WOMEN OBJECTIFICATION AS REFLECTED IN VIVIAN WARD

IN PRETTY WOMAN BY J. F. LAWTON

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements

for the Degree of Sarjana Sastra
in English Letters

By

VIVIAN KIRANA DANINDRA

Student Number: 194214066

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS
UNIVERSITAS SANATA DHARMA YOGYAKARTA
2023
WOMEN OBJECTIFICATION AS REFLECTED IN VIVIAN WARD
IN PRETTY WOMAN BY J. F. LAWTON

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements

for the Degree of Sarjana Sastra
in English Letters

By

VIVIAN KIRANA DANINDRA

Student Number: 194214066

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS
UNIVERSITAS SANATA DHARMA YOGYAKARTA
2023
 A Sarjana Sastra Undergraduate Thesis

WOMEN OBJECTIFICATION AS REFLECTED IN VIVIAN WARD

IN PRETTY WOMAN BY J. F. LAWTON

By
VIVIAN KIRANA DANINDRA
Student Number: 194214066

Approved by

Undergraduate Thesis Advisor (date)

Advisor

Undergraduate Thesis Co-Advisor (date)

Co-Advisor
 A Sarjana Sastra Undergraduate Thesis

WOMEN OBJECTIFICATION AS REFLECTED IN VIVIAN WARD

IN PRETTY WOMAN BY J. F. LAWTON

By
VIVIAN KIRANA DANINDRA
Student Number: 194214066

defended before the Board of Examiners

on (date)
and Declared Acceptable

BOARD OF EXAMINERS
NAME SIGNATURE
Chairperson : Undergraduate Thesis Advisor ____________
Secretary : Undergraduate Thesis Co-Advisor ____________
Member 1 : Main Examiner ____________
Member 2 : Undergraduate Thesis Advisor ____________
Member 3 : Undergraduate Thesis Co-Advisor ____________

Yogyakarta, (date)
Faculty of Letters
Universitas Sanata Dharma
Dean

Dr. Tatang Iskarna

 STATEMENT OF ORIGINALITY

I certify that this undergraduate thesis contains no material which has been previously

submitted for the award of any other degree at any university, and that, to the best of my

knowledge, this undergraduate thesis contains no material previously written by any other

person except where due reference is made in the text of the undergraduate thesis.

(date)

Vivian Kirana Danindra

 LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH
UNTUK KEPENTINGAN AKADEMIS

Yang bertanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dharma

Nama : Vivian Kirana Danindra

Nomor Mahasiswa : 194214066

Demi pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan

Universitas Sanata Dharma karya ilmiah saya yang berjudul

WOMEN OBJECTIFICATION AS REFLECTED IN VIVIAN WARD

IN PRETTY WOMAN BY J. F. LAWTON

beserta perangkat yang diperlukan (bila ada). Dengan demikian saya memberikan kepada
Perpustakaan Universitas Sanata Dharma hak untuk menyimpan, mengalihkan dalam
bentuk media lain, mengelolanya dalam bentuk pangkalan data, medistribusikan secara
terbatas, dan mempublikasikannya di internet atau media lain untuk kepentingan akademis
tanpa perlu meminta ijin kepada saya maupun memberikan royalty kepada saya selama
tetap mencantumkan nama saya sebagai penulis.

Demikian pernyataan ini saya buat dengan sebenarnya.

Dibuat di Yogyakarta
(date)

Yang menyatakan,

Vivian Kirana Danindra

Aji no moto
Acknoledgement
 TABLE OF CONTENTS

TITLE PAGE........................................................................................................................2
APPROVAL PAGE..............................................................................................................3
ACCEPTANCE PAGE.........................................................................................................4
STATEMENT OF ORIGINALITY....................................................................................5
LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH...................6
MOTTO PAGE.....................................................................................................................7
ACKNOWLEDGEMENTS..................................................................................................8
TABLE OF CONTENTS......................................................................................................9
ABSTRACT.........................................................................................................................11
ABSTRAK...........................................................................................................................12

CHAPTER I: INTRODUCTION......................................................................................13
A. Background of the Study.................................................................................................13
B. Problem Formulation......................................................................................................16
C. Objectives of the Study...................................................................................................17
D. Definition of Terms.........................................................................................................17

CHAPTER II: REVIEW OF LITERATURE..................................................................18

A. Review of Related Studies..............................................................................................18
B. Review of Related Theories............................................................................................22
1. Theory of Conflict.....................................................................................................23
2. Objectification Theory..............................................................................................24
3. Instrumentality..........................................................................................................24
4. Denial of autonomy...................................................................................................25
5. Inertness....................................................................................................................25
6. Fungibility.................................................................................................................25
7. Violability.................................................................................................................25
8. Ownership.................................................................................................................26
 9. Denial of subjectivity................................................................................................26
10. Reduction of body.....................................................................................................26
11. Reduction to appearance...........................................................................................27
12. Silencing....................................................................................................................27

CHAPTER III: METHODOLOGY..................................................................................30

A. Object of the Study.........................................................................................................30
B. Approach of the Study....................................................................................................31
C. Method of the Study........................................................................................................32

CHAPTER IV: ANALYSIS...............................................................................................33

A. Conflicts Revealing Women Objectification Experienced by Vivian Ward in the Movie
Pretty Woman..................................................................................................................33
1. External Conflicts.....................................................................................................34
a. Vivian Ward vs Edward Lewis...........................................................................34
b. Vivian Ward vs Philip Stuckey...........................................................................48
c. Vivian Ward vs Kit De Luca...............................................................................53
d. Vivian Ward vs The Society...............................................................................55
2. Internal Conflicts.......................................................................................................58
B. Vivian Ward’s Response to Objectification in the Movie Pretty Woman......................62
1. Vivian Ward and Edward Lewis’ Relationship........................................................62
13. Vivian Ward and Kit De Luca’s Relationship..........................................................78
14. Vivian vs Her Self: Acceptance and Rejection.........................................................86

CHAPTER V.......................................................................................................................88

REFERENCES....................................................................................................................92
 ABSTRACT

DANINDRA, VIVIAN. (2023). Women Objectification as Reflected in Vivian Ward in

Pretty Woman by J. F. Lawton. Yogyakarta: Departement of English Letters, Faculty of
Letters, Universitas Sanata Dharma.

In literary works, the form and content are considered intertwined, meaning that the
aesthetic function takes precedence over the communicative purpose in a well-crafted piece
of writing. In its communication with the society, literary works can be presented through
many media, one of which is film. Film and literature have significant elements in
channeling their ideas to their audiences through the plots presented. Many social issues are
used as the main topic in movies as awareness in real-life imperfections. One of these
issues is the objectification of women. Objectification of women itself means treating
someone as an object that is used for the objectifier's own satisfaction. Not far from this
definition, prostitution is one of the real evidences of the objectification of women. In the
1990 movie Pretty Woman by J. F. Lawton, Vivian, the main character who plays a sex
worker, is objectified by her surroundings in her journey as a sex worker.

This study has two objectives in its analysis. The first is what conflicts indicate
objectification of Vivian Ward. Then, how is Vivian Ward's response in facing the conflicts
that reveal her as an objectified woman in the movie Pretty Woman (1990) by J. F. Lawton.

The author uses the literature method in analyzing the research problem in this
study. The main source used is the transcript of the movie Pretty Woman written by the
author himself, J. F. Lawton. There are also secondary sources to support this research
through books, internet, articles, thesis, and journals. The author uses the Feminist
Criticism Approach to analyze the aspects of feminism that lead to objectification. This
research uses three main theories: the first is the theory of conflict by Boggs and Petrie, the
second theory is the theory of objectification from several sources namely Martha
Nussbaum, Rae Langton, Immanuel Kant, Evangelia Papadaki, and Lee Bartky. The third
theory is women's oppression theory proposed by Marilyn Frye.

The results of this study explain that Vivian Ward, who is a sex worker, receives
objectification from several other characters such as Edward Lewis, Philip Stuckey, Kit De
Luca, and the society surrounding her. Each of these characters has various relationships so
that the objectification carried out by each character also has different purposes. In her
response, Vivian can sort out when she should accept and when she should reject these
objectifications according to what benefits she can get through the objectification of each
character.
Keywords: conflict, objectification, women's oppression

ABSTRAK

DANINDRA, VIVIAN. (2023). Women Objectification as Reflected in Vivian Ward in

Pretty Woman by J. F. Lawton. Yogyakarta: Departement of English Letters, Faculty of
Letters, Universitas Sanata Dharma.

Dalam karya sastra, bentuk dan isi dianggap saling terkait, artinya fungsi estetika
lebih diutamakan daripada tujuan komunikatif dalam sebuah karya sastra. Dalam
komunikasinya dengan masyarakat, karya sastra dapat disajikan melalui berbagai media,
salah satunya film. Film dan sastra memiliki unsur yang signifikan dalam menyalurkan
gagasannya kepada para penontonnya melalui plot yang disajikan. Banyak isu-isu sosial
yang dijadikan topik utama dalam film sebagai bentuk penyadaran akan ketidaksempurnaan
kehidupan nyata. Salah satunya adalah objektifikasi perempuan. Objektifikasi perempuan
sendiri berarti memperlakukan seseorang sebagai objek yang digunakan untuk kepuasan si
pengobjektifikasi. Postitusi merupakan salah satu bukti nyata dari objektifikasi perempuan.
Dalam film Pretty Woman (1990) karya J. F. Lawton, Vivian, tokoh utama yang berperan
sebagai pekerja seks, diobjektifikasi oleh lingkungannya dalam perjalanannya sebagai
pekerja seks.

Penelitian ini memiliki dua tujuan dalam analisisnya. Yang pertama adalah konflik
apa saja yang mengindikasikan objektifikasi terhadap Vivian Ward. Kemudian, bagaimana
respon Vivian Ward dalam menghadapi konflik-konflik yang menampakkan dirinya
sebagai perempuan yang terobjektifikasi dalam film Pretty Woman (1990) karya J. F.
Lawton.

Penulis menggunakan metode kepustakaan dalam menganalisis masalah penelitian

dalam penelitian ini. Sumber utama yang digunakan adalah transkrip film Pretty Woman
yang ditulis oleh penulisnya sendiri, J.F. Lawton. Selain itu, terdapat juga sumber sekunder
untuk mendukung penelitian ini melalui buku, internet, artikel, tesis, dan jurnal. Penulis
menggunakan Pendekatan Kritik Feminis untuk menganalisa aspek-aspek feminisme yang
mengarah pada objektifikasi. Penelitian ini menggunakan tiga teori utama: pertama adalah
teori konflik dari Boggs dan Petrie, teori kedua adalah teori objektifikasi dari beberapa
sumber yaitu Martha Nussbaum, Rae Langton, Immanuel Kant, Evangelia Papadaki, dan
Lee Bartky. Teori ketiga adalah teori penindasan perempuan yang dikemukakan oleh
Marilyn Frye.

Hasil dari penelitian ini menjelaskan bahwa Vivian Ward yang merupakan seorang
pekerja seks mendapatkan objektifikasi dari beberapa tokoh lain seperti Edward Lewis,
Philip Stuckey, Kit De Luca, dan masyarakat di sekelilingnya. Masing-masing karakter
tersebut memiliki relasi yang berbeda-beda sehingga objektifikasi yang dilakukan oleh
masing-masing karakter juga memiliki tujuan yang berbeda. Dalam menyikapinya, Vivian
dapat memilah kapan ia harus menerima dan kapan ia harus menolak objektifikasi tersebut
sesuai dengan keuntungan apa yang dapat ia peroleh melalui objektifikasi dari masing-
masing karakter.

Kata kunci: conflict, objectification, women's oppression

 CHAPTER I

INTRODUCTION

A. Background of the Study

Literature has coexisted with human civilization since a long time ago. Most people

define literature as works of high-language poetry that use literary methods like hyperbole

and others. The definition of literature, however, goes further than that. According to Dame

Muriel Spark (2016), literature can be defined as "a crafted piece of work, such as a novel,

play or poem, etc., consisting of words and/or images in which the form and the content of

the work are arguably inseparable, or a text in which the aesthetic function is privileged

over the communicative.” Thus, communication is an essential part of literature for both

authors and readers. Such a definition of literature leads to the conclusion that it has a

communication quality that affects the audience's point of view.

Literature allows civilization to study life through literary work. With a solid

understanding, literature can teach things like culture and create a greater appreciation.

Milton C. Albrecht (1954, pp. 425), in his article entitled “The Relationship of Literature

and Society”, states that “literature is interpreted as reflecting norms and values, as

revealing the ethos of the culture, the processes of class struggle, and certain types of social

"facts." He also explained that the influence of literature reflects social control which

became the beginning of culture. Thus, literature has a fairly complex role in the formation

of culture through works that are understood in society. All of the widely read literary
genres, including those that include fiction in the form of movies, can be used to support

the aforementioned claim.

In a book entitled The Art of Watching Films (Boggs & Petrie, 2008, pp. 41), it is said

that literature and film communicate elements that are similar in their perspective analysis

—about the relationship between the two, Boggs and Petrie also added "for the elements of

any art form never exist in isolation. It is impossible, for example, to isolate plot from

character: Events influence people, and people influence events; the two are always closely

interwoven in any fictional, dramatic, or cinematic work. Therefore, the literary aspects of

the movie can raise the community's perspective on their understandings. As a form of

literature, movies also discuss issues that occur in everyday life. Boggs and Petrie also

argue that states ``the most obvious and common kind of truth in a film story are the

approximation of life as it is' ' (pp. 42). On the other hand, this shows how the film script

writers are inspired and pour common human life and issues that stick in real-life

imperfections to be depicted in movies.

One of the problems inherent in humans is the objectification of women. Objectification

is considered a central notion in feminist theory and can be generally described as treating

or treating someone as an object, particularly women. According to Martha C. Nussbaum

(1995, pp. 249), in general, the discussion of objectification aims to convey skepticism

regarding the attitudes and intentions of one person toward another, or of oneself toward

another. Typically, but not always, it is used as a derogatory term to describe a sexually

explicit way of speaking, thinking, or acting that the speaker finds morally or socially

objectionable. The term "objectification," which has to do with sexuality, is frequently

connected to prostitution. A kind of objectification is prostitution, which is a way of

gaining profit by gratifying the sexual demands of others. Immanuel Kant confirms this

truth by stating that

Thus a man is not entitled to sell his limbs for money, not even if he were to get 1 o,ooo
thalers for one finger; for otherwise all the man's limbs might be sold off. One may
dispose of things that have no freedom, but not of a being that itself has free choice. If a
man does that, he turns himself into a thing, and then anyone may treat him as they
please because he has thrown his person away; as with sexual inclinations, where
people make themselves an object of enjoyment, and hence into a thing. (Kant, 1997,
pp. 127)

Although many women are portrayed as the primary characters in literature, these

characters merely go with the flow of their life based on how other people perceive their

surroundings rather than their own. In prostitution-related stories, this occurs frequently.

One of the most common genres were most characters would receive severe treatment is the

prostitution-related story genre. One of the films entitled Pretty Woman tells about a

prostitute whose social position is evaluated based on love. However, that does not change

the fact that she is a person who, due to her line of work, becomes an object. Thus, this

study is demanded to analyze how objectification occurs throughout the characters in the

movie.

In addition to discussing the objectification received by Vivian Ward's character, this

study also discusses her response to the objectification she received in the movie Pretty

Woman (1990). Vivian Ward received a lot of objectification from other characters so the

responses she made were different. In an article written by Lee Shephred (2018), the

response to objectification is a feeling of rejection that encourages a person to withdraw

themselves in a case of objectification that harms them. The reasoning implies that after a

sexualized position is objectified, feelings of rejection typically discourage active responses

and encourage passive ones, such as ignoring the act. However, in some cases, women tend

not to see these actions as sexist and consider the objectification they receive to be

flattering.

The movie Pretty Woman describes the romance that develops between a prostitute and

a wealthy businessman. The film stars Julia Roberts as Vivian Ward and Richard Gere as

Edward Lewis. Vivian, as a prostitute, has a bold character to survive for her life. She

became a mistress to Edward Lewis at a high rate. However, the love between both began

to grow. As previously stated, there is a socioeconomic discrepancy between the characters.

