Thursday, May 31, 2012

Quote of the Day: Scarlett Johansson Tired of Sexist Diet Questions


Robert Downey, Jr. and Scarlett Johansson at The Avengers press conference in London

Cross-posted at Women and Hollywood.

Wow, who knew I could love Scarlett Johansson so much?? I posted this on Bitch Flicks' Facebook page but thought it was too great not to post here too.

At The Avengers press conference in London, a reporter proceeded to ask Robert Downey Jr. an in-depth, thought-provoking question about his character (Tony Stark/Iron Man) and then asked Johansson about her diet. I shit you not.

Reporter: "I have a question to Robert and to Scarlett. Firstly to Robert, throughout Iron Man 1 and 2, Tony Stark started off as a very egotistical character but learns how to fight as a team. And so how did you approach this role, bearing in mind that kind of maturity as a human being when it comes to the Tony Stark character, and did you learn anything throughout the three movies that you made?

"And to Scarlett, to get into shape for Black Widow did you have anything special to do in terms of the diet, like did you have to eat any specific food, or that sort of thing?"

Scarlett: "How come you get the really interesting existential question, and I get the like, “rabbit food” question?"

Amen, sister! If you watch the video, you'll see just how perturbed Johansson is to be asked. As she should be. Why the hell did the reporter save the diet question for one of the two women on the panel??

Johansson has spoken in favor of feminism (yet doesn't necessarily call herself a feminist) and female friendship, supports Planned Parenthood and condemns Hollywood's ageism against women calling it "a very vain, vain industry.”  So it's no surprise she calls out this bullshit. I only wish more actors and members of the media would follow her lead.

The reporter's question particularly rubs me the wrong way because lots of women have such a contentious relationship with food. Eating should be a fun, sensual, pleasurable experience. But too many women fear food, afraid of what it will do to their bodies. The media monitors and polices women's consumption. Between diet books, exercise DVDs, weight loss shakes, low-fat foods – the dieting industry is a money-making juggernaut. And it’s geared towards women.

In response to the asinine question, Sarah at Pop Cultured astutely asserts:

“The respect given to you if you’re a man in the entertainment business, and the respect given to you if you’re a woman in the entertainment business: all perfectly summed up in one idiotically thought out line of questioning.”

It's ridiculous -- not to mention offensive and sexist -- Hollywood, the entertainment industry, and the media lavish praise on men for their minds and their talents while objectifying women and reducing female actors to their appearances. As we recently witnessed with Ashley Judd fighting back against toxic bodysnarking and the heinous criticism of Jennifer Lawrence's body, the media constantly scrutinizes, visually dismembers, critiques and polices women’s bodies. The media wreaks havoc on women's body images, telling us we're too fat or too skinny. Never just right.

This constant bombardment of objectification of women leads to normalizing sexism and violence against women. It reinforces the notion that women are nothing more than sex objects for the male gaze.

So reporters, think twice before you ask a woman yet another stupid diet question. Ugh.

Wednesday, May 30, 2012

'Return' - One of the Best Films You Probably Haven't Seen - Features a Story Rarely Depicted: A Female Soldier Struggling to Resume Her Life

Linda Cardellini as Kelli in Return

When people discuss war, they often don’t take women or gender into account. While we regularly watch male soldiers on-screen, we almost never see war through women’s eyes. If women are in war films, they serve as wives and girlfriends. We see women supporting men, never soldiers themselves. That’s what makes Return so unique. It puts a female soldier center stage.

Written and directed by Liza Johnson (her directorial debut) and executive produced by Abigail Disney (love her) and Meredith Viera, Return features a captivating and quietly powerful performance by Linda Cardellini (the soul and strength of the film) as Kelli, a female soldier grappling to step back into her life after returning home from her tour of active duty.

Kelli is excited to reunite with her husband (Michael Shannon) and her two young daughters. Disconnected from her former life, she eventually finds she can no longer relate to her friends, co-workers and family. Return tells the story of a complex woman struggling to survive and wrestling with her inner demons.

While it moves at a glacial pace, it pays to be a vigilant audience. For in those silent moments, the restrained film speaks volumes. The devastatingly outstanding Cardellini (it will seriously be a crime if she's not nominated for an Oscar) doesn’t need to utter a single word. Her expressive face reveals everything. We glimpse Kelli’s isolation and torment. It's incredibly moving and heartbreaking as we see a woman trying to assert control as her life begins to crumble.

Unlike her husband and daughter, Kelli doesn’t find humor in a woman falling down on an America’s Funniest Home Videos show. She watches in stunned silence as another mother ebulliently applauds her daughter at cheerleading practice. When she goes to get a drink with her girlfriends, Kelli crawls out the bathroom window to escape. She quits her factory job thinking it’s a “giant waste of time.” Her relationships suffer as she unravels.

Linda Cardellini and Michael Shannon
Throughout the film, people keep telling Kelli to open up and talk about her deployment. They claim sharing trauma will heal her wounds. But Kelli insists there’s nothing to tell and incessantly says, “A lot of people had it worse than I did.” While researching her role, Cardellini found reticence and refusal to discuss combat a common thread connecting veterans, both female and male.

We never really discover Kelli’s war experiences other than she worked with military supplies. The beautifully restrained film shows rather than tells as subtle clues to Kelli’s inner turmoil unfold. When she's in a large cage with some pigeons, Kelli cowers, her hands protecting her head. She watches a TV screen with a hollow dazed stare. When her husband tries to reignite their spark by tickling her, Kelli becomes increasingly uncomfortable and defensive, finally screaming for him to stop.

