Zack’s to the Olympics after
involved and win lose his source coach drops all and James and
the gold medal. of income. He them and they her have another
decides to learn hire Jackie chance to win the
skating so that Dorsey as their competition. They
he can skate new coach. Alex make peace with
with Jackie. D.’s brother, the each other and win
After Jackie and romantic the gold medal.
Alex have a few relationship
fights which are between the
a result of their former coach
inability to and the former
communicate partner and the
their feelings self-
towards each implemented
other, the pair rule not to be

81
ends up romantically
together by the involved with
end of the each other
movie. comes in the
way of Alex D.
and Zack’s
romance. Right
before the most
important
competition,
Zack and Alex D.
admit being in
love with each
other.

82
APPENDIX B: Social semiotic analysis examples

Figure 1 Screenshot taken by author from The Cutting Edge: Fire & Ice, 2010.

In this scene Alex D. is coming to wake up James in his van. The shot is wide, therefore showing
Alex D. as very small compared to the James’s bus. The lighting is natural.

83
Figure 2 Screenshot taken by author from The Cutting Edge: Fire & Ice, 2010.

Alex D. is getting ready for bed. She is wearing a loose shirt and a strap is visible on her
shoulder. There is a pink light in her room behind her. The angle is eye-level. The lighting is
dimmed.

84
Figure 3 Screenshot taken by author from The Cutting Edge: Going for the Gold, 2006

Jackie is crying. She looks small, insignificant and vulnerable in the room because the shot is
wide. Lighting next to Jackie is natural.

Figure 4 Screenshot taken by author from The Cutting Edge, 1992

Wide shot from bird’s perspective shows Kate surrounded by standing men who play important
roles in her life. Side light is natural but dimmed. Golden picture frame, flowers, the fire place
signify richness. The angle and the position of the men suggests Kate’s vulnerability.

85
APPENDIX C: Codebooks2
Legend of the codebooks
Sexual activity references

Shrewish behaviour

Patronizing

Associations with primitivism

Virginal daughter

Masculinity

Accepting figure skating

New man

Commenting on physical appearance

Aggressiveness

Overprotective brother

Alex D. as a strong character

Ethnicity

Women tolerating behaviour

Bold Nicknames
Italics Family

2
Placement of colour on left or right side has no meaning.

86
87
Movie 1 Codebook
Text Code
-No. No mistake. This is great. Late for the Olympics. Sarcasm
I'm just about four hours late Here, Rita.
-"Rita"? name irrelevant
"Rita"? Doesn't care about her name -> just met her
-Leta?
-"Leta"?
-Anita.
-This is the Olympics, Kate. Thirty million people just Not taking it seriously, disrespect
called their families in from the kitchen to watch the
replay. What do you think this is, Kate? Junior Pairs
'82?
-No. As I recall, in '82 you were still humiliating me in Burn
private.
Maybe because you were still listening. Kate now disobeying
I wanna see your ass in the air. He gives HER instructions
Until Hercules here learns how to lock his grip, This will Hercules
have to do.
Name, son? Patronizing
Hell, son, they're just about to start. Patronizing
Kate, This has to stop right now. correct your behaviour
Rick knows what's best, honey. He's the one that got us patronizing, diminishing everyone else's roles
here.
How sweet. He lets us tag along. Recognizes he diminished roles
You're gonna go back out there, You're going to Demands given to Kate
apologize, and You are going to get to work.
I wouldn't bet the ranch, Dad. Disobeying
Where do you think you're going? AKA you don't have permission
I'll be in my cell. Implying prison-like treatment

88
Honey, where I'm from, we stand for the national Patronizing
anthem.
Doug Dorsey, the phenom from Mayhorn, Minnesota. Phenom, super-story, Minnesota Machine
What a super story, A writer called him: "The
Minnesota Machine. "
For the record...you've lost 18 degrees of peripheral Anxious to go back to hockey
vision in your right eye. Now, in most cases, this would
be considered an inconvenience. But for a hockey
player--
So how long before it comes back?
You've had extreme trauma to your occipital lobe.
Doc, how long?
You got a blind side, Doug. It's a permanent
condition.
So there's an operation, right?
I'm afraid not.
Some micro-laser thing.... You open me up and--
Doug, I've specialized in ophthalmic surgery for over 15
years.
Okay, you don't do it, but somebody, somewhere.... Ludicrous idea
Down in Mexico City...they shoot shark piss up your
nose, And make you sit in traction for eight months.
Little brother, Snyder can't make it. I need a hand. Lovingly
I got a game. Priority
Make me a sandwich. Help ME
Dougie, wait a minute. Doug, I got no place else to go. Lovingly
You're my brother, not my boss, okay? Setting boundaries

Douglas, I'm not asking you, I'm telling you. Setting boundaries
Get used to it. Rude

89
It's over, little brother Lovingly
Doug, sorry about the eye. Go piss up a rope Profanity
...we'll buy you a ticket." Sarcasm
Give me that goddamn letter!. Profanity
Well, put me on the list, pal. You want something to Patronizing
eat, make it yourself.
Lovely. Let's do it again. Sarcasm
Perhaps you are wanting to take shower, da? Suggesting what SHE wants
What he needs is a ride to the airport. Telling what HE needs
I've got laundry that can skate better than that. Insulting
You should've been making her singles skater. Leaving no choice for Kate
Two years, eight partners. This one too small. That Kate is picky
one too big. Too loud. Too much sweat. Not enough
sweat.
But always is coming the big B. What a bitch. Kate is disliked
Spindler say before he skate with her...he wear garlic Kate is a monster
from neck and sleep with cross.
Hey look pal, If you're a reporter, you're a little late. Patronizing
I'm like a rock. Very strong
Those are figure skates, pal. Stating the obvious, patronizing
Woah, I should've held out for more. Asked for more money
How you doing? Interest in Kate, polite greeting
Nice to meet you. Polite reply
Oh, my God. Religious
What do you do? Soak them in battery acid? Rude
Oh, I'm terribly impressed. Unimpressed, sarcasm
What is this, final stages of Ukrainian alcohol Doug insulting Kate
psychosis?
Listen, I don't know how many slap shots you've taken Rude
to the brain

And let me assure you, it's over. Close-minded

90
Hey Snow White relax Patronizing
I'm no figure skater. I'm a hockey player. Establishing identity

Get him out of my building Kate demanding Coach

Temperamental? You know I can think of another word Rude

for it

Who do you think you are? Kate challenging his status

I know exactly who I am. A guy who came a long way Quitting. Kate's behaviour is horrible.
for lunch. Please don't let me keep you from the
trough. I'm sorry, buddy. I wouldn't wish this on a
snake. I'm out of here.

Toe pick? Let me guess. It has something to do with Mocking

personal hygiene.

I wouldn't let that get in your way. Insulting

I don't let anything get in my way. Confidence
Katya, keep in line with him. is not race, Katya Kate is corrected
What, you shower once a week? Insulting
ls that an invitation? Sexual advance
Oh, shit. Profanity
You-- You cretin. Insulting
What a waste of good ice. Doug has better ideas to use the rink for
Kate is Kate. She's an only child, raised without a Excusing Kate's behaviour
mother. The strain of competition.... Sudden changes
tend to bring out...her color.
Is that what that was? her color. implying Kate's rude behaviour
This is called giving me a shot? Challenging Dad, standing up for himself
Hold that thought, honey patronizing

91
If we're working together, You might try being polite. Doug informing Kate he doesn't like her behaviour

Think I can't put up with your shit?

You won't be here long enough to make it worth the
effort.
I don't think you can skate. Kate informing Doug that he isn't good enough.
There's two things I do really well, sweetheart. And Patronizing. Possibly referring to sex
skating's the other one
God. You really are a Neanderthal. Religious, insulting
I hate to tell you, but I'm from Minnesota. That's south Accepting jokes
of Neanderthal.
What do you do for fun, polish your knife
collection? Implying she has a cold heart
Hey, I don't even enjoy a good tractor-pull. Insulting stereotypes
Life of the party. Place must be crawling with guys. Sarcasm, insulting
As a matter of fact, I do have a boyfriend. Defending herself.
A rough gig. You keep him chained up in the basement? Insulting

He's an M.B.A. Harvard. defending herself

Bet you look good from a few thousand miles away. Insulting
Please teach it how to breathe with its mouth closed? Insulting, disrespectful

Douglas, you are stem. Strong base

Katya, you are petal Beauty
That's a traditionally accepted format. Could've said that more politely.
Yes. Doug can read. Joking on own account (but still answering her
question)
Last thing I read was a letter canceling my Doug does not read often
scholarship...when I couldn't play anymore.
I was a hockey player. The only thing I had to read was He didn't have to put a lot of effort in studying
a scoreboard.
They revered me. I was a god. Loved, talented
What a tragic commentary on our times. Insulting

92
State championships, my last game...three hundred Bragging, defending himself
people carried me around their shoulders on the ice. It
took the state police two hours to break it up.
I'm surprised you don't chuck it all and start your own Insulting
think tank.
So where'd you matriculate from? Rude
All I did was play his stupid game. Calling ice hockey stupid
Oh, my God. I thought you said it was just his nose. Kate cares about Doug, religious
What? What's wrong?
Maybe in about five years...you'll get it up to half- Doug's skills are poor
speed.
You have the mentality of a rock, you know that? Insulting, stubborn
Hey, I worked there because I had to. Sometimes we HAVE TO do some things
What the hell are you doing? Profanity
Get out. Get out. Get out this second. Commanding
I handle this stuff all the time. It's no big mystery. Doug is sexually active
That's Bobby Hull's game sweater. That-- I've had that 1 Doug gives Kate something sentimental
5 years.
"Great Expectations." Kate gives Doug a book
Well, it was either that or Curious George Plays Hockey. Kate believes in Doug
I took a chance.
Refers to him not reading much
That's your mom, right? Boy, she was a knockout. Commenting on physical appearance
What is this expression on your face? Is that a smile? Challenging Kate's behaviour
I never knew you had so many teeth. Jokingly insulting
You probably didn't recognize me in my rig here. It's Doug presenting himself as a decent man
pretty sharp, huh? Sixty-nine ninety-five.
Really? Using it as a doorstop or a coaster? Insulting
No, I don't drink. Kate is innocent, pure
I've never had a drink in my life.
I hardly expect you to understand. Kate doesn't expect Doug to understand her
lifestyle

93
Naked male-insecurity really leaves me cold. Kate calling them out.
Must be tough to stay away. Sarcasm
If I was you, I'd invest in blindfolds. Insulting
I mean my God They probably think we've got you Religious
under lock and key.
It's kind of a mess
I told this guy once I loved how ice smelled Doug is passionate
I never thought about it. Kate is "robotic"

I'm not surprised.