There are doubts about pursuing love and improving the economy for Vivian. Because she

has no other option than to pursue her love in the face of considerable challenges, Vivian is

forced to behave in a way that fits the stereotype of people like Edward, which makes her a

subservient woman.

Despite having a happy ending, the significant challenges that Vivian faced became an

issue that received criticism from the audience. Vivian's character has its meaning in

describing femininity. She is an independent character and has power over herself. Still,

with her profession, she becomes an objectified woman to other characters, especially her

co-star, Edward. An article by Roosotten (n.d), shows how Vivian Ward, played by Julia

Roberts in Pretty Woman, is portrayed as a sexual object by analyzing the dominant male

gaze through the male character. In addition, this film also contains a story that describes

the life of prostitution which is very deviant from reality (Thomas, 2015). This fictional

work becomes an essential topic in creating literary works in the future to educate the

public not to override the interests of women's rights.

B. Problem Formulation

Based on the background of the study, the researcher formulated these following

questions:

1. What conflicts indicate women’s objectification of Vivian Ward in the movie Pretty

Woman?

2. How is Vivian’s response to the conflicts that reveal her as an objectified woman in the

movie Pretty Woman?

C. Objectives of the Study

According to the problem formulation above, this study focuses on three objectives, the

first is to elaborate on the characteristics of the character Vivian from the movie Pretty

Woman. To explore the object with discussion, the second objective focuses on the

conflicts of women objectification through the character Vivian in the movie Pretty

Woman. To continue the discussion, there will be a third study objective that aims at

Vivian’s response to the conflicts that reveal her as an objectified woman.

D. Definition of Terms

To prevent misunderstanding in understanding the terms, it will be explained as

follows. The term that becomes the main point of this study is objectification.

Objectification is considering someone as an object with a lack of humanity.

Objectification is often experienced by women (especially in the form of pornography)

and is one of the main topics of feminist ideas and is still closely related to subordination.

Therefore, according to Rae Langton (2009, pp.10), objectification is the concept that
women are inferior, and silence is partly the idea that women are treated as less human and

more like objects.

 CHAPTER II

REVIEW OF LITERATURE

This chapter is divided into two parts. The first part of the study analyzes relevant

studies that contrast and compare this one with others of a similar discussion. The second

and last part of the study explains the theories utilized in the study.

A. Review of Related Studies

The first related study is entitled The Ideology of Capitalism Reflected in Pretty Woman

Movie through Edward Lewis Character, by Aditya Mukhza Gutama, published in 2013 as

an Undergraduate Thesis by the Study Program of Department of Languages and Literature

Faculty of Culture Studies Brawijaya University.

The previous study that uses the movie Pretty Woman as an object focuses on the

ideology of capitalism through the character Edward Lewis. The study uses a qualitative

approach with textual or document analysis. The theory used in this study uses Marxist

theory in capitalism. The researcher studied that the role of capitalism has led the character

of Edward Lewis to make money and power the basis of his life. The concept of belief held

by Edward is elitism where he will be easily respected by others because of money. In

addition, there is also commodification in Edward which is one aspect that relates this study

to the discussion of how Edward treats Vivian with this attitude to make her an escort

which will be associated with the formation of women objectification.

Edward Lewis' portrayal of commodification in the film Pretty Woman arises from the

fact that under a capitalist economic system, money is regarded as a very significant item
since it is seen as a key economic motivator. Edward starts to value emotions like love,

compassion, and sacrifice while becoming increasingly concerned with the function and

power of the material. The foundation of every one of his relationships was founded on

mutual economic gain, such as when he paid Vivian to serve as his escort. This study deals

with how the ideology of capitalism reflected by Edward has an impact on Vivian's

character who is an objectified figure so it can be a complex reference in the discussion.

The similarities between the related study and this research are the similarities in the

object. Both of these studies use the object, namely the film Pretty Woman by J. F Lawton.

The difference is in the discussion, this related study discusses capitalism while this

research discusses objectification. The characters that are the main discussion are also

different. Related, this study uses the character of Edward Lewis as the actor of capitalism,

while this study uses the character of Vivian Ward as the recipient of objectification.

However, the discussion put forward in this related study will also be directly related to the

objectification that occurred in Vivian Ward due to the factors of capitalism by the

character of Edward Lewis.

The second study is a journal article entitled Women Struggle in “The Theory of

Everything” Movie Script: A perspective of Feminism, by Rizki Ratna Sari and Sari Fitria,

published in 2017, in a journal by Paradigma Lingua Vol 6, No 2, published by Pamulang

University.

The purpose of the research is to determine how Jane Hawking's portrayal of women's

struggles in The Theory of Everything reflects actual women's struggles in family and

education. The study uses feminism theory which analyzes the subordination of women to

find out and change it. The researchers found many concepts of feminism in the film The
Theory of Everything which tells the story of Stephen Hawking's life from the side of his

wife, Jane. Indirectly, Jane became the head of the family which required her to take care of

her husband and children because of her husband's limitations. This explains how women

can become independent. Researchers conclude that women can position themselves to be

feminine and masculine at the same time to defend themselves. In this research journal, it is

also stated that Jane's character receives discrimination from her surroundings. However,

she can handle it well due to her independence.

More broadly, based on the analysis discussion, Jane Hawking can also be considered a

subordinate woman because her role is dominated by the social power possessed by

Stephen Hawking as a public figure. In its difference, the theory of subordination and

objectification has a significant connection with its meaning which both excludes the role

of women in life. In addition, these two studies also discuss how a woman is able to survive

and overcoming conflicts as an independent woman whose role is lost to the power

possessed by men. This research journal can be related to the study of the characteristics of

women in objects who are also independent women and how they handle the worst

situations. Therefore, complex learning can be reflected in the object analysis in the study

of Vivian Ward's character in this research.

The third related study entitled Objectification Suffered by Black Woman Suzan-Lori

Parks’ Venus is an undergraduate thesis by Laras Adistya Putri, published in 2020 in an

Undergraduate Thesis by the Department of English Literature Faculty of Humanities

Universitas Islam Negeri Maulana Malik Ibrahim Malang.

This research focuses on determining the black female character who experiences

objectification from society. Sexuality, socioeconomic status, and race are factors that
support the objectification portrayed in the study's object. In the context of heterosexuality,

objectification is positioning women behind men so that men may assess and judge them.

Social class is the second element. People of higher social classes frequently treat those of

lesser social standing unfairly, and these individuals lack the power to retaliate. This study

uses the theory of seven elements that describe the objectification of women by Martha

Nussbaum. In addition, the approach used is also Feminist Criticism.

Of the seven elements put forward by Nussbaum, the character of Venus qualifies 6 of

them, namely instrumentality, denial of autonomy, inertness, violability, ownership, and

denial of subjectivity. The character of Venus becomes a tool for other people's personal

interests in various aspects such as money, sexual interests, etc., so that she cannot feel safe

and she lacks of power of herself. Even worse, the character Venus also receives violence

from other characters which can be categorized under the element of violability.

According to Putri (2020, pp. 62), objectification is a major contributor to other

problems affecting women, including unequal pay, violence, and sexual harassment. It's

because women have been reduced to the status of a useful object for the benefit of others.

Some objectification techniques, meanwhile, are too nebulous and difficult to identify. The

similarities in these two studies come from the objectification theory used by Martha

Nussbaum and the approach used is Feminist Criticism. And the difference is in the object

used. Related to this study uses a play script entitled Venus by Suzan-Lori while this

research uses a film entitled Pretty Woman by J. F Lawton. From the similarities in

describing the objectivity experienced by Vivian's character, this study will be very

beneficial for observing Vivian’s experience with objectification.

 Further related studies come from Yesi Eva Susanti and Yulia Indarti's journal entitled

"Reflecting Power and Solidarity through the Relativity of Linguistic Strategies in

Divergent Movie" from the Journal of Anglicist which was published in 2016. This journal

focuses on understanding the paradox of the relationship between power and solidarity

from three female characters in the Divergent film. This study demonstrates that there are

instances where women express solidarity through certain linguistic techniques, which may

also be a means of power assertion for them.

In this journal, it is said that men and women can express their power through the

language they use. Women's position in society tends to be powerless because of significant

inequalities in how men use language to dominate, control, and, be forthright. The predicate

as a subordinate group unconsciously places women as powerless representatives. This

demonstrates that women lack the ability to dominate society.

The discussion mainly uses the demonstration that linguistic strategies such as

interruption, topic, raising, and silence, which are commonly claimed as linguistic

strategies for dominating the interaction, are also able to mark solidarity. Those strategies

lead to how women express themselves through language, specifically the female

characters in Divergent. In looking for the character of the object of this thesis, these

strategies can be relevant correspondents to reveal the power possessed by Vivian Ward in

the movie Pretty Woman. However, the difference between these two studies can be seen

from the scope of the study, namely that this related study uses a linguistic strategy while

this study uses a literature strategy.

B. Review of Related Theories

In conducting the research, the researcher used two significant theories that became the

basis of the research. The theories that will be used are the theory of conflict,

objectification theory, and women's oppression theory. The explanation of the two theories

will be described as follows.

1. Theory of Conflict

In a story, there must be a conflict that will be the core of the story. Conflict is the

mainspring of a story presented through various aspects such as in books, films, or others

(Boggs and Petrie, 2008, pp. 57). They also added that there are several types of conflicts

that occur in a story, but it is the main conflict that will be of most significant importance to

the story as a whole. Conflict greatly affects how the characters have an important effect on

people and events, it's a major conflict and its resolution almost always leads to important

changes, either in the people involved or their situation.

Because the conflict and its resolution (or lack thereof in some cases) reveal or

highlight the essence of human experience, they can make a significant contribution to the

viewer's experience in some movies. Some examples of the major conflicts that are often

found in a story are physical conflict which mainly occurs in action movies that contain

violence and psychological conflict which usually happens when the character has a

problem that comes inside their mind. More simply, conflict can be classified into two

types, namely internal conflict and external conflict.

External conflicts occur between individuals and between the central figure and other

figures. Although this conflict appears simple, there is frequently more going on. It might
develop into a conflict between social groups, societal swaths, or value systems. Internal

conflict is a psychological struggle that exists inside the main character. In other words,

conflicting forces are different aspects of the same personality. In each of these

psychological conflicts, the protagonist is caught between two strong and incompatible yet

diametrically opposed passions, goals, or value systems. In certain instances, this internal

conflict may be resolved, resulting in growth or character development, although this is not

always the case.

2. Objectification Theory

Objectification is one of the main understandings of feminism. This refers to how a

human perceives another human being in the form of an object which means reducing that

person's humanity. Objectification is when a person (typically a woman) is seen and/or

treated like an object. Martha Nussbaum also added that this concept is very common in

everyday life as well as being used to criticize the media.

..the word "objectification" has by now passed into many people's daily lives. It is
common to hear it used to criticize advertisements, films, and other representations, and
also to express skepticism about the attitudes and intentions of one person to another, or
of oneself to someone else. Generally, it is used as a pejorative term, connoting a way
of speaking, thinking, and acting that the speaker finds morally or socially
objectionable, usually, though not always, in the sexual realm. (Nussbaum, 1995, pp.
249)

In addition to exploring the role of humans as objects that deviate from humanity, Martha

Nussbaum (1995, pp. 256-257) has 7 elements that explain how humans are treated as

objects. The elements among others are:

a. Instrumentality

In instrumentality, the objectifier treats other people as objects and tools for his or her

personal purposes. This treatment reduces the degree of humanity in other people and is not

too dissimilar from the term slavery. Another example is whatever the objectified

individual is and does is consider an object of sexual enjoyment to the objectifier like

women from magazines that are mere means for consumptions of men’s desire (Papadaki,

2012, pp. 14).

b. Denial of autonomy

In this element, the objectifier rules out other humans' humanity by restricting the

object's freedom and ability to take action. Those who go through this frequently lack

power in themselves. This component, which diminishes or even abolishes one's own

power, is close to the term subordinate. An example comes when the objectified individual

is being controlled and conducted by the objectifier in every way and dictates how the

objectified person behave (Papadaki, 2012, pp. 13-14).

c. Inertness

Inertness means that the objectifier limits the agency and activities of the person who

becomes the object so that they can position themself as a prisoner of others. An example

comes when an objectified individual is a passive creature used for the satisfaction is the

objectifier’s desires (Papadaki, 2012, pp. 14).

d. Fungibility

Fungibility reduces human rights by making objects interchangeable with similar

objects, and/or with other types of objects like goods. Fungibility occurs when the

objectifier equalized the objectified individuals as an object that can be traded like art

objects. For example, an art collector considered his wife equally like the art collection for

investments (Papadaki, 2012, pp. 15).

e. Violability

This element is described as an objectifier that treats objects as individuals who lack

integrity. This means the object is something that is allowed to break, destroy, or break

into. Violability occurs for example when someone is considered as something that is

permissible to any form of abuse and violation at the will of the objectifier. This example is

merely viewed moreover when treated as tool to satisfy male desires (Papadaki, 2012, pp.

13).

f. Ownership

Ownership means that the objectifier treats the objectified person as something that is

owned by someone else. Objects are things that are bought or sold, etc. This can be found

in cases of prostitution. The example of this element of objectification is when the

objectified individuals are treated as owned by their spouses but as an object that are

considered antique, not as a person (Papadaki, 2012, pp. 15)

g. Denial of subjectivity

The element of rejection of subjectivity means that the objectifier treats the objectified

person as something whose experiences and feelings (if any) do not need to be taken into

account. In this element, the objectifier treats another person as something that is

meaningless. As an example, when the objectifier is completely indifferent about how the

objectified individual is feeling and thinking (Papadaki, 2012, pp. 14).

In the journal entitled Sexual Solipsism: Philosophical Essays on Pornography and

Objectification, Rae Langton (2009, pp. 228–229) adds three elements that describe

objectification to the Nussbaum list, which include:

h. Reduction of body

Reduction of the body means the treatment of a person who is identified with their

body, or parts of their body, not the whole person. For example, when someone is

objectified in pornography, their sexual interest is not in them as a person, but rather in

their body (Langton, 2009, pp. 228-229).

i. Reduction to appearance

This element explains how the object considers someone who is an object based on

appearance and how it is seen by their senses as the main thing in themselves. For Langton,

this element also occurs for example in a relationship of a couple where they value each

other in aesthetic way, like fine paintings and antiques (2009, pp. 229).
j. Silencing

Silencing is defined where the object treats the object as someone who seems unable to

speak. This is often found in rape cases. Langton put the example of this element also by

pornography where women have been silenced in context in pornography (2009, pp. 229).

These seven elements which will later be used to analyze the object of research are

always related to sexuality. Objectification is common in women in terms of sexuality.

Women are seen as sexual instruments thereby reducing the degree of humanity in humans.

Objectification is often associated with rape because of its connection with sexuality

through the perpetrator and the victim who become sexual objects. In the context of this

study, women become objects in the realm of prostitution. Prostitution is an offer for

someone to use his services for the sexual satisfaction of others. But this is cut off by Kant

by saying that a human being should not have the right to sell himself for personal gain

(Kant, 1963, pp 165).

Though Kant believed that theoretically both men and women may be objectified, he

was fully aware that in reality women were the objectification's most frequent victims.

Women (prostitutes and concubines) are reduced to being objects of male desire as a result

of sexual activity in this ethically dubious situation. Prostitution, according to Kant, is an

offer made for the purpose of another person's sexual enjoyment. Kant held the prostitutes

responsible for their objectification. He blames them for losing their humanity by making

themselves available as a sexual object for the pleasure of clients.

In addition to self-objectification by Kant, Sandra Lee Bartky also points out that the

objectifier and objectified can be the same person. Similar to the Panopticon prisoners
(Bentham's suggested prison model), women in patriarchal countries feel continually

observed by men and feel pressure to present themselves in a sensually attractive manner to

them (Bartky, 1990 pp. 65). This argument explains how women de-objectify themselves

from circumstance that encourages them to be made "prey" by men which is supported by

the following quote;

In the regime of institutionalised heterosexuality woman must make herself ‘object and
prey’ for the man. … Woman lives her body as seen by another, by an anonymous
patriarchal Other (Bartky 1990, pp. 73).

