Creating Counter-Cinematic
"Mona is rarely at the beginning of a tracking shot, she either walks in or is picked up by the camera and, equally significant, in all of these tracking shots, she and the camera.." pg 4, Hayward.
This quote itself proves the fact that there is counter-cinema techniques going on because the male gaze has lost its power in this movie. The woman is no longer the object to be looked at through the male eyes or the viewer's eyes either, she is just another character in the movie. She passed through the camera and didn't represent a sex symbol especially since she hadn't taken a shower the whole movie, nor did she change her clothes. The interesting thing to me is that dhe still made a good impression on some even though she was rudest women I've ever watched in a movie. The male gaze was always interrupted except that of the mechanic that either had sex with her or raped her, I'm not sure. This is definitely a feminist film which is evident by the way Mona is presented; she has no significant ties to men besides to mess around with, she is fully clothed, she isn't seen as a sex object and she has an independent life of her own. She doesn't have anywhere she needs to be or anyone to tell her what to do, and if she doesn't like the person she gets a ride with, she leaves. The camera looks at the scenery and the people around Mona and Mona is just there. The phallus no longer has the control of the movie or the women, because Mona isn't in search of a life-long partner, she is a traveller and would have always been that way.