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Gender Identity Manipulation: An Exploration of the links between Judith Butler’s Gender Theory and Being John Malkovich The formation of a gender identity according to historical discourse by philosophers such as Rene Descartes, centers on the idea of a dualistic body mind intertwining physical nature and social nurturing. The self recognizes this as a metaphysical expression of a primary gender identity. Theorist Judith Butler challenges dominant gender theory, arguing that the truth in gender discourse is that gender identity is the acknowledged repetition of socially coded acts by the body. Cultural codes maintaining hegemonic order are socially imprinted on the physical body and preformed. However, if the outward expression of gender is an extension of hegemonic social values, than the internal identity that one assumes is a performative fabrication as well, always already constructed by culture. The 1999 film Being John Malkovich, written by Charlie Kauffman and directed by Spike Jonze, examines the formation of performative gender through the ironic colonization of John Malkovich’s identity. Craig Schwartz, played by John Cusack, finds a portal into the body-mind of John Malkovich (played by Malkovich). Once inside, Craig sees, hears, and experiences life as John Malkovich. This vision is also available to the film’s audience through the use of creative sound editing and focused close angle shots from John Malkovich’s focal point of view. The spectator is then being John Malkovich via Craig Schwartz. The significance of the portal opens for Craig, “a metaphysical can of worms.” The experience of being John Malkovich affirms Craig’s supposed self-identity as a puppeteer and amateur philosopher into the nature of the self and conscious identity.
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