What did you mean by that? Kate doesn't like her love for ice be challenged

I think you'd skate even better if you'd let yourself

enjoy it a little.
It's our greatest hits. It's a video for your family...of us Kate proud of Doug
skating.
My dad booked some extra rooms...in Chicago, and Kate wanting Doug o allow his family to know about
we'd love them to stay with us. Doug's talent and she's unaware of judgements
My family?
Yes. To the nationals. They're coming, aren't they? I
don't know.
Look at all you've done. They must be really excited.
Why wouldn't they come?
They're coming. Hale's waiting. How do you know if
you haven't told them? I'm gonna tell them.
When?
Now. This weekend.
You sure?
Yeah, I'm sure.
Really?
Kate, believe me. I'm dying to tell them.
I'll be a son of a bitch. Profanity

94
My brother Doug, home from the merchant Doug lied
marine. Did you forget how to use the phone? Come
on. Move back, move back. He's been cruising all over
the world...and he can't even get to the bar. Come
on. Ensign Dorsey. No, no-- Lieutenant, Captain
Dorsey, huh?
Cool it with the merchant marine.
Let's go outside and talk about this. Doug doesn't want to share with everyone
Well, actually...it's kind of interesting.
I've been doing a little.... Been doing a little figure As if he doesn't train hard
skating.
Damn. What'd he say? You been doing what? Finger
painting?
You just don't understand.
Come on, Doug, you're a hockey player. How good can Doubting Doug
you be? Face it. If you're lucky, a year from now...you'll
be in a Snoopy costume in the frigging lce Capades.
The girl. You're mixed up with this broad. That's it, isn't Insulting
it?
It's a great opportunity. It's figure skating. And I like Swearing, Doug finally being honest.
it. It's a lot goddamn harder than playing hockey, I can
tell you that. And the stuff we're doing, it's gonna be
different. The costumes, the music. Everything is
gonna be different. You'll see.
Are they gonna make you shave your legs? Joking
Screw this. I don't even know why... Profanity, Doug (thinking) they can't understand
What do you think you're doing? Doug doesn't have permission
Just getting started. More to come in rebelling against FS tradition
This is Mozart. Kate being traditional
It's not us. Doug wanting to be honest

95
Kate, this is tired. Ten thousand other skaters will cue Fight between tradition and being true to oneself
up the same boring crap. This doesn't get it done. It's
like the costumes. Let's be different. Let's kick a little
ass.

If you wanna see some asses kicked...why don't you

throw on some jeans and skate to this. If you wanna
win, you play it straight.

This is boring.

Unacceptable.

Would you stop?

Didn't work for you last time.

What?

You heard me.

You have some nerve.

Just listen to my music one second!

Stop turning it!

Douglas is not boy. He is man. Is young, vigorous man. He has needs?

I don't care what you call him. He has three months to Kate focused on FS
qualify for nationals.
so that you can give him two days to go off whoring in Doug is sexually active
New York City?

96
If I get her any higher...they'll need a putty knife to Doug shows progress
scrape her off the ceiling. Am I right?
"Tail"? Excuse me? Kate is innocent
I'm eligible. Doug Dorsey, licensed to thrill. Doug is excited
Slow down, champ. We've got a long way to go, you Kate reasonable.
know.
Hale, now is not the time. Kate trying to stop Hale
Show them the ring, Kate. Hale commands Kate
You know what I think is the saddest thing about Insinuating Kate should retire
sports? People who stay too long at the party.
Mistakes? You spent the last 1 0 years tying me into Coach didn't train her well
knots.
You were always difficult. It was Kate's fault
and, oh, my God, there was Rick Tuttle Religious
And you know what you said? You said, "Boy, do we Kate saying Rick never thought she was good
have our work cut out for us."
Oh, come on. This guy. A hockey player? Let's face it. Pointing out Kate's flaws
Trusting partners was never your strong suit.
This guy, this hockey player...is the best skater I've Kate proud of Doug
been on the ice with. He gonna make you cry, he's so
good. You know your way out. You let me down, it'll
take them a month...to count the blade marks up your
back.
Do me a favor, will ya, take off the rock while we work. Doug asking politely but rudely at the same time so
It's cutting the hell out of my hand. that he doesn't have to show emotion.
The ex-husband. Doug joking

Who's the new wife?

No wonder you've been keeping him to yourself. As if Doug is "kept" by Kate
I couldn't sleep. I wasn't tired. Doug lying

97
He has the self-control of a rabbit. Kate seeing right through it.

Nothing. My earring. I spend four years working my Kate is nervous, not trusting her partner, dislikes
way back to nationals...and what happens? I'm skating music
to weird music...with a partner who can't even follow
the simplest of instructions.
The only problem that he has is finding his zipper fast Sexual reference
enough.
I thought they looked good together. Hale supporting Doug
Like you, huh? Smart-ass comment
That's it. That is it. Call the front desk and get a room of Kate kicking Hale out
your own. I knew this wouldn't work out. I can't even
concentrate. I can't even find my lucky earring.
This hasn't got anything to do with skating, does Hale seeing what's happening
it? You're falling for him.
What? Kate denying she likes Doug

Doug.

Yes.

You are. You're falling for him.

That's crazy.

You think so?

You're nuts.

98
Am l?

You see how we act together.

Yes, I do.

We never get along. I mean, we're always fighting.

Foreplay. Important later

He's not coming. He had to go up to Boston. Business Kate lying
problems.
Is okay with you? If you wanna worry about something, Rude
worry about ramjet the rookie here.
You look nervous. You look really nervous. How Kate worried about Doug
nervous are you? How nervous are you?
Look at me. Look at my eyes, look at my eyes. That's Kate trying to calm Doug down
good. Okay. Now smile. Concentrate on my forehead.
Okay. Now look at me and smile. There you go. There.
Bigger. Okay. Now breathe. Breathe. Just don't breathe
on me, okay?
Foreplay. Doug wanting to get it over with
This is horseshit. What crap are they trying to pull? We Profanity
skated our asses off out there. You call this a sport?
Bullshit.

99
Doug. Douglas, you silly thing. Please don't think. That's Kate metaphorically talking about Doug and Hale
what I like about the way I feel. Even if I tried to think, I
couldn't. And I think too much, and I think so long. And
it's so tiring. The world is spinning and spinning and
spinning. Look.... Did you ever play with magnets? You
used to have to push them around...and they'd push
away and you push them around the table? All you
really had to do was just flip them over, and
suddenly.... Don't you see? That's why everything's
been so awful. All we needed was a little flip.
Oh, Hale shmale. Disrespect to Hale
Not like what? Not like me? Kate being insecure
God, just what I need. Someone else telling me what to Kate unhappy with not getting her way, religious
do. In case you've missed it, I am throwing myself at element
you. I am tearing off my clothes...and you are giving me
a rundown on drinking dos and don'ts.
Get out. I said, get out. Kate commanding Doug
Do I ever. Sarcasm

Excuse my surprise, but really, what a disappointment.

Well, look at you. God's gift to reckless Doug being honest with Kate, religious
abandon...revealed as nothing but a prude in wolf's
clothing. You're a lousy drunk.And you're a lousy date.
It didn't have to be like this.
Ask her for more towels, will you? Doug asking politely
To think I was coming to apologize. Kate regretting her actions
Were you or were you not engaged until last night? Doug pointing out the obvious

You threw me out of your room.

Count your blessings She may not have waited much Religious, sarcastic
longer.
Spare me the details. Commanding Doug

100
Where the hell do you get off? Sexual reference, profanity
This is my fault? From the first day I walk into your rink, Doug pointing out, expressing his feelings
you treated me like a hired hand.
Then one night you get drunk, I'm supposed to Roll
over and thank my lucky stars? I'm sorry. I don't
downshift that fast.
No problem. I've been practicing that move for a year Burn
and a half.
You can't do that. Kate pointing out the sport rules

No. No. It's illegal.

We can't do this. Kate being the reason

We have five weeks.

What are you saying? I can't? Kate being offended/insecure
Hey, listen. I have been competing for 1 3 years...and Defending herself
nobody tells me what I can or cannot do.
Are they gonna get it? Dad asking about progress
Halfway is bullshit. Profanity

101
Kate? Gives himself a role, patronizing

-I was just looking at the pictures of mother. Kate and Dad talk

I can hear her now: "The Olympics." It's what she

always dreamed of.
Look at this thing. Just sitting here empty.
We're almost there, honey. I can taste it.
What if it stays empty?
Not this time.
Go to bed. You need your rest.
I'm not tired.
Kate.
No.
What are we doing? Why am I doing this?
It's what you've always wanted.
Always?
Kate--
I know. I'm going. These little pep-talks can be so
exhausting
What if it stays empty? Kate insecure
Go to bed. You need your rest. Commanding Kate
It's what you've always wanted. Dad telling her what she wants
I know. I'm going. These little pep-talks can be so Rude
exhausting.
Orgasmic. Sexual reference by Kate, burn
You guys gonna be here a while? Lost interest
Well, it looks terrible. Kate criticising
Well, you should've mentioned that in Chicago. Kate telling Doug what he should do
Enough.
For the last time Button the goddamn button. Commanding Doug, profanity/religious
Get over it. Doug commanding Kate

102
You are an immature asshole of the lowest order. Kate insulting Doug, profanity
If it was 40 below and that button...meant the Doug fighting with Kate
difference between a long life...and a horrible death
from hypothermia...I still wouldn't give you the
satisfaction.
We're not doing it. Doug deciding on skating
What in hell are you thinking of? Profanity
Yes, you. What the hell is in your head? Profanity, Doug being tired of Kate's behaviour
He's making like this is my fault. Kate blaming Doug

You didn't deliver. What, you want a pat on the back?

When did I become the designated asshole? What Profanity, insult
happened? Ask the ice queen.
We can win without the move. Doug being confident
lmpossible. Kate beign insecure
Where the hell were you during this? Fighting

Where was l? I was babysitting.

Loud and clear, folks:

Losing gracefully does nothing for me.

maybe you should Think about that in the future.

Is That what you told Brian in Calgary?

You can kid Yourself all you want about what

happened. I've seen the tapes. Brian was getting it
done. Ask him. He'll tell you.

103
Today it's about a button. Doug calling them out

You people are all excuses.

You wanna point a finger--

You goddamn son of a bitch. Insulting Kate, Profanity
Gotta find that go-to guy. You should've started with a Insulting Kate
go-to girl, Jack.
He's right. He is. All of it. We worked so hard for two Kate admitting she messed up and she doesn't skate
years. And I just went and threw it all away. Don't perfectly
what? Tell the truth? We can't buy back what
happened today. We can't start over.

Do you think I look at myself, at what I've become...and

do you think I'm proud?
I don't know. I guess I would like to go back to the Kate apologising
beginning and have you say...win or lose, I could just be
your daughter. You came every day, and you skated.
This must've been like a nightmare for you. I didn't
know it was gonna end up like this. I'm sorry. I'm so
sorry. For everything. Please excuse me. I'm going for a
walk.
Kate, wait. What are you saying? Doug worried
This afternoon is my final skate. Kate quitting
You'll be fine. You won't have any trouble finding Kate thinks Doug is a skilled skater
another partner. Of course, they won't have my
wonderful slap shot
Do you know what I think would be wonderful? If you Coach supporting them
would go out there today and skate for these

104
people...the way I have seen you skate. Enjoy each
other.

