August 12, 2010 § 6 Comments
The film industry has a lady problem.
Genuinely challenging and original leading roles for women are scarce, roles get smaller as women grow older, and many, many serious films that get serious nominations do so because serious men are at the center, experiencing serious, manly situations. No matter how progressive and lefty Hollywood likes to think it is, it is still slave to the power and influence of strict gender roles.
But film is an art form, and no matter how commercialized and consumerist this particular art form may have become, there are still those films that will challenge gender roles, challenge assumptions, and challenge the audience. But what does a feminist film look like?
Is a film that deals explicitly with the struggles of women in a patriarchal society instantly feminist? The Piano, a movie by Jane Campion, is often hailed as a feminist filmmaking feat, and although it’s a picture that I adore, I hesitate to agree (spoiler/vast oversimplification of plot ahead!). A mute woman leaving one repressive relationship by leaping into the arms of a man who essentially forces her to pay for her beloved piano with her sexuality hardly registers as a feminist statement for me. Nor does having a woman behind the camera guarantee a feminist success. Hollywood gave itself a good pat on the back this past March for giving a best directing and a best picture Oscar to Kathryn Bigelow, the first woman ever to win either award. While such a feat is undeniably something to get excited about, her winning would have been much more of a true feminist victory if her film, The Hurt Locker, weren’t a prime example of one of the aforementioned serious manly man movies (a pretty overrated and unoriginal serious manly man movie at that).
In popular culture, women aren’t treated like people, but rather like women. Someone is a man until proven otherwise. Women, despite being pretty much half of the population, are viewed as the “other.” As a result, there are limited roles that they are allowed to occupy, and unjust stereotypes that they are expected to fulfill. Therefore, the films I consider to be truly feminist are the films that do treat women like people, that allow their female characters to take on roles filled with tension and anger and adventure and excitement that female characters are so often denied.
Take Wendy and Lucy, the beautiful 2008 film directed by Kelly Reichardt. The story follows a woman named Wendy (Michelle Williams) as she travels to Alaska in a run down car with no other company than her beloved dog, Lucy, who seems to be her only friend in the world. Wendy is down on her luck, with a cold demeanor and a butch presentation – not the type of character Hollywood usually likes for its delicate lady-flowers. She’s constantly faced with the brutality and indifference of those around her, and experiences incredible sadness and incredible courage as she teeters on the edge of despair. Wendy is a feminist character in that she’s allowed to be distraught. Ugly. Imperfect. Strong. Impatient. There is none of the naiveté that young women are automatically presumed to have, no distracting boyfriend story, nothing that shouts “THIS CHARACTER IS A WOMAN, IN CASE YOU DIDN’T KNOW IT, AND WE WILL DO THIS AND THIS TO HER JUST SO YOU REMEMBER THAT SHE’S A LADY.” She’s a person, with as many flaws as merits, and is treated and examined as such.
In most action movies, women are hot and kind-of-smart-but-not-too-scary-smart babes who come second to the big macho male action star. Not so in Quentin Tarantino’s Kill Bill movies. The central character, The Bride (Uma Thurman), wakes from a coma, then embarks on a violent killing spree, mowing down those who so brutally betrayed her and put her there. The Bride is driven by unabashed, unrelenting ruthlessness – a quality that is hardly traditionally “feminine.” It’s not the bride’s violence and need for revenge that makes her feminist (violence is never, ever the key to true empowerment), but rather the fact that she’s allowed to be so filled to the brim with drama and tension and genuine rage. Women are told to be complacent and submissive, things that The Bride is absolutely not. The morality of her actions is questionable, to say the least, but she sure does rip apart many traditional and annoying notions of femininity during her bloody quest for vengeance.
Movies made for little girls are often about princesses, and tend to equate being rich and married with being beautiful and worthy (I’m lookin’ at you, Disney). Hiyao Miyazaki is, essentially, the anti-Disney – the protagonists of his anime films are little girls, but instead of falling in love or finding happiness through material possessions, they go on adventures. They explore. Satsuki and Chihiro, of the films My Neighbor Totoro and Spirited Away, are curious and bold. They exemplify genuine compassion and bravery, but without submissiveness or naiveté. The word that you could best use to describe all of Miyazaki’s heroines is “independent” – a feminist word if I ever saw one (hell, he even manages to give the Little Mermaid story a feminist edge in Ponyo).