Her family and friends, while relatively supportive at first, seem to expect Kelli to remain unchanged and have little tolerance for her growing instability. Adrift with no anchor, we witness Kelli’s growing desperation as she spirals out of control. When her friend accuses her of “acting crazy” and asks her what happened to her over there, Kelly replies:

“Yeah, well a lot of people had a lot worse. You know I didn’t get raped in a port-o-potty. I didn’t have to fucking carry a dead body. And I didn’t get blown up by an EOD so I consider myself pretty lucky cause that’s what happens over there.”

It’s vital we include a gender lens when discussing soldiers and war. Female soldiers face unique challenges such as rape (although yes, men are raped too) and sexual harassment. 1 in 3 women are raped while serving in the military. In fact, female soldiers are more likely to be raped by a fellow soldier than killed in combat. Horrifying. Return isn’t a film about female soldiers surviving rape. Yet it subtly weaves in a crucial gender commentary.

Linda Cardellini and John Slattery
As I've said before, mothers are supposed to be everything to everyone. So when she falters, Kelli's motherhood is called into question. Amidst a fight, her husband tells her to “be a mother.” She struggles to provide the attention and care her daughters need. At her wits end, Kelli tries to get pregnant in order to prevent another deployment and stay with her daughters. The most poignant and wrenching scenes are the ones with Kelli playing with and embracing her daughters.

Inspired by a friend’s experiences, writer/director Johnson spoke with “women who have been deployed.” Talking about gendered expectations for female soldiers, Johnson said:

"Expectations and pressures are different for women - dealing with rage is harder for them and not as acceptable as it is for men."

Kelli tries to deal with her anger, frustration and disappointment in a world telling her to express her feelings in an “appropriate” way yet really expecting her (and basically all women) to swallow her pain.

Soldiers risk their lives for our country. Return doesn’t make any overt political statements. It honors and respects soldiers’ sacrifices. Yet Kelli’s struggles crystallize the physical and emotional toll war exacts on soldiers and their families. Is the price worth it? 

Without preaching or sermonizing, the film affirms we must do more to support our troops. And it reminds us women serve in the military too. Something we obviously all know yet too easily forget.

We need more films about women, created by women. And we desperately need more movies telling stories of female soldiers whose stories too often go unheard.


Guest Writer Wednesday: Happily Never After: The Sad (and Sexist?) Rush to Cast Some of Our Most Promising Young Actresses as Fairy Tale Princesses

Kristen Stewart as Snow White in Snow White and the Huntsman


This guest post written by Scott Mendelson was originally published July 2011 at Mendelson's Memos. Cross-posted with permission.

There were a few interesting articles written over the last several months about the unusual amount of ass-kicking (or at least take-charge) young female roles being written into mainstream cinema. Whether it was Chloe Moretz in Kick-Ass, Hailee Steinfeld in True Grit, Jennifer Lawrence in Winter's Bone, or Saoirse Ronan in Hanna, the last 18 months or so has seen a mini-wave of genre pictures where young females were basically the lead characters (or in the case of Kick-Ass the star attraction), 'strong independent character' (god, I hate that cliche) who not only could fend for themselves but were not defined in any way, shape, or form by their male love interest (not a one of them had a boyfriend). Yes, I would include Sucker Punch in this category, as it was basically a satiric examination of whether ass-kicking young women in pop culture were automatically sexualized by virtue of the salacious nature of such imagery (stop whining and read THIS). The somewhat negative undercurrent of this trend is that these actresses were generally under 18, often barely passed puberty. Point being, what would become of these actresses once they reached adulthood? If recent developments are any indication, Hollywood has a genuine desire to roll back the progress clock and turn these actresses into fairy tale princesses.


At the moment, we now have two competing variations on Snow White set to be released in the next year. One, pictured below, will star Lily Collins (from The Blind Side and soon to be seen as Taylor Lautner's token girlfriend in Abduction) as the titular princess, while the other will star Kristen Stewart as the 'fairest of them all'. Both are claiming to be somewhat revisionist, and for the moment I shall take them at their word. But no matter how much armor and battle-axes you give Snow White, you're still hiring one of our more talented actresses (say what you will about Twilight, but she absolutely sells Bella Swann and shines in the likes of Adventureland) to play a woman whose primary job is to run away from an evil witch, play house with a bunch of asexual dwarves, then finally bite a poison apple and await rescue from a theoretical Prince Charming. Of course, you could argue that Ms. Collins isn't one of the 'great actresses of our time' yet. But the fact that we have two competing projects based on Snow White is a sad commentary on our times, both as a statement about how obsessed the studios are with any kind of brand recognition as well as the kind of roles available for actresses on the cusp of adulthood.

Lily Collins as Snow White in Mirror, Mirror


And it gets worse. What was Hailee Steinfeld's reward for earning an Oscar nomination for Best Supporting Actress for a film where she was unquestionably the lead? What was her follow-up project for stealing True Grit from Jeff Bridges, Matt Damon, and Josh Brolin? She gets to play Sleeping Beauty in (yet again) a revisionist variation on that old-chestnut. And we'll see who gets to play Princess Aurora in the other competing project, Maleficent (allegedly starring Angelina Jolie as the villain) which was to be directed by Tim Burton before he came to his senses. Worst of all (and the catalyst for this rant) is the news that Emma Watson, who portrayed one of the great feminist icons of recent times, Ms. Hermione Granger herself, is being wooed for the lead role in Guillermo del Toro's live-action variation of yes, Beauty and the Beast. Never mind that Guillermo del Toro certainly has better things to do with his time. Never mind that we have no real need for a live-action version of "Stockholm Syndrome: The Movie" (even my 3 year old dismissed the Disney version, because she stated that the Beast was mean and a grouch). It is sadly predictable that, as soon as Ms. Watson (a fiery feminist in her own right) was able to basically play adult roles, she would be shoved into the helpless fairy-tale heroine box.