Kate, I'm sorry. My timing-- I know it stinks, but.... I just Doug being emotional
keep thinking this thing with us.... It's gonna go away. I
keep thinking if I can just keep moving and checking...
...I'll get clear, but.... Do you understand what I'm
telling you?
Look, we have to skate. Kate being reasonable, focused
This won't wait. Kate, maybe I wasn't ready. Maybe-- Doug expressing his love
Maybe you didn't give me much of a chance. Maybe-- I
don't know. I just-- I just-- Kate, somewhere in the
middle of all this I fell in love with you. I'm saying I love
you. I'm saying it out loud. Don't say we're not right for
each other...because we may not be right for anybody
else. Will you shut up a minute. It can't be any harder
to stay together than it was to stay apart. Kate. I need
you. I need you.
We're doing the Pamchenko. Oh, you heard me. Kate trusting Doug
Then we agreed. We're putting it in. Kate deciding on skating
It's out. It's in. Out. ln. Out. ln. Fighting
The difference is... I'm in the mood to kick a little ass. Kate on Doug's side

Movie 2 Codebook

Text Code
Jacqueline Dorsey should easily repeat last year's Jackie won the competition last year
victory.
Well, let's not get too far ahead of ourselves...because Others messed up
as we've already seen here today, anything can
happen.
Okay, now, listen to me. Coach/mother authority

105
No. Pushing back, rebelling
It is not a required element. You can't push it. The Different perspectives
most important thing is to skate a clean program.

No. The most important thing is to win.

Mom. It's not worth winning if you don't have to fight
for it. I think you were the one who taught me that
Do me a favour, just try to come back without too Politely asking not to mess up
much ice on your butt, okay?
Well, I'm glad you said it, Oksana, because I think her She can still improve, thinking about the future
best skating is still to come.
And that, friends, is straight from her father's mouth
She is not just beating this competition, she is Dominating
destroying it
Let's just take it one step at a time, okay, honey? Patronizing
I've done everything I can do, Jackie. The rest is up to Jackie has to fight for her career
you.
Good. Then we should have nothing to worry about. Jackie is confident
Better. Different perspectives
Better? That was amazing. For a double, it was okay.
But for a triple, it sucked. Jackie, the fact that after only
four months...you can even hit a double is amazing.
Doubles are meaningless. This isn't pairs.
Believe me, what I wouldn't give for a whistle and a Implying Jackie is difficult
penalty box.
Why are you always so damn stubborn? Jackie is disobeying
Because I take after my father. Reference to previous movie
All I'm asking is that you take some time off, all right? Implyng she focuses too much on skating and should find
Rest. Don't think about skating for a while. See if there's alternatives
something more to life.
And I don't want any of your hockey goons messing up Primitive
my ice.

106
Hey, those hockey goons are helping to pay for this ice. Hockey goons are not so important or valued from Jackie's
perspective
Good workout? Jackie is still all about figure skating
No. The gym was a total joke. Then I tried to do some
laps--
Vacation, Jack. Muscles are supposed to atrophy. Just Commenting physical appearance
look at Elisa. Her butt was rock hard before we got
here.
Yes, "Skating Girl." That's my superhero name. Jackie's 'false' identity
Yeah, it's my own personal agony of defeat. Sounds sarcastic but isn't
So, what are you doing...now that you're retired? I'm Sensitive topic, illustrates Jackie's struggle
not retired. Hey, Sparky..why don't you bring us
another round..with an extra splash of tact this time.
Thanks.
No, just let her go. I think she just needs to be alone. Jackie needs to release her sexual energy
Yeah, it's not all she needs. Of course, I'm too much of
a lady to say what. No, you're not. True. Sad but true.
You gotta get out there, man. It's nice and tight with Commenting physical appearance, commenting on waves and
just a little curve. Jackie's body
We got a little bit of that around here too.
Oh, yeah? What's the story?
Shot down three of our finest. She's a lot tougher than Killed, turned away, rejected
she looks, man.
No. I think I'll let her come to me. AKA I'll hold the power?
I wouldn't go out there if I were you. Looking out, giving advice to the amateur
Really? And why not? Not curious but challenging him
I think I can handle it. Being confident
Will you give that back? Powerless
You want me to come in there, or you wanna come out Playing with power AKA Jackie's lack of
here?
I just wondered if you knew how to skate or not. Lying
Can I have your autograph, please? Fame

107
I know, I know. It's a horrible picture. Commenting physical appearance
Come on, sweetie, let's go. Patronizing, mom talking to daughter
Will you let me go. Gosh. Okay, so go on.
So then I decided to turn pro and medalled at the X He's successful
Games.
" Pro"? As in " professional"?
You do this for a living?
Yeah. More or less. I'm actually signing with a new
sponsor this week.
I was supposed to meet up with them this His priorities
morning...but the waves just looked too damn good.
He's just-- He's hard to describe. She likes him
Which is odd, because you've done nothing...but
describe him for the last three hours.
I know. But there's just something about him.
Maybe it's the fact he doesn't spend all day in a leotard Perception of attractive men
and a dancebelt.
Maybe it's his tattoos. He has three.
It's just.... You know, for once, it was just-- It was nice. So innocent
There was no agenda. It was just a girl meeting a boy.
And it was nice.
You really clean up. Commenting physical appearance
Yeah, I'm okay. You know, I'm just surprised to see you Uncomfortable with non-athlete job
here, that's all.
I should really just go, because-- There's this party. But Distanced, powerful
listen, I'll see you later, okay?
Look, I'm sorry about how I acted earlier. It was rude Apologizes
and immature and I apologize.
So did you and your friends have a good laugh? Recognized her discomfort
Don't go acting all wounded Assuming his feelings

108
Intimidated? By you? Hey, look, don't flatter yourself. Diminishing the sport, defending himself
Flitting around on the ice is not exactly a real sport

Oh, my God, you wouldn't even last five minutes. defending herself, insulting him
Because you're embarrassed...don't take it out on me. I
work incredibly hard.
Maybe. But I wonder where you'd be...if your parents Questions her talent
hadn't won a gold medal...and built you a world-
famous sports complex to go play ice princess in.
Listen, you little arrogant jerk...everything that I have Insulting, rude, defending herself
ever won, I have earned by working my ass off. I have
skated until my ankles bled. I have woken up at 4:30
every morning for seven years. And until my accident, I
did not miss one practice. Not one.
Well, it sounds like you need to get out a little more. Provoking her, also impying she's all about FS, rude
No. You listen. If I don't have a sponsor, then I can't go Consequences of being irressponsible have caught up.
on the tour. I need you to call them back and tell Agressiveness
them they're idiots if they pass up. There's a lot of
other companies willing to-- Unreliable? You know
what--? Forget it. You know what you can tell them?
Got that?! Phone's broken.
Damn. I knew I should've gotten that M.B.A. reference to first movie
Girlfriend, angel of darkness. Yeah, that's her. Duality of character
Well, I know what I want. Another beer. You? Starting to become more responsible
No. No, I'm good. Thanks.
I guess I don't need to ask about your trip. Well, if
sweetness and light was what you expected...I'd ask for
my money back.
Jackie.
Look, Dad. I know what you're gonna say. And the
answer is--
So. Where did you dig this one up? Rude

109
What the hell are you doing here? Rude, upset over invasion, profanity
I just flew 3000 miles to be here. AKA put in effort, money, time
I'm not surprised you don't have a partner. Alluding Jackie's problem is er personality
He just started figure skating three months ago. Jackie didn't find a partner in 3 months
Why are you even talking to him? Don't you Trying to regain control
understand? He's just here to humiliate me.
You really need my help for that? Rude
Honey...he came all this way. Patronizing
How could I forget? What happened? No jobs at the Rude, dminishing his job
Roller Derby?
I drew the short straw. He's the unlucky one
You know you're kind of cute when you get all mad. Commenting physical appearance, flirting
Your face gets all red and puffy.
I do not get red...and puffy, you slacker.
Princess. Flirting
You don't really expect me to skate with that, do you? Rude
Tell me what happened in California.
Nothing happened in California.

I don't know. He loves the pageantry of it all. How Presumably lying

should I know?
He quit his job. Sacrificed, risked
So? He used to park people's car for a living Implying his job wasn't important
He taught himself to skate. Effort, determination
You call that skating? Rude, pointing out he's not experienced
The guy is a natural. He seems strong. He skates well
-He doesn't have bad habits.
You can stay. But we finish working when I say we're Bossy, she holds the power
done. And the first day you go looking for waves, you
are out of here.
Mom, any closer and he's gonna owe us two camels
and a goat.

110
Just try not to get in my way. She's still mentally a singles skater
Sorry. I guess I was too busy admiring your artistry. Sarcasm
Alex.... Alex, no. Alex. Alex. Alex. What is the matter Fighting
with you? What's the matter with me? My hand was
right here. Yeah, that does me a lot of good, seeing as
my hands were here. Okay. Well, maybe next time
you'll get it right.
The two of you need to learn to stop competing with Change the attitude
each other...and getting in each other's way.
Yeah, well, if Moon Doggie over here learned to pay Rude
attention....
Right now I'm anticipating a broken nose...if we don't Hostility, agressiveness
tie down those elbows.
I feel like I need a shower, huh? Inappropriate sexual remark
Mom. Listen, he's just gonna drag me down
You get your hands off me right now. Get off of me. Discomfort
I'm suggesting we need some more ass-kicking. Reference to previous movie
Isn't that how you won all those medals? Alex shows respect to Jackie and FS
Yeah, well, I think my mom's afraid I might get hurt Jackie shows she values other people's/family's opinion
again.
I'll be curious to see what the judges think of that last Implying something else
move.Lock up when you're done...
...practicing.
Are you warm enough? You wanna go inside? Alex shows he cares about Jackie's well-being
All right. I'm sorry about what I said on the beach that Apologizing
night.
No, let me finish. It's not a big deal. Will you let me Apologizing, being interrupted, Jackie growing as a person
finish? I shouldn't have judged you...like that. I was
wrong, and I apologize.
No. No, I'm good. Don't get mad at me. You were a Not apologizing, calling her a bitch
complete bitch. It's part of my charm.
I just...needed to figure out what I wanted out of life. Alex growing as a person

111
Let's get out of here. Come on. Let's go Alex feeling adventurous
somewhere. Yeah, we'll have an adventure. Come on.
We could drive down to Boston or to the cape. I've
never seen the Atlantic Ocean before
I'll let you drive. Alex ready to give up control over where he's going
Our jumps are a disaster, our death spiral-- Interrupts her
Sorry, guess I misread the moment. Apologizing
I'm sorry. But every practice just means so much right Apologizing again, Jackie still determined
now.
No more apologies, please. You're right. You're 100 Alex getting upset, calling her out for being so focused on FS
percent right. I'm going to bed. Quick question. Have
you ever done one stupid, passionate...spontaneous
thing in your whole life? Yeah. That's kind of what I
thought.
lf you're that worried about him-- Interrupts him
What? No, I'm not.... Why would I be? I'm not his
keeper. His alarm probably didn't go off, that's all. It's
not like he drove off in the middle of the night...to see
Boston or the Atlantic Ocean, right?
Right.
But, you know, just to be sure.... You know how Mom
gets when we're late for practice.
I'll give you spontaneous. Surprise. Surprise. Jackie trying to prove him wrong
Oh, that's funny, because he never-- Alex trying to assert dominance, power and control,
interrupted
I can imagine. All that clothes-changing and smiling Jackie still judging other occupations
Oh, how carefree...and spontaneous of you. I guess Jackie referring to Alex's comments about herself, being
that-- That's what old friends do. You know, when sarcastic and caling them out in a metaphor
they're not playing Find the Soap. That was fun. We
should do it again. But you know what, we're already
late. So if you're not too tired....

