Question- Analyse the ways in which a new visual idiom is created

around the two female protagonists vis-a-vis the road movie in

Thelma and Louise.

Name: ATUL KUMAR YADAV BA(H) English

Roll No: 0099 Semester VI
Thelma and Louise (1991) by Ridley Scott is a movie that forays into experimental
grounds in the road movie and turns to the various shots to find its idiom and expression
heavily informed by two female protagonists, Thelma and Louise, who embark on a
transformative journey infused with excitement, violence and ultimately tragedy. The
movie is renowned for its complex representation of women and it has been praised and
critiqued for its depiction of female empowerment and revenge. The movie is known for
its feminist themes and the iconic ending where two female characters, Thelma and
Louise, drive off a cliff together. The movie is regarded as one of the best road trip
movies in cinema history. However, one aspect of Thelma and Louise that has received
relatively less attention is the movie's creation of a new visual idiom around its two
female leads. The paper seeks to examine how the movie creates a new visual idiom
centered around Thelma and Louise through costume, landscape, cinematography and
camera and how this language intersects with the conventions and innovations of the road
movie.

From the opening of the movie, Thelma and Louise establish their feminist undertones
through their visual idiom. The road movie genre is characterized by the journey of its
characters. In Thelma and Louise, the journey serves as a metaphor for the female
protagonist's journey toward self-discovery and empowerment. The film's visual idiom is
a creative tool used to capture this transformative journey, manifested through its
sweeping landscapes, cinematography, and color grading. Thelma and Louise was made
at a time when women's representation in cinema was limited and when they did appear
were often portrayed as weak, passive and subservient. However, Thelma and Louise
broke these stereotypes by presenting two strong, independent women characters who
take control of their lives and break free from the shackles of societal norms. The movie
challenged audiences' expectations of feminine representation in cinema and created a
new visual idiom around the two female protagonists.

The first way in which a new visual idiom is created around the two female protagonists
vis-a-vis the road movie is through their unique costume design. In Thelma and Louise,
the costumes of the two women evolve as their journey progresses. Initially, Thelma
wears a frilly pink dress which represents her character is infantilized and restricted by
her controlling and abusive husband. Louise, on the other hand, wears more masculine
clothes such as a denim jacket and a cap which reflect her tough exterior and her need to
protect herself in a male-dominated world. However, as the journey progresses and the
two characters become more liberated and their dress sense changes too. Thelma starts
wearing more comfortable clothes which represent her newfound confidence and
assertiveness. Louise starts shedding her work clothes and lets down her hair showing her
more emotional and vulnerable side. Thus, the costumes of Thelma and Louise reflect
their character arcs and create a new visual language for female representation in cinema.

The second way in which a new visual idiom is created around the two female
protagonists vis-a-vis the road movie is through the use of the scenic landscape. In most
road movies, the scenic landscape is used as a backdrop or as an opportunity for character
development for male characters. However, in Thelma and Louise, the landscape is
presented as a visually stunning and transformative experience for the female
protagonists. The scenic landscape is presented as something that augments their sense of
freedom, exhilaration and independence and not just a place to pass through or escape
from. For instance, when the two protagonists reach the Grand Canyon, the landscape is
presented in a way that is both awe-inspiring and empowering. It is a place where they
can stop and reflect on their journey and the choices they have made. The film takes
place in the American Southwest, a region often seen as masculine and rugged. However,
instead of presenting the landscape as a site of conquest and domination, as is often the
case in Westerns, Thelma and Louise present it as a space of possibility and adventure for
its two female protagonists. The film takes great care to showcase the natural beauty of
the Southwest, with sweeping shots of canyons, deserts, and mountains that are both
awe-inspiring and humbling. Furthermore, the landscape is presented as a place where
Thelma and Louise can form a deeper bond and a stronger sense of sisterhood. Thus, the
scenic landscape is presented as a new visual idiom that transforms the way in which
female protagonists are presented in the road movie genre.