Justin Timberlake and Amanda Seyfried in In Time


And that is really the point. To be fair, it's not an all-encompassing issue. Chloe Moretz remains fairy tale-free at this point, and Saoirse Ronan has yet to be cast in a theoretical live-action version of The Little Mermaid. She does have a 'teen girls as hit-women' caper with Alexis Bledel, Violet and Daisy, that I desperately want to see. And Dakota Fanning has yet to be cast as the token hot girl quite yet. But there remains a disturbing trend that allows young actresses to be vibrant and active in their onscreen fates only until they reach young adulthood. Once they are old enough to be legally sexualized, their worth as empowered heroines is seemingly lost and they end up being tasked with playing the token love interest (SEE Emily Blunt be pulled by the hand by Matt Damon in The Adjustment Bureau!), helpless hostage/potential woman in refrigerator (SEE Blake Lively as the kidnapped girlfriend of both Taylor Kitsch and Aaron Johnson in Oliver Stone's Savages!), or both (SEE Amanda Seyfried as Justin Timberlake's hostage who learns to love him in In Time!). It is as if female roles can only be worthwhile when they are too young to be viewed exclusively as sexual objects. Now there is a new category for which to pigeon hole these actresses: perfectly pretty princess. Once they are old enough to be cast in stereotypical female roles, it's straight to the 'token' box, with an occasional diversion in fairy tale theater. Is this new mini-fad simply another variation on tokenism, or a more insidious attempt to keep said young actresses virginal and pure?

It is telling that bloggers and pundits bemoaned Jennifer Lawrence passing on Savages and picking The Hunger Games instead. Maybe, no matter how prestigious an Oliver Stone film might be (because he writes SO well for female characters...), Lawrence chose to be a lead in her own action franchise rather than play a random hottie who is abducted as a pawn in a drug spat involving her dueling boyfriends (on the surface, it seems like a prestige variation on Double Dragon). And it is telling that no one seems to notice or care that a number of our most promising young actresses are being jammed into the 'girl cage' just at the age when they would be old enough to play quality adult female roles. Of course, roles such as that are few and far between. For the likes of Watson and Steinfeld, it appears once again that the choice is between no mainstream roles or regressive token roles or playing a live-action Disney princess. Oh well, I'm sure they can find an episodic television series when the time comes. When it comes to quality roles for adult women, for too many actresses, it is television instead of film that is the pathway to happily ever after.


Scott Mendelson is, by hobby, a freelance film critic/pundit who specializes in box office analysis. He blogs primarily at Mendelson's Memos while syndicating at The Huffington Post and Valley Scene Magazine. He lives in Woodland Hills, CA with his wife and two young kids where he works in a field totally unrelated to his BA in Film Theory/Criticism from Wright State University. 

Guest Writer Wednesday: Fatsronauts 101

This guest piece by Melissa McEwan is cross posted with permission from her blog Shakesville.

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Fatsronauts 101 is a series in which I address assumptions and stereotypes about fat people that treat us as a monolith and are used to dehumanize and marginalize us. If there is a stereotype you'd like me to address, email me.

[Content Note: Fat bias; dehumanization.]

#3: Fat people are jolly/mean, and fat people are shy/loud.

These are a whole bunch of temperamental stereotypes about fat people, but these are probably the most common—and let us note the immediate irony that they can be conveniently grouped into two dichotomous pairs!

Fat people are jolly! Except for how we're all mean. And fat people are shy! Except for how we're all so loud and obnoxious.

How can all of these conflicting stereotypes about fat people be true?! Spoiler Alert: None of them are!

Obviously, not all fat people are jolly, nor are all fat people mean, and not all fat people are shy, nor are all fat people loud. Like any sweeping generalization made about any group, these are just garbage observations offered by people who attempt to justify their biases with dehumanizing monolithic narratives. Whoooops your bigotry!

Fat people, being actual human beings and all, experience a spectrum of emotions and have individual complex personalities, most of which can't be contained in a single reductive adjective.

That said, it's informative to examine exactly why these particular stereotypes are so ubiquitous.

The Jolly Fatty. The Jolly Fatty is a very recognizable stereotype, especially but not uniquely in the West. Children in many cultures are introduced to the Jolly Fatty in the form of a gentleman you may have heard of named Santa Claus, aka Father Christmas, aka St. Nick—red-cheeked and perpetually grinning, his big round belly jiggling as he "ho-ho-ho"s his way into their hearts.

The Jolly Fatty is also a staple in comedic duos (Laurel & Hardy, Abbott & Costello), trios (The Three Stooges), and troupes (Chris Farley, Horatio Sanz, Kenan Thompson, et. al. on SNL; John Candy on SCTV). Generally, the Jolly Fatty in comedic groups has been a male stereotype, owing primarily to the misogynist stereotype that women aren't funny, full-stop. But as female comedic groups emerge, the Jolly Fatty Female Edition emerges, too, e.g. Melissa McCarthy in Bridesmaids and Phyllis Smith on The Office.

