Tonya Harding’s career ended tragically on March 14, 1994, after she admitted to conspiring against her rival Nancy Kerrigan, with her former husband and bodyguard. In the biopic ‘I, Tonya,’ Tonya Harding’s domestic abuse is portrayed in a harrowing manner. Harding suffered abuse from her rude and aggressive mother, then by her violent former husband. Tonya harding and Jeff Gillooly are narrating conflicting interviews in the opening title, remembering her abusive marriage. Domestic violence was presented in the film with a humorous edge, to contrast their serious relationship. Sociologically, we can argue that the film’s portrayal of domestic violence (DV) was delivered with a comical edge to contradict the serious nature of their relationship. This paper will examine how DV was portrayed historically and presently in various media. It will also provide theoretical examples of how DV can be exemplified using I, Tonya. Definitions Definitions on Domestic Violence can vary depending on context, even though numerous studies suggest that most of these acts are perpetrated by males against females (Kimmel,2002). In Australia, abusive behaviors within intimate relationships are described by the terms domestic violence (DV), family violence, and intimate partner violence. The DV indicator is a physical or psychological behaviour that involves the deprivation or liberty through threats, control, or coercion. The United Nations definition of violence against women is the most widely used. The United Nations (2010) defines violence against women as any act of gendered violence that results in physical, psychological or sexual harm to women. ‘Gender based’ violence implies violence that is based on gender inequalities, which are then enforced. Sociological research has found that the media is most influential in portraying gender roles. Men and women often appear to reinforce socially accepted gender stereotypes, while depictions of relationships have emphasized traditional values. Media was historically controlled and implemented by men. Images were tailored toward men. Therefore, media presented idealised male and female images that were desirable for real life. Newbold and al. According to (2002), media representations are constructed realities; they connect ideological and actual representations of the society. Media discourses have been transformed by feminist criticism. Gender discriminatory attitudes are slowly slipping away in movies, news media and television. Films are addressing social issues, bringing them into the public eye. Since the 1960s women’s representations in media have come under fire, with many arguing that these images and messages are distorted or unrealistic. Men were frequently portrayed in media as domineering and powerful men with a high status. They were also portrayed to be authoritative and driven. Women, on the other hand, are portrayed more submissive as they take care of their families. Women were also portrayed as sexualised decorations (Wood 1994). Domestic violence is less visible. In films, DV is often portrayed as a humorous act of men beating their partners, lovers, and children, justified by a drunken rage or a passionate moment (Frus 2001). The media, including films and media, are undoubtedly a source of misinformation. However they influence the public’s perception and their reflections about social issues. Results have shown that media reports of domestic violence were skewed positively towards event-based or episodic framing. The media has primarily focused on one incident or event, ignoring its social context. Media discourses about domestic violence and violence towards women are not rare to use episodic framing. In media representations (Chesney & Chagnon, 2017, research), illustrations are used to highlight the specifics of an event while ignoring criminological and risk factors related to domestic violence. In general, episodic framing focuses on individualistic attributions rather than social and societal attributions. How an event’s framing is presented to an audience can have a significant impact on how they assign responsibility. Thematic framing provides context for social factors related to the crime. Thematic framing, on the other hand, is focused on the trends and issues that led to an event. Media rarely gives accurate information or statistics on domestic violence. Flood and Pease (2009) state that social explanations are gendered (structurally, socially), socially construed norms (sexiste, patriarchal or sexually hostile attitudes), lack of DV resources, community violence, IPV history, DV/family violence, access to support (socioeconomic factors and substance abuse), and a lack of DV resource. Media discourses do not adequately contextualize or demonstrate violence patterns. They also tend to simplify and overlook relationship dynamics. DV patterns go beyond abusive behavior when an abuser is intoxicated or angry. These patterns of behaviour are often associated with control, intimidation, degradation and isolation, as well as coercive control. This can be done by using coercion to gain power, resources and benefits (Dutton Goodman & Schmidt 2006.) The media, particularly news and film, are not a good medium to communicate these patterns. The two frames have different effects on public perceptions of DV. They can either be framed from a victim/abuser perspective or from broader socially contextual perspectives on DV.