112
Didn't ask. Don't care. Jackie rejecting friendship ad turning to business and
formality
You are such a dog. Referring to polygamy and bad behaviour, animal instincts

Oh, my God. That was unbelievable. That was the People from home done't take him seriously
funniest thing I have ever seen. I mean, you were good.
So good, really.
But, Alex... ...oh, my God, if anyone back home ever Apologizing, not understanding
saw you.... I'm sorry. I'm sorry. I'm sorry. But, Alex,
come on, you can't be serious.
This is a joke, right? No, it's not a joke. Maybe it started
out that way. I don't know.

This isn't your world. You spent your whole life making
fun of people like this.

I know. It's weird.

What's going on? Seriously.

What do you want me to say? I like it, okay? That's the

whole answer. I like working hard. I like challenging
myself. I like.... I like being part of something for a
change.
And the girl? Do you like the girl? Admits he likes Jackie and is still doing FS even though he
knowts it won't work with Jackie.
Yeah. Yeah, I like the girl. Okay. Think I'm gonna go. You
know it's never gonna work.

Yeah, I know.
I'm sorry about that. She tends to talk..before she even Apologizing in her name
thinks about what

113
She just do a triple? Jackie's effort pays off
Baby. Patronizing
Where's your cheering section? Referring to Heidi
What the hell are you looking at? Huh, Fabio? Rude, shows aggressiveness
You're standing right in front of it. Sorry. Apologizes for him
I'm getting pumped. How come no one's chanting? At Alex is out of home
the X Games, people always chant. I mean, come on.
Yeah, nice talk for a guy with a-- Gets aggressive, gets interrupted

You really have a police record? Talking about it like it's a cool thing
What do you think?
A long one?
Buddy, we don't want any trouble. Okay, buddy, this Patronizing
ain't your fight.
See, we spend our day putting our hands in places I'm Giving a different value to figure skating, a sexual value
guessing....you could only dream about.
Hey, nice job, by the way. Complimenting
I'm gonna say this once, just move it. Aggressive masculinity

But I can't figure out how..you get so much distance on

your throw. Now, I know you got the one hand
here...and the other hand here?

No. That's close. It's more like here.

Okay.

And then here.

Then you just let her fly.

That's my favourite part.

114
I don't know. The landing needs work. You can't expect
to get it perfect your first time.

Chanting, gotta love it Now he's feeling more comfortable

Morning, Pinata. Nicknames
Hey, Blade Boy
Your girl's on. Why not just say partner?
I.... I just know that I won't be happy until I have a Jackie using Alex for personal gain
medal around my neck.
Pinata, can you take a look? I think I got an ice skate Alex is hurt
wedged in my back.
I can't believe it. I've never seen anything like this Commentators have seen a triple jump before, but they are
before. referring to the fact that Alex is a newcomer to the sport.
Alex Harrison just did a triple.
but I'm guessing...he's just a little overenthusiastic. Or talented? Contradictory to the previous sentence because
this one makes it seem as if all you need to do for a triple is to
be enthusiastic
You might wanna try it. Alex challenging Jackie
Get up, baby. Get up. Patronizing
Never say I was the one who wouldn't follow through. Rude

He'll be back. No, he won't. I know him. Jackie doesn't think Alex has changed
We all say things to reporters, sweetie. Affection, patronizing
You always remind me of your mother. You know...no Difference in dads between two movies
amount of medals could ever make me love you more.
I know, Daddy. Affection, innovence

115
" Us"? I think you made it pretty clear there is no " us." Telling her to go away
Just go home, Jackie.
What the hell are you doing? Jackie, turn Alex worried about Jackie's safety
around. Jackie, turn around.
You really would, wouldn't you? Alex recognizes Jackie's determination
God, are you pigheaded. Stubborn
She and I just make sense. Following logic, not heart

We understand each other.

All I care about is if you can be on that ice tomorrow Jackie lying
morning.
That if I'm coming back...there's gonna be some Alex taking control
changes. More jumps, more flips and a lot less flailing.

Well, see if you can make it through aroutine without Burn

walking off the ice first.
And I agree with Alex. If we're going to do this, let's do Both determined to win
it right.
Oh, and one other thing: We're only doing triples Telling the coach what they are doing. Power move.
Excuse me? No. No. Definitely no. Nobody does side- Traditional
by-side triples in competition.

It's too risky. It's just not done.

Yeah. Sort of. It was a long flight. Jackie not 100% into it
-I said I was fine. There's nothing to be sorry about. Jackie says love isn't a priority.
Besides, we're gonna win. And that's all that matters
now, right?
I love you, Daddy. Innocence
Dorsey and Harrison have set the bar so high... They performed well
Figure-skating trash talk, I like it. Sounds like everyone's Alex at home again, they asserted dominance in the
gunning for us. Yeah, they are. And it's about damn competition
time.

116
I'm just used to being the gunner, that's all. Alex isn't used to winning?
Can I buy you guys a drink? No, thanks. After we've Jackie doesn't wanna drink, marks of acknowledgment
soaked up all the accolades...and been sufficiently
intimidating, I think we should get some sleep.
You go. I'm way too keyed up to sleep. I'll be good. All Alex is drinking, nervous, excited
right? Hey, couple shooters down here. Nationals.
Bring the bottle too, please. All right, everyone, to
nationals, huh? Drink up. Bottoms up. So cold but so
nice.
I came by to make sure he was up. I found him all-- He Jackie is inexperienced with hangovers
looks horrible. I don't know what we're going to do.

You are going to the rink and warm up. I will handle Dad in control
Alex. Just go. We'll be fine. We'll be right behind you.
Go.
Is your leg broken? I once skated in a playoff game with Dad reassuring, coaching Alex whislt showing of masculinity
two broken ribs.
Swell. When you die, I'll be sure to have your balls Symbol of masculinity
bronzed.
Man, it's really too bad, Alex, you know? Because you Dad calling Alex out, but still coaching
were so close. But kind of the story of your life, isn't it?
Know what you are? You're one of those guys that go
through life...bragging about what you're gonna do.
And you take off running the minute you think you're
actually gonna get it.
What are you--? Dad in control
Let's go. In you go.
It's cold. Turn it off.
All right, all right.
If you don't at least try, Alex, you're already a loser. So Could also translate to love
you tell me. To win, you have to be willing to fail

117
Why do I feel like I spend my whole life waiting for him? Jackie could be alluding that Alex is her Prince Charming
whom princesses wait for their whole life until they get a
happy ending
It's just that sometimes I think you forget. I just don't
wanna see you get your heart broken. Jackie.
Well, you gotta look the other way...because it's Jackie is devastated
already busted wide open.
Your dad knew just what to do. Let's go warm up. Acknowledges Dad and his methods and philosophy
Yeah, as far as Olympic villages go, it's pretty adorable. Jackie sarcastic

Well, you managed to miss nationals. Jackie resents Heidi

We thought that way we'd definitely have something Alex isn't 100% confident they'll win
to celebrate.
Really, there's more? Please do tell me...because I am Jackie is hurt and sarcastic
sitting on the edge of my seat.
You're quitting. Jackie didn't even think of retirement
We're here. So, what, we do another season, some ice Alex pointing out their plan is to be finished and he has other
shows? Come on, then what, you know? aspirations in life
I don't know. I guess I really hadn't thought too much Jackie doesn't have other aspirations in life right now
past next week.
Now, technically, they've made no mistakes so far. But Reflecting Jackie and Alex's relationship, aka their
surprisingly, the performance by this American communication
duo...has been passionless and very uninspired.
What the hell is your problem? Rude, aggressive
Hey. Hey, don't walk away from me...when I'm talking Jackie walking away while Alex is talking. Alex assuming
to you. Hey. power.
That's easy for you to say. You're not the one being Jackie admits she's become attracted to Alex.
abandoned.
Abandoning you? Jackie, we're at the freaking Alex sticking to the plan, trying to present logic and reason
Olympics, your dream. What the hell else do you want
from me?
Nothing. I want absolutely nothing. Lies

118
On and off. Okay, more off than on. I guess I'm just a Shows she remembers Alex's words
little anxious. And puffy.
You've worked your whole life to be here. You sacrificed Dad reminding her
everything.
Yes, I know. I know. And I couldn't have stopped you Jackie was very determined, until yesterday.
even if I wanted to. Then I saw you skate
yesterday. You weren't even trying.
you willing to give up on your dream...because things Dad sums up the movie
aren't working out with Alex...the way you want them
to work out? You could win this, if you still want it.
I don't know what I want. Jackie losing her identity
I think you do. And for the life of me, I can't figure out Dad coaching love
why you're just sitting here. Talk to him, for crying out
loud.
But what if I tell him and he still doesn't want me? Jackie uncharacteristically afraid to fail
Well, then you sit here and watch the sunrise. Your old Unlike previous movie, this Dad supports daughter
man will bring coffee and croissants.
Alex, it's me. I know you're in there. I probably Admission of love. Olympics no longer important? Jackie
wouldn't let me in either after yesterday. Look, I frustrated. Jackie emotionally naked.
know I'm gonna see you in less than an hour...but I
know that it might be the last time, so.... I think that l-
- I should tell you some things. Just one thing, really.
The only thing that matters anymore.... to me, at
least.... Alex, from the very first.... God, you are so....
Alex, I love you. I love you. There, that's-- You know,
that's what I wanted to say, okay? Could you maybe
open the door, please…because I don't really wanna be
out here like this. Alex?
Yeah, that's probably a good idea. Look, I'm sorry. Alex apologizes
Yeah, so am I. You know it's never gonna work.
I think you're wrong. Alex changed his mind

119
Let's get through this, then we'll never have...to see Jackie thinks he doesn't reciprocate feelings, commanding
each other ever again.
Fine, have it your way. There's only one problem. Oh, Alex admits love even though he didn't hear her speech.
yeah? What's that? I'm in love with you, Jackie. I love
you and I wanna spend the rest of my life with you.
Beers on me. Beers on me. Alex's friend is watching FS
Yes. The answer to everything is yes. Yes. Jackie is ready for love and other life-changing stuff

120
Movie 3 Codebook

Text Code
Really? Now, that's a big surprise. Sarcasm
Second. I hate second. Unhappy with not being the winner.
Well, I hate second, too. They don't win often.
But come nationals,we're gonna be right More open to losing, has plans for the future
there, you know?
Oh, my God! My ass is sagging. Look! Commenting on physical appearance
Looks good to me. Commenting on physical appearance
I believe this just about sums things up, kids. Sees himself as more grown up (than them), patronizing

If we execute, we win. Ready with a plan

Not with the routine we're skating. Complains
Here we go again. "They're tired, they're old, Annoyed
they're boring. "
That's because he's busy trying to get in your Zack sees through coach
pants.
Maybe, but it pays the bills. Things about benefits, practical
When did it become all about the money? Nostalgic, unsatisfied
We used to be a team. A great team. Always
a team.I'm so sick of this. I want to get back
to how it used to be.
Zack, I'm not ready! Zack! No! Warning him
No, I want Hickman waiting for us at the Taking care of the problem
hospitaI when we get there. Can we get a bit
of privacy here? Please.
What'd they say? Curious, possibly worried
They think it's a fractured ankle. So that's Thinks about sport first
two months in a cast, and...A few more in
rehab.So there goes nationals.