This argument is said to be the reason why women can objectify themselves. According to

Bartky, women adopt a man's perspective on themselves. The woman will then have erotic

pleasure in her body, admiring it as a beautiful object to view and accessorize. Narcissism,

which Bartky defines as an obsession with the physical body, is the term used to describe

such an attitude (Bartky, 1990, pp. 131-2). Bartky contends that due to women's obsession

with their bodies, they come to view themselves as if they were outside of themselves and

learn to treat themselves as such.

1. Women's Oppression Theory

The oppression of women can serve as a foundation for the objectification of women in

feminism. According to Frye (1983, p. 147), oppression is a pattern of inequalities that

grants privileges and power to members of one group of people in order to limit or obstruct

the mobility of other groups. Frye asserts that the four structures of production, sexuality,
reproduction, and socialization are always responsible for the oppression of women (pp.

150).

Women are not given adequate opportunities to participate in the industrial process.

Only the domestic sphere is kept for women. In sexuality, women only become a means of

gratifying men's sexual apatite. Women are exclusively valued in terms of their capacity to

reproduce, or give birth to children. Women are repressed in society because they are the

last to socialize. Because men control society, women are treated as their property and have

a limited place in it (pp. 151-154).

Men acquire leadership skills and the ability to exercise authority while they are young.

As a result, women have been taught to submit and obey since they were little. According

to Frye, men believe it is their right to control women. Since then, women have become the

targets of their persecution (pp. 170).

There are primarily two reasons why men oppress women. Men desire to control

women because it is in their best interests to do so since it will allow them to take

advantage of real advantages and privileges over women. Second, they possess the

authority to rule over women. because they are afraid that lower-class women will have the

chance to oppress and regain authority (pp. 172).

 CHAPTER III

METHODOLOGY

A. Object of the Study

The object used in the study is a movie entitled Pretty Woman. Pretty Woman is a film

that was released in 1990 in the United States. The film is a romantic comedy genre

directed by Garry Marshall, from a screenplay by J. F. Lawton. The film stars Julia Roberts

and Richard Gere. The story, this film tells the character of Vivian Ward who is a prostitute

in Hollywood. Vivian then met a wealthy businessman named Edward Lewis and was hired

as an escort in several business and social functions. During the work, love grows between

the two characters. Due to social inequality, Edward raises Vivian's status by providing

luxury. Pretty Woman is also considered a modern Cinderella story because of its plot.

Due to its 'fairytale' elements, which are thought to be too idealistic, Pretty Woman is

thought to have the power to shatter the expectations of its audience in the actual world.

Vivian is a unique character from other prostitutes since she defies common

misconceptions about sex workers. Despite the fact that this movie is about a prostitute who

is being used as an escort by a wealthy guy, Vivian has a positive outlook on life. The

movie also gives the impression that anything can be purchased with money, even love

(The Take, 2020). However, because of the plot, this film was criticized by several parties

on the grounds of glamorizing prostitution which is very contrary to reality. Even so, Pretty

Woman is still loved by many people by getting several awards such as the People's Choice

Award as Favorite Comedy Motion Picture in 1991 (IMDb, n.d).

B. Approach of the Study

The approach used in this study is the Feminist Criticism Approach which focuses on

objectivity. Mackinnon (1987) stated, "This critique of gender hierarchy; which I identify

as the radical feminist analysis, is developing a theory beyond stereotyping, beyond the

dynamics of differentiation but including them. It is developing a theory that objectification

is the dynamic of the subordination of women” (pp. 118). This approach is used to find

conflicts that exist in the plot and identify characters in the object of the study that are the

consequences of objectification. The consequences in question relate to women who are

objectified due to their role in society. Mackinnon also explains that objectivity is the

epistemological stance of which objectification is the social process, of which male

dominance is the politics, the acted-out social practice (pp. 50).

In addition to Mackinnon's approach, Lois Tyson (2006, pp. 86) also explained that the

position of women is in fact entangled in patriarchy. Whatever their position, women are

treated as objects by patriarchy, which means that they are to be utilized without regard to

their own perspectives, feelings, or ideas. Feminists have noted that the idea that men are

superior to women has been used to support and uphold the male monopoly on positions of

economic, political, and social power, or, to put it another way, to keep women weak by

denying them the educational and professional opportunities to achieve such power.
C. Method of the Study

The method employed in this study to gather the required data is a literature review.

Both primary sources and secondary sources were employed in this research.

J.F. Lawton's script for Pretty Woman and the movie are the primary sources for this

study. Additional secondary sources from this study include books of literature, journal

articles, and online articles related to the theories used in this research and those connected

to the primary source. The researcher must take a variety of steps to accomplish the

research. The first step is to watch Pretty Woman and re-read the script to get into the

character of Vivian and how she becomes a woman of objectification based on the conflicts

of the movie. Followed by the second step by searching, reading, and understanding the

relevant literature contained in books, journal papers, and web articles. Then the last step is

to analyze Vivian's character by deepening the first method by connecting it with the

theories and approaches that have been determined.

 CHAPTER IV

ANALYSIS

This analysis will be divided into two parts. The first content is to answer the first

research question that indicates the women objectification experienced by Vivian Ward

throughout the movie. The second content contains Vivian Ward’s response to the conflicts

of women objectification that she experienced. Both of these research questions are using

the theory of objectification by Martha Nussbaum, Rae Langston, and Immanuel Kant,

theory of women oppression by Marilyn Fyre, and Boggs and Petrie’s theory on conflicts.

A. Conflicts Revealing Women Objectification Experienced by Vivian Ward in the

Movie Pretty Woman

Based on Boggs and Petrie's conflict theory, two kinds of conflict can be found in a

movie. The first one is internal conflicts that come from the psychological struggle that

exists inside the figure. The second theory is external conflicts occur between individuals

and between a figure and other figures (2008, pp. 57). In Pretty Woman, the significant

conflict in revealing the potential triggers of objectification.

According to the women's oppression theory by Marilyn Frye, women are often

considered to have lower positions in society. In the movie Pretty Woman, there are several

objectifications that are found. After analyzing the object, Vivian has not only received

objectification from other characters in Pretty Woman but also from herself. Based on

Martha Nussbaum and Rae Langston’s elements of being objectified, Vivian identified as

included in eight out of the ten features that are involved in the idea of treating a person as
an object. Among others are instrumentality, denial of autonomy, inertness, fungibility,

violability, ownership, denial of subjectivity, and reduction of body.

1. External Conflicts

In Boggs and Petrie’s theory on conflicts, there are external conflicts that provoke

Vivian to be objectified. There are external disputes among people as well as between the

central figure and other figures. Even while this conflict seems straightforward, there is

often more going on. Conflict between societal segments, value systems, or social groups

might arise.

The objectification that Vivian experienced arise from her profession as a sex worker.

She struggles with conflicts based on the negative perspectives of her surroundings. While

doing her job, the interactions with her client, Edward Lewis are mostly becoming the main

reason for her being objectified. However, other characters from the movie also see her as

an object due to her position in society and prejudices based on her distinct social

background from other characters. The objectification not only occur due to the different

social backgrounds between Vivian and other characters. Kit de Luca, on the other hand,

provokes Vivian to be objectified by her client. The detailed explanations will be provided

as below:

a. Vivian Ward vs Edward Lewis

As mentioned, Edward Lewis is the main figure that treats Vivian as an object. In the

story, Vivian’s decision to be Edward’s escort becomes the most primal conflict that leads

to objectification. It marks the start of Vivian being treated like an object by other

characters. The conflict intensified as he increasingly served as Edward's escort. The two of
them had different social statuses from the start, as is clearly demonstrated. Based on the

theory of Martha Nussbaum and Rae Langton regarding objectification, Edward does seven

out of ten elements regarding on objectifying Vivian. Seven out of ten elements that

Edward does to Vivian are instrumentality, denial of autonomy, inertness, fungibility,

ownership, denial of subjectivity, and reduction of body. Each elements of objectification

will be discussed below:

i. Instrumentality

Instrumentality is the treatment of a person as a tool for the objectifier’s purposes.

Basically, this feature is supported by the fact that Vivian is a sex worker herself. She was

hired by Edward Lewis, a wealthy businessman from the street of Hollywood Hills. In the

beginning, Edward only hires Vivian for directions.

VIVIAN. Hey, sugar, you looking for a date ?

EDWARD. No, I wanna find Beverly Hills. Can you give me directions ?
[Reverse angle shot showing Vivian's face through the window]
VIVIAN. Sure. For five bucks.
[Reverse angle shot on Vivian's back.]
EDWARD. Ridiculous.
VIVIAN. Price just went up to ten.
EDWARD. You can't charge me for directions.
[Reverse angle shot on Vivian's face.]
VIVIAN. I can do anything I want to, baby. I ain't lost.
[Reverse angle shot on Vivian's back. She is standing up.]
[Reverse angle shot showing Vivian's standing body through the window.]
EDWARD. All right, okay ?
HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
[Full shot. On the other side of the boulevard, a little group of people, including Carlos,
is looking at the scene.]
CARLOS. Is that Vivian ?
ANOTHER MAN. Where ?
[Medium shot on the Lotus seen from the back. Vivian opens the passenger door and
climbs in.]
EDWARD (voice over). All right. You win, I lose. Got change for a twenty ?
LOTUS ESPRIT - INTERIOR NIGHT
[Vivian grabs the 20 dollars bill, and puts it away.]
 VIVIAN. For twenty, I'll show you personal. Even show you where the stars live.
EDWARD. Oh, that's all right. I already been to Stallone's.
(Lawton, 1990)
This conversation is the beginning of Vivian’s experience as an escort to Edward

Lewis. She negotiates with Edward about the price of giving directions boldly yet still

winning Edward’s heart. Despite of being a sex worker, Vivian is treated as a tool for

Edward’s purpose of getting to Beverly Hills (like a personal navigator). Instrumentality

can be seen in this evidence through how Edward fulfill his own purposes using Vivian as a

tool.

The second stage that Vivian went through to become a full escort was as a night

companion that Edward offered after arriving at the hotel where Edward was staying. In

instrumentality, the objectifier objectified another person for his/her own purposes. Edward

seems to objectified Vivian by hiring her to accompany him for the entire night. Although it

is indeed Vivian’s job as a sex worker, this action is still relevant to the term objectification

by the whole idea of prostitution.

EDWARD. I was thinking... Did you really say a hundred dollars an hour ?
VIVIAN. Yeah.
EDWARD. Yeah... Well, if you don't have any prior engagements, I'd be very pleased
if you would accompany me into the hotel.
VIVIAN. You got it.
[She gets off the bench and laughs.]
(Lawton, 1990)

Because Vivian was utilized to Edward's advantage, the fact that Edward made her a

night companion matched the definition of instrumentality. Vivian is becoming a full escort

to Edward after Edward offers a lot amount of money to accompany him for the rest of the

week. On that agreement, Edward can use Vivian as he likes. Only based on how Edward

could use someone as an escort, Vivian had become an objectified object.

 EDWARD. Vivian, I have a business proposition for you.
VIVIAN. What do you want ?
EDWARD. I'm gonna be in town until Sunday. I'd like you to spend the week with me.
[Vivian smiles, not believing what she just heard.]
VIVIAN. Really ?
EDWARD. Yes. Yes, I'd like to hire you as an employee. Would you consider spending
the week with me ?
[She laughs awkwardly.]
EDWARD. I will pay you to be at my beck and call.
VIVIAN. Look, I'd love to be your “beck and call girl”, but, uh you're a rich, good-
looking guy. You could get a million girls free.
EDWARD. I want a professional. I don't need any romantic hassles this week.
VIVIAN. If you're talking twenty-four hours a day, it's gonna cost you.
EDWARD. Oh, yes, of course !
(Lawton, 1990)

In the recent evidence above, it is clear that Vivian has officially devoted herself to

Edward. Edward calls it a “business proposition” to spend the week with him. The term

“beck and call girl” is fulfilling the classification of instrumentality. Vivian’s role as an

escort where Edward has no intention on any romantic hassles also adding the fact that

Vivian is an object to satisfy Edward. This evidence can simply occur since men intend to

exert control over women because doing so will allow them to benefit from real advantages

and privileges over women, which is in their best interests (Frye, 1983, pp. 172).

At first, Edward does not respond to Vivian sexually because Edward only saw Vivian

as his companion. However, with his thoughts of desire, he finally uses Vivian to satisfy his

man's appetite. The fact that he is sexually attracted to Vivian shows how women oppressio

n in sexuality where women simply become the tool to satisfy men’s sexual desires (Frye, 1

983 pp. 151). These conflicts occur between individuals which makes them categorized as e

xternal conflicts which are where social class conflicts and stereotypes of sex workers and c

lients are seen here (Boggs and Petrie, 2008 pp. 57).

ii. Denial of autonomy

 Denial of autonomy is when a person is treated as if they lack autonomy and self-

determination. This indicates that a person has ceded his or her claim to self-agency. In this

instance, Edward has control over Vivian's life, including how she behaves and how she

dressed. According to Vivian’s job as a sex worker, she often attracts her client by using

revealing clothes. Even when she entered the hotel and declared it to be public

consumption, she was dressed in too-revealing attire. Edward, on the other hand, made an

effort to hide it.

Edward did this because he felt Vivian's clothes were inappropriate. What he does can

make him a gentleman. However, on the other hand, Edward ignored Vivian's choice of

dress. The definition of denial of autonomy is where someone is lacking autonomy and

self-determination. Thus, Vivian being controlled by Edward in every aspects including

how she dressed can be considered as an action of denial of autonomy.

EDWARD. Why don't you put this on ?

[He puts his coat, which he was carrying on his arm, on Vivian's shoulders, and then wr
aps it around Vivian's body, to cover as much as he can of Vivian's very conspicuous ou
tfit.]
VIVIAN. Why ?
EDWARD. Well, this hotel is not the kind of establishment that rents rooms by the hour.
VIVIAN. Ah.
(Lawton, 1990)

Based on this evidence, Edward considers Vivian as an object for him to bear by

controlling her. Edward’s control of Vivian does not just stop there. After Vivian officially

becomes Edward’s escort, Edward wants her to buy more appropriate clothes. He also

made it clear by saying no sexy dressed.

EDWARD. We may be going out evenings. You'll need something to wear.

VIVIAN. Like what ?
EDWARD. Uh, nothing too flashy. Not too sexy.
 [He stops at the breakfast table, put some documents back in his brief-case and closes i
t.]
EDWARD. Conservative. You understand ?
VIVIAN. Boring.
EDWARD. Elegant. Any questions ?
(Lawton, 1990)
This evidence shows how Edward demands Vivian dress more appropriately for the sak

e of her image. Although this can be considered as a positive action by bringing another per

son to the better version of their selves, the way Edward treats Vivian shows that Vivian in

deed a lack of self-determination. Not only how Vivian dress, Edward also take control of h

ow Vivian behave. Edward possesses the authority to rule over Vivian so she can make a g

ood image of him.

Besides, controlling Vivian's how to dress, Edward also controls how Vivian behaves.

Edward finds Vivian's habit of fidgeting to be uncomfortable. To maintain his reputation in

front of his acquaintances, Edward frequently stops her from fidgeting. Edward's treatment

of controlling Vivian can be seen from the amount of his words forbidding Vivian from

fidgeting and acting as she pleases. With this evidence, Vivian is expected to be able to act

appropriately as a good woman by Edward’s standards.

EDWARD. You're gonna be fine. Come with me. And stop fidgeting.
[Another medium shots on seated guests staring at the couple.]
(Lawton, 1990)

[We see Edward and Vivian crossing the room, with a maitre d'hotel walking in front of
them.]
MAITRE D'HOTEL. This way, Mr. Lewis. Your party is waiting.
EDWARD. Stop fidgeting.
(Lawton, 1990)

EDWARD. Okay, stop fidgeting.

VIVIAN. All right.
EDWARD. Get rid of your gum.
(Lawton, 1990)
 These objectification treatments are caused by society’s prejudice towards Vivian.

Edward is trying hard to maintain his image by managing Vivian to avoid society's

prejudice. Thus, Edward did all this in essence so that his image could be maintained well.

