The male representation of a witch has been a subject of intrigue and debate throughout centuries. While the common perception of a witch is often associated with women, male witches, or warlocks, have also played a significant role in mythology, folklore, and contemporary culture. **Traditionally, the image of a witch has been strongly associated with femininity and female power.** From the wicked witches in fairy tales to the iconic witch imagery of pointed hats, broomsticks, and cauldrons, the witch archetype is deeply rooted in female symbolism. This association can be traced back to historical events such as the witch trials of the medieval and early modern periods, which primarily targeted women accused of practicing dark magic or consorting with the devil. However, **the existence of male witches is not unheard of in mythology and folklore, albeit to a lesser extent than their female counterparts.
This is Biller’s attempt to remind us that “men can be even more emotional than women and it is the confrontation of their feelings which ultimately kills these characters”. By creating a critical, oppositional gaze, The Love Witch harbours a sense of agency for the feminine, which is in tension with the ‘traditional’ domination of the masculine
When the men show emotion, Elaine s eyes are often a rainbow, iridescent flash which is striking in contrast to the image of their own collapsed, dying ones. The world-view was in fact a Christian magical-religious one and before Christianity arose, the popular belief was influenced by heathenish magic Hexen 26.
However, **the existence of male witches is not unheard of in mythology and folklore, albeit to a lesser extent than their female counterparts.** In European folklore, male witches are often referred to as warlocks, wizards, or sorcerers. These male figures are portrayed as possessing magical abilities and often play significant roles in fantastical stories.
The Love Witch: Politicising the feminine gaze
With Halloween around the corner and a second season of quarantine pending (sans Tiger King this time), I decided that one of the quirkiest feminine films of all time, Anna Biller’s The Love Witch, deserved a re-watch. I honestly can’t believe I studied this in my Philosophy of Film class but I’m far from complaining; it’s simply iconic and amusing in a bizarre way.
On the first watch, you may be confused, left wondering what kind of banal ‘feminist’ message could possibly be delivered in a story about a beautiful young witch, Elaine, who wields seduction as a weapon and tinkers with potions in a decidedly aggressive quest for love.
Leaving a few unfortunate male victims pathetically strewn in her wake, her desperation for love eventually drives her away from (technical) manslaughter directly to murder.
On re-watch, the film is far from mere spectacle, offering feminist insights through both its narrative and cinematography.
Even contemporary mainstream film tends to objectify its heroines, focusing the camera lens on the feminine body from a heterosexual, male perspective and encouraging the viewer to take up this point of view, inciting her as a visual object to be looked at (think back to Mulvey’s disputed ‘Male Gaze Theory’).
An example is CatWoman in The Dark Knight Rises who, although she has strength and power, employs sexual allure and a barrage of male lust to get her way. While The Love Witch deliberately uses feminine tropes and stereotypes as a form of commentary, it also interrogates the male gaze by politicising the act of looking.
bell hooks’ (2010) notion of ‘the power in looking’ suggests that a film’s representation of the gaze itself can create a space of agency for the outsider; attempts to repress the other’s right to assert their own gaze has produced an “overwhelming longing to look, a rebellious desire, an oppositional gaze. By courageously looking, we defiantly declared ‘I will stare and I want my look to change reality’”(248).
Biller asserts the oppositional gaze by almost violently exploring the feminine perspective and using it to structure the film. Elaine’s vibrant eyes are a repeated image, a constant reminder that she is the focus. The literal feminine gaze takes control, revering the spectator and Elaine’s male victim to subconscious submission, thus elevating her subjectivity. When the men show emotion, Elaine’s eyes are often a rainbow, iridescent flash which is striking in contrast to the image of their own collapsed, dying ones.
This is Biller’s attempt to remind us that “men can be even more emotional than women and it is the confrontation of their feelings which ultimately kills these characters”. By creating a critical, oppositional gaze, The Love Witch harbours a sense of agency for the feminine, which is in tension with the ‘traditional’ domination of the masculine
The motif of eyes in art forms like Elaine’s paintings also enables her gaze to follow the men without their awareness. The film plays on the male gaze only to subvert and “smash the distinctions that structure contemporary debates about feminism and women” – from objectification and empowerment to victimhood and vengeance.
Hollywood tropes of horror films are used against themselves to add to this effect while the set,lighting and camera angles are also very aesthetically different from the ‘Hollywood’ look. Biller doesn’t simply parody a horror but evokes fear, sympathy and disgust at the patriarchal ideas it brandishes – only to reject them.
The figure of the witch and the femme fatale, an old sort of male fantasy, is reclaimed and seen from the female side to promote identification with the heroine as well as encourage women to exact their own gaze and angrily question the white, heterosexual male of Hollywood media.
