In March 1994, the career of Tonya Harding, a U.S. Olympic figure skater, came to a tragic end after she pleaded guilty to conspiring with her ex-husband and guard body in a premeditated assault, targeting his rival Nancy Kerrigan. The biopic “I, Tonya” illustrates a confronting depiction of the domestic violence that Tonya Harding suffered throughout her life. Harding fell victim first to her brash, foul-mouthed mother and then at the hands of her violent ex-husband. The opening title sets the tone for the entire film with Tonya Harding and Jeff Gillooly recounting contradictory interviews, recalling the abusive marriage that leads to the rise and fall of her career. The film's depiction of domestic violence (DV) was delivered with a comedic twist to contradict the serious nature of their relationship. From a sociological point of view, it can be argued that gender roles have been negatively reinforced, emphasizing traditional values, conceptualizing and misrepresenting violence against women. First, this article will discuss how DV has been represented historically and currently through the media. It will then analyze how DV was exemplified 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 numerous studies indicate that these behaviors are predominantly 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. DV indicators include physically violent or psychological behaviors involving deprivation of liberty through threat, control or coercion. With particular relevance to violence against women, the UN definition is the most commonly adopted. This definition states that any act of gender-based violence that causes psychological, physical or sexual harm or suffering to women constitutes violence against women (United Nations, 2010). “Gender-based” violence suggests that violence depends on gender inequality, which it intends to further reinforce. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay In sociological research it is widely recognized that the portrayal of gender roles is most pervasive and influential across the media. Men and women are commonly depicted to reflect and support socially approved gender perceptions, while the portrayal of relationships has emphasized traditional values. Historically, media practices were run and executed exclusively by men. The images were tailored to men, therefore the media presented idealized images of men and women that were desirable in reality (Macnamara, 2004). Newbold et al. (2002), states that media representations are constructions of reality; a production that connects ideological and real representations of society. Feminist criticism has influenced notable changes in contemporary media discourses. Gender discriminatory attitudes in media, film, and television are steadily moving away from traditional values ​​as we see more and more films depicting independent, respectful women in power (Sutherland et al., 2015). Social issues are also addressed in films, broadening the scope of application to the public sphere.Media representations of women have become the subject of criticism since the 1960s as it is argued that images and information reflecting on gender roles are often distorted and unrealistic (Macnamara 2004). Men were commonly described as domineering, powerful in status, authoritative, and purposefully driven and women as submissive and dependent caretakers in the home. Alternatively, women were also depicted as decorated sexualised objects (Wood, 1994).Domestic violence was much less evident. Depictions of DV in films commonly depicted men beating partners, lovers, and children in a comical manner justified by a drunken outburst or in a moment of passionate anger (Frus, 2001). Although the media and films are not a credible source of information, the media undoubtedly manipulates the public's perception and reflections on social issues. Domestic violence is commonly studied in relation to media inferences. The results showed that violence against women was positively skewed towards event-based accounts or “episodic framing.” Media reports predominantly focused on one incident or event while ignoring the social context in which the event occurred. Episodic framing in the media is not uncommon in discussions of domestic violence and violence against women. Research on media representations suggests that illustrations would highlight factors specific to 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 & Chagnon, 2017). Episodic framing generally focuses on individualistic responsibility rather than societal and social attributions that caused an accident. The way an event is framed can potentially impact how the public assigns responsibility. In contrast, thematic framing will provide context to the social factors associated with crime (Scheufele, 1999). Episodic frames focus on an individual and a singular event, while the thematic frame aims to focus on the issue and trends that led to an event (Benjamin, 2007). While there are several ways to thematically frame a domestic violence-related event, the media rarely provides statistical inferences or accurate information about the social phenomena underlying domestic violence (Sutherland et al., 2015). According to Flood and Pease (2009), social explanations for DV include gender inequalities (structurally and socially); socially constructed norms (sexist, patriarchal and sexually hostile attitudes); Social architecture (lack of DV resources), community violence, history of IPV, DV or family violence, and access to support systems (socioeconomic factors, substance abuse). Media discourses also fail to demonstrate patterns of violence and contextualize accounts in which relational dynamics and methods of abuse are overlooked or simplified (Chesney-Lind & Chagnon, 2017). The patterns associated with DV go beyond expressive violence whereby the aggressor engages in violent behavior while angry or drunk. Behavioral patterns often exemplify control, isolation, degradation and intimidation, coercive control, and domestic terrorism. This can be achieved instrumentally by gaining control, benefits, and resources through ongoing and strategic coercion, dominance, and fear (Dutton, Goodman, & Schmidt, 2006). These patterns are rarely communicated through media modalities, particularly in news media and films. For this reason, it is important to distinguish between the two types offraming as they have opposite effects on how the public perceives the issue, either from an individualistic view of the event and the responsibility of the abuser/victim or rather from a broader socially contextual view. perspective on domestic violence and the patterns and behaviors that have led to incidental violence. The biopic I, Tonya was a theatrically released film about the infamous 1994 attack on US figure skater Nancy Kerrigan. Director Craig Gillespie's Oscar-nominated mockumentary reached a universal audience with a narrative centered on domestic violence. It was very cleverly constructed, detailing Tonya Harding's tapes (The Tonya Tapes) at the beginning of the film to stimulate a shock response to the violence Tonya experienced at an early age. While Margo Robbie's characterization of Tonya Harding was truly powerful, the theatrical depiction of the abuse was concerning. For an audience unfamiliar with Harding's story, the brutality depicted in the first 15 minutes might seem frightening, however, the violent scenes are depicted with a contradictory comedic undertone. Gillespie's use of music and cinematic framing techniques manipulates the stark reality of domestic violence and lightens the mood through humor and juxtaposition. Reflecting on her relationship with Gillooly, Harding stated, "He was the first boy I ever loved... The only problem was, he beat the shit out of me." At this moment Romeo and Juliet plays, "Dire Straits sombre" while Harding is shot repeatedly. The images move through a cycle of physical brutality to passionate reconciliations between the couple; an accurate depiction of the reality in an abusive relationship and the complexity of the cycles consistent with domestic violence. As he describes his marriage matter-of-factly, reflecting on a time when Gillooly intentionally stuck his hand in the car door in an attempt to escape him, Supertramp's melodramatic song "Goodbye Stranger" plays softly. This is a constant theme throughout the film. Later, after another conflict, Gillooly forces her into the car only to be stopped by officials. With Harding's face obviously 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 you mend a Broken Heart" plays. This juxtaposition of images and music can communicate to audiences that marital violence is normal, reinforcing a stereotype that passionate love and abuse in a relationship are mutually exclusive. It is evident that Gillespie used a combination of episodic shots and thematic shots in this film as contradictory themes, shots, and music could potentially alienate audiences and alter ideological positions on a very real social issue. Furthermore, it can be argued that Gillespie's film focuses primarily on the physical element of DV while ignoring behavioral patterns consistent with DV, thus relational dynamics are overlooked and simplified. The images focus attention on the brutality of each event, rather than tapping into the undercurrents of control while instrumental means of abuse are lost in translation. Viewing women through the scope of incidental and specific injury-based violence has hidden the key underlying components that indicate violent behavior (Palazzolo & Roberto, 2011). The controlling behavioral patterns that Gillooly featured in the film were; victim blaming, use of male privilege, sexual abuse and abuse.