Not only through how Vivian behaved, she was also objectified because other people have

taken control of her emotions.

iii. Inertness

According to Martha Nussbaum (1995, pp. 257), the term "inertness" refers to treating

someone as lacking agency and possibly even activity. This implies that objectified

individuals have a constrained range of activities, much like a prisoner. As an escort,

Vivian is demanded to stay at the hotel where Edward was staying and forbids her from

answering anyone's phone calls. Vivian lost her right to do things as she pleased because

Edward feel that he has Vivian for his own.

PENTHOUSE - LIVING ROOM - INTERIOR DAY

[Medium shot of Vivian entering the room. She closes the door behind her. The phone
is ringing. We see the white telephone on a low table in the forefront of the screen.
Vivian drops her handbag on the floor, rushes to the phone and picks it up.]
VIVIAN. Hello ?
EDWARD'S OFFICE IN L.A. - RECEPTION HALL - INTERIOR DAY
[Medium shot of Edward, seen from the waist up, standing up in the reception hall of
his office. He is on the phone. We occasionally see shadows of people moving behind
him.]
EDWARD. Never, ever pick up the phone.
(Lawton, 1990)

EDWARD'S OFFICE IN L.A. - RECEPTION HALL - INTERIOR DAY

EDWARD. [smiling on the phone] I told you not to pick up the phone.
PENTHOUSE - LIVING ROOM - INTERIOR DAY
VIVIAN. Then stop calling me.
(Lawton, 1990)
 These two points of evidence show that Edward objectified Vivian by forbidding her

from answering the phone. This meant that he did not want them to know that Edward was

keeping an escort in his hotel room in the worst-case situation if someone called and asked

for Edward. Vivian is kept by Edward in his hotel room and forbade her to do anything and

only allowed her to go out to buy clothes. Moreover, Vivian has to ask Edward for

permission to do something.

LIMOUSINE - INTERIOR NIGHT

[Edward and Vivian are seated next to each other inside the limousine. Edward is
wearing a suit and a tie, and Vivian is wearing a purple dress.]
EDWARD. Did you know that two of the Bach pieces that we heard tonight... were
found by Felix Mendelssohn in a butcher's shop ? They were wrapping meat with the
sheet music.
[Vivian is not listening to Edward and she keeps looking through the car window. She
seems nervous.]
EDWARD. What's with you ? You're fidgeting. What's wrong ?
VIVIAN. Um... There's a club up here that I'd like to stop into for a second to see my
roommate, if that's okay ?
EDWARD. Absolutely.
(Lawton, 1990)

As long as it does not violate the law, Vivian truly should not need permission to do

anything as an adult. This evidence shows how the spectrum of activities available to

objectified people is limited. These evidences are relevant to Frye’s theory of women's

oppression (1983, pp.154) which argues that objectified women constantly lack their

position in society because most men consider themselves superior and always want to

maintain their image in the public.

iv. Fungibility

The fourth element that proves by the conflict that Vivian Ward is objectified is

fungibility. For Nussbaum, fungibility is the practice of treating people as objects to be

used interchangeably (1995, pp. 257). It means that the objectified person can be equated
with objects that can be exchanged or even thrown away. Vivian experiences this

objectification element by Edward by being his escort that can be thrown away whenever

he likes.

VIVIAN. Baby, I'm gonna treat you so nice, you're never gonna wanna
let me go.
[He has opened the door but he turns around.]
EDWARD. Three thousand for six days. And, Vivian, I will let you go.
[He goes out and closes the door. Vivian smiles and speaks very quietly.]
VIVIAN. But I'm here now.
(Lawton, 1990)

The evidence above shows how Edward said with full confidence that he would let

Vivian go after his business was over. Vivian is consider an object that Edward can dispose

of once his desires are fulfilled, hence she is experiencing fungibility. In the

aforementioned evidence, Edward made it seem as if he had control over Vivian's life.

This objectification is also rooted in Edward's internal conflict which is difficult to

establish a connection with Vivian because his emotions are still full of fear of

relationships. Other evidence shows how Edward and a butler at the hotel where he was

staying likened Vivian to an object. Although Vivian is not in the conversation, this action

is considered as an action of fungibility based on how other people seen Vivian as an

object.

[Edward gives the jewel box to Barney.]

EDWARD. If you could possibly return this to Fred's for me, please.
BARNEY. Yes, of course. May I, sir ?
[Edward chuckles.]
EDWARD. Of course, please.
[Barney opens the jewel box.]
[Close up on the necklace in the box. It is the one Vivian was wearing at the Opera.]
[Close shot of Edward looking at the necklace with a sad face.]
[Then medium close shot on Barney, with a half-smile on his face.]
BARNEY. It must be difficult to let go of something so beautiful.
 [Close up shot on the jewel box being closed by Barney.]
[Back to Barney.]
BARNEY. You know, Darryl also drove Miss Vivian home yesterday.
[Edward doesn't answer, but his face indicates he has taken the information in.]
Back to Barney.
BARNEY. I'll take care of it.
EDWARD. Thank you, Mr. Thompson.
(Lawton, 1990)
Though Edward had merely cast Vivian aside, the act left him feeling sorrowful. He

regretted it, knowing he ought to have treated Vivian better. Vivian was viewed as a

disposable thing despite the imagery and flattery description of Barney towards her. From

the evidence, Edward also seems not to avoid Barney's words. Vivian is compared to a

necklace that is beautiful but needs to be taken off or replaced because Edward only sees

her as functional as an escort hence fungibility.

v. Ownership

The next element of objectification with Edward that Vivian experiences is ownership.

Ownership is when someone is referred to as being owned by someone else—something

that may be bought or sold—they are being treated as property (Nussbaum, 1995, pp. 257).

In this research object, it is clear how objectification occurs because it involves prostitution.

Vivian, as a sex worker sold herself to Edward for a great amount of money. Contrarily,

Kant stated that a person should never sell themselves in any conditions and forfeit their

dignity (1963, p. 165).

The transaction amount for Vivian's services in accompanying Edward could ultimately

be used as evidence for action of ownership. Transactions between Vivian and Edward

based on the movie occurred four times in a row. The first transaction happened as shown

in the first evidence in the instrumentality element and three others as below:

EDWARD. I was thinking... Did you really say a hundred dollars an hour ?
 VIVIAN. Yeah.
EDWARD. Yeah... Well, if you don't have any prior engagements, I'd be very pleased
if you would accompany me into the hotel.
VIVIAN. You got it.
(Lawton, 1990)
VIVIAN. Listen, I... I appreciate this whole seduction scene you've got going, but let
me give you a tip : I'm a sure thing,okay ? So, I'm on an hourly rate. Could we just
move it along ?
EDWARD. Somehow I'm sensing that this time problem is a major issue with you.
[He stands up.]
EDWARD. Why don't we just get through that right now ?
VIVIAN. Great, let's get started.
EDWARD. How much for the entire night ?
VIVIAN. Stay here ? [SHE SNICKERS] You couldn't afford it.
EDWARD. Try me.
VIVIAN. Three hundred dollars.
EDWARD. Done. Thank you. Now we can relax.
(Lawton, 1990)

VIVIAN. If you're talking twenty-four hours a day, it's gonna cost you.
EDWARD. Oh, yes, of course !
[He stands up.]
EDWARD. All right, here we go. Give me a ballpark figure. How much ?
VIVIAN. Six full nights, days too. Four thousand.
EDWARD. Six nights at three hundred is eighteen hundred.
VIVIAN. You want days too.
EDWARD. Two thousand.
VIVIAN. Three thousand.
EDWARD. Done.
(Lawton, 1990)

The evidences of transactions above show that a person can be traded and become the

property of another person, just like an object, as explained through the meaning of

ownership. Nominals of money that appear in evidence such as "..hundred dollars an hour?"

also stated that there is an element of ownership as a sign of buying and selling Vivian.

Ownership is defined by how someone is owned by another person. The evidence above

shows how Edward is merely “owning” Vivian for his own purposes.
 Moreover, with this sense of ownership over Vivian, Edward did not even like it when

Vivian was interacting with another man. This can be said to be normal when both

individuals consider each other as a lover, but not with Edward who only thinks of Vivian

as his escort. Edward’s sense of “owning” Vivian also can be seen in this evidence below.

EDWARD. I'm sorry. I wasn't prepared to answer questions about us. It was stupid and
cruel. I didn't mean it. I don't want you to go. Will you stay the week ?
VIVIAN. Why ?
EDWARD. I saw you talking to David Morse. I didn't like it.
VIVIAN. We were just talking.
[He chuckles.]
EDWARD. I didn't like it.
(Lawton, 1990)

In this evidence, Edward's selfishness shows how he objectifies Vivian by assuming

Vivian is only his own. Vivian had the right to interact with anyone, but this was denied by

Edward because he thinks that Vivian is his property based on the power he had to pay

Vivian. Therefore, this evidence can emphasize how Vivian is a property for Edward.

vi. Denial of subjectivity

The sixth element shows how Vivian is being objectified by Edward's denial of

subjectivity. Denial of subjectivity is defined as the treatment of a person as though their

experiences and emotions (if any) are irrelevant. Being an escort, Vivian is often mistreated

by people. People consider a sex worker’s feelings are not substantial. The first piece of

evidence is how Edward makes fun of Vivian's job as a sex worker, despite the fact that

Vivian is a sex worker who takes great care of her sanitary.

VIVIAN. Look, I use condoms always. I get checked out once a month at the free clinic.
Not only am I better in the sack than amateur, I am probably safer.
LOTUS ESPRIT - INTERIOR NIGHT
EDWARD. I like that. That's very good. Should have that printed on business card.
VIVIAN. If you're making fun of me, I don't like it.
 EDWARD. No, I'm not making fun of you.
(Lawton, 1990)

In this context, Vivian and Edward had only recently become acquainted, and yet Edward

ventured to make fun of her without considering Vivian's feelings. By daring to oppose

him, Vivian said, "If you're making fun of me, I don't like it." This evidence clarifies how

Vivian is seen as an object solely due to being a "hooker" or sex worker. Based on

Edward's statements, Vivian's feelings are irrelevant.

In one piece of evidence, Vivian begins to feel love for Edward, but Edward does not

counter that idea at all because, in his viewpoint, Vivian is only an object for him to fulfill

his masculine desires. Thus, Vivian does not undermine or exploit his masculinity. As

Edward acquires more control over Vivian’s emotions, her independence gradually

disintegrates.

[Edward is asleep, holding Vivian in his arm. She is still awake and smiling. She gently
strokes his arm.]
VIVIAN. I love you.
[She closes her eyes.]
(Lawton, 1990)

At this point, after hearing Vivian's statement, Edward, who had woken up, remained

silent and did not respond to her confession. According to the subsequent evidence, Vivian

was only ever meant to serve as Edward's escort when he promised to provide her a better

life, not as his partner despite everything they had been through together. Due to Edward's

dominance over their relationship, Vivian lost her ability to determine her own value by

Edward taking Vivian’s feelings irrelevant.

EDWARD. My business is almost over, so I'll be going back to New York.

[Quick close shot on Vivian's face, who seems very pensive.]
[Back to Edward.]
EDWARD. I'd really like to see you again.
 [Vivian smiles.]
VIVIAN You would ?
EDWARD. Yes. Yes, I would, so I've arranged for you to have an apartment, to have a
car...
[Vivian's smiling face saddens a bit.]
EDWARD. ...to have a wide variety of stores guaranteed to suck up to you anytime you
want to go shopping. Everything's done.
[Vivian takes her head in her hand and bends down on the table. She exhales.]
VIVIAN. What else ? You gonna leave some money by the bed when you pass through
town ?
EDWARD. Vivian, it really wouldn't be like that.
VIVIAN. How would it be ?
EDWARD. Well, for one thing, it would get you off the streets.
VIVIAN. That's just geography.
(Lawton, 1990)

This evidence shows due to Edward's dominance over their relationship, Vivian had lost

her ability to make her own choices. In this case, men do this because they consider to have

the power to control women and they are concerned that lower-class women would get the

chance to oppress and recover power, claims Frye (1983, p. 172). These objectification

treatments are based in Edward’s emotional barriers due to his past failed relationships. He

struggles with his own fears and denies having a connection with Vivian. Therefore, the

cause of this objectification is the internal conflict within Edward, the objectifier.

Furthermore, in an argument between Vivian and Edward, Vivian is objectified by Edward

by saying that Vivian is in fact a hooker and his employee.

EDWARD. I hate to point out the obvious, but you are, in fact, a hooker ! And you are
my employee !
(Lawton, 1990)

Based on the context of a piece of conversation in the argument, it was obvious from

the way Edward managed Vivian's attire that he wanted to uphold his reputation in public

and give the impression that he was accompanied by a lady of elegance. However, Edward

ultimately told one of his coworkers that Vivian worked as a prostitute.

 VIVIAN. I've never had anyone make me feel as cheap as you did today.
EDWARD. Somehow, I find that very hard to believe.
(Lawton, 1990)

The way Edward responds in the argument in the evidence above becomes proof that he

is objectifying Vivian. It also demonstrates Edward's disregard for Vivian's well-being.

Because she believed she had been objectified, Vivian became enraged. Vivian felt uneasy

around Edward after her identity was made known since she might be treated unfairly due

to her profession. This has been demonstrated to have taken place and is mentioned under

the part of objectifying violability where Philip harasses and mistreats Vivian. In

accordance with the definition of denial of subjectivity, Edward's treatment of Vivian was

carried out with a claim to be superior in himself so that he could treat Vivian with hurtful

words.

vii. Reduction of body

The next conflict that depicts Vivian being objectified is reduction of body by Rae

Langton. Reduction of body indicates how an objectified person is only identifiable by their

body or body parts. In the first element of objectification which is instrumentality, Edward

is nearly rejecting Vivian to give him directions towards Beverly Hills due to the high-cost

Vivian offers. However, afterward, seeing Vivian’s body, Edward changes his mind. He

immediately accepts Vivian’s offer.

[Reverse angle shot on Vivian's back. She is standing up.]

[Reverse angle shot showing Vivian's standing body through the window.]
EDWARD. All right, okay ?
(Lawton, 1990)

This evidence shows how Vivian's existence was seen only from her body. Edward, who at

first did not want to take Vivian's offer, finally accepted it after seeing the beauty of
Vivian's body. In this case, Vivian is objectified as sexual consumption through her body

parts, not through the whole person. With this evidence, Vivian is generally recognizable

just by their body or body parts hence reduction of body. This evidence of reduction of

body treatments that Vivian experienced is based on the external conflict on Vivian

overcoming her stereotype as a sex worker.

b. Vivian Ward vs Philip Stuckey

The next conflict that happens between Vivian and Edward's business partners results

from the external conflict mentioned above. Vivian finds opposition from Edward's friends

and business partners as she becomes more involved in his life. They disagree with her

existence and think she has no place in Edward's life. This will mostly be done by Edward's

colleague named Philip Stuckey. Out of the seven elements identified by Martha Nussbaum

as evidence of objectification, Philip does two five objectifications that are particularly

important: instrumentality, denial of subjectivity, denial of autonomy, violability, and

fungibility.

i. Instrumentality

Instrumentality is when a person is treated like a tool for the satisfaction of others.

Everyone, including Philip, is curious about Vivian's appearance when Edward brings her

to the equestrian event. He was quite interested in Vivian, and Edward informed him that

he had employed her as a sex worker. Edward is made fun of by Philip, who then

approaches Vivian and insults her.

PHILIP. Having a nice time, Vivian ?