Partly, the Jolly Fatty exists because it's fun to laugh at fat people just because we're fat. Partly, it exists because it's fun/amazing to see fat people engaging in exuberant activities that we're allegedly unable to do. Chris Farley was a master at physical comedy, and the legendary Chippendales SNL sketch with Patrick Swayze is a classic example of being exhorted to laugh at the fatness of, but also the unexpected physical prowess of, a Jolly Fatty. Kevin James routinely plays the hilariously gravity-defying fat guy. After watching Paul Blart, I observed: "[The most depressing thing about the film is] that Kevin James is a fat guy who can move! He can run and jump and do somersaults, and he was kick. ass. on that Segway—had it doing all kinds of tricks. It was so sad that the movie was so rife with fat-hating stereotypes, because Kevin James himself actually defies so many of them!" The Jolly Fatty isn't meant to break down stereotypes, though: The Jolly Fatty is meant to play to them for laughs.

And partly, the Jolly Fatty exists because real, live, actual fat people who aren't created by or dependent on the media use a façade of cheeriness as a self-defense mechanism.

That's not to say there are not fat people who are naturally happy. I'm dispositionally disposed to contentment myself. But that is a very different thing from a consciously constructed veneer of impenetrable ebullience worn like armor into a hostile world. I know the difference—because I have worn that armor myself.

It is terribly easy to slip into the always-accessible costume of the Jolly Fatty, because people are nicer to the Jolly Fatty than to a real, complex, vulnerable fat human being. I've said before that being publicly, shamelessly, unshakably fat and happy is an act of both will and bravery—and, the truth is, being publicly, shamelessly, unshakably fat and not-happy about things other than your fatness is even harder.

The thing is, affecting the Jolly Fatty is most useful/necessary around people who are fat-haters, between whom and ourselves fat people feel obliged to construct a deflective artifice of self-protection off of which can bounce the judgment and bullying central to fat hatred.

It's not a coincidence that it's fat-haters who most readily pronounce all fat people to be jolly. It's because their bigotry results in inauthentic interactions with fat people.

The Mean Fatty. It's also not a coincidence that it's fat-haters who are most likely to declare all fat people to be mean. The fact is, if you go around treating fat people like shit, it's no wonder most of us aren't bundles of joy in your presence.

The Mean Fatty is similarly a familiar comedic staple. John Belushi and Jon Lovitz generally played Mean Fatties on SNL—or some variation of mean, e.g. grumpy, acerbic, bitter. Comedic foils and villains are often rotund—Pee-Wee Herman's nemesis Francis is an iconic over-indulged, gluttonous, greedy Mean Fatty. The Coen Brothers also love a good Mean Fatty, and Disney routinely associates fat with villainous.

The Mean Fatty is also a more dramatic staple, showing up especially in dramatic fare for kids as a bully who makes like difficult for the thin protagonist—the classic ginger-haired, freckle-faced, chubby bully in his striped brown shirt, hurling snowballs or snarling epithets with a lisp at our long-suffering hero.

Partly, the Mean Fatty exists because it's fun to hate fat people just because we're fat. Partly, it exists because it reinforces—and validates—preexisting prejudices against fat people. It's okay to hate them; look, they're all nasty, anyway.

And partly, the Mean Fatty exists because there are real, live, actual fat people who are "mean" specifically around their fatness. And by "mean," I mean defensive.

Which, of course, is meant to be A Terrible Thing—especially since we all know that fat people are supposed to be jolly! Fat people are supposed to make preemptive self-deprecating jokes about our own fat to diffuse the awkward situation of your quietly judging us! We're not supposed to get all testy about being quietly (or not-so-quietly) judged by people who have decided to make our bodies their business! GEEZ! THE NERVE OF THOSE MEAN FATTIES!

You know the old saying that everything looks like a nail when you're holding a hammer? Well, maybe every fatty looks mean when you're a fat-hater.

The Shy Fatty/The Loud Fatty. I'll take these two together. These are variations on the same stereotypes about members of all marginalized groups, which pivot around an invisible centerpoint of perfection in which the marginalized person is not too quiet/compliant/disengaged from activism around hir identity, but is also not too loud/defiant/engaged with activism around hir identity.

To fail to take a position is too quiet. To take a position in opposition to the narratives, stereotypes, and people which oppress us is to be too loud.

Basically: We are meant to have opinions, but only those which echo the opinions of our oppressors.

(See how that works?)

The Shy Fatty and Loud Fatty function in tandem as a way for people with thin privilege to deflect blame for fat hatred back onto fat people: Shy Fatties don't speak up and demand better treatment. Loud Fatties are always shoving their fat in people's faces and making them resentful of fat. Two extremes who fail to find the perfect balance in which fat people command respect in precisely the right tone.

The Shy Fatty and Loud Fatty stereotypes also exist partly because there are a lot of shy fat people whose shyness is inextricably linked with their fatness, who chose to withdraw and be as invisible as possible in an attempt to avoid attention on their transgressive bodies, and because there are a lot of loud fat people whose loudness is inextricably linked with their fatness, who choose to be boisterous and as visible as possible in a rejection of the cultural pressure to take up less space—to hunch, to crouch, to fold, to squeeze, to be unseen.

These stereotypes, when reflected in actual fat people, are reactions to fat hatred. And thus are they seen primarily by people who routinely express fat hatred and/or unexamined thin privilege.

It's a self-reinforcing cycle of bullshit, which is broken by creating spaces in which fat people can express without fear of shame, hatred, or retribution the full spectrum of their emotional lives.

Presuming all fat people are all one thing—besides, ya know, deserving of respect—is failing to provide that sort of space. 

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Melissa McEwan is the founder and manager of the award-winning political and cultural group blog Shakesville, which she launched as Shakespeare's Sister in October 2004 because George Bush was pissing her off. In addition to running Shakesville, she also contributes to The Guardian's Comment is Free America and AlterNet. Liss graduated from Loyola University Chicago with degrees in Sociology and Cultural Anthropology, with an emphasis on the political marginalization of gender-based groups. An active feminist and LGBTQI advocate, she has worked as a concept development and brand consultant and now writes full-time.

