Sample ISR/OSR

Here is an example of how to write am ISR and OSR:

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Powerless: Women in Night of the Living Dead

The film Night of the Living Dead (Romero, 1968 USA) is interesting for its characterization of its female characters. While the male characters are free to act out as they see fit, the three main female characters fulfill basic stereotypical roles: the victim, the nurturer, and the sexual object. Unlike the men, the women in Night of the Living Dead challenge no social norms; instead, they subside into subservient roles that render them powerless and ineffective throughout the crisis.

From the beginning, the character of Barbara (Judith O’Dea) is almost completely powerless. First, she is unable to drive herself to the cemetery without a male escort. She is also unable to refuse or even criticize the demands that her family makes of her, while her brother Johnny (Russell Streiner) feely complains. Barbara’s voice is whinny and grating from the first moment she speaks, and her appearance and body movements contribute to her sense of ineffectiveness. Eventually, Barbara gives control of her fate to Ben (Duane Jones), who looks after her, but also castigates her. She has no sense of autonomy or personal power, instead acting out as the stereotypical role of a female victim; Ben freely expresses his autonomy and personal power. As the situation intensifies, Barbara is quickly overwhelmed—eventually becoming a zombie herself.

Helen (Marilyn Eastman) is slightly more autonomous than Barbara. While she challenges her husband’s action in private, she rarely speaks in the presence of the others. She is mostly relegated to her roles of wife and mother when real decisions need to be made. Even though she has more common sense than her husband, she spends most of the film in the cellar with her dying child. She mostly fulfills the role of nurturer and it is that role that eventually kills her. Helen doesn’t struggle, but lies there helplessly, as her daughter repeatedly stabs her with a spade. Her screams aren’t heard directly, but are morphed by sound effects. Even as a zombie, she is little threat to others as Ben quickly shoots her in the head.

Judy (Judith Ridley) provides the third element of stereotypical femininity: sexuality. Though Judy and Tom (Keith Wayne) were going to go swimming that night, she is fully made up with consistently glossy lips, big hair, and tight clothing. Like Helen, Judy rarely speaks. Alone with Tom she initially questions the group’s decision to go to the gas pump, but she does so anyway. Her one act of choice is to follow Tom to his death in the truck; she is eventually eaten alive by the zombies. In short, Judy’s character is expressed primarily through her physical body and sensuality. She is powerless from the beginning and never really expresses any autonomy or voice.

In Night of the Living Dead, Barbara, Helen, and Judy represent different stereotypes of womanhood, all of which render them ineffective and powerless. Unfortunately, in a challenging situation, the women always stay within their assigned roles of victim, nurturer, and sex object. In fact, each woman’s role eventually causes or contributes to her death. Night of the Living Dead is a film that challenged many of the social norms of its time; however, it did little to further women’s role in horror. In fact, it only continued the tradition of weak women in the genre.

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OSR/ISR writing tips:

• Use “film” rather than “movie." Write about films in the present tense.
• The first time you mention a film, cite it. Example: Austin Powers: International Man of Mystery (Roach, 1997 USA)
• The first time you mention a character, cite the actor. Example: The film opens with a 60s-inspired musical number featuring Austin Powers (Mike Myers).
  
• Be sure your essay has a specific focus. Incorrect: Austin Powers: International Man of Mystery is a funny, retro film. Correct: Austin Powers: International Man of Mystery is a spoof of classic spy films, such as the James Bond series.
• Arguments are always made stronger by using specific examples from a film. Example: Austin Powers’ characters are often variations of classic spy personalities. For example, the character of Basil (Michael York) is an homage to the classic head of the government spy agency, such as James Bond’s M.