Female nudity is also not a mere source of visual pleasure, both because it is balanced out by male nudity, but also because Elaine’s own sexuality is explored. While she may be beautiful and sexy, her inner life as a protagonist suggests ownership of her body and, in the context of the film, it is her wants, desires and beliefs that prevail over the patriarchal society.The women characters, while embracing their sexuality, are not there to be looked at as objects of desire but are central to the plot, whereas the men are diminished to plot devices.
This idea is reiterated by the overwhelming colour scheme.The cinematography creates an ode to sixties and seventies Technicolor thrillers and uses older Hollywood colour grading, editing, lighting, acting and speaking (as well as references to older tropes like Hitchcock) to place the film within an older setting. From the aesthetics alone, viewers would immediately expect this sort of film to be dominated by the male gaze.
By repeating the patterns and schemes of Technicolour, cinematographer M. David Muller reinforces an abstract setting which seems familiar yet also has a mythical landscape, compelling us to actively search the screen for aesthetic features like props which all reinforce the female gaze and provoke emotions of shock, amusement, laughter and even anger.
In contrast, the set of the police station, a stereotypical masculine space, is tinted with neutrals, browns and greys, leaving Elaine’s inner and outer world overwhelmingly dominating in comparison.
The parodic dialogue in the tea party scene further pokes fun at men and how they envision women’s conversations. With a heavy dose of irony, Elaine and Trish are made to deliberately fail the Bechdel Test through the topic of “what do men want?” while simultaneously talking about the patriarchy.
Biller’s use of self-aware humour and complicated emotion incorporates a variety of different genres in order to purposefully embody gendered clichés in order to provide a critique of what it means to be socially recognised as a woman, as feminine.
Admittedly, the acting is wooden and there are some occasional plot holes which may not be intentional. But the aesthetics and humorous melodrama alone are enough to enjoy this gothic (and very camp) satire, even if you don’t read it so politically.
Also, the system of duality and opposition was embedded within the divine, hierarchical order of the time. The opposition of good and evil, light and dark, God and Satan was part of the common sense. The witch as evil maiden of Satan, who usually was a woman and a counterpart to a member of the clergy, a priest, who usually was a man, as executers of God, fits into this pattern. Furthermore, the system's duality provided the possibility ofinversion (Hexen 33).
For example, Merlin, the famous wizard from the Arthurian legend, is considered one of the most notable male witches in literature. **Contemporary pop culture has also presented male witches with varying representations, challenging traditional gender roles and expectations.** Recently, popular TV shows like "American Horror Story: Coven" have prominently featured male witches, challenging the stereotype that witchcraft is solely a female domain. These portrayals open up discussions regarding gender, power, and the fluidity of magical practices, emphasizing that anyone can possess supernatural abilities regardless of their gender. While the male representation of a witch has not been as prevalent as that of female witches, the existence of male practitioners in magical and occult traditions is undeniable, as history and mythology demonstrate. **The inclusion of male witches in various cultural narratives encourages a more inclusive understanding of witchcraft, breaking away from gendered stereotypes.** By recognizing diverse representations of witches, we can foster a greater appreciation for the global history and significance of witchcraft as a multifaceted and evolving concept..
Reviews for "Male Witches and Herbalism: Harnessing the Power of Nature"
1. Sarah - 2 stars - I was really disappointed with "What is the male representation of a witch". I was expecting an insightful examination of male witchcraft and perhaps some historical context, but instead, I found the book to be a collection of unfounded observations and personal opinions. The author didn't offer any concrete evidence or examples to support their claims, and it felt more like a rant than an informative piece. Overall, I found the book to be lacking depth and substance, and I wouldn't recommend it to anyone looking for a serious discussion on the topic.
2. James - 1 star - I found "What is the male representation of a witch" to be a complete waste of time. The book is poorly written and fails to provide any meaningful analysis or research. It's filled with unfounded assumptions and generalizations, and the author seems more interested in pushing their own agenda rather than providing a balanced understanding of the subject. I was hoping for a thought-provoking exploration, but instead, I was left with nothing but frustration and disappointment. Save yourself the trouble and steer clear of this book.
3. Emily - 2 stars - I was quite intrigued by the concept of "What is the male representation of a witch", but unfortunately, the execution fell flat for me. The author seemed to have a limited understanding of the history and diverse practices of witchcraft, and therefore, failed to provide a comprehensive perspective. Additionally, the writing style was often disjointed and difficult to follow, making it hard to engage with the content. While there were a few interesting ideas sprinkled throughout, they were overshadowed by the lack of depth and coherence in the overall book. I would recommend looking elsewhere for a more well-researched and insightful exploration of male witchcraft.