She lives just outside Chicago with three cats, two dogs, and a Scotsman, with whom she shares a love of all things geekdom, from Lord of the Rings to Alcatraz. When she's not blogging, she can usually be found watching garbage television or trying to coax her lazyass greyhound off the couch for a walk.



Monday, May 28, 2012

Women-Centric Films That Opened Friday, May 25 and Opening Friday, June 1

There aren't many female-centric films that opened last Friday (only one...boo) or coming out this Friday. But I'm so excited to FINALLY see Snow White and the Huntsman

Now, that might surprise some of you, considering I complained that this version of the Snow White story, no matter how much of a badass action-fantasy retelling, still seems to perpetuate stereotypes of women and aging, women deriving power from beauty and pits women against each other. But it's always a delight to see the incredibly talented Charlize Theron, a veritable chameleon who effortlessly slips into any role. She looks like she's having a blast here as the Wicked Queen Ravenna. As Allison Heard pointed out, Kristen Stewart as Snow White is "not a helpless, damsel in distress, but instead is a sword-wielding, armor-wearing warrior that fights her own battles, literally and metaphorically." It may not be a feminist film (but god I hope it is) but it still looks intriguing and entertaining.

I missed it at the 2012 Athena Film Festival, so I also want to see country music star Chely Wright's documentary, Chely Wright: Wish Me Away, about her journey coming out as a lesbian. It looks heartbreaking and inspiring. Directed by Lea Pool, Pink Ribbons, Inc.'s exploration of the "pinkwashing" of breast cancer looks compelling too, especially in light of the Susan G. Komen Foundation's bullshit debacle when they supported defunding Planned Parenthood. Directed by Julia Murat, the Brazilian film Found Memories sounds interesting as it features two women who forge a deep bond. And we don't see nearly enough female camaraderie on-screen.

So what films are you excited to see??


Friday, May 25

Ida, a feisty and rebellious young girl, dreams of one day finding her father, a rodeo rider, whose identity her mom has kept from her. While searching for her dad at a local rodeo, Ida meets the Sweethearts of the Rodeo, a team of young female trick riders run by cowboy legend Terence Parker. Terence discovers that Ida is the grand-daughter of a friend who passed away years before, so he decides to help her. Ida joins the Sweethearts and embarks with them on a tour of rodeos throughout the west. Ida hopes to find her father, but she discovers much more, including a love for horses that redefines her life. -- (C) Sense and Sensibility Ventures



Friday, June 1

Chely Wright: Wish Me Away is the story of Chely Wright, the first country music star to come out as gay. Over three years, the filmmakers were given extraordinary access to Chely's struggle and her unfolding plan to come out publicly. Using interviews with Chely, her family, her pastor, and key players in Nashville interwoven with Chely's intimate private video diaries, the film goes deep into her back story as an established country music star and then forward as she steps into the national spotlight to reveal her secret. Chronicling the aftermath in her hometown of Nashville and within the larger LGBT community, Wish Me Away reveals both the devastation of her own internalized homophobia and the transformational power of living an authentic life. -- (C) First Run



Like every morning, Madalena makes bread for Antonio's old coffee shop. Like every day, she crosses the railways where no trains have passed for years; she cleans up the gate of the locked cemetery, and listens to the priest's sermon before sharing lunch with the other old villagers. Clinging to the image of her dead husband and living in her memories, Madalena is awakened by the arrival of Rita, a young photographer who is arriving in the ghost village of Jotuomba, where time seems to have stopped. A deep relationship is forged between the two women, which gradually builds to have a profound effect on both of their lives, as well as the rest of the villagers. -- (C) Film Movement




The ubiquitous pink ribbons of breast cancer philanthropy and the hand-in-hand marketing of brands and products associated with it permeates our culture, providing assurance that we are engaged in a successful battle against this insidious disease. But the campaign obscures the reality and facts of breast cancer, more and more women are diagnosed with breast cancer every year, and face the same treatment options they did 40 years ago. Yet women are also the most influential market group, buying 80 percent of consumer products and making most major household purchasing decisions. So then who really benefits from the pink ribbon campaigns - the cause or the company? -- (C) First Run



In the epic action-adventure Snow White and the Huntsman, Kristen Stewart plays the only person in the land fairer than the evil queen (Charlize Theron) out to destroy her. But what the wicked ruler never imagined is that the young woman threatening her reign has been training in the art of war with a huntsman (Chris Hemsworth) dispatched to kill her. Sam Claflin joins the cast as the prince long enchanted by Snow White's beauty and power. -- (C) Universal Pictures



All film descriptions taken from Rotten Tomatoes

Friday, May 25, 2012

Motherhood in Film & Television: Is Terminator’s Sarah Connor an Allegory for Single Mothers?

Sarah Connor (Linda Hamilton) in Terminator 2: Judgment Day

Mothers are supposed to be everything to everyone. Sadly, society often stigmatizes, vilifies and demonizes single mothers. Single moms are blamed for “breeding more criminals.” Single parenthood is criminalized and declared child abuse.” On top of that, “almost 70% of people believe single women raising children on their own is bad for society.” WTF? Seriously?? Wow. Way to be misogynistic people.

So it’s no surprise to see broken and dysfunctional single moms reflected on-screen. And don’t get me wrong. I love watching flawed female characters. But what about single mom Sarah Connor, “the mother of destiny?” Often labeled a feminist hero, topping lists for greatest female characters, is she the “ultimate protective single mother?”

