Commodity Fetishism and Female Agency in The Oyster Princess by Ernst Lubitsch

Abstract

Purpose: This paper sheds light on how the film satirizes capitalist society through the theory of commodity fetishism by Karl Marx, paying particular emphasis to visual motifs and character interactions that reaffirm these commodified relationships. It situates these challenges within the frames of Weimar-era feminist discourse. The paper also explores how the protagonist Ossi, subverts gender norms to capture contemporary debates on women’s roles. She evokes the tensions between individual agency and societal constraints. Through the film’s intense representation of wealth, class, and gender, this paper reveals Lubitsch’s critique of economic relationships and social mobility during a tumultuous historical period.

Methodology: This study employs film analysis as its primary method, using textual and discourse analysis to examine the film. The analysis is supported by a theoretical framework drawn from relevant literature and scholarly discussions that align with the topic of commodity fetishism and female agency. This analysis uses Karl Marx's concept of commodity fetishism as a framework to examine the lasting impacts of the film within the context of the economic and social structures of the Weimar Republic. Textual analysis facilitates the identification of the visual motifs and cinematographic techniques used by Lubitsch in relation to his portrayals of relationships and social comment. Each of these interpretative points inspects how the visuals accentuate themes of commodification and capitalist critique. This contextualization establishes the film within the broader socio-political context of Germany in the years following World War 1, addressing the cultural and feminist discourses of the Weimar Republic.

Findings: The analysis indicates that Ernst Lubitsch's film The Oyster Princess employs humor to critique the social, economic, and gender dynamics pervasive in post-World War I Germany during the Weimar Republic. The film illustrates absurd patterns of commodity fetishism through its depiction of how human interpersonal relationships undergo manipulation. The analysis shows the transformation of human connections into transactions dictated by wealth and social standing, thereby prompting reflection on their convergence in an era of rapid change.

Unique Contribution to Theory, Policy and Practice: This analysis of The Oyster Princess contributes to discussions on commodity fetishism by merging economic theory with visual and narrative elements. It shows how gendered perspectives deepen our understanding of commodification and agency and emphasize the interplay of class, power, and identity. The study promotes critical conversation on social inequalities, gender relations, and commodification. It emphasizes how these problems still impact modern society and how crucial it is to stop the commodification of human values to create a more just society.