121
No, it was me. I was stupid, and out of Blames herself
position.I should've stopped, but I just froze.

I was going too fast. I was... I was pushing Blames himself, caring about Celeste
you too hard.
Well, he's not a singles skater. Pointing out the obvious
He's a dangerous skater, Celeste. He's Seems irresponsible. Sees bad in him. Blames Zack.
always pushing it. It's a miracle something
like this didn't happen sooner. Thank God it
wasn't any worse.
No, he's not dangerous. He's brilliant. Defends Zack, sees good in him.
But you got a fractured ankle, and I can't Sounds like Zack is bad company, unwanted.
find anyone else willing to partner up with
him.
Trust me, Celeste.I made the calls. Come on. Reassuring Celeste, taking care of her.
Let's get you to that doctor's appointment.

Hey! You son of a bitch! Are you blind? Rude, swearing

I swear... What? That's all you got to say, Aggressive
man? Tell you what, there, cara de queso.
Since you're not too strong on apologies,I
say we put it on the ice.Then we'll see who's
really sorry, huh? Let's go. Let's do it. Come
on.
What's wrong with you? Hey, get... Get off Swearing, yelling
me! Idiota!
Okay, what the hell's that supposed to Insulted. Caring about Zack.
mean? Please forgive me, Zack, for trying to
further your career.
It's the only thing that makes sense. Being voice of reason
Oh, no. Not the bad-assed Russian bimbo. Rude, derogatory.

122
Misha is the only one not afraid to skate Misha is caring.
with you, Zack. She called when she heard
about what happened with Celeste. It
appears as though she wants to leave Rudy. I
contacted her people, and it can be worked
out.
No. She's a misanthropic man-eater who Fear of castration.
neutered poor Rudy, and I am in no way
volunteering to take his place. There. Look.
You see what she's saying? "You slip up
again, you SOB,and so help me... " Well,
that's because she's learned to talk through
clenched teeth, so she...
Enough. Bryan is setting up a meeting. And Decisive, commanding.
you will skate with her, and we will make the
decision as a team.
Oh, here. Let me get that for you. Here you family
go. You can't carry one at a time, hey?
Well, not if we're gonna keep them happy.
This place gets any busier, you and Pop are
gonna have to get back to work, you know,
and manufacture some new help.
Don't even think of such things. Go back to
study now. You've got a class tonight.
Go back to study now. You've got a class Caring, bad English, he goes to school
tonight.
Well, chiquititas like you should never eat Rude, possibly sexist. Implying Alex is 'spicy', protective.
menudo. In fact,they should stay away from
any of the duskier flavors, if you know what I
mean.
This isn't exactly the first taco stand I've Determined, creepy
been to today.

123
Good. Then lunch is officially over. Wants to get rid of him.
Look, I just want to know if that girI on your Looking for Alex D. Creepy.
team will skate with me, professionally, as a
tryout. It's what I do.
I know what you do, and I know what you Tries to get rid of him, resentful
are. I watched your grandfather develop the
Conroy Center. Amazing how a nice little
neighborhood had to disappear so you could
have that fancy ice rink all to yourself, right?
All right. Okay, listen. You want to ask Alex Gives Alex power to speak on her own terms
something, ask her yourself.
You're wasting your time. I don't go for guys "soft guys"
in leotards.
All you saw was my dust, baby. Not a great Patronizing, power move
selling point for you.
-Well, that's what coaches are for. Come on. Persuading her
You got nothing to lose.
Oh, really? 'Cause I have nothing better to Challenging Zack's mindset that she has things to do,
do than to make a fooI of myself in front of doesn't take him seriously
you and your friends.
I have to get back to work. Shows she's a dedicated worker
Hey. Think about it. You could call me, or Telling her what she can do, not him.
show up at the rink at 3:00. Yeah.
Not untiI after Paris? Well, that has to suck. Shows compassion to opponent
I have exactly one hour, Bryan. She's a busy woman
Would you be on time for your own Still holds belief she's a castrator
execution?
Darling boy. She's nice to him
Misha. Great to see you, and glamorous as Wants to be seen as a nice guy, possibly lying.
ever.
Not dead. Yet. Confirms castration assumption. She's aware.

124
That son of a bitch! I am going back to Temperamental, impulsive, angry
Moscow.
I'm so sorry. Are you all right? He's not sorry, manipulative.
Like you really care. Still aware
Well, that went well. Very clever. Very Sarcasm
neatly done.
For what? For you to grow up? Coach sees Zack as a child.
Hola. Dropped your phone. Thanks for Kind, well mannered
letting me use your skates.
Why didn't you just say so? Okay. Likes directness
Okay, so she's been watching some skating, Referring more to his gains than her skills
and yes, Zack, she's an athlete. But she
hasn't shown me anything I couldn't get out
of a fourth-grade prospect.
You... Are you comfortable? Shows he cares about her (comfort)
Sure, your coach made me feeI so at home, Sarcasm
it's like we're family.
We'll work from strokes into crossovers, Respectful accepting her tempo
and...
When you're okay with it, we'll throw in
some jumps
Are we good? Caring
That all you got? Challenges him
That girI hasn't worn figure skates since she Facts, Defending her
was 10 years old. You saw what she did in
less than half an hour.
Look, we gave her a shot Coach allowed it, she didn't earn it
Come on, help me in my car. Asking for help
You feeling okay, hijita? Innocent phrasing
You don't have to play, ama. Don't pretend you don't know
I have no place there. Realistic? Logical? Harsher words than coach's

125
He's still talking about skating with me and Zack still sees potential
going to the nationals and to Paris.
But he's a famous skater, and if he wants to Zack has earned authority
skate with you, then that means something,
no?
This is what you always wanted. Follow your dreams
Let me show you something. These were the Nostalgic story
most important things in your life once. You
slept with them. You even wanted to wear
them to schooI.
But when we could no longer afford the Impulsive
lessons, you threw them to the garbage.
It's okay to be afraid, mi amor. But don't let Affectionate, encouraging
the fear keep you from doing what you were
meant to do.
-It hurts too much, mami...To want Sensitive, emotional, sad
something like that and lose it. You don't
know how many times I cried myself to
sleep.
I know you cried. Because I stood outside Emotional too, ready for sacrifices
your door and listened.

And I cried, too. This passion you have is so

much a part of your spirit. Had I known, I
would have given my life not to have taken it
from you.
Okay, mami. Childish language
Okay, I'm going to put my hands down to Patient, considerate
your stomach. Down here.
I'm not. When Zack comes to his senses and Implying he's delusional or childish
finds a reaI partner, we'll talk.
Trust me, I'm in a kinesiology program She's a student, smart

126
Thought I might like to work with some big, What is "bad"?
bad pro athletes one day. I wouldn't call
dressing up like Ken and Barbie "bad. "
Yeah? Like me? Sees himself as a (big, bad) pro athlete
I hope they don't think I'm your girlfriend. Hopes others don't make relationship assumptions
What do I say? New experience
Doesn't matter, as long as you smile. It doesn't matter what she says, just be pretty
I'm not his girlfriend. Couldn't focus on the question, only thinks about
romance, head in clouds?
Yeah, but you know, she looks pretty good. dangerous, strong, predator, compares Alex to meat, an
My prized ice shark has found himself a animal
new piece of meat.
Not a particularly choice cut, if you ask me. Could've been better
Hey, that's my sister you're talking about. Protective
Whoa, whoa! Whoa! Come again? Is this Aggressive
where we do the macho? Yeah, sure, how
about if I lead, huh?
Oh, I see. Is this where you protect your Implies love interest between Zack and Alex
future brother-in-law?
Let go of me! Commanding
We're through. Impulsive
I told you this was going to be a disaster, but Knows she's a risky partner
you never listen to me. So, you want to
throw your career away, you do it.
But do it without me. Doesn't want to be a part of it
That's why you'll never put it all on the line, Zack will never risk a lot
Zack.
Come on, Celeste. I'll take you home. Get Commanding
the camera out of my face.
So, did you get the twin turbos with the 18" Zack went shopping and they talked about it
wheels?
Me, too. Beep, beep! Alex D. being silly

127
By the way, my brother said to tell you Brother admits mistake, although not directly
thanks for breaking things up the other day.
He's really sorry for how things turned out.
No, that's all right. Bryan was asking for it. It Bryan misbehaved before, Zack justifies the fight, supports
was long overdue. it
Looking for a gold medaI. To go all the way, to win, or for the best coac for the best
performance that gives gold
Sabrina, no, no, no. Honey. No, no, no, no. Caring, gentle
Don't pull AbigaiI down when you're gonna
fall down. That makes both of you fall down.
And Zack Conroy finally sees he can't live flatters herself, confident
without me.
Jack, you don't want to be teaching kids to Values his career more than hers
do T-stops for the rest of your life, do you?
As a matter of fact I do. After my marriage Career and love life fell apart
and the injuries, these kids saved my life.
No, and I was prepared to turn you down Easily changed her mind
flat, but seeing you here, and her...
It's not about being great anymore, Zack. Logical, reasonable
You have to be perfect. And what? I mean,
what are you guys going to do for a routine?
Nationals are in, like, ten minutes.
I actually know all the routines from the last Dedicated to sport
three Olympics. I memorized them all.
You guys have to work seven days a week, they'll spend a lot of time together
and long hours, if you have any chance of
getting on the ice in Miami.
I want you breathing, eating, everything but Love is an obstacle on the path for gold
sleeping together, from now untiI nationals.
That's what my mom and my dad had to do.
And let me emphasize the "not sleeping
together" part.

128
Well, Zack's more than welcome to move Someone else will take care of/for her
into the restaurant and don't worry. My
brother will make sure he doesn't do any
sleeping.
It's a hockey thing. Come on. Inviting them to her world, becoming comfortable
You live here? Excited to explore what she hasn't had in her life yet
(luxury)
Yeah, do you want to come in?

