In an early scene in Forbidden, Stanwyck is briefly seen riding a horse on a beach in a dazzle of sunlight. At the same time, the transcendent, enabling, independent image of horseback riding was produced within an industry of illusion and deception. Certainly, those images have outlasted the culture in which they were produced, offering another image of a woman on the 20th-century screen. Looking at some of Stanwyck’s many horseback-riding scenes, it is clear that the strong, dynamic imagery of riding enabled her to rise above the entrenched misogyny of the industry. Aligning her body with nature, she gained some distance from the glamour of Hollywood culture while challenging gendered conventions of movement and stasis. Her body was arguably a site of struggle, as she repeatedly put it on the line as a mark of sincerity and action. Why aren’t similar reassurances applied to human beings?Īkira Lippit continues this thought by reference to the prolific representation of violence against men and women in fiction films and suggests that the “human counterpoint to this disclaimer” is “all resemblances to persons living or deceased is purely coincidental.” And yet much violence is often meted out against actors on sets-and not simply psychological violence.īarbara Stanwyck was frequently injured in film shoots, and she wore it more as a badge of honor than a grudge, as evidence of her hardiness and professionalism. “No animal was harmed” … serves a taxonomic purpose, separating the two principal film genres, fiction and documentary….
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