Marilyn Monroe and Vaginal Imagery

 Both Thomas Harris and Richard Dyer discuss Marilyn Monroe in terms of her playmate image, but what interested me in this week’s readings was Dyer’s discussion of Monroe in relation to psychoanalysis and vaginal imagery. Dyer argues that in the 1950s, “there were specific ideas of what sexuality meant and it was held to matter a very great deal; and because Marilyn Monroe acted out those specific ideas, and because they were felt to matter so much, she was charismatic, a centre of attraction who seemed to embody what was taken to be a central feature of human existence at the time (17).” Dyer’s argument is two-fold in that he examines Monroe’s image using two differing discourses, one being that of the playmate, and the other is female sexuality in itself, questioning the existence of the vaginal orgasm. I found the first part of Dyer’s argument much easier to follow, as it helped explain Monroe’s massive popularity and appeal.

As the theme of this course thus far has been cultural contradictions, Dyer’s initial argument seems to point towards Monroe managing contradictions, but as he moves forward an argument can be made that Monroe exposes cultural contradictions in her representation of female sexuality. Although Dyer writes, “Monroe conforms to, and is part of the construction of, what constitutes desirability in women,” his argument moves past what makes a woman desirable to what women themselves desire (40). Part of my confusion, lies in Dyer’s use uses of psychoanalytic theory to discuss female sexuality and the notion of the vaginal orgasm. This is where his chapter deviated for me. As I tried to follow Dyer’s logic, I am left with more questions than answers.

Dyer’s essential example of vaginal symbolism is in Monroe’s distinctive facial expression, which Time magazine described as “‘moist, half-closed eyes and moist, half-opened mouth (54).’” Dyer argues that this distinguishing Monroe expression (seen below) contribute to other aspects of her image that combine “can be read as the visual analogue for a basic conception of female sexuality as itself formless (54).” Dyer’s argument leads to the follow questions: How does Dyer’s examination of the notion of the vaginal orgasm help illuminate Monroe’s screen image? What is the significance of examining female sexuality through this lens?