Women are conditioned and told to strive for “perfection,” to be beautiful, gentle, submissive, and not to cause trouble. But women are human beings, and human beings do cause trouble. When a character breaks the unfair rules of the patriarchy, when she allows the audience to see her during her ugly, human moments, when she can be “unlady-like” and still be a protagonist worthy of our compassion and our sympathy, she’s a badass, gender-role-fucking feminist.
July 15, 2010 § 3 Comments
I saw a commercial for CW’s new reality show, “Plain Jane,” last night. This morning I found this preview on the channel’s website.
The title “Plain Jane” alone should have been enough of a warning. I saw this preview and didn’t have the strength or emotional energy to continue looking into it. I think the most offensive part is at the end when the creepy announcer voice says, “Every dream will become real.” Thanks, CW! Thanks so much for realizing the only dreams young women have, to receive highlights, strappy heels and some lip gloss! How else can women become confident, self-loving individuals?!?
Actually, I changed my mind. The part where the “plain Jane” is strapped with a zapper and is LITERALLY ZAPPED by the hosts of the show when she “falls back into her plain Jane ways” is the most heinous. I don’t even know where to begin talking about how demeaning and dehumanizing that is. Thanks for the soulache, CW.
July 5, 2010 § 1 Comment
This is a guest post by Julia Landauer, a competitive racecar driver.
If you were to ask the average person on the street what they think of when they hear the words “woman” and “racecar,” many would first think of umbrella girls, and then: “That chick that races, what’s her name? Danica Patrick.” Though this might seem like a gross generalization, I’ve found it to be the case. My name is Julia Landauer and I’m a professional racecar driver. I am a NASCAR-licensed stock car driver, racing late models in Virginia. And I am a Stuyvesant High School graduate, raised in Manhattan, headed to Stanford in the fall. I am not what you think of when you hear “woman” and “racecar.”
I have been a woman in a man’s world since I started go-karting when I was ten. The funny thing is that I never saw myself as “the girl racer” – instead, I saw myself as just another racer. That is, until I was around fourteen, when I became the youngest female winner in the Skip Barber Series, and later that year I became the first female champion of the series. It was than I realized that I was getting publicity not because I was a racer that won, but because I was a girl that won. And such a title is like a double-edged sword. On one hand, I get more immediate attention because of my gender. On the other hand, I have to fight rampant biases against women. “Women can’t drive.” “Women aren’t athletic.” “Women should be nice.” Well, let me tell you something, you can’t be nice on track and expect to win.
By the time I was fifteen I had established myself as a championship-winning racer, both in karts and in cars. But that didn’t mean people weren’t still seeing me as “the girl racer.” At a national go-kart race in Pennsylvania, a fellow racer who is a year younger than me was a little over-aggressive, so I returned the favor. He and his dad were both furious, but in reality I just returned the bump, and that’s how everyone except those two saw it. His dad later said to me, “You know, no one’s going to want to be your friend if you bump people like that,” in a condescending tone fit to address a five year-old. I laughed in surprise and responded, “Well, I’m not here to make friends, I’m here to win races.” The answer surprised him, but I think I made my point.
That being said, being a woman does gives me a better chance of being successful. There are lots of male racecar drivers, but only so many female ones, and NASCAR is looking for their first successful female. I know this and other people know this, so I have to use my femininity as a tool. (But I will steer clear of the ever-assumed sleeping-with-the-team-owner-for-a-ride plan. I’d rather earn my ride.)
I don’t like that people always focus on the differences between men and women, especially in racing. Heck, if the names weren’t on the cars, you’d never be able to tell if the racer inside was male or female. At the end of the day, I just see myself as another racer, gender aside. There was an article recently in The Atlantic called The End of Men, talking about how in many fields, women are actually surpassing men with their achievements. This was interesting to read because it still is sexist, just this time in favor of females. I see no reason why women and men should be treated or rewarded differently, but for some reason, they are.
I would love to see the day when there are as many females in the field of racing as there are males. Unfortunately, I don’t think I’ll see that day. My greatest wish for my sport is for competitors and audiences to disregard the gender of the racer, and acknowledge the talent of the driver. Unfortunately, I don’t think that will happen any time soon either. Until then, I’ll continue developing my tough skin, and charge to the front because I am a champion, not because I am a female.
