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Conference Paper

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These two women overlap the division between gender stereotypes and power. They are sophisticated, accomplished, and educated whose views are as important and credible as all the male experts in the film. But yet again, these two women uphold a more compassionate, milder opinion of what is actually a dreadful scenario. Livingston complains and discusses about the dreadful abuse and maltreatment, the men provide a cold critical analysis of the relationship between the ‘prawns’ and human beings; it is an understated dissimilarity in a movie that does not show restraint or sensitivity. A number of other women, non-white women, also appeared in the film. Mostly, their roles emphasize their ignorance about the aliens and the actual state of affairs. Largely, the roles of these women in the film are trivial. Some are mid-level public servants or combatants whereas others are clerks. Those with clerical occupations are usually women of color. The gap between the white women and them in the film, from their knowledge, statuses, and eagerness to support fear, reveal the disparities between the portrayal of women of color and the ‘prawns’ on one hand and white women on the other in the core narrative of the documentary.Not simply are the statuses of women inferior, their fear of the ‘prawns’ instead of consideration for their dilemma advances a continuous story in the movie that contrasts the attitude of the white people toward the aliens. Women of color in this movie are even more trivial or insignificant to the core narrative. They are nameless backdrop characters. They are classified into two kinds of people—food servers and prostitutes. The food servers gaze at the same empty manner that many do in reality, neither complaining nor expressing themselves, only quietly and passively working with apparent contempt and aloofness. Although they are the first unbiased people to identify Wikus in the search, not any of them are asked about their opinion boosting their insignificance from the point of view of the documentary. With regard to the prostitutes, they as well are mute accessories in the film. In a particular act, where the leading character faces the leader of the Nigerian thugs taking advantage of District 9, a woman cries while being maltreated by a number of men. The camera recoils immediately after showing how these men are abusing the woman, but makes use of her ordeal as
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