[She smiles again.]
VIVIAN. Yeah, I'm having a great time.
PHILIP. Must be quite a change from Hollywood Boulevard, hmm ?
 [She stops smiling and shows a very sad and worried face.]
VIVIAN. What ?
PHILIP. Yeah, Edward told me. But don't worry : you're secret is
safe with me. Listen, maybe, uh, you and I could get together sometime...
[He touches her bare arm with his sunglasses.]
PHILIP. ...after Edward leaves.
VIVIAN. Yeah, sure. Why not ?
[We sense that Vivian feels like crying, but she masters her emotions and looks at
Philip.]
PHILIP. We'll just have to do that, hmm ?
[He puts the tip of his fingers on her bare shoulder.]
(Lawton, 1990)

In the evidence above, Philip treated Vivian poorly after discovering that Vivian was a sex

worker. In the previous conversation, Philip touching Vivian against her will constitutes

instrumentality. Vivian was subjected to gender discrimination as a result of this struggle

since she was made into Philip's object of desire. Even Philip also asked him to serve him

when Vivian and Edward's business was over. This demonstrates how social differences

between them might cause conflicts to arise. In this situation, Philip approaches Vivian in a

hostile and condescending manner, treating her more like an object than a person. He

objects to her, seeing her as someone he can control and use for his own pleasure.

ii. Denial of subjectivity

A person who treats people without taking into account their experiences and feelings

when they engage to be denying their subjectivity. In Example 1, in the objectification of

instrumentality between Vivian and Philip, it shows that Philip ignores Vivian's feelings

when he satirizes her by saying "Must be quite a change from Hollywood Boulevard,

hmm?" (Lawton, 1990). In this context, Hollywood Boulevard is referred to as a location

where sex workers look for clients. In the case, it shows that Vivian experienced unease
and sadness to the point of crying because she was aware that Edward had revealed his true

identity to Philip.

[We sense that Vivian feels like crying, but she masters her emotions and looks at
Philip.]
(Lawton, 1990)

With this evidence, it is known that Vivian feels belittled and humiliated by her past

when Philip makes disparaging and degrading statements about her past as a sex worker.

Additionally, despite Vivian's obvious discomfort and denial, he makes an effort to force

her into a sexual relationship with him. His conduct reveals a lack of compassion and a

disdain for her feelings and boundaries. In women’s oppression theory by Marilyn Frye, it

is stated that men desire to control women to take advantage of them and this evidence

shows that Philip is using a strategy to belittle Vivian as a sex worker in order to fulfil his

sexual desire.

iii. Denial of autonomy

In denial of autonomy, where a person can lose power over himself, Philip did

something significant that made Vivian an object of objectification. Philip approached

Vivian to confront her, which led to this external conflict between the two of them. After an

argument, Philip, who had lost his temper, struck Vivian in a violent manner. Philip took

full control of his interactions with Vivian. In this conflict, Philip seems to have ignored

humanity and Vivian's right to reject him.

[He moves slightly closer to her. She seems very tense by the situation.]
PHILIP. Right now I really do care. I really do. And right now I am really pissed, you
know ?
[He moves his hand toward her bare leg. She glares at him.]
PHILIP. Right now I am just freaking out. So maybe if I screw you, ...
He puts his hand between her legs. She moves it away.
 PHILIP ...and take you to the opera, then I could be a happy guy, just like Edward.
[He keeps on trying to fondle her, and Vivian keeps on trying to get rid of him.]
(Lawton, 1990)

According to this evidence, Philip became aggressive and threatening towards Vivian

when he recognized that she was beginning to have a true relationship with Edward. He

also exhibited possessive behavior and a desire to hurt her emotionally in order to maintain

control. Vivian is subjected to unacceptable demands from Philip, who expects her to fulfill

his needs without taking into account her feelings or consent. It is offensive and demeaning

to treat her autonomy with such disregard.

iv. Fungibility

The fungibility element that Philip did to Vivian occurs when Philip confronts Vivian.

He came up to Vivian who was alone in the hotel room where Vivian and Edward were

staying. After he finds out that Vivian is a sex worker, he feels upset about Edward’s

decision to reject a massive business deal that would greatly benefit him. He intends to

warn Edward by forcefully seducing Vivian. A fight ensued between Vivian and Philip.

Philip made a statement during the fight that implied Vivian is an object.

PHILIP. You're a hooker. Maybe you're a very good hooker, you ?

[She puts her notebook on the low table.]
PHILIP. Maybe if I do you, then I wouldn't care about losing millions of dollars.
Because I have to be very honest with you right now, Vivian.
(Lawton, 1990)

The use of the word “do” in the sentence “Maybe if I do you..” implies an object that

someone can do something to that object. In this evidence, the object is "you" which refers

to Vivian. This meant that Vivian is equalized to an object that could be treated arbitrarily.

Furthermore, Philip frequently referred to Vivian as a "hooker." Basically, Vivian is indeed

a sex worker, but Philip's treatment of her still makes Philip an objectifier that equates

Vivian with an object that he can “do” with.

v. Violability

Violability, according to Martha Nussbaum is the assertion that someone lacks border

integrity (1995, pp. 257). It means that an objectified person is experiencing a violation. In

an external conflict involving Edward's co-workers, Vivian received violence which made

her become an objectified individual. Apart from being objectified by herself and Edward

Lewis, Vivian also received objectification from Edward's colleague named Philip. Philip is

irritated when Edward is more concerned with Vivian than a business deal that will benefit

him. Philip, who already knew that Vivian was a sex worker, boldly took out his anger

towards Vivian.

[He puts his hand between her legs. She moves it away.]
PHILIP. ...and take you to the opera, then I could be a happy guy, just like Edward.
He keeps on trying to fondle her, and Vivian keeps on trying to get rid of him.
VIVIAN. Hey, get off me !
[They start fighting. He stands up.]
PHILIP. Hey, hey ! Goddamn it !
[She bites his hand.]
PHILIP. Ow !
[He slaps her face very hard. She falls down on the floor.]
VIVIAN. Ow !
[He kneels down beside her and grabs her.]
PHILIP. Come on ! Come on ! I'll pay for it.
VIVIAN. [SCREAMING] Get off me ! Ow ! Get off me !
PHILIP. How much is it ? Twenty bucks, thirty bucks ?
VIVIAN. [SCREAMING] Get off me ! Get off me !
PHILIP. Fifty ? You a fifty dollars whore, Vivian ?
(Lawton, 1990)

Philip is blinded by anger because of his annoyance with Vivian, a sex worker who can

change his boss' priorities. Philip mistreated Vivian in this way after being denied the

opportunity to fulfill his sexual desires. Despite having the option to decline, Vivian was
coerced by Philip, who implied that she had lost her self-worth in his eyes. As a result,

Vivian is sexually and verbally objectified by Philip. Vivian attempted to fight back by

biting Philip's hand, but Philip, who appears to be physically stronger than women,

pounded Vivian in the face until she fell. The coercion that happened to Vivian was

included in the theory of violability according to Nussbaum and Frye’s theory on women's

oppression in sexuality because apart from forcibly sexually harassing her, Philip also

threw violence at Vivian.

c. Vivian Ward vs Kit De Luca

Kit De Luca and Vivian Ward have a close relationship that is evident throughout the

story as they care out for each other and encourage one another through challenging

situations. Vivian is someone Kit loves passionately for, and she wants her to be successful

in her new relationship with Edward Lewis. However, Kit's concern is also tempered with

caution and realism because she is aware of the harsh realities of their line of work and the

possibility that their emotions could be misused or ignored.

Kit serves as a reminder of the dangers sex workers face and the potential

objectification they may encounter in society. Her appearance emphasizes the value of

female friendship and support in the face of societal obstacles and prejudices. Although

Vivian may have some problematic elements related to stereotypes and objectification, Kit

is not explicitly seen objectifying Vivian in the film. Instead, the story makes use of Kit's

persona to draw attention to larger themes and problems involving the marginalization and

objectification of sex workers in society.

 However, there is a point of contention in the current situation that illustrates how

society's objectification of them might affect their relationship. Kit initially reacts with

surprise and adoration as Vivian proudly displays her pricey purchases during her shopping

in Rodeo Drive, astounded by the opulent stuff Vivian obtained. When Vivian mentions

that Edward paid for everything, this admiration swiftly turns into annoyance and anger.

Vivian should not depend on a wealthy man to take care of her, says an irate Kit, adding

that she should depend on herself. In contrast to traditional assumptions that women should

only turn to males for approval and support, Kit's response shows a feeling of independence

and autonomy. She disagrees with the notion that women should be treated as objects and

be financially reliant on men.

Denial of autonomy

Vivian and Kit's disagreement stems from how they view their life as sex workers and

how valuable they are as people. Vivian, who is discovering a new level of luxury through

her connection with Edward, is briefly seduced by the notion that her value is determined

by her things and the admiration of a powerful man. The significance of independence is

emphasized by Kit, who has probably faced more difficulties and struggles in her line of

work, and she questions the idea that people should rely on others for approval or financial

support. Her response highlights the internal struggles sex workers might go through as

they deal with objectification, societal expectations, and financial dependence.

KIT. Yeah, well... maybe we should get a pimp, you know. Carlos really digs you.
VIVIAN. And then he'll run our lives and take our money. No.
(Lawton, 1990)

In this small piece of evidence, Kit objectifies Vivian by reducing her autonomy over

herself. Kit considers herself and Vivian as objects that can be controlled by others. Kit
advises Vivian to have a pimp named Carlos in their work to make her job easier. However,

Vivian realizes that having a pimp will be more detrimental to her because they will not be

free for themselves. This objectification is considered a denial of autonomy because Kit

tries to provoke Vivian to reduce her autonomy.

d. Vivian Ward vs The Society

The surroundings around Vivian served to further objectify the external conflict that she

experienced. Vivian enters an exclusive realm as a result of a demand from her client

Edward. He encounters a new society in this unfamiliar environment, one that is

undoubtedly apart from his regular existence. In addition to being a despised sex worker,

she frequently encounters problems in objectification. Three of the ten components of

objectification identified by Martha Nussbaum and Rae Langton—the reduction of body,

denial of subjectivity, and reduction to appearance—were experienced by her.

i. Reduction of body

Reduction of body is a form of treatment where a person is treated as their body or

specific body sections rather than as a whole. Being Edward's escort forced Vivian to

follow him into a posh hotel where guests of different social levels than Vivian had

been present. Due to Vivian's image as a sex worker, the hotel personnel treat her with

judgment and dismissal when she first checks into the luxurious hotel. Vivian became a

source of public gaze from both hotel receptionists and other visitors.

[Medium full shot on the guests seated in comfortable armchairs near the front desk. All
these guests are very elegantly dressed, and mostly middle-aged. They all look with
curiosity at the strange couple that just walked in.]
(Lawton, 1990)
 Based on how others perceive her, Vivian explains that there is a societal divide

between "elegantly dressed" people and herself. This outward struggle refers to Vivian's

reduction of body, in which others only see her from the outside without knowing her true

personality. Vivian often becomes the subject of public attention because her appearance is

considered inappropriate. This additionally happened to Vivian, who was leading to their

room by the hotel employee. The hotel employee regarded Vivian judgingly.

[The attendant doesn't move away and remains close to Vivian, staring at her.]
(Lawton, 1990)
This shows that Vivian's existence is indeed considered as something unusual and

people only see Vivian as an object seen through her body, not as a whole. This was

happening before Edward took control of Vivian's rights to herself. This new atmosphere

around Vivian objectified her because, in their perspective, she was not one of them, but

rather an object perceived through her body. This is backed up by her occupation as a sex

worker. Aside from that, Vivian's profession was predicted by those around her due to

stereotypes that form when someone who is nicely dressed and appears sophisticated brings

a lady dressed sexy to attract clients.

ii. Denial of subjectivity

Denial of subjectivity as previously said, this is regarded as the objectifier treating the

objectified person as something whose experiences and feelings (if any) do not need to be

considered. Vivian has been victim to this form of objectification on numerous occasions as

a result of external conflicts. There was an exterior confrontation between Vivian and a

saleswoman while Vivian headed out to shop for clothes on Rodeo Drive.

VIVIAN. How much is this ?

[Vivian looks at another dummy wearing a very elegant light-colored dress. The
saleswoman (Saleswoman # 2) with the black jacket has joined them.]
 SALESWOMAN # 1. I don't think this would fit you.
VIVIAN. Well, I didn't ask if it would fit. I asked how much it was.
[The saleswoman # 1 turns toward her colleague.]
SALESWOMAN # 1. How much is this, Marie ?
SALESWOMAN # 2. It's very expensive.
SALESWOMAN # 1. It's very expensive.
VIVIAN. Look, I got money to spend in here.
[She starts walking nervously around the shop.]
SALESWOMAN # 1. I don't think we have anything for you. You're obviously in the
wrong place. Please leave.
[The two saleswoman are staring at Vivian, who seems thunderstruck by this
unexpected blow. She walks to the door, and leaves the shop.]
(Lawton, 1990)
The conversation above proves that the saleswomen at Rodeo Drive hurt Vivian's

feelings just because her existence was considered unsuitable for shopping at their place. At

the beginning of Vivian's interaction with the saleswoman, you can see that they had

refused Vivian's arrival by saying that none of the clothes fit her. This happened repeatedly.

Even Lawton also explained that Vivian seemed "thunderstruck" by the reaction of the

saleswomen. The saleswomen in the stores are initially dismissive and patronizing,

assuming that she cannot afford their products based on her appearance. They treat her like

an unwelcome outsider. The salesgirls there use the word "expensive" to convey their belief

that Vivian is unable to purchase the clothing they are offering. They continued to refuse

Vivian even after she said, "I got money to spend in here," mocking her and telling her,

"You're obviously in the wrong place." Because these terrible comments lack subjectivity,

it might be argued that Vivian was objectified by them.

iii. Reduction to appearance

Reduction to appearance means that a person is that is treated based on their appearance

and how it is seen by their senses as the main thing in themselves. In Vivian’s new

surroundings, she was invited by Edward in a business meeting. At a formal restaurant,

Vivian had a sit-down dinner where she meets Edward's business partner named David and

James Morse. Due to the fact that she frequently received no attention from those around

her, Vivian's attendance at the dinner ended up becoming one of the external disputes that

took place.

In addition, David Morse felt uncomfortable with Vivian's attitude which was

considered inappropriate. David Morse has been described several times as feeling irritated

with the conversation keeps on deviating on menial subjects that Vivian discussed with

James Morse (Lawton, 1990). Therefore, in the conversation that followed, Edward and

those nearby did not bother to invite Vivian to join their conversation. Vivian's appearance

there therefore had nothing to do with Vivian's personality as a whole, but rather with the

picture Edward had manufactured to exhibit her "beautiful" escort.

2. Internal Conflicts

Giving oneself up to become an object is precisely what it means to choose to become a

sex worker. However, in the context of a piece whose aim is to amuse, this is considered

potentially dangerous if it serves as an inspiration, particularly when there are instances of

objectification that are harmful. Vivian's character nevertheless encounters instances of

objectification from her opponent's characters and other characters, despite the fact that the

story has a pleasant or happy ending. This movie glorifies prostitution by depicting an

improbable romance between a prostitute and a client. According to many prostitutes, they

typically have negative experiences as opposed to positive ones.

“I love romantic comedies,” says Marian Hatcher, a sex trafficking survivor who now

works as a project manager at the Cook County Sheriff’s office. “Before I was prostituted,
raped, beaten, kidnapped, and incarcerated as a result of prostitution, I looked at it as a

romantic comedy.” But soon enough, she says, the movie “became an ugly reality.” (Alter,

2015)

Whatever the situation, Kant believes that no human should have the right to sell

themselves for personal purposes (1963, pp. 165). However, in this case, Vivian Ward

chooses to be a sex worker due to her circumstances. Vivian has been supporting herself

since she was a teenager. She used to get good grades when she was in high school.

However, she merely completed the eleventh grade of her education. For the next step of

her life, she could be said to go with the flow. Making money is not easy for her. She has

done various jobs until she met Kit and became a sex worker. Although he had never

intended to do it, the income was still very alluring to her.