Yeah!
I share a closet with my brother, and this She is poor, can't afford much. Doesn't take him seriously
kid's got five bathrooms
My grandfather. He and I are all that's left Zack has also suffered through life
since I lost my parents.
Most of my childhood revolves around He couldn't make a lot of committed relationships
places, not people, anyway. You know, big
houses, city apartments, hotels and
uniformed help.
About 15 miles. He flies in and out in his Weak relationship, grandpa is rich
chopper. I wave as he passes.
Is she okay with what we're doing? You Alex D. is concerned about others
know that's hype about us being a couple.
But that's just coming from a spoiled rich Doesn't have high self-value, projects how others see his
kid, so what do I know? identity
Zack! I'm warning you... Warning him
No! No! It's cold! Jumping into new areas ins't alwas pleasant
Should have warned me about the water. wants warning.
What are you doing here? I thought you knows her well
were seeing the doctor.
I figured since I got all this time, I might get Refers to Alex D.'s car
this out of the way. Nice car, by the way.
You're such a snob. Defends Alex, criticizes Celeste

129
Can you give me a hand with this? Asks for help
You could have shown him a little more Celeste respects Bryan more than Zack does
respect, Zack.
He doesn't want respect. He wants controI. Zack thinks he figured out Bryan, voices his opinion
Be carefuI. Don't let this girI fall in love with Warns Zack
you.
She knows what I am Rich, spoiled kid? what, instead of who
You're handsome, talented and rich. And High opinion of Zack, tells him what he is
you're a nice guy, which only makes it
worse. Trust me. She won't be able to stop
herself, and she won't know how to handle
it.
But don't let her get attached. I know what She can't control herself, knowledgable, advises him.
I'm talking about, Zack. Keep it business. Everyone would fall for Zack given the chance
Hey, Zack, you want some? My mom made Polite, family love
it.
Hey, I do something to piss you off? Look, I Sensitive, cares about Zack's relationship with her
know we're working hard, but you barely
looked at me all day.
No, we're cooI. Cold
We don't want you sleeping on the couch, Family welcoming Zack but he doesn't realize it
so... Mama set up a bed for you in the
kitchen. There's a bathroom around back,
and if you need a...
Five, six, seven, eight. Working hard
How about just take the rest of your life? Unfair. if they takes a break then they won't make it
Hey! Listen, I promised to skate for you, Commanding, hard-working
which I will keep doing untiI there is nothing
left.
And then... No. And then, I will get up and Commanding, commited
skate some more. I will never quit, and
neither will you.

130
Hey. What'd you say to her? Protective
No, no, don't give me that. Alex is the
toughest kid I know. No. Not okay.
And now she's upstairs, crying her eyes out. Sensitive, emotional

You know what. That I don't fit. That I'm not Insecure
good enough. That you're wasting your time.
You don't look at me. You don't talk to me.
What? I'm a disease?
Alex, you're unbelievable. PhenomenaI. And Cautious, as if she'll instantly fall in love so he must
you're pretty, and smart, and more remove himself
determined than anyone I've ever known. I
just... I didn't want to give you the wrong
idea, that I was... You know, trying to come
on or take advantage. I'm just trying to be
carefuI, because I don't want to hurt you.
Don't worry. I don't break so easily. Tough. finally gets a voice on the issue
That's quite a mouthful. And quite an eyeful, Factor of ethnicity
or so we're told.
Is that Delgado as in the Tijuana Delgados? Ethnic element
Cameras. Adjust your behaviour
No hard feelings, Zack. Now that we've both Doesn't believe they can beat them, childish name
moved on, I'll just have to console myself
with these two future world champs.

Beat you? I don't think that's gonna be too

much of a problem there, Zacko, seeing how
you're so good at crippling your own
partners.
I just wanted to wish you both the best. Wishes them well, polite
Skate well.
Well, just keep breathing. You'll be great. Supportive

131
Go for gold. Do your best, advising, reassuring
Fall. Fall. Rude
I mean, this is Alexandra, an amateur Alex D.'s introductory description
hockey player, who has to be the absolute
longest of long shots.
It's nothing. We have to finish. Determined, dedicated
-It's nothing, honest. Come on. Curageous
You okay? You're sure? caring
I'm okay. Yeah, I'm fine. brave
If you're feeling bad, tell me. caring
Yeah, I'm okay. Zack, I'm fine. being strong
Okay. Are you sure you're all right?

Yeah, yeah, yeah. I'm good. I'm okay. I'm

fine.
Well, go on, then. Wave. Spportive of ther athletes
What? We didn't make it? New to the situation, confused
I'm sorry. I let us down. I got too close, and... blaming herself (more hashly than Zack does)
God, stupid, 'cause I was...
No. No, no, no. You were perfect. I lost it. blames himself, but doesn't apologize
Top of the world, guys! Top of the world! celebrating
One question at a time, please. And, yes, we pursuer, creepy
are engaged, which I'm relieved to say only
took two years of begging.
But enough about me. You should be takes attention away from himself
focusing on the gold medaI champs over
here.
Hey, Zacko! childish
My hair's getting a little long. Can I get a insulting, joking
trim?
Zack? Zack? Zack! Zack, we're going to Paris. excited

132
No. Listen, I know I've been giving you a hard accepts Zack
time about Alex, but that's over, man. You're
solid.
Listen, Bobby, that cut was my fault. I lost cares about Alex, feels bad
my concentration. That's an unforgivable
mistake. I could've really hurt her.
Yeah, but you didn't. And you were there for reassures him
her. I saw how you took care of her. That's
good stuff, man.
You think that untiI something happens, and Sentimental, feeling fuilty
then... All you can think about is getting back
on this ice. I'm sorry you had to find out
about Bryan and me the way you did. I
wanted to tell you before your program, it's
just there was so much going on, and I didn't
know if I should do it.
No, you know... You never have to explain cares about her and trusts her
yourself to me. Just tell me you're sure
about this.
But, you know, it's not something I wanted can't deal with losing something, someone
to think about.
You guys nearly pulled off a miracle in dealistic (but polite
Miami, but you crashed. Alex, to win in Paris,
you have to be flawless. And given your time
together, I'm sorry, but it's virtually
impossible. Or you two could do a move that
no one else can do. And you could steaI the
gold.
It's too risky. afraid

133
Come on, Zack. You managed to make an Jackie reads right through him, scolds him
amazing skater out of Alex. And you're going
to Paris. Why are you so worried about it
being too dangerous? Oh, so you fell for her.
At least have the guts to finish what you
started.
Put this on. I don't wanna explain to your cares about her but phrases it as if it's about him
mom how I brought you home with your
head facing backwards.
Uh-huh. You know, you're never gonna
convince me that your whole skater-playboy
life is all bad.
And, yeah, you lost a lot as a kid, and that very casually talking about him losing his arents, comforts
sucks, but... We all get a little lonely, no him
matter how much company we have. It's all
part of the life deaI.
Look, you don't have to answer, okay? But asks about Celeste for like the 3rd time
what about Celeste? When she's skating
again?
You know, when we first started out, I was admits true feelins
afraid you were gonna mess with me. And
now I'm afraid you won't.
Oops! Okay. Awkward moment.
America's Sweethearts, everybody. first time recognized as a couple by anyone
America's Sweethearts.
Zack, what's going on? needs explanation
You son of a bitch! angry, temperamental, impulsive
Zack! Zack! Come on, Zack. Let's go. wants to get Zack out of the situation
Shut the camera off. Shut the camera off! aggressive
Zack. I really shouldn't be telling you this, helpful friend
but you look so pathetic sitting here all

134
night. I know something maybe you should
know

Will she at least talk to me? only thinking about Alex

Go to the arena, make sure that we are still man with the plan
on the program. If anyone asks you, we'll be
there.
Don't even try, man. I warned you. protective
You know what? You're right. I'm a jerk. I'm Again, as if Alex D. has to have a guardian
not trustworthy. You never should've let me
near her.
What about the bimbo in this room, huh? referring to Misha
Give Alex this note, make sure she reads it, commanding politely
please! I'll be waiting at the rink.
There's something you should hear. It's not owns the situation/info
gonna be pleasant.
It's okay. You can tell her reassures her
Zack wants me to tell you about those honest, direct
photographs. How I know that they come
from Bryan. He was having you followed.
He told me. In bed. She slept with him
You know, Bryan and me, we're old friends. excuses
You know how that is sometimes.
You gonna be okay? caring
You forget who you're talking to. I've been confident
practicing landing on my feet all my life.
You know, Zack, you should tell Alex. Just advises him
like you told me.
No! Take me to the airport! commanding

135
Alexandra, you're a very determined person, life lesson
and that will help you accomplish a lot of
things. But to throw away the greatest
opportunity of your life because you're
stubborn? That... That accomplishes
nothing.
Don't start that with me. doesn't believe him
When I saw you walk out of my life honest, sensitive, emotional, exposes himself
yesterday, that hurt worse than anything
I've ever felt. I want you, Alex, in my life.
Hey, you guys are both athletes, right? puts them back on track
Which means you can walk and talk at the
same time. Come on, let's go.
Sweetheart, you're late, baby. childish, patronizing, affectionate, spoken with power
I don't care about that. First, I wanna be only cares about romance
sure that you heard what I said outside.
You know that's not fair. It's too much. avoids answering the real question, feels in a spotlight
Let me try to make this simple. I love you, instead of listening to her, he simplifies it strongly
Alex. I love you. And I'm still waiting on you
to answer the first question I ever asked
you. Will you skate with me?
We're gonna do it. battle for power

Do what?

You know. The move.

The Pamchenko? No.

Yes.
No. You could get hurt. cares about her

136
I didn't come all this way to punk out. still determined
Remember how I said I didn't break so
easily? I wasn't kidding.
The answer is yes, I'll skate with you, always. admits love for him

137
Movie 4 Codebook
Text Code
Uh oh accident. You good? Caring
Is this the lovely but elusive Alex Delagdo? He's unsatisfied with their communication but still likes
her

Uh, that guy is such a tool. Criticizes him

Check it out anyways. Self-promotion
So how are you? I don’t want to keep you too long, Caring
I just wanna say that I hope I’d see you at nationals

Maybe we can find some time for that 3rd date Eager to see her, likes her
we’ve been talking about.
Okay, we’ll see. Unsure

Just think about it. And turn channel 16. Give it a go. Persuasive

James bad boy McKinsey. Cool deviant

The king of short track speed skating has worked Holds high status
hard to make sure you know who he is.
is face is everywhere and his antics legendary famous, misbehaves
McKinsey managed with one punch to end his impulsive, aggressive, talented
professional career and what surely would have
been a gold medal at the championship
The guy is an ass. And he’s not a very good skater. rude, low opinion
Philip, you gotta get your facts (straight). commanding
In the sport when an average athlete peaks at... reasonable, logical
25...
Do I look like your average man? challenges him, confident
That can’t feel good. assumes his feelings
I feel great. I’m the best athlete in the world. I’ve bragging, self-assuring
got more money than I know what to do with, I got
more sponsors than any other athlete.
I mean, the real question is why you believe attacks him
everything you read?
James you’re a speed skater. You can’t speed skate. Abrupt, direct

Maybe I’ll just get myself a fancy gig asking people mocks him
probing questions.
No nonono, I’m serious America. I’m gonna take this believes every american eye is watching him
guy’s job.
Okay well I just felt like I had a body cavity search. honest, feeling exposed

138
 That is why you’re my star client
Let’s go over the schedule for the day, alright? James is a busy, wanted man

You got 2 meetings back to back, both potential he's popular

sponsors then after that you’ve got an autographs
session at the mall. Come back for an interview and
then you have a commercial this evening to close up
the day.
Am I ever not ready? cocky
Still am! I’m the... best skater in the world. in denial, clinging to the past

They still have your application on file. It looks like interested in her life, sees potential
your, your college credits could transfer.
Oh mom, I really need to school you in the art of avoiding the topic
small talk. You know, it usually starts with
something like uhm, how are you or how was your
day or...
I just want to make sure you’re thinking about your cares about her
future. What do you wanna do next?
I hate to see you sitting your life out. It seems like doesn't think she's happy, thinks she's wasting her life,
you’re trying to play it safe. Your work life, and your worried
love life.
Okay and what do you want me to do, huh? You challenges her, rude
want me to go out and get another boyfriend?
Cause if you’ve noticed relationships aren’t exactly
my strength mom.
I want you to be happy Alex. cares about her
I am happy mom. I’m about to eat something hot appreciates the small things in life, loves family
and delicious and it didn’t come out of a vending
machine. Just don’t worry about me. I’m happy.
Really. I’ve got my family. What more could a girl
ask for.
My name is Mr. Wan and I have a matter of formal
business to discuss with you.
I’m sorry but I can’t take on another student right self-centered
now.
It’s not so much as to who your partner will be, as he knows she wouldn't agree if he had said it's James
to who your coach will be.