June 24, 2010 § 4 Comments
You might have heard about the Reproductive Health Act. In fact, I hope you have, because I’ve been writing about it incessantly since the beginning of this blog. It’s an awesome and necessary bill that I, personally, me, this person right here who is in high school and not a paid lobbyist, have been invested in for the past two years.
The bill will update New York State’s abortion law for the first time since Roe. It will remove abortion from the criminal code, where the right to choose is stated as an exception to homicide, and put it into the public health code where it belongs. Perhaps most importantly, the bill will permit late-term abortions not only if a woman’s life is in danger, but also in cases where her health is threatened. When the RHA is passed, New York’s women will no longer have to rely on federal legislation to protect our fundamental right to choose; no matter what happens on the national level, our rights will be covered.
People have been talking about the RHA a lot recently because the state legislative session is likely to end soon, as soon as the state budget is passed. (Once the session ends, the senators won’t come back to work until January.) Though the budget is top priority, the senators have been discussing and passing other legislation in the meantime, so it’s not unfeasible that the RHA might be introduced before the end of the session.
There’s another layer of complexity with this bill: different advocacy groups have different ideas about the most effective lobbying methods. Some groups, like NARAL Pro-Choice New York (which — full disclosure — I volunteer with and love), are calling for the bill to be introduced as soon as possible, even if it doesn’t get passed during this session. The idea behind this is that pro-choice organizations and voters will know where their representatives stand on choice issues, and hold accountable those who say they are pro-choice but vote otherwise. This is especially important because this fall is election season. Other groups, most notably Family Planning Advocates of New York State, would rather wait to introduce the bill until it is very likely to pass.
Interesting, yes! Very political, slightly exhausting, undeniably nuanced.
Nuance! It is great. Here is something that is not nuanced: the title of Nicholas Confessore’s New York Times City Room blog post on this issue.
Abortion Rights Supporters Squabble Over Bill.
Here, if you are wondering, is a reliable dictionary definition of that heinous word, squabble: “to engage in a disagreeable argument, usually over a trivial matter.” Fascinating! Because do you know what is not, in fact, a “trivial matter”? WOMEN’S AUTONOMY AND CONTROL OVER OUR OWN BODIES. And do you know who, in fact, might agree with me? MORE THAN HALF THE POPULATION OF THIS FINE STATE.
Fuck this shit.
The media loves to focus on “squabbling” women because it is so easy! It is so fucking easy to get a reader’s attention by writing “Hey! Look at these silly catfighting ladies!” instead of delving into complex political issues. That’s lazy journalism, and entrenched sexism. It’s part of a larger social pattern of framing conflicts between women as desperate and catty, while positioning male conflicts as stoic and totes serious. It’s part of a widespread attempt to delegitimize women’s extremely legitimate political frustrations.
I find this article absolutely hilarious. Because do you know who is actually squabbling? The fucking State Senate! You know, the people who we pay to get important shit done, like, you know, the budget for the entire state of New York. And who we rely on to keep their shit together, not, you know, act like “feuding junior high schoolers.” Have people forgotten about that outrageous, embarrassing, and illegal COUP that happened last June? I remember. I can’t forget.
New York’s women have waited long enough for the Reproductive Health Act. We’re not squabbling. We’re demanding what we deserve.
April 5, 2010 § 1 Comment
Enlightened Sexism: The Seductive Message That Feminism’s Work Is Done by Susan J. Douglas
In her latest work, the razor-sharp Susan Douglas argues that the deluge of powerful fictional women in our media — think of all those surgeons, lawyers, businesswomen, and politicians on TV — has slowly and steadily convinced us that real women enjoy the same relatively easy professional success.
Women watch these shows because they are inspirational; but when the TV goes dark, it’s not patriarchy that’s blamed for keeping real women subservient — it’s women ourselves. These shows convince us that true equality is not only possible, but actual — and if we’re not faring well in our relationships or jobs, it’s our own fault for not measuring up.
What I like best about the work is that it does not shy away from complexity and ambiguity; indeed, its thesis lies in the precarious balance between oppression and liberation, autonomy and blind consumerism. Furthermore, Douglas is hilarious, and her call for older feminists — “Vintage females,” in her words — like herself to work together with their millenial counterparts is a refreshing antidote to generational squabble. I would have appreciated more attention and analysis paid to representations of American women beyond the white / black racial dichotomy, but overall, this is a very successful book.
