Movie Analysis: No Strings Atatched

The romantic comedy, No Strings Attached, follows the romantic relationship of Adam and Emma, who continually meet over a period of ten years. Adam finds himself head over heels for Emma who steers clear of relationships and her emotions.  Emma’s fear of commitment results in their settling on a no strings attached relationship where they use each other for sex, void of emotions and any commitment. If this sounds impossible, that’s because it is. Both develop deep feelings for each other; however, only Adam presses for a committed relationship while Emma resists.  No Strings Attached presents a reverse of what Kim et al.’s study (2007) presents as the Heterosexual Script- gendered scripts in relational and sexual situations (p. 146). Typical masculine courting and relationship behaviors are demonstrated by Emma, the female character and typical feminine courting and relationship behaviors are exemplified by Adam, the male character. In analyzing three clips from the movie, many of the Heterosexual scripts were reversed; however, the movie as a whole still embodied the traditional idea of male pursuit.  

In an early scene from the movie, Adam and Emma run into each other at a pajama party. Emma finds herself in a pair of onesie pajamas while all the other women are barely dressed and drunkenly dancing suggestively. Adam and Emma recognize each other from across the room and strike up conversation, casually flirting with one another. This is the first time they have seen each other since camp as adolescents. After Adam expresses he likes Emma, Emma invites him to “this stupid thing she has to go to” the next day- her dad’s funeral.

This scene strongly contradicts Ward’s codes of the male and female sexual role (1995) Components of the male sexual role includes, men valuing women based on physical appearance, viewing them as sexual objects, being sexual defines masculinity and men being imitators or aggressors, using devious tactics to seduce women. In this clip, Adam does not view Emma as a sexual object. In fact, her sex appeal is so low that when Adam points her out to his friend, he mentions her provocatively dressed friend standing next to her. After laughing at a joke Emma makes, Adam is aggressive and tells Emma he likes her. In some ways this is suggesting that he values her for her personality rather than views her as a sexual object. Yet, he knows very little about her and has decided he likes her. 

In this scene, Emma is also the aggressor. She mentions the sexual nature of their first encounter years ago, and asks him out on a date. Unlike in traditional scripts, Emma does not use her sexuality to attract men, nor does she objectify herself as other women in the clip. Typical self objectification is illustrated through Emma’s friend. She tells Emma that all she must do is look hot and be drunk. He friend then proceeds to stop the music and scream that she’s drunk, receiving cheers from the entire party. The female sexual role states that women are passive in sexual relations and understand that a nice appearance is key for success and attracting men (Ward, 1995). Similarly, Kim et al.’s (2007) feminine courtship strategies states that women do and should objectify themselves to interest men. Emma’s character contradicts both the female sexual role code and feminine courtship strategies. 

The reverse of heterosexual scripts in this scene suggests stereotypical behavior to men but contradictory ideas about women’s behavior. It is suggested that men should know what they want and make the first move; moreover, this scene suggests to men that emotional connections are not important. This behavior is suggested by Adam casually telling Emma he likes her, though knowing very little about her. When Emma questions Adams statement, he reveals that there is no explanation for it. This reinforces the notion that men are non emotional people and all the feeling and deeper thought should be left up to women (Ward, 1995, 605). The scene suggest women should embody contradictory behaviors. They should be aggressive and ask men out first, yet be interesting and mysterious; it is their job to interest men. In addition, when Emma allows Adam’s reason for his declaration of like for her to remain unanswered, her character’s behavior suggests that women should be passive and let men dominate. Although the characters behaviors themselves presents a reversal of scripts and traditional gender roles, the scene manages to suggest stereotypical behavior of men and contradictory behaviors for women. 

 

Throughout the movie, Emma is the sexual aggressor. In this second clip Emma and Adam finish having sex. When Emma rushes to put on her clothing, Adam invites her to stay for breakfast. Afraid of the problems that follow relationships, Emma explains to Adam what she does and does not want. This results in their “no-strings-attached” agreement.