Along with Ellen Ripley, Sarah helped pave the way for strong female characters. In Terminator, Sarah (Linda Hamilton) is a friendly college student and food server, lacking confidence, who “can’t even balance [her] checkbook.” Targeted by cyborg assassins sent from the future to kill her son, the future resistance leader fighting against domineering machines, she is thrust into a hellish nightmare fighting for her life. The Sarah (Linda Hamilton) of Terminator 2: Judgment Day transforms into a badass goddess. With her sculpted muscles doing pull-ups and firing guns, she’s a ferocious warrior filled with rage (something women are rarely allowed to exhibit) yet haunted and struggling with mental stability. In the cancelled-way-too-early fantastic TV series Sarah Connor Chronicles, we witness Sarah (Lena Headey) as a brave single mother, passionate, smart, angry and flawed, doing everything she can to not only survive but thrive. 

Sarah Connor (Lena Headey) in Terminator: Sarah Connor Chronicles

As kickass as she is, Sarah possesses no other identity beyond motherhood. She exists solely to protect her John from assassination or humanity will be wiped out. Every decision, every choice she makes, is to protect her son. In Sarah Connor Chronicles, Cameron tells Sarah that “Without John, your life has no purpose.” Sarah tells her ex-fiancé that she’s not trying to change her fate but change John’s. Even before she becomes a mother in Terminator, her identity is tied to her uterus and her capacity for motherhood.

Now, I realize she's saving the world, trying to keep her son alive and stop a cyborg onslaught. But the underlying theme -- motherhood must consume women -- is troublesome. Mothers don't have to squelch their desires and sacrifice their identity and entire lives in order to be a "good" mother.

Succumbing to the Mystical Pregnancy Trope (which usually reduces women to their reproductive organs) with the father of her baby coming from the future, Sarah’s pregnancy and birth of her son eerily parallels the Virgin Mary and the birth of Christ. A woman who gives birth to a messianic son. Kyle Reese (Sarah’s time-traveling love and baby daddy) tells Sarah she’s revered in the future as a warrior and strategist, for raising and teaching her son John to be a leader and the world’s salvation. So not only is she John Connor’s mother. Sarah transcends her role becoming the mother of humanity.

While not sexualized, Sarah is still defined by her relationship to the men in her life. In the films, there are no women for her to interact with, aside from her roommate Ginger and a female guard at the institution. One of my favorite components of Sarah Connor Chronicles is that we’re introduced to several strong, complex women. Sarah is forced to work with Terminator-reprogrammed-protector Cameron (Summer Glau) whom she distrusts. Of course Cameron isn’t even human. But she takes the form of a teen girl so people she encounters treat her accordingly. While I love the series, it can’t go unnoticed that rather than showcase female camaraderie, the series pits its two female leads against one another -- a common media theme -- essentially competing for John’s trust.

Sarah Connor (Linda Hamilton) and John Connor (Eddie Furlong) in Terminator 2: Judgment Day

Single mothers are often portrayed as reckless, promiscuous or damaged. Or the trifecta jackpot…all 3! As competent and fierce as Sarah is, she’s still portrayed as mentally unstable in Terminator 2. Suffering from PTSD, she's terrorized by nightmares and flashbacks. Sarah's trauma is never truly discussed, treated as if it's something she needs to snap out of or shake off. She's often calmed down and reined in by John. Now, as a child raised by an emotionally unstable single mother, I understand this dynamic. And of course if someone told me I was going to give birth to humanity’s savior, that machines were coming to kill me and then machines did…yeah, I might lose my shit too.

Throughout T2, Sarah’s humanity erodes as she becomes more and more cold and calculated like a machine. Her emotional journey and breakthrough -- balancing her fierce survival instincts with her humanity -- doesn’t transpire until her son stops her from killing an innocent man and she crumbles, breaking down in tears. Was Sarah’s state of mind depicted to convey her character’s complexity? Or was it to show John’s strength and resolve at such an early age? Either way, it’s her motherhood that essentially conjures her transformation.

A theme throughout the Terminator films and series is “child-rearing divides our attention, making us less fit for heroism.” At the start of Terminator 2, Sarah’s actions cause her to lose custody of John as he’s raised in foster homes. In Sarah Connor Chronicles, she struggles to balance her duties as a nurturing single mom to John and her role as a soldier trying to alter the course of history. In the series, she’s the one reminding John and Cameron about what they’re fighting for: the value and beauty of humanity.
 
Sarah Connor (Lena Headey) and John Connor (Thomas Dekker) in Terminator: Sarah Connor Chronicles
While I always love seeing fierce ladies kick ass, punching a foe or firing a gun isn’t synonymous with strength. Many people believe women in action films promote empowerment and equality. But in reality, most female action heroes in film don’t shatter gender stereotypes. They rarely lead as heroes, usually serving as love interests and props to the male protagonist. Ultimately, most female film characters succumb to stereotypical gender roles.

Of the few truly empowered female characters in action films, most (Sarah Connor, Ripley, The Bride/Beatrix Kiddo) are lioness mothers. Linking violence “with the archetype of protectress,” these women risk everything to save their children. But women who are assertive, intelligent, complicated, self-reliant survivors (like Sarah) exhibit empowerment, whether they strap on a gun or not.

Sarah Connor (Linda Hamilton) in Terminator
Patriarchy presents itself as a constant threat. Like Alien’s Ripley, Sarah constantly tries to assert her agency and is stifled. Both women try to convince the men around them that threats -- murderous robots and acid-bleeding aliens -- are real. Yet no one heeds their warnings. In T2, when talking to Miles Dyson, the scientist responsible for the creation of Skynet, Sarah talks about the threat of patriarchy and the salvation of motherhood: 

“Fucking men like you built the hydrogen bomb. Men like you thought it up. You think you're so creative. You don't know what it's like to really create something; to create a life; to feel it growing inside you. All you know how to create is death...and destruction...”