VIVIAN. First guy I ever loved was a total nothing. Second was worse. My mom called
me a bum magnet. If there was a bum within a fifty-mile radius, I was completely
attracted to him. That's how I ended up here. I followed bum number three.
[Slowly, the camera moves closer to them.]
EDWARD. Mm.
VIVIAN. So here I was : no money, no friends, no bum.
EDWARD. So then you chose this as your profession ?
VIVIAN. I worked at a couple fast food places, parked cars at wrestling. And I couldn't
make the rent. I was too ashamed to go home. That's when I met Kit. She was a hooker
and made it sound so great. So one day I did it.
[The camera stops moving forward, having reached a medium close shot, showing
Vivian and Edward's heads and shoulders.]
VIVIAN. I cried the whole time. But then I got some regulars and, you know... It's not
like anybody plans this. It's not your childhood dream.
EDWARD. You could be so much more.
(Lawton, 1990)

This conversation took place after Vivian and Edward began to feel love between the

two. Vivian began to open up about her old life and told how she started to end up

becoming a sex worker. The internal conflict that describes where Vivian has low self-
esteem makes her give up on her way of life to become a sex worker. Even though Edward

thought that Vivian could be so much more than a sex worker, Vivian still felt that she did

not deserve to be even more by responding "The bad stuff is easier to believe. You ever

notice that?" (Lawton, 1990). This is also what drives Vivian to objectify herself.

Objectification that she experiences actually comes from her own choice. This

argument is supported by Kant by saying that all prostitutes are blamed for their

objectification due to their choice to lose their humanity and for making them sexual

objects for the pleasure of their clients (1963, pp. 165). This leads to the fact that Vivian is

sacrificing herself to experience objectification. According to Boggs and Petrie, this

statement is categorized as the internal conflict that disputes the value system within Vivian

herself. In this case, Vivian prioritizes the alluring things she can get to survive, become

independent, and try to find a more decent life. Therefore, Vivian's choice as a sex worker

was based on an internal conflict which explains how Vivian lost her self-worth and desire

for a better life.

Besides that, Vivian also objectifies herself to make "prey" for men the way prostitution

should be. This can also be called self-objectification as explained by Bartky that in some

situations women must make themselves objects for men (Bartky, 1990, pp. 73). While this

is not likely to happen, there is some evidence of how Vivian objectified herself. The first

self-objectification occurs when Vivian offers Edward her services as a prostitute when

they first meet.

[Back to Edward sitting in his car. We see Vivian's back bending to look through the
passenger's window.]
VIVIAN. Hey, sugar, you looking for a date ?
(Lawton, 1990)
 The previously mentioned evidence suggests that Vivian leaned her back against

Edward's car door mirror and called Edward “sugar” in an effort to make herself appear

sensually pleasing to men. Vivian offers herself as a "date" for Edward which can actually

be interpreted as a "night companion" according to her profession as a prostitute or sex

worker. This is in line with Bartky's argument, which cites instances of women's

objectification in patriarchal societies where women feel constantly watched by men, much

like the inmates of the Panopticon (a prison model put forth by Bentham), and they feel the

need to present themselves in a sensually pleasing manner to men (Bartky 1990, pp. 65).

The second piece of evidence is when Vivian indirectly flaunts herself to the

surroundings that she is indeed a prostitute. When Vivian began to draw attention from

those around him while they were waiting for the elevator, Edward's attempt to hide her

clothing abruptly failed. There is already a middle-aged couple waiting for it. They each

turn to face Vivian. When Vivian looks around, she sees their disapproving expression. As

a substitute, Vivian raised her leg and placed the toe of her boot on the tall ashtray that was

placed next to the elevator door, exposing her thigh to the pair and in particular to the man

(Lawton, 1990).

Vivian responds with a laugh and says “Oh, honey. You know what's happened ? I've

got a runner in my pantyhose.” And then she laughed and says “I’m not wearing

pantyhose.” Not only that, Vivian continued her action by sitting on the sofa at the back of

the cabin. She puts one leg up on the couch (Lawton, 1990). There is no doubt that Vivian

engaged in such behavior to entice the couple, particularly the man. This shows how Vivian

uses her appearance and physique to objectify herself. This is corroborated by Bartky's
claim that women will find erotic delight in their physical selves, rejoicing in their bodies

as beautiful objects to be gazed at and decorated (1990, pp. 131-2).

The last thing that proves that Vivian objectified herself is when she confirms she only

uses Edward for her sexual gratification. When Edward took Vivian to an event, Vivian met

some of Edward's friends and talked. They talked about how Vivian was lucky to get

Edward, who incidentally was the most eligible bachelor among them. However, Vivian

responded by saying “Well, I'm not trying to land on him. I'm just using him for sex."

(Lawton, 1990). This demonstrates her traits as a woman who enjoys serving as a male

object of desire.

B. Vivian Ward’s Response to Objectification in the Movie Pretty Woman

Vivian Ward's response to the objectification she encountered is examined to address

the questions posed by the second research question. Vivian responds in various ways to

the struggle of objectification she encounters throughout the story. There are two possible

outcomes when responding to the objectifications; acceptance or rejection. Vivian

considers the circumstances she is in each instance to react to the objectification dilemma

that each other character does. Thus, this chapter discusses Vivian's reactions to each

dispute.

1. Vivian Ward and Edward Lewis’ Relationship

As discussed in the last chapter, there were a lot of objectification difficulties in Vivian

and Edward's relationship. Vivian, however, responded to Edward's struggle of

objectification with both rejection and acceptance because the many circumstances she

encountered were likewise diverse. Vivian made strides toward being a better person
through her connection with Edward, but there was also a point when she realized that

Vivian was being undervalued. The following discussions are the detailed explanation of

Vivian's response to each of Edward Lewis' objectifications.

a. Instrumentality: Acceptance and Rejection

The first objectification problem arose during Vivian Ward and Edward Lewis' initial

encounter in the Hollywood Hills. Vivian encountered Edward at that time while seeking

for a client. Conflicts over objectification started off there. Vivian is a prostitute, and

Edward "employs" or objectifies her. Vivian was initially merely asked for directions by

Edward, and he had no intention of employing her services to satisfy his sexual desires. The

objectification dilemma arises when someone is paid to only show the way. Vivian's

response to this is accepting this objectification because it is advantageous to both sides. In

another case of objectification of instrumentality, when Edward asks Vivian to be a "night

companion" for Edward, Vivian responds with acceptance by saying "You got it" (Lawton,

1990) without much ado.

In the last objectification in instrumentality, Vivian also seems to accept the

objectification for the same reason. When Edward asks her to be his "beck and call girl",

without hesitation Vivian replies with "Look, I'd love to be your "beck and call girl", but,

uh you're a rich, good-looking guy. You could get a million girls for free" (Lawton, 1990).

This can be identified as acceptance because Vivian's response to her objectification refers

to how according to her, women are supposed to be male companions from the words "I'd

love to be your "beck and call girl"" (Lawton, 1990). Moreover, Vivian also suggests

Edward to look for other women, even for free by relying on Edward's good looks. In this
case, Vivian has the idea that all women will accept handsome men even in the context of

objectification.

Vivian's rejection towards this objectification can solely be seen in how she offers a

quite fantastic price for herself. Although it is not as significant as it seems, this is

considered as Vivian's thinking that has a high value on herself as a sex worker. She

initially made the offer by asking, "Hey, sugar, you looking for a date?" (Lawton, 1990).

Additionally, Vivian refused to offer Edward free directions, claiming, "I can do anything I

want to, baby. I ain't lost." (Lawton, 1990). Vivian made a decision to refuse to utilize

herself for any reason without payment because, in her viewpoint, that was the way it

should be as a sex worker.

Vivian said that she would not accept less than a hundred dollars for rent when Edward

asked her about it. She also stated that there was a reason behind this, namely that she was a

person who cared about herself and always had regular health check-ups (Lawton, 1990).

This indicates that Vivian refuses to be used for free by her client. Although Vivian’s

rejection was based on the fact that she was working as a sex worker, her statement also

illustrates the value she has for herself in order to fight the clients who objectify her.

b. Denial of Autonomy: Acceptance and Rejection

As a sex worker, Vivian is lacking in autonomy and self-determination. Being Edward’s

escort makes Vivian controllable in many aspects such as how she behaves and how she

dresses. However, Edward’s controlling behavior towards Vivian is considered a step for

Vivian to be a better person. Vivian dressed inappropriately during her first visit to The

Regent Beverly Wilshire Hotel described as “a very luxurious hotel, certainly one of the

most expensive hotels of the Los Angeles area” (Lawton, 1990). Her revealing clothes
make Edward attempt to cover Vivian’s body with the coat he had brought. Even after

Edward gave Vivian the reason, she does not seem to reject him.

EDWARD. Why don't you put this on ?

He puts his coat, which he was carrying on his arm, on Vivian's shoulders, and then
wraps it around Vivian's body, in order to as much as he can of Vivian's very
conspicuous outfit.
VIVIAN. Why ?
EDWARD. Well, this hotel is not the kind of establishment that rooms by the hour.
VIVIAN. Ah.
(Lawton, 1990)

The phrase "establishment that rooms by the hour" (Lawton, 1990) in Edward's

response, which he used to describe the hotel, might be interpreted as a word choice made

specifically to help Vivian understand. It is clear from this that Edward infers that Vivian

only comprehends concepts that are deemed inappropriate for her social status. However,

Vivian did not dodge the question; she just responded, "Ah" (Lawton, 1990). This indicates

that Vivian acknowledged this assertion and used it to teach herself a lesson. When Vivian

formally became Edward's escort, Edward also carried out his control over her clothes. For

the sake of Edward's public image, Edward requires that Vivian dress elegantly and neatly.

Edward appears to have power over Vivian's behavior in addition to her clothes. It can

be inferred from Edward's conflict of objectification that he banned Vivian from engaging

in her pet annoyance, fidgeting. Because Vivian was aware that fidgeting was a bad habit,

she also accepted Edward's treatment of her in this situation. Every time Edward

reprimanded Vivian for fidgeting, Vivian either took it in silence or accepted it. The three

pieces of evidence on Edward's control of Vivian’s behavior in fidgeting show that Vivian

does not respond to any of Edward’s words. However, she accepts by responding to it once.

EDWARD. Okay, stop fidgeting.

 VIVIAN. All right.
EDWARD. Get rid of your gum.
[She spits her gum, almost hitting two female pedestrians. One of them jumps up.]
EDWARD. I don't believe you did that.
[Edward pulls her by the hand and they enter an expensive clothing store.]
(Lawton, 1990)

According to this evidence, Vivian did respond with the words "All right" (Lawton,

1990) when Edward forbade her behavior. Vivian revealed that she intentionally smeared

chewing gum close to passersby as a reaction to Edward's treatment of her after he had

instructed her to throw away her chewing gum. In this case, Vivian accepts Edward's orders

with little rejection due to her frustration.

It is believed that Vivian had consented to all instances of objectification that Edward

used to deny her autonomy. Vivian did show some rejection at one point, even though

Edward's domineering approach toward her was appropriate. Given that Vivian ultimately

followed Edward's demands, this rejection cannot be deemed to be a major one either. This

takes place when Edward demands that Vivian go shopping for clothing so that she can

dress appropriately in public. Vivian nevertheless complies with Edward's instructions

even though it was not her choice to do so, despite his insistence that she refrain from

purchasing too-revealing clothing.

c. Inertness: Acceptance

Vivian is transformed in her relationship with Edward into a "mistress" who is "locked

up" and constrained in her interactions with other people, particularly those connected to

Edward. Edward demands that Vivian stay at the hotel and not be allowed to answer the

phone. This objectification shows that Vivian was made the object of Edward's "captivity"

inadvertently. Vivian do not, however, express any opposition to this objectification.

 In the conversation between Vivian and Edward over the telephone which shows this

conflict of objectification of inertness, Vivian responds with a joke which is shown by her

laughter. In fact, Edward even called her 3 times and Vivian answered the phone because

she knew it was Edward's call. When Edward forbade her, Vivian also did not show any

reaction that could be assumed to be acceptance. At the end of the call, Vivian smiled after

talking to Edward explained in the phrase “Vivian also puts the phone down and smiles”

(Lawton, 1990). In addition, Vivian also accepts this conflict of objectification when she is

driving with Edward and wants to stop by a bar where her friend, Kit, is.

VIVIAN. Um... There's a club up here that I'd like to stop into for a second to see my
roommate, if that's okay ?
(Lawton, 1990)

Vivian was portrayed from the manner she requested permission as a woman who did

not have the freedom to travel wherever she pleased because, subtly, she believed she was

in Edward's control. It is also explained that Vivian is feeling nervous because she does not

listen to any of Edward’s words and keeps on looking through the car window (Lawton,

1990). It means that Vivian is scared to ask for Edward’s permission which indirectly

shows her submissive side. Of these two conflicts regarding the objectification of inertness

that Edward addressed, Vivian accepted both of them, although indirectly. This indicates

that she is willing to be an object for Edward even though she could be doing these things

solely for the money she will get or possibly, Edward's love.

d. Fungibility: Acceptance

It is explained in objectification in fungibility that it occurs when a person is treated as

an object that can be exchanged or thrown away. Vivian’s agreement to be Edward’s escort

somehow can be based on money that would benefit Vivian. However, the use of Edward’s
words is considered less humane. He stated “Three thousand for six days. And, Vivian, I

will let you go” (Lawton, 1990). In this objectification, Vivian had a fairly positive

response about it.

[He goes out and closes the door. Vivian smiles and speaks very quietly.]
VIVIAN. But I'm here now.
[She laughs and runs toward the bedroom.]
PENTHOUSE - BEDROOM - INTERIOR DAY
[She laughs and screams, and jumps on the bed. Still laughing wildly, she rolls on the
bed.]
VIVIAN. Three thousand dollars !
(Lawton, 1990)

With these responses, Vivian shows her acceptance towards Edward’s objectification.

Vivian showed no evasiveness at all and showed an excited reaction. This was due to his

agreement with Edward who promised her a large amount of money as a worker or "escort"

for him like when she shouted, "Three thousand dollars!" (Lawton, 1990). Vivian's

response to this is also supported by the fact that she also benefited from her previous

agreement with Edward. However, this does not make her free from the conflict of

objectification of fungibility that Edward poses as an object that can be thrown away

anytime Edward wants her to be.

e. Ownership: Acceptance and Rejection

Vivian's response in the conflict of objectification on ownership is identified as an

accepting response. As explained earlier, ownership means the treatment of an objectifier

who sells or buys an object so that the object is considered property (Nussbaum, 1995, pp.

257). This connects to the previous objectification that discussed the benefits gained by

Vivian as Edward's escort. In the discussion of the objectification received by Vivian, the

transactions carried out by both parties are described. Vivian became Edward's personal
possession as an escort which was also approved by Vivian who worked as a sex worker.

Therefore, Vivian's response to this objectification is indeed accepted because it is mutual.

Vivian's significant response can be seen in the way she accepts Edward's offer. When

Edward offered Vivian to accompany him at the hotel, Vivian naturally replied "You got it"

(Lawton, 1990). However, Vivian also maintains her indication as a sex worker whose job

is to fulfill men's desires. She considers time to be very valuable to her. Edward, who

initially does not want to rush his sexual desires, wants Vivian to wait and Vivian answers

him firmly because time is an important issue when it comes to her job.

VIVIAN. Listen, I... I appreciate this whole seduction scene you've got going, but let me
give you a tip : I'm a sure thing, okay ? So, I'm on an hourly rate. Could we just move it?
(Lawton, 1990)

In this evidence, Vivian initially wanted to keep her prestige high as a sex worker so as not

to be played by her clients. However, with the offer of a large amount of money, she did

not refuse either. This also makes an argument where she actually objectifies herself as a

sex worker as described by Immanuel Kant (1963, pp. 165) who said that women

(prostitutes and concubines) are reduced to being objects of male desire as a result of sexual

activity in this ethically dubious situation. However, focusing on Vivian's response to this

treatment, in her acceptance, insecurity also can be found in it. She is unsure of herself

because all she knows is that she is just a sex worker hired by the hour.

VIVIAN. Are you sure you want me to stay for the entire night ? I mean, I could just
pop you good and be on my way.
(Lawton, 1990)

From the way Vivian convinces Edward to hire her for one night, it can be ascertained that

Vivian is indeed unsure of herself. However, that uncertainty still leads to acceptance
because in fact, she stays with Edward for one night (at first) and at this point, this is where

Vivian's feelings for Edward begin to emerge and Vivian begins to realize her

objectification and being rejection.

Vivian and Edward’s deal changes over time until Edward decides to put Vivian

into his possession for a whole week. In those days, Vivian begins to feel love for Edward.