The third way in which a new visual idiom is created around the two female protagonists
vis-a-vis the road movie is through the use of cinematography. Ridley Scott's
cinematography in Thelma and Louise is characterized by long, panning shots that
capture the beauty and grandeur of the American landscape. The use of a wide-angle lens
creates a sense of expansiveness and freedom which reflects the protagonists' sense of
liberation and independence. Moreover, the movie makes use of high-angle and
low-angle shots that depict Thelma and Louise's power dynamic. In many scenes, Thelma
is positioned lower than Louise which reflects her submissive position in society.
However, as the movie progresses, Thelma gradually takes more control of her life and is
filmed more often from a higher angle. This reflects her character arc and her newfound
assertiveness. On the other hand, Louise is filmed mostly from a low angle which reflects
her confident and assured demeanor. Thus, the use of cinematography in Thelma and
Louise creates a new visual language that challenges the traditional representation of
female protagonists in the road movie genre.

Thelma and Louise's characters are essential to the film's feminist message translated
through its visual idiom. The characters are depicted as experiencing a transformation
from subservient, repressed figures to independent, self-actualized figures. For instance,
in one scene, Thelma nervously approaches Louise, who is cleaning her gun, and asks her
whether she ever gets frightened. In response, Louise tells a story of an incident that left
her feeling vulnerable and exposed thereby creating a powerful visual signifier for
Thelma's transformation as a character. The film's symbolism also plays an essential role
in its visual idiom. Throughout the movie, various objects and motifs are used to
symbolize feminist themes. For instance, the film repeatedly shows Thelma's enormous
hair as a metaphor for the traditional feminine conventions and constraints of the era.
When she cuts her hair short it is a powerful visual signifier of her rejection of societal
norms and her path to self-discovery. Another way in which a new visual idiom is created
around Thelma and Louise is through the use of the car. While the car has traditionally
been associated with masculinity and patriarchal power, Thelma and Louise subvert this
by using the car as a symbol of female empowerment. The car becomes a means of
escape and autonomy for Thelma and Louise, allowing them to break free from the
constraints of their everyday lives and embark on a journey of self-discovery. Moreover,
the film portrays the car as a site of female solidarity and friendship, as Thelma and
Louise use it to support and protect each other throughout their journey.

Finally, a new visual idiom is created around Thelma and Louise through the use of the
camera. The film employs a variety of techniques, such as close-ups, handheld shots, and
low angles, to highlight the physicality and agency of its female protagonists. This is
particularly evident in the film's action sequences, such as the car chase with the police,
which are filmed with kinetic energy and intensity that is usually reserved for male action
heroes. This approach allows Thelma and Louise to be seen not as passive victims but as
active agents of their own fate. Scott's creative choices include the use of close-ups,
medium shots and low angles and thus capturing the protagonists' power and
vulnerability. For instance, in one scene, Louise points her gun directly at the viewer and
the camera angle ends at her waist creating a powerful visual signifier of female
empowerment. This scene captures the feminist message that the movie carries
throughout its narrative.
To conclude, Thelma and Louise present a new visual idiom through the evolution of
costumes, the use of scenic landscapes, and cinematography. These elements transform
the representation of female protagonists in the road movie genre by presenting them as
strong, independent and empowered characters. The movie represents a milestone in
feminist cinema and influences the further representation of female protagonists in
cinema. The unique visual language presented in Thelma and Louise has paved the way
for a more diverse and inclusive representation of female characters in cinema. Moreover,
Thelma and Louise is an iconic road movie that creates a new visual idiom associated
with the female protagonist's journey. The film's unique cinematic approach captures the
feminist undertones of the female protagonist's journey and employs color grading,
cinematography, symbolism and character arcs to create powerful visual signifiers of
female empowerment. The visual idiom in Thelma and Louise is a significant element of
its feminist message and serves as a watershed moment in creating a new cinematic
language associated with female empowerment.

Works Cited

1. Khouri, C. (1991). Thelma & Louise [Motion Picture]. Metro-Goldwyn-Mayer

(MGM).
2. Benshoff, H. M. (1997). Thelma & Louise. In Monsters in the Closet:
Homosexuality and the Horror Film (pp. 174-179). Manchester University Press.
3. Collins, R. (2003). Road movies: From Muybridge and Melies to Lynch and
Kiarostami. Palgrave Macmillan.
4. Creed, B. (1993). Film bodies: Gender, genre, and excess. Routledge.