In March 1994, the career of Tonya Harding, an American Olympic figure skater, came to a tragic end after she pleaded guilty to conspiring with her ex-husband and his bodyguard in a premeditated attack. , targeting her rival Nancy Kerrigan. The biopic “I, Tonya” illustrates a confronting depiction of the domestic violence Tonya Harding suffered throughout her life. Harding was first victimized by her hot-headed and rude mother, then by her abusive ex-husband. The opening title sets the tone for the entire film with Tonya Harding and Jeff Gillooly narrating conflicting interviews, touching on the abusive marriage that led to the rise and fall of his career. The film's depiction of domestic violence (DV) was delivered with a comedic edge to contradict the serious nature of their relationship. From a sociological perspective, it can be argued that gender roles have been negatively reinforced, emphasizing traditional values, while conceptualizing and distorting violence against women. First, this article will discuss how DV has been represented historically and today through media modes. It will then critique the way DV has been illustrated in I, Tonya' while providing examples to connect key concepts from a theoretical perspective. Definitions Definitions of domestic violence tend to differ depending on the context in which the act is investigated, although many studies indicate that these behaviors are primarily perpetrated by men against women (Kimmel, 2002 ). In Australia, the terms intimate partner violence (IPV), domestic violence (DV) and family violence are used interchangeably to describe various abusive behaviors within spousal relationships. Indicators of DV include physically violent or psychological behaviors that involve deprivation of liberty through means of threat, control, or coercion. Particularly relevant to violence against women, the United Nations definition is the most commonly adopted. This definition states that any act of gender-based violence resulting in psychological, physical or sexual harm or suffering to women constitutes violence against women (United Nations, 2010). “Gender-based” violence suggests that violence is based on, and further reinforces, gender inequality. Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”?Get the original essay It is widely accepted in sociological research that the representation of gender roles is more pervasive and influential through media. Men and women are typically depicted to reflect and maintain socially approved perceptions of gender, while the depiction of relationships emphasizes traditional values. Historically, media fashions were managed and executed exclusively by men. Because images were tailored to men, the media presented idealized images of men and women who were actually desirable (Macnamara, 2004). Newbold et al. (2002), asserts that media representations are constructions of reality; a production linking ideological and real representations of society. Feminist criticism has influenced remarkable changes in contemporary media discourses. Discriminatory gender attitudes in the media, films and television are gradually moving away from traditional values ​​as we see more and more films depicting independent and respectful women in thepower (Sutherland et al., 2015). Social issues are also addressed in films, broadening the scope to the public sphere. Media representations of women have become a subject of criticism since the 1960s, as it is argued that images and information reflecting gender roles are often distorted and unrealistic (Macnamara 2004). Men were generally portrayed as dominant, powerful, authoritarian and determined, and women as submissive and dependent guardians of the home. Alternatively, women were also depicted as decorated sexualized objects (Wood, 1994). Domestic violence is much less visible. Depictions of DV in films commonly depicted men beating their partners, lovers, and children in a comical manner justified by a drunken outburst or in a moment of passionate rage (Frus, 2001). Although media and films are not a credible source of information, the media undoubtedly manipulates public perceptions and thoughts on social issues. Domestic violence is commonly studied in relation to media inferences. Results demonstrated that violence against women was positively skewed toward event-based reporting or “episodic framing.” Media reporting has primarily focused on one incident or event while ignoring the social context in which the event occurred. Episodic framing in media is not uncommon in discourses about domestic violence and violence against women. Research on media depictions suggests that illustrations would highlight specific factors of an event while ignoring criminological models and risk factors associated with domestic violence, which would better explain the contextual meaning of an event (Chesney -Lind and Chagnon, 2017). Episodic framing typically focuses on individualistic responsibility rather than the societal and social attributions that caused an incident. The way an event is presented can potentially impact how the public assigns responsibility. In contrast, thematic framing will provide context for the social factors associated with crime (Scheufele, 1999). Episodic frames focus on a singular individual and event, while thematic framing aims to focus on the issue and trends that led to an event (Benjamin, 2007). Although there are multiple ways to thematically frame a domestic violence event, media fashions rarely provide statistical inferences or provide accurate information about the social phenomena causing domestic violence (Sutherland et al., 2015). According to Flood and Pease (2009), social explanations of DV include gender inequalities (structural and social); socially constructed norms (sexist, patriarchal and sexually hostile attitudes); Social architecture (lack of DV resources), community violence, history of IPV, DV or domestic violence and access to support systems (socio-economic factors, substance abuse). Additionally, media discourses fail to demonstrate patterns of violence and contextualize narratives in which relational dynamics and methods of abuse are neglected or simplified (Chesney-Lind and Chagnon, 2017). Patterns associated with DV extend beyond expressive violence in which an attacker engages in violent behavior while angry or intoxicated. Behavioral patterns frequently illustrate control, isolation, degradation and intimidation, controlcoercive and domestic terrorism. This can be achieved instrumentally by gaining control, advantages, and resources through ongoing and strategic coercion, domination, and fear (Dutton, Goodman, & Schmidt, 2006). These patterns are rarely communicated through media, especially in news media and cinema. For this reason, it is important to distinguish the two types of framing because they have opposing effects on how the public perceives the issue, whether from an individualistic view of the event and the responsibility of the aggressor/victim or rather a broader socially contextual vision. perspective on domestic violence and the patterns and behaviors that resulted in accidental violence. The biopic I, Tonya was a theatrically distributed film about the infamous 1994 attack on American figure skater Nancy Kerrigan. Oscar-nominated director Craig Gillespie's mockumentary reached a universal audience with a narrative revolving around domestic violence. It was very cleverly constructed, detailing the Tonya Harding tapes (The Tonya Tapes) at the beginning of the film to stimulate a shock response to the violence Tonya suffered from a young age. Although Margo Robbie's characterization of Tonya Harding was indeed powerful, the theatrical depiction of the abuse was concerning. To an audience unfamiliar with Harding's story, the brutality depicted in the first 15 minutes may be surprising, however, the violent scenes are depicted with a contradictory comic nuance. Gillespie's use of musical and cinematic framing techniques manipulates the raw realities of domestic violence and lightens the mood through humor and juxtaposition. Reflecting on her relationship with Gillooly, Harding said, "He was the first boy I ever loved...The only problem was he beat me to death." At this point, Romeo and Juliet plays "Dire Straits Dark" while Harding is hit repeatedly. The imagery moves through a cycle of physical brutality to passionate reconciliations between the two men; an accurate depiction of the reality of an abusive relationship and the complexity of cycles consistent with domestic violence. As she describes her marriage matter-of-factly, reflecting on a time when Gillooly deliberately stuck his hand in the car door in an attempt to escape from him, Supertramp's melodramatic song "Goodbye Stranger" plays softly. This is a recurring theme throughout the film. Later, after another conflict, Gillooly forces her into his car only to be arrested by authorities. With Harding's face visibly injured and covered in blood, Gillooly Sweet manages to get out of trouble and leaves without suspicion or detection. In this scene, Al Green's "How to Mend a Broken Heart" is played. This juxtaposition of images and music can communicate to audiences that domestic violence is normal, reinforcing the stereotype that passionate love and abuse in a relationship are mutually exclusive. It is evident that Gillespie used a combination of episodic and thematic framing in this film, as conflicting themes, framing, and music could potentially alienate audiences and shift ideological positions on a very real social issue. Furthermore, it can be argued that Gillespie's film primarily focuses on the physical element of DV while replacing behavioral patterns consistent with DV, such that the relational dynamics are neglected and simplified. The imagery emphasizes the brutality of each event, rather than relying on the underlying currents of the.