Vivian promised herself to avoid getting emotional. She even had a stance to never kiss the

client because it was too emotional (Lawton, 1990). However, somehow Vivian broke her

own stance. In the end, it was Vivian who kissed Edward first. Vivian argues with Kit

about her feelings or Edward and tell her that she kissed Edward on the mouth. It indicates

the fact that Vivian did fell in love with Edward. Edward did not feel the same way at first,

but the seeds appeared when Vivian had an interaction with other people who is Edward's

business partner or "rival".

As explained before, Vivian accepts Edward's objectification in accordance with the

context that can make her a better person. According to her, falling in love makes him

detached from his disadvantaged life. After feeling this, her acceptance occurs when she

responds to Edward's statement that she feels jealous when Vivian talks to David Morse.

However, Edward does this out of a sense of ownership towards Vivian. Edward's

treatment is unjustified because jealousy towards a worker is not necessary. Vivian's

response that sets the record straight by saying "We were just talking" (Lawton, 1990)

makes it indicates rejection of this objectification because she stood up for herself.

f. Denial of subjectivity: Acceptance and Rejection

According to Nussbaum’s theory, subjectivity means the treatment of a person as

though their experiences and emotions (if any) are irrelevant (1995, pp. 256-257).
Throughout the story, several times, Edward does consider Vivian’s feelings are irrelevant.

By being a sex worker, Vivian often gets underestimated by Edward, especially the first

time Vivian met Edward. Edward, who feels superior, does not hesitate to say words that

hurt Vivian's personality. As evidenced in the objectification above, which explains how

Edward makes fun of Vivian even though he feels unaware of his actions.

VIVIAN. If you're making fun of me, I don't like it.

EDWARD. No, I'm not making fun of you.
HOLLYWOOD BOULEVARD - EXTERIOR NIGHT
[The couple seen through the windshield.]
EDWARD. No, I'm not making... I'm not. I wouldn't offend you. I'm sorry.
(Lawton, 1990)

In this evidence, Vivian maintains her dignity by responding to the opposition to confront

Edward. However, Edward quickly corrected his words that he did not mean to make fun of

Vivian, and apologized. This apology was taken as sincere by Vivian. Vivian assumed that

Edward did not mean to make fun of her and let it slide. So, Vivian rejected the act of

objectification but accepted it afterward because she felt that Edward had the potential to be

a good person even though they only knew each other for a short time. This shows that

Vivian does not feel threatened to be around Edward even though Edward still solely

considers Vivian’s feelings are irrelevant due to her occupation as a sex worker who has a

lower social status than him. Therefore, it is safe to say that Vivian still accepts this

objectification in the end.

Responding to Vivian’s acceptance of Edward’s treatment, there are so many

unfortunate things like Vivian's growing sense of love. Despite this, Edward still considers

Vivian an employee to him from the way he says "I hate to point out the obvious, but you

are, in fact, a hooker! And you are my employee!" (Lawton, 1990). Even though Edward
uses words like "I hate to point out the obvious, .." which explains that he actually feels

uneasy about saying it, this still makes Vivian enraged. Vivian felt uneasy around Edward

after her identity was made known since she might be treated unfairly due to her profession.

Therefore, in the end, there was rejection from Vivian.

VIVIAN. Look, you don't own me. I decide, okay ? I say who. I say when. I... I say
who...
EDWARD. I refuse to spend the next three days fighting with you. I said I was sorry. I
meant it. That's the end of it !
VIVIAN. I'm sorry I ever met you.
[She walks away into the bathroom]
VIVIAN. I'm sorry I ever got into your stupid car !
(Lawton, 1990)

Judging from the evidence above, Vivian's rejection is quite intense and bold. She has lost

Edward's respect even though Edward has apologized to her. An argument between them

ensued until Vivian was about to leave Edward. Vivian said "I want my money, I want to

get out from here" (Lawton, 1990) and Edward still asked her to stay. But again, Vivian

melts down to that. However, Vivian still emphasized that she did not want to be hurt by

Edward anymore by saying "You hurt me" and "Don't do it again" (Lawton 1990).

From the things that happened, it can be said that Vivian did resist Edward's treatment.

However, she has the courage to confront Edward and defend her dignity. Vivian also does

this because she prioritizes her feelings of love for Edward and somehow, she thinks that

she can be better because of Edward. Vivian's responses to this situation are indeed based

on her significant thoughts on the context and dismiss all the insecurities that she could

have had. Vivian’s feelings and desire towards Edward thus being the main reason of her

rejection of the objectification.

 Edward also takes control of Vivian’s emotions. There are many aspects that make

Vivian fall in love with him. However, when Vivian is about to confess his love, Edward

ignores this. Edward only considered Vivian as an employee to him. This of course hurt

Vivian's heart. Therefore, there was rejection that was raised by Vivian towards Edward's

treatment. Edward does offer things that are very beneficial for Vivian's life in the future.

However, what Vivian is looking for from Edward is a feeling of love.

EDWARD. Vivian, what is it you want ?

[Medium close shot on Edward standing by the terrace door.]
EDWARD. What do you see happening between us ?
[Back to Vivian bending over the balustrade.]
VIVIAN. I don't know. When I was a little girl, my mama used to lock me in the attic
when I was bad, which was pretty often. And I would... I would pretend I was a
princess... trapped in a tower by a wicked queen.
[Edward is seriously listening to Vivian.]
VIVIAN. (voice over) And then suddenly this knight...
[Back to Vivian bending over the balustrade.]
VIVIAN. ...on a white horse with these colors flying would come charging up and draw
his sword. And I would wave. And he would climb up the tower and rescue me.
[She walks away from the balustrade and toward Edward.]
VIVIAN. But never in all the time... that I had this dream did the say to me, “Come on,
baby, I'll put you up in a great condo”.
(Lawton, 1990)

The conversation between Vivian and Edward shows how Vivian is longing for a life

like a fairy tale. This is also driven by the fact that during her childhood, Vivian was treated

badly by her parents who locked her in an attic and treated her as if she were a princess

who was locked up and waiting for the prince to save her. Vivian used phrases like "...on a

white horse with these colors flying would come charging up and draw his sword." when

Edward inquired about what she wanted from him. I would also wave.

The suggested message that she sincerely wants to be saved by a guy she can love is

shown by her statement, "And he would climb up the tower and rescue me.” (Lawton,
1990). This fact makes it safe to assume that Vivian indirectly rejects Edward's

objectification, wherein Edward views her solely as a mistress and not as a partner. Vivian

did not entirely reject objectification when she denied it; rather, she accepted some of

Edward's objectification. All of Vivian's rejection and acceptance, though, still hinge on

whether or not she can use the experience to improve herself as a person.

g. Reduction of body: Acceptance

In this objectification, Vivian's response may not be directly visible. Vivian's existence

and her body are considered alluring by Edward to the point that Edward can accept

Vivian's offer to be his "guide". Vivian did not put up any rejection because she realized

that she was a sex worker who wore revealing clothes and became public consumption.

However, in this objectification, Vivian seems unaware of herself being noticed by Edward.

Even so, if Vivian was aware of her body being noticed by Edward, she would still accept

this objectification because that's where she gets the money to survive.

Vivian's unawareness of this objectification is evidenced by the lack of response she

gave. Vivian immediately accepts Edward's approval to make Vivian his “guide” by

directly opening the passenger door of Edward's car and climbs in (Lawton, 1990). Her

awareness of her job is the main reason she accepts the consequences of this objectification.

She is also aware of the objectifications that await her as her awareness of her job as Kant

said that all sex workers are actually responsible for their own objectification (1963, pp.

165).

2. Vivian Ward and Philip Stuckey’s Relationship

 Vivian Ward and Philip Stuckey have a bad relationship throughout the story as

described in the objectification section. Although not as much as Edward's objectifications,

Vivian and Philip's relationship has a tense relationship. Philip Stuckey can be said to be an

antagonist because he and the main character, Vivian Ward do not have a favorable

relationship for both of them. In her response, supported by the facts above, Vivian resists

most of the objectifications that happen to her because of Philip.

a. Instrumentality and denial of subjectivity: Rejection

When Philip found out that Vivian was in fact a sex worker, he immediately

approached Vivian. This is an impropriety for someone to talk about. Instrumentality is

explained as the treatment of someone who considers other people as tools to satisfy their

desires. In the first instrumentality objectification, Philip converses with Vivian with many

quips such as "Must be quite a change from Hollywood Boulevard, hmm?" (Lawton, 1990).

However, the conflict of objectification of instrumentality comes from Philip's treatment

that he wants to "hire" Vivian and touch her without her consent.

Despite the fact that Vivian is indeed a sex worker, Philip's treatment is still unjustified

because Vivian already has the right to choose her clients. As a response, of course, Vivian

feels very uncomfortable dealing with Philip. Feeling pressured by this fact, Vivian can

only answer with "Yeah sure. Why not?" (Lawton, 1990). However, rejection is seen when

it is explained that Vivian was about to cry at that time. Lawton (1990) explains that it is

seen that Vivian feels like crying, but she masters her emotions and looks at Philip. So,

indirectly, Vivian signaled rejection to this objectification.

 Vivian's two crying responses to objectification can be said to be a form of rejection of

Philip's objectification because according to Lee Shepherd (2018), someone who is

objectified to reject tends to make a passive response by not fighting back but making a

response that expresses their feelings. Vivian's rejection is sufficient to fulfill this

explanation. This is also in line with the meaning of denial of subjectivity itself where

Philip has directly hurt Vivian's feelings and Vivian reacts accordingly, not accepting the

treatment, albeit with a passive domain towards the objectifier.

Vivian's response as above is caused by Philip's treatment which simultaneously insults

Vivian verbally and physically. The reason why the denial of subjectivity conflict is

presented together with instrumentality is because these two objectifications have the same

response in the same conversation. Denial of subjectivity is the treatment of someone who

does not heed the feelings of others based on their background. In accordance with the

explanation that Philip discussed Vivian's job as a sex worker, Vivian felt sad about it to the

point of crying. This proves that Vivian responded to this objectification with rejection.

b. Denial of autonomy and fungibility: Rejection

Denial of autonomy means that a person's treatment makes another person lack of

power. In this objectification, there is a significant conflict because it is physical. There was

an argument between Vivian and Philip which ended in a fight between the two. This is

very unjustified because as a man, Philip has more power than Vivian. This fact also pushes

Vivian to become a powerless character when fighting Philip. In this argument, it can also

be seen that Philip dehumanizes Vivian and overrides Vivian's right to resist. Vivian's

response to this objectification is clearly explained by the author. Vivian refuses to be

touched by Philip and does not even want to talk to him.

 [He moves his hand toward her bare leg. She glares at him.]
PHILIP. Right now I am just freaking out. So maybe if I screw you, ...
[He puts his hand between her legs. She moves it away.]
PHILIP. ...and take you to the opera, then I could be a happy guy, just like Edward.
[He keeps on trying to fondle her, and Vivian keeps on trying to get rid of him.]
(Lawton, 1990)

In this evidence, Vivian did not seem to have said anything to Philip. She was just

trying to get rid of him. However, this is the form of rejection that Vivian does to survive.

From the fact that Vivian does not say anything and only tries to get away, it is certain that

she lacks power in this conflict. The response that Vivian shows is not big, but from the

gestures and explanations said by the author, Vivian shows rejection.

Vivian is objectified by Philip in one significant sentence that reads "Maybe if I do you,

then I wouldn't care about losing millions of dollars. Because I have to be very honest with

you right now, Vivian" (Lawton, 1990). The word "do" in Philip's sentence indicates that

Vivian is nothing more than an object that he can use. In this tension, Vivian who is still

powerless because she feels intimidated by Philip also does not respond with words.

However, we can conclude that she fights back by trying to avoid Philip’s objectification.

This also happens along with the timeline in the objectification of denial of autonomy.

Therefore, Vivian's response is only her way of trying to get away from Philip, as in the

evidence above.

c. Violability: Rejection

The objectification of violability is the most unfortunate objectification in this story.

Violability means treating someone like an object by relying on violence. According to the

objectification dispute part between Vivian and Philip, there is violence at the end of their

meeting after Philip confronts Vivian. This objectification can be proven to be the
mistreatment of someone, especially if they are weak in their presence. Vivian eventually

emitted a few words that were recognized as rejection.

VIVIAN. [SCREAMING] Get off me ! Ow ! Get off me !

PHILIP. How much is it ? Twenty bucks, thirty bucks ?
VIVIAN. [SCREAMING] Get off me ! Get off me !
PHILIP. Fifty ? You a fifty dollars whore, Vivian ?
(Lawton, 1990)

In her response in the evidence, Vivian repeatedly shouted "Get off me!" (Lawton,

1990) to Philip. Vivian is persistent in her rejection even though Philip has hurt her

physically and verbally brutally such as when Philip calls Vivian a "whore" which is a

harsh word that should not be used on someone. However, behind Vivian's rejection, she

relies on Edward as a "shield" for her. In some of Vivian's responses, she said that Edward

would come home soon and protect her from Philip. Vivian says "Uh, Edward will be back

soon. Any minute, he'll be home" (Lawton, 1990) as evidence that she relies on Edward in

this conflict.

Vivian's response of relying on Edward is based on her intuition and her belief that

Edward is the one who can take care of her as explained in the section on Vivian and

Edward's relationship. This can be proven by the many acceptances of Edward's

objectifications because Vivian can sort out in what parts Edward directly objectifies her

and in what ways the objectification can be identified as a possibility in objectification

which she considers as a lesson to have a better life. Therefore, Vivian's rejection and

acceptance are based on the context of the objectification carried out by each person she

interacts with. And in her relationship with Philip, it is certain that Philip's objectification is

indeed very detrimental to him given the amount of rejection Vivian has put up.
3. Vivian Ward and Kit De Luca’s Relationship

Vivian Ward and Kit De Luca are best friends in their work as sex workers. Throughout

the story, their relationship has a strong chemistry as they support each other. However,

Vivian cannot escape the objectification that befalls her through her own best friend

because Kit is the one who supports her in becoming a sex worker which has objectified

her. Kit is seen as the person who plays a big role in Vivian's career to continue her work.

Vivian, who wants a more decent life, is able to make her own decisions rather than

having to follow Kit's advice that makes her a "good sex worker". In addition, Vivian also

plays a role in bringing Kit to a better life rather than spending her life working in a job that

is looked down upon by society. Therefore, Vivian's common sense is explained in her

acceptance and rejection of Kit's objectification below.

a. Denial of autonomy: Acceptance and Rejection

As explained, Kit does not directly objectify Vivian, what Kit does to her and Vivian to

encourage her and Vivian to become good sex workers is objectification that is found

implicitly. Thus, Vivian's response to her relationship with Kit can be said to be acceptance

because they support each other. For example, when Kit says "No, that's rent. You should

go for him. You look hot tonight. Don't take less than a hundred. Call me when you're

through. Take care of you" (Lawton, 1990). Vivian then hugs Kit, showing acceptance

towards Kit's statement.

Vivian’s rejection is also found in her relationship with Kit. Although Vivian highly

values Kit as her friend, Vivian has a stronger stance on herself to be a better person.

Vivian can make her own decisions as she explains that she has the right to decide who she
will fall in love with. Indirectly, she betrays Kit not to kiss anyone on the mouth. A

significant response that shows that Vivian rejects Kit's objectification is as follows:

KIT. Look, you came here. I gave you some money. I gave you a place to stay...
[Close Up on Kit's hands picking food (olives, onions, cherries...) in the snack plates,
and putting them on a paper napkin.]
KIT. ...and some valuable vocational advice. He was on my case. I had to give him
something.
[Back to the two girls behind the bar.]
KIT. So don't irritate me.
POPS. This ain't a buffet, Kit.
[Kit moves around Vivian, sits on a stool at the bar, and starts eating.]
VIVIAN. Irritate you ? Irritate you ? I just saw a girl pulled out of a Dumpster.
[She sits down on another stool.]
KIT. I know. Skinny Marie. But... she was a... a flake. She was a crack head. Dominic
was trying to straighten her out for months.
(Lawton, 1990)

In the evidence above, it is shown that there are times when Vivian also fights against Kit's

attitude that defends her and Vivian to continue being sex workers. The evidence has a

context when Vivian confronts Kit not to waste her money on unnecessary things to pay the

rent for their room together. However, Kit seems to argue that he is thinking of temporary

pleasure. Kit even finds Vivian "irritating". After that, the chaos in the bar is described,

which is interpreted as a very bad nightlife to strengthen Vivian's argument to forbid Kit

from doing things for the impression.