Now, you won gold before, Miss Delgado, and you believes in her
can do it again.
That will please him greatly. his happiness is important

139
Zheng has brought 3 couples to the world his time is valuable, holds power and prestige
championships and each time they’ve won gold.
Can you maybe think about it for 2 minutes? Cause
Mister Zheng is here. Now.
James McKinsey? Yeah, there’s no way. recognizable immediately
I don’t wanna be part of some publicity stunt, okay? sees it as something different than what the assistant
coach was talking about. it goes along with James's
reputation

This isn’t publicity thing. This is Mister Zheng. he brings in the serious note, no messing around

He says that you weren’t always a figure skater powerful figure can't communicate with his athletes

And many people said you couldn’t do it. But you reassures her
did.
The same with James. demonstrates what they have in common

So.. Can you show me what you’ve got? play of power

No, I’m here to audition you.

Grab your skates, get on the ice commanding
Jumpy spinny things. unfamiliar with FS language, out of water

Is there a problem? they said you could skate. He doesn't say she can skate though. unfamiliar with
her performance.

And they say you’re a publicity seeking Alex's perception of him

endorsement whore with anger management
issues.
Look I don’t know who you think you are, but takes her control/power back
nobody bosses me around. Especially the spokes
person for ambition deodorant.
Okay. We’ve got on the wrong foot here. We’ve ready to correct the wrong
gotta start over. I’m James McKinsey.

140
Alex Delgado. she too, accepts new beginning with open mind

Beautiful hair, Alex. comments on physical appearance and expresses his

view

You should go blonde now, you’d be way hotter.

Sorry but there’s not way I’m doing this. quits on second chance, also apologizes

Okay, I’m gonna close the door now. Go back to bed politely tells him goodbye
and I hope you’re too drunk to remember my
address.
Hey, sweetheart. patronizing
Okay, you’re a speed skater, alright. Figure skating factual, patient
and speed skating are two completely different
things. Alright.
Yes, okay, but, sweetheart. I’m the iceman. I can patronizing, very confident
do anything on the ice.
Wow, you are really cocky. observant, calls him out
I know you still got the fire that... believes she's still passionate about the sport

In tight little belly of yours. comments on physical appearance

I know it, you know it tells her what she knows

You skate with me, we go to Montreal, we will win NOT I skate with YOU, even though she's the mor
the gold, it’s gonna be great. eexperienced athlete

Hahah, I’ve already got a gold. confident

I know. Sweety, listen. Anyone can have a lucky patronizing, challenges her, rude
night.
Why me? Hmm well now there are plenty of skaters looking for solid answers, demanding answers
that’d work with you so why are you knocking on
my door in the middle of the night?
I’ve got this. Well, uhm, Zheng says you’re good. believes the coach, unfamiliar with her

Hey, hey, sweetheart? patronizing

141
Don’t call me sweetheart! patronizing
Baby.
I’m listening. open for discussion, persuasion

Yeah I’m not like that anymore. she believes she's changed

Yeah you are. You’re just a little bit scared. tells her how/what she is
Excuse me? offended
eah, no, you’re scared that the only reason you won he claims she's insecure in her talent
the gold in the first place was because of Zach
Conroy.
Well, I mean at that point there is no doubt there is believes she can prove she is talented
real talent, is there.
Oh come on, just skate with me. Give it a shot. persuasive
Girl can’t back down from a challenge. says what she's like
Hey! What, are we gonna skate or watch the ice sassy
melt?
One more time please. polite
You’re fast. You don’t know crap about figure curses, direct, straightforward, honest
skating.
Looks like you tripping over your big feet. comments on physical appearance

You know, we could stop if you’re tired. challenging each other

I’m just getting warmed up.
You both stink! Get to work rude, sharp
I forgot to learn to keep my big mouths shut. she's saying she often talks before she thinks

Yeah? You gotta get over here. Party. commanding him

Buenos dias. Nationals are in 5 weeks. Let’s go. commanding him, waking him up

I’ve gotta teach my class now. Don’t mind the big She's gotta work
scary man, he’ll be leaving soon.
Seriously, you can’t stay here. Okay, seriously, get trying to persuade him to leave, he's disobeying
out of here. Shoo, I gotta go. No.
No? No what?
I’m gonna stay and help.
No I don’t need your help.
This is gonna be fun.
James. Okay seriously James this isn’t a good idea,
you gotta go.

Oh come on, lets show some team spirit. Ladies,

come with me.

142
Get out of here. Byeee.

Yeah, that’s what you call fun, Delgado. Something implies she doesn't have fun, invites her out
of what we could do more tonight.
Buzzkill. I mean, hoochies, who says that? What are implies she's no fun, mocks her
you time warped from 95?
I like skanks, I like hoochies, I like... Everything, I recognition of his acative sexuality
know.
No. I came up the old fashion way. Poor. she had to play pool because she was poor because...

So, uh, how did a poor girl like you end up with a Zack is perfection?
rich talking ken doll like Zack Conroy?
That’s fine, you can pass up the details, but I need respects boundaries
to know who broke up with who.
So uh, obviously for our purposes I would prefer if thinks of own prospects
you were dumped.
Why didn’t you just go out and get a new partner? Alex hasn't had a new partner since

It’s two little ice dancers straight form heaven. disrespectful to the sport, James is now less of a man
James, I hardly recognize you. Where’s your spangly
outfit with the unicorn bedazzled on the back?

I think I left it on the foot of your mother’s bed openly talks about sex
when I was spanking her good night.
Congratulations Mr Smart Career Move. Takes a sarcasm
real man to wear a dress to work.
I don’t take advice of a guy who’s made a career of asserts his dominance
finishing second.
Are you actually working with this loser? rude
Consider yourself warned: he’ll turn on you in a warns Alex
second. James is only up for himself. He doesn’t
know how to be on a team.

143
Well those days are over, aren’t they? Cause you’ll he's a big boy now that James left him space
never be skating with the big boys again.
Come on, aren’t you gonna take a swing at me now challenging him, aggressiveness
that cameras arent rolling?
I still can’t believe you punched him in the face. impressed she took control
That was awesome.
Well that fool was dumping on my partner and I shows loyalty
can’t have that. Partners stick together.
It’s like babysitting without getting paid. James is childish, she's the adult

I’m actually really starting to think that there could ssed, she's hopeful
be something.
Maybe you should give him another chance. trying to persuade her
Sometimes you don’t know who’s a good match
until you get to know them.
I don’t even have time to date. I mean with James dating isn't important to her
and me skating, nationals coming up, rehearsals,
warm up. I’m just busy mom, no tengo tiempo.
James? Uh please, that guy probably makes out James is narcissistic
with his own bobble head.
Ma, he is like a big piece of meat that talks like an animal? James doesn't seem to have a lot of
qualities

Stop reading into everything I say. uncomfortable

Coach. What are you doing here? curious
Oh more like he ran into my partner’s fist. sees Alex as his partner
I’m not apologizing to that sack. low opinion of Angus
He just wants one press conference. You don’t have persuasive
to mean it.
Never gonna happen. Coach, Save your breath. determined
Save it.
So what, I have to save you again? James needs saving from someone

Alright, but if I stick my neck out with you, I have to gives him ultimatum
make sure that you’re done with all this crap.
Oh come on, your sponsors will drop you just like FS seens as this, not a sport. James isn't considered
that. Trust me, it’s just a matter of time. Nobody seriously in this sport
wants to buy a deodorant from a guy in sequins. I
mean, this is a great publicity stunt. It’s great. Okay,
but as a career move, come on. How long before
your punch line will choke?

Never gonna happen. Because I’m the best skater in cocky, confident
the world.

144
You were. reminds him
First rule of figure skating. Protect the girl. teaching him

It’s your job, your only job.

Alex’s life is in your hands out there. If she can’t

trust you, you might as well quit right now.

Tell him I’ll protect the girl. Alright. Do it again.

Yeah, whatever, I’ve done this before. cocky, confident

This sucks. wants alternative music

This music sucks. Can we get something we a beat
please?
Well it sucks. not afraid to voice his opinion

Costume fitting. Now please. politely commanding

You look good. compliments his physical appearance

There is no way in hell I’m wearing this. upset

You don’t get to pick everything without consulting taking back control/power
me. I’ve got an image to protect.
Screw you, screw this whole thing. upset

No, screw you!

Thank you for coming as Zheng requested. Sit polite
please.
I’m not practicing until he apologizes for going off demands respect
like that.
Give me a break. uncomfortable, wants to be elsewhere

I like your half-assed work ethic. disobeying, insulting, sarcasm

Time to cut the posturing. Zheng wants you to share wants work done he is asking for
something about yourselves.
I’m sorry, but I don’t go for group therapy.
This is stupid. Wanna translate that for me? challenges him, disrespects coach

I miss a lot of things about my old partner. He was qualities Alex appreciates in her partners
very professional, punctual, well groomed and he
was thoughtful.

145
Sounds like a chick. insulting
He’d get me a rose before a competition or he’d enforcing stereotypes
planned something special. Give me an excuse to
dress up like a girl.
Because this ice is freezing my butt. complains
I don’t miss anything about him. He was a loser. low opinion of his father
How can you say that about your own father? shocked at disrespecting family

Well you shut it. You don’t know anything about commands Alex
him.
Zheng says you and your mother were homeless for introduces details ahbout James's hardships in life
many years. That you lived in your van. That
must’ve been very hard.
Okay, this is beyond stupid. You can quit if you uncomfortable, unwilling to participate
wanna quit, I’m not doing this.
His father died and his mother was so poor she and empathy
James lived out of a van? Alex can you imagine how
hard he has worked to be where he is?

Doesn’t excuse him for being a jerk. low opinon of James, doesn't allow for bad behaviour

Uh, this world could be a hard place if you are Alex has always had her family
lonely.
Maybe he’s always looking out for himself because finding reasons to justify his behaviour
no one else was.
If he’s your partner, you gotta treat him like a life lesson
partner.
Okay, Alex. Okay. And she’s a banana. Alex was a Coach wants to protect Alex by talking to James?
banana, now’s she’s a smush banana. Alex is... Alex
is a smushed banana. Don’t smush Alex’s banana.
Don’t smush Alex’s banana. Don’t smush her
banana.
Sorry about being a jerk yesterday. apologizes
No, you’re right. I should’ve consulted you about rejects apology, admits mistake
the costumes and the music
Well I’m not moving into your ice box. decisive
You will move in Alex’s apartment. Today. commanding
Seriously, where’s my bedroom? This isn’t fair! complains
Want a bed, then go to your bed. she won't help him
I have my own bed. It’s in the ice box. he's ready to listen to the coach

146
Well, trust me. You’d know if I was in your personal references to sex
space.
So any further bitching is gonna have to wait til the sees James as demanding, spoiled
morning, okay.
Take it off. power move, challenging
Well you said you wanted to play for something. initiator
Take it off.
Don’t get too excited sexual tension, foreplay with words

I’m sorry, I forgot we were going out. she was too distracted
I like your short jammies. he likes looking at her body, creepy

Au naturel. sex references

I hope there is.

