{"id":13505,"date":"2013-04-15T11:46:24","date_gmt":"2013-04-15T10:46:24","guid":{"rendered":"http:\/\/www.badreputation.org.uk\/?p=13505"},"modified":"2013-04-15T11:46:50","modified_gmt":"2013-04-15T10:46:50","slug":"images-of-an-iron-lady","status":"publish","type":"post","link":"https:\/\/badreputation.org.uk\/2013\/04\/15\/images-of-an-iron-lady\/","title":{"rendered":"Images of an Iron Lady"},"content":{"rendered":"
I can’t write a political or historical retrospective on Thatcher, on her life or her works. If I did, it might come out like\u00a0the Russell Brand piece<\/a>, only a bit more Northern, a bit more reflective on her impact on feminism.<\/p>\n
I’ve read and seen far too much already over the past few days, from endless eulogies in the papers through to angry words on the street and in the House of Commons.\u00a0The truth is I am genuinely shaken by it. Like the Queen Mother, she was one of those figures we all suspected might go on forever, and her shadow was long. With it gone, one of the touchpoints for my personal politics is gone.<\/p>\n
I started to think about how I might even begin to parse what has happened: I’m not sad, but I’ll admit I didn’t crack open the champagne personally; I merely drank someone else’s.So in a similar vein, I wanted to write not about her, but about representations of her.<\/p>\n
<\/a><\/p>\n
I’m going to start with one of my favourite political cartoonists.
Alongside his later portrayal of her puppeteering Tony Blair, comic
artist\u00a0Steve Bell<\/a>\u00a0also focuses on her controlling
authority. He wrote a series called
Maggie’s Farm<\/strong> which depicted her\u00a0as completely
insane – with trademark wonky eye and multiple exclamation points in
her speech.<\/p>\n
The comics, which reference Dylan’s song of the same title (which
was in itself used as a protest song against Thatcher)
were\u00a0originally published in
Time Out<\/strong> from 1979, and, to my eye, probably heavily
influenced later depictions.<\/p>\n
<\/a><\/p>\n
The first time I saw
Spitting Image<\/strong> I was hooked, probably helped by the
fact my parents told me I wasn’t allowed to watch it, and
to this day I regret that it has gone off the air. Perhaps
it’s because no satire is strong enough to be
distinguished from the ridiculous facts of today’s
government? Anyway, back to Thatcher.<\/p>\n
The depiction of her was grotesque, but no more so than that
of any other puppet on the show. That said, it was the
nature<\/em> of the grotesque that interested me.<\/p>\n
She was ridiculed for her strength and controlling nature
in the form of a horrific headmistress. It’s
interesting to note that later John Major was ridiculed
for his
lack<\/em> of strength.<\/p>\n
But rather than this being portrayed as an essential
part of her it was represented in reference to
Thatcher as a woman \u00a0(note the ongoing references
to her as “sir”).\u00a0Her strength was
ridiculed, in part, by presenting it as
“unfeminine” and therefore funny or
dangerous: a stereotype of women in politics that will
no doubt take many years to overturn. As the series moved on she became
less and less human<\/a>, eventually turning into an
alien monster.<\/p>\n
Raymond Briggs delivers a rendition of the Falklands
War in a way that is moving, vitriolic, frightening
and humbling in his 1984 piece The Tin Pot Foreign General and The Old Iron
Woman<\/strong><\/a>.<\/p>\n
What I find particularly interesting here is how
her depiction contrasts with that of
Spitting Image<\/strong>. Both use the
“non-human” references, but
whereas the
Spitting Image<\/strong> Thatcher is
usually either asexual or very masculine,
here she is quite the opposite. Guns and
victory explosions fire from her breasts as
she squats (in high heels, with rounded
buttocks and suspenders, no less) over her
land and nation in a parody of birth. The
conflation of female and war-machine gives
rise to a gross, highly sexualised
fembot.<\/p>\n
I returned from holiday just over a year
ago to find London distressingly covered
in images of Meryl Streep in
The Iron Lady<\/strong>, with her icy
blue eyes following me all over the
place. It haunted me, in
much the same way as it did our Rhian
Jones<\/a> (I’ll admit it, I
couldn’t bring myself to see the
film).<\/p>\n
It was the glossiness of the whole
thing that threw me, the vogue-ish
fashion magazine stylings that
worked their hardest to reunite
those twin features of
“female” and
“powerful” which had
created such horrors through both
Spitting Image<\/strong> and at
the pencil of Raymond Briggs. And
they succeeded in being very
flattering, through a combination
of make-up and airbrushing.<\/p>\n
Streep is noticeably less
wrinkled and more
attractively-styled than
Thatcher, looking eerily like a
better-looking sister. The
situation was enhanced by
Streep’s own acting
ability, and a script which
included scenes of feminine
domesticity.<\/p>\n
I never knew her. Never met
her. I only understood her as
a series of images and icons,
on the television as a
politician and in other
representations of her, which
are more numerous than I can
contain in one article.
Buzzfeed, for example, collected
a list of songs about
her<\/a>. Like many other
dead, famous people, over time
she will fade from a real
person, who nonetheless was
one of the bogeymen of my
childhood (alongside the
boggle-faced baddie animals in
Orm and
Cheep<\/strong><\/a>) to
being almost imaginary, an
icon.<\/p>\n
To me, she will always be
the figurehead for all
that is wrong with right
wing thinking and the sort
of “feminism”
that claims it must be
feminist if a woman is
doing it. Those with
opposing politics have put
her on a pedestal. Other
people will make her into
other things.<\/p>\n
I doubt we’ve seen
the last representation,
but I’ll be
interested which version
of\u00a0Margaret\u00a0Thatcher
will stand the test of
time, and which version we
will be faced with
next.<\/p>\n
Spitting Image<\/h2>\n
The Old Iron Woman<\/h2>\n
The Iron Lady<\/h2>\n
What next?<\/h2>\n