Sarah designates a gender binary implying that women create and men destroy, reifying the stereotypical gender roles of women as caretakers and men as conquerors. Yet she herself straddles that line -- a nurturing, protective mother utilizing violence as a freedom-fighting soldier to save her son and the planet.

Of course, everything John Connor learns can be attributed to his mother’s resilience and ingenuity. And that’s awesome. But while I love Sarah Connor every bit now as I did when I was 10 years old, I can’t  shake my unease that just like the majority of films in Hollywood echoing society’s views, a woman is supposed to sacrifice everything for a man. Even her son.

Sarah Connor (Linda Hamilton) in Terminator 2
On the surface, it seems like the Terminator franchise revolves around a dude often searching for a father figure rather than appreciating his mother. And problematic depictions of motherhood do emerge. But who’s really the hero? Is it the smart hacker son destined to be a leader? Is it the cyborg that learns humanity? Or is it the brave and fierce single mother who sacrifices everything to protect humanity and doesn’t wait for destiny to unfold but takes matters into her own hands?

Ultimately, the Terminator story is an allegory of single mothers in today's world. With her narrations throughout the films and series, we hear her perspective and see the world through her eyes. Whether juggling jobs to pay the rent, balancing the demands of work and raising a child, or battling cyborgs -- Sarah crystallizes the sacrifices and struggles single moms endure in a patriarchal society to ensure a better life for their children.

Single mothers aren't vilified in the Terminator saga, they're admired and celebrated. If that’s not feminist, I don’t know what is.


Motherhood in Film & Television: MOTHER

Mother (2009)
This is a guest post from Tatiana Christian.

This review contains some spoilers. 

For the past few years, I’ve been slowly immersing myself in international cinema; specifically France, Korea and Japan. So when Bitch Flicks did a call for reviews on films about mothers, I immediately thought of MOTHER (also known as Madeo), a Korean film made in 2009, directed by Bong Joon-ho. Bong Joon-ho is also the mastermind behind another Korean classic, The Host. So naturally, I HAD to watch it, and writing a review for Bitch Flicks offered me the perfect opportunity! 

Categorized as a drama, MOTHER centers about a mother, (who is played by Kim Hye-ja) who lives with her 27-year-old son, Do-joon (played by the luscious Won Bin) in the countryside. The film chronicles Hye-ja’s search, after her mentally challenged son is convicted of murdering a local girl, as she attempts to find the real killer. 

As expected by the title, MOTHER focuses extensively on Hye-ja’s journey -- in the opening of the film, we see her wander out into a field and start dancing. In the next scene, we watch as she’s chopping medicinal herbs, observing her son across the street as he plays with a dog. Her gaze never shifts from him, even as we’re being led to believe that she’s going to cut herself if she doesn’t pay attention. 

When Do-joon is hit by a speeding Benz, his mother rushes out to see if he’s okay – even though he’s alright and doesn’t appear to have any bruises or scratches. Even when she’s having her cut treated, she’s obsessive about finding her son, and making sure that he’s okay. And this type of concern is portrayed through the film; such as in the scene where he’s peeing outside and she holds the bowl for him to drink his medicine. This particular scene struck me as rather intimate, as she stares down at his penis for a moment or two before encouraging him. 

I found this relevant because in a later scene when Do-joon comes home intoxicated, he crawls into bed with his mother (presumably the only bed in their small apartment), and immediately rests his hand on her breast. She murmurs that it’s “too late” and eventually he withdraws his hand. MOTHER never delves much deeper into the potentiality of incest, and aside from another character teasing Do-joon by suggesting that they’re having sex – that’s it. 

However, I can’t really suggest that their relationship is necessarily codependent, as Do-joon demonstrates his independence several times (such as telling his mother to go to sleep when she calls because he’s out late at the bar or confronting her when he remembers that she attempted to kill him as a child). Hye-ja is shown caring and worrying more about Do-joon than he does for her, and he seems not all concerned with the fact that he has confessed to a crime he didn’t commit. 

MOTHER is driven more by Hye-ja’s desire to save her child, to protect him based on the belief that he is innocent. (Portrayed as a mentally challenged character, there’s an air of innocence -- or general ignorance -- to him. For example, when he’s taken to the crime scene and there is a crowd of spectators, he looks out to someone he knows, takes off his mask and begins to wave while smiling -- seemingly oblivious to the severity of what‘s happening.)

So Hye-ja takes on the burden of caring; trying to locate a lawyer who will take on Do-joon’s case, trying to convince a police officer who is a family friend to investigate further, sneaking into Jin-tae’s (played by Ku Jin) cabin to search for clues, approaching the friend of the girl Je-Moon (played by Je-mun Yun) who has died, and so on. It’s all rather impressive actually, watching Hye-ja commit to discovering the real story behind the murder, and enlisting the help of Jin-tae (who proves invaluable in her quest) and having no qualms about getting involved, lying or impersonating someone. 

Without giving away too much of the ending, she discovers who the real killer is and commits yet another crime in response to the truth she learns. At the end of the film, we see her taking a type of bus retreat with other mothers, and she’s the only person sitting as the others dance in the aisle. In her lap is her acupuncture kit, and she inserts a needle into her upper thigh in an effort to open her heart and let her emotions flow. Soon after she begins to dance with the other mothers, perhaps finally free. But this time, her dancing is more expressive, versus when we see her in the beginning of the film. 


