The Power of Archetypes and the Pitfalls of Stereotypes
Elevating Female, Non-Binary, and Trans Perspectives in Screenwriting and Storytelling
As part of my research for an upcoming podcast, I’ve engaged in deep conversations with some of Australia’s most remarkable female and non-binary screen creators. While these exchanges were inspirational, they also highlighted a recurring and frankly depressing theme: the depiction of women on screen.
Cate Blanchett said this year at TIFF “…unfortunately we do need to keep talking about the changes that we’ve made because I think fairness, equity, and respect are not embedded into the systems we work in. And those women who are instrumental in the foundations of this industry, so quickly they found the industry calcified around them to exclude them. And so we have to keep ourselves front and centre. We have to keep asking questions that open locked doors and knowing our worth. Our worth creatively as well as financially. And greater inclusivity on our sets leads to less homogenous storytelling…”
Miriam Espacio via Unsplash
As a female, non-binary, or trans creative in a male-dominated film industry, the journey through the rafters of the dusty attic of success is, more often than not, hard-won. And yet my conversations uncovered a mutual determination to create complex, realistic, and multi-dimensional characters outside the dominant narrative, often in the face of bullish opposition. They uncovered writers who were meticulous in the creating of female, trans or non binary characters. One acclaimed creative shared how she used myth and fairy tales as a foundation for her characters, while another emphasised building complex psychological traits that reflect personal experiences.
And yet, how is it that, when presented to producers, networks, funding bodies or even other members of a creative team, these characters are often met with reactions ranging from hesitation to outright derision?
I too share the bewilderment at the sheer numbers of dramas out on streamers, or cinemas that continue to reduce female characters to linear narratives, forcing them into roles as love interests, objects of desire, victims silenced by trauma, or mere accessories to a larger story. How, in God's name, is it still possible that women are relegated to simple plot devices, their stories sidelined in favor of more dominant, male-driven arcs—or worse, transformed into "men with boobs," forced into a hero’s archetype? Like, how?
No clue. But one thing has become abundantly clear to me: there's a stark difference between writers who understand archetypes and those who blithely stumble into stereotypes thinking it’s reality.
So, what exactly do I mean by this? Indeed, what is the difference between a stereotype and an archetype?
“Archetypes are not rigid templates but rather starting points from which characters can develop and resonate with readers.”
Anthony Doerr, The Atlantic interview, The Art of the Short Story.
Carl Jung and James Hillman saw archetypes as unconscious forces shaping our narratives, psyches, and spiritual journeys. These shared images and themes connect us to a collective human experience. For Jung, archetypes like the Hero, Mother, Shadow, and Anima/Animus aren't just ideas but active parts of the psyche, influencing how we interact with the world. When you notice recurring patterns in your life—like the underdog rising or the struggle between light and dark—you’re likely seeing an archetype at work.
Mitch Hodge Unsplash
Tricky to define, archetypes are not fixed, static entities; they’re dynamic, fluid forces that can take on different forms depending on the context. If you find yourself drawn to certain patterns, symbols, or characters that resonate deeply with you, it's likely these recurring themes are actually archetypes.
If you’re up for it, archetypes are helpful. Clarissa Pinkola Estés, a spiritual storyteller and psychoanalyst, explores how archetypes can be particularly illuminating for women as they navigate their identities and reclaim their voices. She highlights archetypal figures like the Wild Woman, who embodies the untamed spirit inherent in every woman. By tapping into these archetypes, Estés believes women can reconnect with their instinctual selves and embrace their full potential.
I am currently studying under mythologist and psychologist Sharon Blackie in her course: A Narrative Psychological Approach to Fairy Tales. Blackie views archetypes as either characters—like the wise woman—or ideas, such as truth or beauty. However, they can also be patterns, like the Hero’s or Heroine’s Journey, or themes, such as using a barren desert as a metaphor in a film.
On the other hand, a stereotype is a widely held, oversimplified and often inaccurate belief or idea about a particular group of people, things, or concepts. Stereotypes reduce individuals or groups to generalized characteristics, ignoring the diversity and complexity within that group. They can be based on race, gender, age, nationality, religion, profession, or various other identifiers, often leading to prejudiced attitudes or discriminatory behaviors.
Stereotypes simplify complex human beings into harmful representations, limiting the authenticity of narratives and perpetuating damaging societal norms. Characters pigeonholed into stereotypes—whether based on gender, race, age, or other identities—fail to reflect the true richness of human experience. This not only diminishes the characters' depth but also denies audiences the opportunity to see themselves or others represented in a meaningful, nuanced way.
Working with archetypes for the greater good.
In the way that archetypes are watery and hard to pin down, stereotypes lean towards the binary, the linear, and appear smack-in-the-face obvious. It goes without saying that when it comes to the dominant male paradigm in storytelling, this issue becomes even more pronounced. Traditionally, many narratives have been constructed around male-centered perspectives, where men are the heroes, decision-makers, and drivers of the plot. Women, in contrast, are often relegated to roles that support or exist in relation to the male lead—whether as love interests, caregivers, or side characters whose primary function is to advance the male protagonist’s journey. Or otherwise, a stereotype.
This dominant paradigm is not only a noose around the neck of a female character, it leaves her susceptible to being portrayed as a stereotype such as an object of desire, a victim (and lets not even start on the stereotype out there, of how a victim should behave), or caretaker, rather than a fully realized individual with her own stories, agency, and complexities. It also reinforces a cultural narrative that values male experiences as universal and central, strength as disconnection, vulnerability as weakness and female experiences aare secondary or peripheral.
I will continue to speak with inspirational creatives in the film and television industry because like these people, I am keen to challenge these stereotypes and the dominant male paradigm. Becasue writers do have the opportunity to craft richer, more inclusive stories that reflect a broader range of human experiences. We just need to hear from role models to understand that we are not alone in seeking a cultural shift towards greater equality and understanding. Although I love hearing from Cate Blanchett, I’d reather hear how things have changed, and how audiences can now see the world from multiple perspectives and thus encouraging diverse and empathetic views of humanity. And lets face it, that is far more interesting story telling.
Thanks for reading Between the Lines!
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References for today’s article come from:
Gordon W. Allport's "The Nature of Prejudice" (1954)
Oxford English Dictionary
"Gender Trouble" by Judith Butler
"The Male Gaze" by Laura Mulvey
"The Representation of Women in Film" by Ruth E. G. R. S. M. McGowan -
"Stereotypes in Literature and Media"
"How the Media Shapes Perceptions of Gender"