January 16, 2010 § 3 Comments
It’s been a really long while since I’ve posted on here, but I’m back for a weekly cross-post between Women’s Glib and my new blog on Jewish feminism, from the rib?. This column will focus on intersectionality – the connection of oppressions and liberation movements – and how it affects my life. Here’s edition #1:
Yesterday, I was talking to a girl in my Biology class who just returned from a semester abroad in Israel. She asked me the broadest yet incredibly popular question: “What do you think of Israel?” After living in various parts of Israel for five weeks this summer, I left more confused than when I arrived. When I arrived at Ben Gurion Airport, I was ignorant. I left realizing just how many diverse and seemingly unrelated topics there are to be ignorant about. Because of that ignorance, I like to gently lead people away from pre-supposed political answers and into topics I feel comfortable forming opinions about. These usually concern sexism and feminism.
Academically and socially, I feel authorized to speak on sexism and feminism. At times, I feel like I live and breathe books, blogs, and performances of feminist work. I am also a woman and recognize the exploitation of my own gender in the media, as well as what “society” (the largest abstraction of all) expects of me. Culturally, however, I feel like a feminist without a cause. Growing up as a white member of the middle class in liberal New York City with a mother whose income is greater than my father’s, the education of my choosing, and occasionally attending egalitarian synagogues, I am privileged and, on a superficial level, I have nothing in my own life to fight for.
So back to the conversation that got all these thoughts whirling. I redirected it to the treatment of women in ultra-Orthodox Israeli societies. While I was supposed to be researching viral causes of cancer cells, I spoke of the horrible treatment of women in education, in synagogue, and in the home. The girl in my Biology class responded that she does not see suffering amongst women in the ultra-Orthodox communities she has visited. Their roles are what they have been brought up with and it is what they want to continue with because they have never known anything else. It is their lifestyle.
My immediate response was that it is because they have not been shown an alternative. These women do not know they are oppressed because they have never experienced having equal opportunities. And then my Bio buddy threw at me one of the most provocative questions I could be asked: “How do you know your way is better?”
How do I know my way is better? I believe I know what equality is. I am proud to be a woman. I am proud to be a feminist and fight not only for my rights but for the rights of us all that are so interconnected. My way is what I have grown up with and has stemmed from the privilege I was raised with and the beliefs I have had the freedom to foster. I believe in choice and I believe that all women should be able to choose their own way in life, be it sexist or feminist through a traveler’s eyes. If a woman is happy and fulfilled singing lightly in the background of a synagogue or receiving an education different from her husband’s or forgoing occupational opportunities and chooses to do so, that is not sexist. She has chosen it for herself.
What does choice mean in a cultural context? Where is the line drawn between advocacy and – I’m going to make up a word here because we are speaking in a feminine lexicon at the moment – maternalism? How can we enforce a right to choose in communities where women do not know what choice is? And who on earth am I to say they do not know what choice is?
January 1, 2010 § 4 Comments
I’ve seen some atrocious new ads pop on subway platforms, as part of a marketing campaign for Spike TV’s new television series Blue Mountain State. According to the network:
The football-themed series focuses on what it’s like being a freshman at national champion Blue Mountain State, but there’s much more to it than football… there’s also girls, partying, hazing and of course, class. “Blue Mountain State contains four key ingredients to being a guy…football, partying, women and hazing,” said Spike TV President Kevin Kay.
Hear that, dudes? Kevin Kay just told you everything you need to confirm your manlymanhood. So get on that.
The first ad is a gross display of the objectification and dehumanization of women and their bodies. Of course, the woman whose legs are featured is thin, white, and hairless. Anyone else repulsed by the idea that donning a varsity football helmet will automatically get you between girls’ legs?
The second ad — what can I say? It’s disgusting.
(I’d rather not hear any protests of, “Oh, the show is trying to call attention to damaging norms of masculinity! You’re so silly, you don’t understand their edgy humor!” Maybe that is what the producers are hoping the show will do. But using blatantly sexist advertising imagery doesn’t clue your audience in to that hope. Misogyny, in these ads and countless others, is not edgy; it’s all too common.)