Where you off to fancy pants? rich outfit
Oh so many sponsorships, so little time. mocks him cause she doesn't have it

Speaking of. Uh, for the duration of training I would offers part of his wealth, offers her a chance to not
like to cover your expenses. worry about finances

Wow, daddy warbucks. she's saying he's rich like a sugar daddy

No it’s so you don’t have to teach. Carry these bags. trying to persuade her to focus on their/his biggest
Focus on me and you and skate. interest

Okay I appreciate the offer, but I like my financial rejects, likes independence
independence.
Okay. I mean that’s cool. As long as it’s not an acceptable, understands
excuse.
Well you train with me on one hand, but you keep explains her dual life, sees it like lack of commitment
your old life in the other. Just in case it falls
through.
Okay. I’m not gonna smush your banana, Alex. assures her she's safe
Okay. Wait, you’re not gonna what my what? vagina
You can talk about mine. penis
Ugh. disliking it
Alright, so what are we doing here? Why’d you pick impatient
this place?
For you to come to your senses. Now sit down, rude, sees him as not reasonable, demanding
alright.
You are such a drama queen. he's overreacting

147
James, I’m not just your superstar multi-million highly of himself
dollar manager that brings in all the big contracts
I’m also your trusted advisor. You trust me? ensures their relationship bond

Drop the whole twinkle toes routine. The whole doesn't take James in FS seriously, explains it to him
idea was to just get a little bit of traction man. Show
the ISSO how much the sport of speed skating
needs James McKinsey.
Right. I mean your real coach, he’s out there, he’s others work hard for his success
working double time, he’s gonna get you reinstated
so just... Forget about this whole figure skating
thing, okay?
I’m sorry man that is not James McKinsey, not redefines his identity
James McKinsey I know because you are a man’s
man.
A man’s man wins a gold. And I think that’s what me believes in them
and Alex can do.
Doesn’t matter what you think. If you don’t do what commanding, holds power
I tell you, you’re going to lose sponsors.
Ambition? Gone. Gets worse. Soda pop contract? not as competent as advertised
Gone. Motorboat contract gone. Your hair gel line?
(whistles). Welcome to the poor house buddy.

Well then why don’t you get your ass out there, as asks for explanation, for action to be done
my superstar manager, and get me more
sponsors?
James. Pains me to say this but I’m not God. I sees highly of himself
cannot turn scrap to sunshine. That’s why I’m here,
I’m praying. Praying James, please, salvage what
little is left of your speed skating career. Alright.
Okay fine.
Listen if you and Alice . disrespects Alex (& James?)

Okay, Alex. If you and Alex were the most James's worth is found in the manly sport
phenomenal jaw-dropping sensational
groundbreaking figure skating pairs duo of all time I
might, might be able to do something. Unless you
win gold, I’m sorry man. There’s nothing I can do for
you. Understand what I’m saying, James?

I understand perfectly. Well this is where our prayer committed

meeting comes to an end. I’m not giving up pairs.

148
As for jaw-dropping, oh hell you’re gonna get jaw- determined
dropping. I’m gonna live up to my end. You make
sure you live up to yours.
Alex. Alex. Get up. Wake up. Interrupts her sleep to fulfill his need because he's
Whaat? impatient
I wanna talk ot you about something.
Can’t this wait til morning?
No
Never gonna get tired of hearing that. I’m trying to She's not into it
sleep. Talk to you tomorrow.
No no no, no sleep. Hey, let’s go. Open your eyes, demands attention
take a look at this. This is our big move. This is
what’s gonna take us apart. Put us in history books.
Trust me.
Yeah it’s a... Forget the name. It’s a place holder til I comes clean
come up with something better. And you know
what, I chose figure skating in the first place?
Publicity stunt.
My manager and I thought we could get the press, admits his feelings for FS
some new fans while we waited for the ISSO to lift
my ban. I didn’t think I’d actually like it. I’m a damn
good figure skater. I love the precision of it. I love
the fact I gotta anticipate what you’re gonna do, I
love that when we’re on the ice, we’re totally in
sinc. It’s like we’re connected. I’ve never had that
before.

Let’s do it. miscommunication,

What? You wanna do it?
Right now.
Wanna do it right now?
Yup.
Okay.
The thing is, we gotta keep it a secret from Zheng.
What, you think I’m gonna tell Zheng?
Well, until we perfect it. And then we can show
him.
Oh. You’re talking about the zowies thng...

Yeah, I know what you were thinking. Get dressed. she's ignoring his thoughts, ready to work

Nationals are tomorrow and here you are breaking the coach is upset because they disobeyed him
your routine without consulting your coach. You
should know better than try a stunt like this. One
false step and you could lose everything.

149
It’s reckless, irresponsible and you of all people Alex was supposed to tame James, Alex has better
should know better. Zheng chose you because you manners, James is an animal
have experience in ice and in life. He wanted you to
temper James. Not be more like him.
Didn’t know I was hired to babysit. feeling used
Where you going? Zheng hasn’t finished yet. disobeying, impulsive
Forget the old man, this is our decision. coach is not on the same level, James takes power in
their sport

Why are we gonna hire the world’s best coach if scared, thinking of herself
we’re not gonna listen to him, James? Look I know
you wanna do the move. But this isn’t just about
what’s good for you, okay. I’m the one who’s flying
in the air out there. The one who’s putting it all on
the line. The one whose career could end in a split
second.

My ass is on the line too. My sponsorships, my believes in her,

career. I mean, you’re the girl who nailed
Pamchenko. You nailed it. And here you are, playing
it safe. That’s not who you are.
No no no, there’s other guys, there’s other chances. persuades her
You picked me cuz you wanted to go for it. You
don’t just wanna skate, you wanna win. So stop
playing it safe, stop teaching the classes, stop
burrying yourself in the work, because playing it
safe doesn’t stop the bad stuff from happening. So
we might as well go for it.

So stop playing it safe, stop teaching the classes, lecturing, commanding her
stop burrying yourself in the work, because playing
it safe doesn’t stop the bad stuff from happening.
So we might as well go for it.
I quit teaching. devotes her time to pairs/him

No. We could skate this programme in our sleep. confident

Well Todd after a performance like that I think it is they are considered serious now
obvious that Delgado and McKinsey are not just a
novelty. I mean, they were beautiful out there.
Uh, we were great. But wait til tomorrow night and confident, bragging
the long programme and it’s gonna be like
something you guys have never seen.
I mean personally I think I look great in both of narcissistic
them, what do you think?
You were incredible out there tonight. compliments her

150
If you’re free tonight, I’d like to take you out. shows interest
Obviously not, I mean did you see me out there bragging
tonight?
If any brand doesn’t recognize that I’m a good flame implying he's a winner?
in the gold egg, well then they are probably a loser
brand, right?
You and James were really something. knows about their relationship

So, maybe in another universe you and I could have creepy

a shot.
Mind if I sit here? offensive stereotype
You a reporter?
Yeah right. Doesn’t that involve reading or
something?
Bad boys. Sees him as a "bad boy"
Late. Chill out. rude
Let’s just say I got a better offer instead of cancelling, he ghosted her

No problem? We’ve never landed it. being rational

Yeah but that’s on you sweetheart. patronizing
Who the hell do you think you are? he's being rude, she doesn't allow for it

Obviously just some notch in the belt. implying he's just for personal gain, temoporary

You know, why don’t you take the cellphone and aggressive, rude
shove it...
Yeah? James thinks Alex is motivated by personal interest &
but she’s just another player waiting to advance her that she cheated on him
career.
Skanks and hoochies
Yeah. Skanks and hoochies.
And you going into this you arrogant self- she's angry at him
promoting jackass. You’re always saying how
people don’t change, well congratulations James,
you were right. People don’t change.
No, you weren’t thinking. Because if you were you’d James couldn't've directly asked Alex
come up to me and ask me what’s going on. We’re
partners.
If you can’t trust me, then we’re done. impulsive
No talking while we’re skating. commanding

151
Well there was definitely hesitation there and how she couldn't trust him enough to do the Mackinator
unfortunate for them but it looked like she pulled
out of a major element.
We needed that move to win. And you blew it. She's being unreasonable
What, were you trying to punish me and get back at
me? What the hell is wrong with you?
Me? You’re the problem! I knew it was only a Alex never trusted James
matter of time before you blew this thing up.
Look, I said I’m sorry What the hell else do you We never hear this though
want from me?
This isn’t over. If we’re alternates, we’re alternates, James is dedicated
fine. But we keep training, we go to Montreal and
we hope we get our shot. Don’t quit on me, Alex.

Why? Because I beat you to it? implying he wouldn've quit first otherwise

Well, at least you’re out of that pink t-shirt. Two she hasn't been very active lately, barely left the
weeks of moping around the house must be some house, she's never felt like this for so long
kind of record, yeah.

Have you seen his latest blonde bimbo hoochie? James moved on
No way I’m doing this again. Hurts too much. The Alex is emotional and admits what happened
worst part is, it’s half my fault. I didn’t pull the move
because I was playing it safe, I was mad at James. I
looked at him and I wasn’t sure. The whole thing... I
wish I had just done the move thing’s would been
different. I didn’t even wanna hear him out, ma. He
didn’t quit. I quit.

So you’re gonna stay in this apartment? being overly dramatic

Maybe.
Forever?
Maybe.
Go to Montreal. And see what happens. She's encouraging her

I didn’t raise you to be a quitter. You have a

responsibility to your coach, to yourself, even to
James. You know it might be bad. But you’ll suck it
up and you’ll hold your head up high and carry
yourself with some dignity.
Hey, James James James. You’re back. On top.
Gosh. King of the bad boys.

152
It all comes down to one minute. All the hard work. Coach reminding them of their sacrifices
Years of waking up at 5 am. Vacations you didn’t
take. Success comes with sacrifice gentlemen. So
think about what you’ve lost and missed and what
you’ve given up to be here. Because all those years
of sacrifice come down to this one minute on the
ice. One minute. 60 seconds. Make it count. Make it
count. Let’s go!

Yeah! excited for the competition

Come on boys!
Yeah!
Let’s do this! Okay, come on.
Don’t mess with me, man. Mess with me, I’ll break aggressive
your ankles.
A Few more minutes, please. I know he’ll be here, suddenly Alex believes in James
he’ll show up.
I just, I wanna go on records, Okay. Officially say James finally understands partnerships
that another team I wanna skate with you, cause
you’re my team, Alex. I know we’re not taking the
ice tonight but I’ needed to be there for you ,cause
we’re partners and that’s what they do for each
other

Look I’m sorry about what happened at nationals. I apologizes

should’ve listened to what you had to say. And I’m
sorry I quit. That’s something a partner should
never do.
Yes we are. James we need it to win. Look, I can nail Alex believes in herself
it, I know it.
I probably should’ve told you long time ago. I’m James admits his feelings
totally in love with you. It happened sometime after
you punched Angus in the mouth but before you
hussled me in strip poker.
Your hottness... no way clouded my judgement commenitng physical appearance

153