[We hear people shouting in the background and glass being broken.]
[The two girls turns their heads around for a second and then come back to their
conversation at the bar.]
WOMAN. [voice over] Leave her alone !
MAN. [voice over] Leave her alone !
WOMAN. [voice over] Come on, Blake !
VIVIAN. Don't you want to get out of here ?
KIT. Get out of where ? Where the fuck you wanna go ?
(Lawton, 1990)
Based on the evidence, Vivian has hope for a better life and resist in her interaction with

Kit. Vivian's rejection makes a good influence on Kit in encouraging her to quit her life as a

sex worker and start a better life even though Kit does not have the same thoughts.

Therefore, the relationship between the two can be said to be a positive relationship

because they support each other and Vivian does not want Kit to continue living as a sex

worker and survive, not only concerned with temporary pleasure.

1. Vivian Ward and The Society’s Relationship

Apart from Edward Lewis and Philip Stuckey, Vivian also has objectifications in her

interactions with people around her. As a sex worker, Vivian is seen as having a lower

social status than the people around her in many ways such as her physical presence, the

way she dresses, etc. Her response to the conflict of objectification she receives varies

because she is self-aware of her profession. Therefore, the following will explain a detailed

explanation of Vivian's response to the objectification she received from those around her.

a. Reduction of body: Rejection

The first objectification that appeared between the society and Vivian is reduction of

body. This objectification occurs between Vivian and the guests of The Regent Beverly

Wilshire Hotel, the place that Edward stays in Beverly Hills. Described as a luxurious

hotel, is known that the people who stayed at the hotel were people of high social status. In

contrast, Vivian, who is a sex worker, becomes a social object that is being discriminated

by the people around her. In terms of physical appearance, Vivian is stared by the people

around her at the hotel. Vivian is wearing revealing clothes, contrasting with the clothes

used by other people who are described wearing elegant clothes (Lawton, 1990).
 In this case, Vivian's response is not explained in the story, but in the second case of

reduction of body, after Vivian is stared by the hotel's employee, she seems to resist. In the

reduction of body, a person is seen only from the body, not from the whole. The hotel

worker who looked at Vivian looked at her without saying anything to correct her curiosity.

This makes the hotel worker objectify Vivian in the element of reduction of body. Vivian's

response in this case can be said to be a bold response because she directly confronts the

hotel worker.

VIVIAN. What are you looking at ?

[The attendant clears his throat.]
VIVIAN. What is he looking at ?
(Lawton, 1990)

In the evidence above, Vivian looks to defend her pride by directly encountering the hotel

worker. Although her rejection is not complex, what she does is still a rejection. She also

did it because she did not get an answer from the hotel worker. Vivian also seems to ask for

help from Edward by saying "What is he looking at?" (Lawton, 1990). This way of

rejection is a way for Vivian to understand what is wrong with her. Even though she did not

get an answer, Vivian's response still counts as rejection because she has tried to straighten

out what is seen as wrong with her.

b. Denial of subjectivity: Acceptance and Rejection

Vivian's acceptance of objectification can be seen throughout the whole movie where

she accepts a lot of objectification. She does not mind being considered a sex worker by

anyone (except Edward). Vivian also accepts the teachings given by Berney, the hotel

concierge who teaches her how to attend a fine dinner properly. Barney even helped her
find a clothing store that would accept her when Vivian thought she would be reported to

the police by Barney who mistook her for an uninvited hotel guest.

VIVIAN. Oh, man, if you're calling the cops. Yeah, call the cops. That's great. Tell 'em
I said hi.
BARNEY. Women's clothing.
[Vivian looks up, a bit surprised.]
(Lawton, 1990)

Based on this evidence, Vivian explained that she was surprised that Barney had called the

women's clothing store. Barney, who actually knows that Vivian is indeed a sex worker

hired by Edward, still considers her a human being without judging her at all. Vivian's

acceptance in this case indicates that she can indeed sort out which objectification she can

accept or not. Although not all objectification in the denial of subjectivity is accepted, such

significance indicates an acceptance of this objectification in certain contexts.

Denial of subjectivity which is defined as ignoring a person's feelings or experiences

because they are only considered as an object (1995, pp. 256-257). Vivian felt this way

with the saleswomen when she was shopping on Rodeo Drive, a very expensive boutique

(Lawton, 1990). She was seen as an underprivileged person because of her physical

appearance. She was repeatedly turned away with words that were quite hurtful. The

saleswomen did not care about Vivian's feelings and experience as a whole human being.

Vivian's response to this objectification is not seen as too complex because she just accepts

reality even though she had a little rejection.

When Vivian asked about the price of one of the clothes in the boutique, one of the

saleswomen said that it did not suit her. Boldly, Vivian responded with "Well, I didn't ask if

it would fit. I asked how much it was" (Lawton, 1990). This is what is described as Vivian's

initial rejection. The saleswoman not telling the price of the shirt galvanized Vivian's anger
and she replied "Look, I got money to spend here" (Lawton, 1990). As can be seen, these

saleswomen do not care about how much money Vivian has, they are only fixated by

Vivian's physical appearance which is dressed inappropriately based on their assumptions.

After putting up a fight that she thought she was defeated by circumstances, Vivian

accepted it by leaving the boutique in a state that seems thunderstruck by this unexpected

blow (Lawton, 1990). This makes Vivian fail in the rejection she attempted at the beginning

of her interaction with the two saleswomen. Therefore, Vivian's response in this

objectification has a fruitless impact even though Vivian has attempt her rejection.

Additionally, there was a time when Vivian returned to the boutique to mock the two

saleswomen to prove that she could afford the clothes they were selling. However, Vivian

deliberately says the following things to make them feel guilty for their objectification by

going back inside the boutique, from which Vivian was very rudely rejected, the day

before, by some snobbish saleswomen after she had shopped elsewhere with Edward. This

is evidenced by the conversation between Vivian and the two saleswomen below which

takes place in the boutique where Vivian was first objectified.

[Vivian keeps on walking until she reaches Saleswoman # 1, who is working on a

hanging rail. Saleswoman # 1 was the one who actually rejected Vivian from the
boutique.]
VIVIAN. Hi.
SALESWOMAN # 1. Hello.
[The saleswoman has a broad smile.]
VIVIAN. Do you remember me ?
[Apparently, the saleswoman doesn't recognize this very elegant woman as being the
one she was rude to the day before.]
SALESWOMAN # 1. No, I'm sorry.
VIVIAN. I was in here yesterday. You wouldn't wait on me.
SALESWOMAN # 1. Oh.
VIVIAN. You work on commission, right ?
SALESWOMAN # 1. Uh, yes.
[Vivian shows her all the bags she is carrying.]
 VIVIAN. Big mistake. Big. Huge ! I have to go shopping now.
[She walks away, leaving the saleswoman with a very surprised look on her face.]
(Lawton, 1990)

Through this evidence, it can be concluded that Vivian's arrogant attitude towards the

saleswomen indicates a rejection of the objectification she received yesterday when she was

not dressed as an elegant woman. Vivian even says "You wouldn't wait on me" and "Big

mistake. Huge!" (Lawton, 1990) to emphasize that they had made a mistake by looking

down on Vivian. Vivian's success can be seen when Lawton explains how the saleswomen

seemed surprised by Vivian's statement above. From Lee Shepherd's (2018) statement

about the response to objectification, rejection can be done actively and passively. This

evidence proves Vivian's active rejection with Vivian's effort to return to the boutique to

prove herself.

c. Reduction to appearance: Acceptance

In the third objectification done by the society, Vivian is objectified by Edward’s

business partners in a sit down dinner in a business meeting. The three people around

Vivian talked without caring about Vivian's appearance because she is considered only as

Edward's beautiful escort. They did not bother to invite Vivian into their conversations until

Vivian is seen to be busy in her own world. Vivian's response in this objectification is not

complex either because she accepts her profession. Vivian is aware of her situation which is

only an escort to Edward.

[Close Up shot on a plate being laid in front of one of the guests. On the plate, four
appetizers, actually four canap.]
 DAVID MORSE. [voice over] Mr. Lewis, my grandfather believes the men who create
a company...
[The camera moves up from the plate to the guest's face. The guest is Vivian, and she
looks a bit worried by what has been brought to her.]
DAVID MORSE. [voice over]...should control its destiny.
[Vivian turns to Edward.]
VIVIAN. Where's the salad ?
[David looks at Vivian, a bit surprised by what she just said.]
[Edward whispers to Vivian]
EDWARD. Uh, the salad comes at the end of the meal.
VIVIAN. That's the fork I knew.
[David smiles.]
[Vivian takes one of her forks and looks at it, then she puts it back.]
DAVID MORSE. [voice over] Let me, uh, put it another way. Between your public
statements and the rumors flying around on this thing, we find it very hard to figure out
what your real intentions are.
(Lawton, 1990)

In the evidence above, it can be seen that Vivian is busy with her own world because the

three people around her are talking about things that Vivian does not understand without

caring about her appearance. Therefore, Vivian's existence is not considered in the

interaction of the three people around Vivian. However, Vivian seems to not mind that.

Instead, she learns many new things such as the cutlery used by wealthy people which is

different from the way Vivian usually eats. On the other hand, Vivian also accepts the role

given by Edward as an escort who can be dressed up and shown to the public or in this

case, the business partner of Edward. Therefore, in this objectification, Vivian response can

be identified as acceptance.

2. Vivian vs Her Self: Acceptance and Rejection

Pretty Woman is basically about a beautiful woman named Vivian Ward who works as

a prostitute. In the course of her career as a sex worker, Vivian indirectly objectifies herself

for her choice to enter the world of prostitution. This is supported by Kant's statement
(1963, pp. 165) which explains that prostitutes are responsible for their own objectification

because they have eliminated humanity among themselves by making themselves a sexual

object for the satisfaction of clients.

The way Vivian obtains clients is by offering herself to her clients by seducing them.

Bartky (1990, pp. 73) also agrees that women can objectify themselves when women adopt

a male perspective to themselves where male desire becomes the main benchmark in

objectifying someone. Throughout the story, Vivian expresses her response with both

acceptance and rejection of herself which is shown through her interactions with other

characters.

Vivian's acceptance in objectifying herself can simply be seen from Vivian who carries

out her work without complaining much. Vivian has confidence in herself as a sex worker

without caring about the opinions of others. Like when she felt intimidated by two hotel

guests who looked at her and immediately flirted with them without feeling uncomfortable

about the treatment by sitting on the sofa with one leg up (Lawton, 1990). Vivian also

confirms herself as a sex worker to Edward's friends by saying "Well, I'm not trying to land

on him. I'm just using him for sex." (Lawton, 1990).

However, Vivian's acceptance of herself is also based on her ambition to have a better

life when she can make a lot of money. Supported by this, Vivian also expresses rejection.

Vivian refuses to have a pimp who will only control her and her money. When Kit De Luca

recommends them to have a pimp, Vivian's response is "And then he'll run our lives and

take our money. No." (Lawton, 1990). This is seen as a rejection of the objectification of

herself because Vivian understands how she does not want to add to the objectification of

herself that could happen when having a pimp. Vivian also said "Don't you want to get out
of here?" to Kit when they were arguing (Lawton, 1990). This shows a rejection of the

objectification of herself because Vivian has the ambition to get out of prostitution.
 CHAPTER V

CONCLUSION

Throughout the study, it is known that Vivian Ward received many cases of

objectification that arise from the existence of conflicts between her and other characters.

Based on research, other characters who objectify Vivian are Edward Lewis, Philip

Stuckey, Kit De Luca, the society around her, and also from herself. The objectification

carried out by each character mentioned is very diverse and the response shown by Vivian

is also varied. Vivian who has a desire for a better life can sort out which objectifications

will benefit her and which will not This san be seen from the response he showed to each

character he interacted with in the film. The objectifications that Vivian receive are

instrumentality, denial of autonomy, inertness, fungibility, violability, ownership, denial of

subjectivity, reduction of body, and reduction to appearance.

Based on the theory of objectification according to Martha Nussbaum (1995, pp. 256-

257) and Rae Langton (2009, pp. 228-229), Edward Lewis has the highest number of

objectifications, namely instrumentality, denial of autonomy, inertness, fungibility

ownership, denial of subjectivity, and reduction of body. Even so, Vivian's response was

not entirely a rejection because Vivian knew that Edward could bring her into her will in

having a better life. In other respects, Vivian who is a sex worker is also aware of what she

chooses as her profession so she understands how she will be treated. Edward is the

objectifier with the most objectification because he is Vivian's client. They have many

interactions that can be categorized as objectification.

 Unlike Edward, Philip Stuckey has bad intentions towards Vivian. As an antagonist

who opposes Edward and Vivian's relationship, Philip objectifies quite poorly even in a

small amount (also because of their not intense interactions), namely instrumentality, denial

of subjectivity, denial of autonomy, fungibility. and violability. Philip's objectification

explains that he feels that men have more power than women so he can treat Vivian

arbitrarily. In other words, it can he said that Philip adheres to the patriarchal system.

Therefore, Vivian, who understands herself rejects all objectification carried out by Philip.

The relationship between Vivian Ward and Kit De Luca can be said to be quite a

complex friendship. Kit helps Vivian to survive in Vivian's time of need. However, Kit's

mindset is known to be still very unfortunate which can be proven by the objectification she

did to Vivian, which is denial of autonomy, although not overtly. Kit supports Vivian to

become a 'good sex worker' solely so that Vivian can survive. However, Vivian's response

to Kit's objectification varies. At one time. Vivian was grateful for Kit's presence by her

side but she also opposed Kit if she misbehaved. Vivian only wants the best for herself and

her best friend. Therefore, Vivian is

not only trying to raise her standard of living, but also for Kit

In Vivian Ward's relationship with the society around her, Vivian is often looked down

upon by her existence, especially in terms of appearance. Vivian receives the objectification

of reduction of body, denial of subjectivity, and reduction to appearance from the society.

Based on the objectification she received, Vivian often resorted to rejection to maintain her

self-esteem. However, it is not uncommon for Vivian who is aware of her profession to

resign herself to the objectification she receives. This is contrary to Lee Shepherd's

statement (2018) which states that sometimes women view the objectification she receives
as flattery because in fact, Vivian realizes that she is a sex worker and this is the

consequence she receives from the job.

Apart from being objectified by other characters, Vivian also tends to objectify herself.

Vivian, who works in prostitution, has directly chosen the path to offer herself for the

satisfaction of others. This is supported by Immanuel Kant's theory that each prostitutes are

responsible to themselves for the objectification they receive (1963, pp.165). But besides

Vivian's acceptance of herself as a prostitute, she also has a desire to get out of her way of

life by making an implicit rejection, namely by not involving pimps over her.

From these statements, it can be concluded that Vivian Ward understands when she is

rejecting and accepting the objectification she receives from Edward Lewis, Philip Stuckey,

Kit De Luca, and the society. Vivian accepts Edward as her client with a boost in the profits

she will receive. It also explains Immanuel Kant's theory of how prostitution can indeed

objectify itself (1963, pp. 165). Vivian did rejection in all of Philip's objectifications

whereas she did quite a lot of acceptance in Edward's objectifications. The existence of a

strong patriarchal system in this film also makes it impossible for Vivian to reject all the

objectification she receives.

From the findings contained in this study, it can be concluded it is difficult to reject

every objectification occurs due to the system of the society. However, objectification can

happen to anyone, especially people who work in prostitution. This is actually the basis for

Vivian to accept objectification from her surroundings. However, according to the plot of

this movie, there are some important points to be conveyed, namely how some

objectification can actually make Vivian's life better. However, someone who is objectified

must be able to sort out when they should accept or reject objectification. Although the
movie ends with a happy ending, objectification cannot be separated from how people view

others who are perceived to have a lower status or more specifically from this study,

namely sex workers.

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