 

Although Adam is an initiator in this scene, he is attempting to create a relationship. Emma can be considered to be the sexual initiator, straying from the notion that men typically are the aggressors and initiators of sexual relations (Ward, 1995, p. 605). Adam completely contradicts the masculine commitment role, wanting a relationship and monogamy (Kim et al., 2007, 158). Emma maintains the control, becoming the dominant partner. Emma’s dominance is displayed through giving orders, initiating sexual activity and showing low commitment (Ivory, 2009, p. 181). However, contradictory to Ivory (2009), these dominant acts are not related to the male gender role. 

A code embodied by Emma’s character in the scene is her responsibility of setting sexual limits, a component of the female sexual role (Ward, 1995). It is Emma’s responsibility to accept or reject Adam’s advances. She goes so far as to set the sexual limits for the entire relationship, defining the terms of their “no strings attached". This scene strengthens the notion that women are responsible for setting sexual limits while weakening components of the male sexual role. The scene suggests that women should go beyond accepting and refusing sexual advances. Instead they should be comfortable with initiating them and stating the bounds of their sexual desires. Women can set sexual limits and be the dominant partner when it comes to sexuality. This scene takes components of the male sexual role and attributes them to women. Women can be dominant, initiators, and  aggressors just as men can.

This setting of this last clip is  Emma and Adam’s first official date. Emma is frustrated with the romantic date Adam has planned and wants to go back to a strictly sexual relationship. She asks Adam to take her home because she can’t handle everything going on. The clip starts right after Emma tells Adam that he should just find some girl that won’t hurt him. When Adam reveals that he can’t do that because he’s in love with her, Emma flips out and attacks him. 

http://www.dailymotion.com/video/xip6kj_you-fight-like-a-hamster_shortfilms 

This scene exemplifies codes not presented in the other two clips. Presented here, is a component of the relational orientation. The relational orientation focuses on partners as friends and views sex as a gateway to intimacy in a romantic relationship (Ward, 1995, 600). When the possibility of this orientation becomes real, Emma gets afraid. Adam wants to experience the intimacy of a relationship with Emma and give up the purely sexual relationship they’re supposed to be having. Adam’s expression of love represents a step towards relational orientation; however, Emma resists it by hitting and fighting him. Their entire date is embodies the masculine courtship strategy. Adam plans an elaborate Valentine’s Day date in attempts to win Emma’s affection. His courtship strategy is so powerful that it is overwhelming and has the opposite intended effect, pushing Emma away.

Overall, the scene suggests that men should strategically plan elaborate dates and utilize other strategies to gain women’s affection. Moreover, if she is not impressed and does not fall for the guy, then something is clearly wrong with the woman. Emma does not want Adam to take care of her, nor does she want a relationship. This results in Adam calling her “messed up”. Surely she must be to refuse all his advances and not want to be his girlfriend. This message is the strongest suggested throughout the scene. 

Adam and Emma’s behavior in No Strings Attached contradicts traditional heterosexual script, reversing sexual roles and courtship strategies. However, the scenes suggest a woman embody binary behaviors and strengthens the traditional notion of men pursuing women. It is suggested that women set sexual limits but be aggressive and dominating. Emma embraces her sexuality and takes control of the relationship. Adam, although appearing submissive to Emma’s decisions, continues to pursue his initial desire, a committed intimate relationship with Emma. The film embodies the norm that men should pursue women despite a woman’s decision because a relationship with men is what women want. No Strings Attached suggests that women are messed up and emotionally dysfunctional if they do not want to be in a relationship; furthermore, all women want to be in a relationship, even if they do not know it.  

Holz Ivory, A., Gibson, R., & Ivory, J. D. (2009). Gendered relationships on television: Portrayals of same--‐sex and heterosexual couples. Mass Communication & Society, 12(2), 170--‐192. doi: 10.1080/15205430802169607

Kim, J. L., Sorsoli, C.L., Collins, K., Zylbergold, B. B., Schooler, d., & Tolman, D. L., (2007). From sex to sexuality: Exposing the heterosexual script on primetime network television. Journal of Sex Research, 44 (2), 145-157.

Ward, L. M. (1995). Talking about sex: Common themes about    sexuality in the prime-time television programs children and adolescents view most. Journal of Youth and Adolescence, 24 (5), 595-615. doi: 10.1007/bf01537058