Biopic Tonya, a film released on the big screen, is about the infamous attack in 1994 on US figure-skating champion Nancy Kerrigan. Craig Gillespie directed the Oscar-nominated comedy mockumentary that was widely viewed by a wide audience. The story revolved around domestic violent. The Tonya Tapes were shown early in the film, which was a clever way to elicit a response from the audience. Tonya Harding experienced violence at an early age. Margo Robbie did a great job portraying Tonya, but her theatrical portrayal was troubling. Although the brutality of the first 15 minute may be frightening to those who don’t know Harding’s tale, it is presented in a way that has a comic undertone. Gillespie manipulates the reality of domestic abuse through music, cinematic framing and juxtaposition. Harding’s reflection on her relationship Gillooly was “He’s the first boy I’ve ever loved…The only catch is, he beat a living hell outta me.” Romeo and Juliet’s ‘Dire Straits Sad’ played as Harding was being repeatedly beaten. Imagery follows a physical cycle to a passionate reconciliation between the two. It is an accurate portrayal of the reality of an abusive relationship. Supertramp’s melodramatic “Goodbye Stranger”, played softly, plays as she describes in a straightforward manner her marriage. The film is consistent in this theme. Gillooly then forces Harding into his car and drives off, only to have the police stop him. Gillooly drives away, driving with Harding’s bloodied face and a clearly injured face. Al Green plays ‘How do you mend broken hearts’ in this scene. This juxtaposition could be interpreted by an audience as indicating that violence between spouses is normal. Gillespie appears to have used both episodic and theme framing in his film. It’s clear that Gillespie is attempting to avoid alienating an audience by using contradictory music, themes and frames.

Similarly, Gillespie’s DV film focuses primarily the physical element, while ignoring DV-related behaviour patterns. The relationship dynamics of the film are therefore overlooked and simplified. The images are more focused on the brutality than the control. However, they do not capture the subtle undercurrents. Women are often viewed as victims of violence, but the underlying causes that lead to violent behavior can be hidden (Palazzolo& Roberto2011). Gillooly characterized the following control patterns in her film: victim blaming and use of male privilege. She also referred to sexual abuse as well as abuse that occurred after separation. Gillooly would tell Harding that he provoked her, but he refused to accept responsibility for violence. This is consistent with victim-blaming. He was a man who abused her sexually when she refused to have sex with him. She also had to do the cooking and cleaning, and he displayed jealousy and possessiveness. Harding used emotional manipulation to abuse Harding after she left. He also showed remorse by crying, repentance and threatening suicide. These scenes depict DV accurately, but are overshadowed and distorted by brutality and violence. When combined with a contradictory frame, romanticising violent acts through music or comical discourse, it is difficult to understand the true context of an event.

The media’s portrayal of the domestic violence issue can influence who gets blamed and how conflict is resolved. It also influences the final solution. Stories can trigger an emotional response and manipulate the way people receive information (Kosicki, 2002). Research shows that certain emotional stimuli influence judgments. Media stories that portray domestic violence have an impact on how the public perceives the incident, the responsibility for the crime, and the resultant support or disapproval (Palazzolo and Roberto 2011, 2011). It is possible that the way a victim appears in a movie will influence the attribution of blame. It’s often asked why victims don’t leave the abusers. Harding is a woman of strong opinion and a capable professional. It is possible that the focus of the media on the violent interactions between the two couples has led many to ask why Harding endured such abuse.

Dutton and Painter (1993) theory of ‘Traumatic Bonding,’ can explain the dynamic between Harding and Gillooly. This term describes the strong emotional connection between abusers and victims when there’s a clear imbalance in power. The abuser shows remorse and repentance after he has repeatedly abused the victim. After a traumatic event, the victim feels a stronger bond to an expression of love or belonging. The victim becomes reliant on their abuser to provide emotional support, which only increases their bond. It’s common for victims of abuse to repeat the cycle, especially if they were abused as children (Walker, 1979). Gillespie provided contextual relevance in a certain way by providing background, personal history, as well as possible reasons for violence to be a recurring event. This was however only done with regard to Harding. Gillooly’s context, his past and the reasons he may have acted violently were not provided. This allows for attributions of affect by providing context. Harding’s mother abused her and she lacked emotional support her entire life. Contextual inferences can be made in order to assess attributions.

Media discourses that portray domestic violence deserve more attention. The Academy Award winning film can serve as a forum for discussion on domestic violence, gender issues and violence against women. Thematic framing was used to demonstrate contextual and behavioral inferences about the reality of DV. The juxtaposition of comical dialogue, music and imagery in the episode techniques overshadowed this film’s context. It’s unfortunate that I, Tonya, despite the fact that most media discourses have a difficult time portraying abuse, was portrayed in a humorous manner, thereby undermining its seriousness. I, Tonya gives a more complete picture of Harding’s history and sets the stage for awareness.