This quote ultimately summarizes my experience with MOTHER – a film about a mother willing to do whatever it takes to save her child. In many American films, mothers are often portrayed as deranged (such as the biopic Mommy Dearest) or some kind of superhero (based entirely on tropes) mom who does everything for everyone else but nothing for herself (such as I Don’t Know How She Does It, starring Sarah Jessica Parker). 

In MOTHER, Hye-ja is a full-fledged character with both flaws and strengths; she’s unafraid, determined and single-minded in her purpose. In the film, we see her attend the wake of the murdered girl to insist that her son is innocent. Expectedly, the family violently confronts her, dragging her off the premises, while cursing both her and her son. In the very next scene, we see the mother has wandered into a nearby graveyard, looking into her compact and applying lipstick so that she can meet up with the lawyer who will help her son’s case.

MOTHER isn’t about the ideal or perfect depiction of a mother and her relationship with her children; MOTHER is about one individual in her search to save her son. 


Tatiana loves watching foreign cinema, and thanks to Netflix, she's definitely gotten to watch a bit more of it too! Currently, she's the Marketing Director for Side B Mag (an awesome lit mag!), always on the search for literary magazines to submit to and has recently continued her self-study to help her become more proficient in French. Merci beaucoup! 

Motherhood in Film & Television: Julia Roberts in 'Steel Magnolias,' 'Stepmom,' and 'Erin Brockovich'

This is a guest post from Allison Heard.

J.D. Salinger wrote in his famous novel Catcher in the Rye that “mothers are all slightly insane,” typifying motherhood as a feat of strength, bravery, and oftentimes a few glasses of wine. While Salinger and many other legendary authors narrated the triumphs and downfalls of motherhood, film and television brought these stories to life. Who could forget the prim and proper Carol Brady (Florence Henderson) from The Brady Bunch, the slightly kooky Bren MacGuff (Allison Janning) from Juno, or the homemaking, badass witch Molly Weasley (Julie Walters) from the Harry Potter series. Even Robin Williams tosses his hat in the ring for mother-of-the-year in his role in Mrs. Doubtfire while disguising himself as a housekeeper in an outfit so ridiculous it could be a Halloween costume just to spend more time with his kids. Among these, another awesome on-screen mom is Julia Roberts, an actress known for her portrayal of all different mothering sorts.

Steel Magnolias (1989)
One of Roberts first major roles came in 1989 with the release of Steel Magnolias, a film about two mothers both fighting for their children. The films main characters are Shelby Eatenton Latcherie (Roberts) and her mother M’Lynn Eatenton (Sally Fields). The film opens on Shelby and her mother in a local hair salon, preparing for Shelby’s impending nuptials to her fiancé Jackson later that afternoon. Arguing with her mother about whether or not she can bear children, Shelby falls in to a state of hypoglycemia due to her diabetic condition. She quickly recovers, but this proves to her mother that she is in no state to become a mother. Despite the day’s early events, the wedding goes off without a hitch, and several months later Shelby announces that she is expecting a child with Jackson. While Shelby is ecstatic to have a child, her body does not respond well to childbirth. She goes in to kidney failure and M’Lynn donates her kidney to her ailing daughter. While the kidney responds well temporarily, Shelby’s body eventually rejects it and she slips in to a coma. M’Lynn’s friends help her move past the loss of her daughter by celebrating her life instead of remembering her death. 

Steel Magnolias shows the undying love of mothers and daughters through disagreements, tragedy and happiness. Shelby exemplifies the young woman desiring to become a mother despite unruly and unpredictable circumstances. Her choice to bear children despite her physical limitations shows that all she wanted was motherhood, despite the cost. M’Lynn exemplifies the experienced mother who only wants to protect her daughter from harm. Both Shelby and M’Lynn make the ultimate sacrifice for motherhood, that being a kidney and a life. 

Stepmom (1998)
Nearly ten years after the release of Steel Magnolias, Julia Roberts was thrown into a mothering role once again. This time, however, she was quite different. Stepmom portrays a businesswoman, Isabel (Julia Roberts), who becomes a stepmom after marrying recently divorced attorney, Luke (Ed Harris). Isabel lacks any maternal instinct and is further degraded by the children’s biological mother and Luke’s ex-wife, Jackie (Susan Sarandon). Their disagreements and feuds are only worsened when Jackie is diagnosed with a terminal illness. Jackie doesn’t think it’s fair that Isabel gets to witness her children grow up, while she becomes just a memory, and Isabel is secretly worried she cannot compare to Jackie. The two women eventually admit these fears to each other, and become a true family before Jackie’s death and Isabel’s marriage to Luke. 

In this film, Julia Roberts plays an unwilling mother, completely opposing Shelby Eatenton Latcherie and her ultimate desire to become a mother. Roberts represents a sect of women who are thrown in to motherhood through unusual circumstances and come out successful. While there are numerous struggles and hardships for Isabel to become a mother that Jackie approves of, she eventually does so. This film not only shows motherhood as a role of importance, but also the interpersonal relationships between women, despite the circumstances. Jackie and Isabel could have continued their feuding, but settled their differences for the sake of the children, both exhibiting strong maternal traits. 

Erin Brockovich (2000)
Possibly Julia Roberts most noted role as a mother, Erin Brockovich tells the story of an unemployed, single mother who loses a personal injury lawsuit after she was in a car accident. Upset by her lawyer’s failure, she demands a job at his firm in compensation. He offers her a position as a file clerk in his office, and she soon uncovers a ring of deceit surrounding a major company. Brockovich eventually reveals that the company has been destroying files and laying off its employees. This discovery leads to a huge settlement that is split between the injured employees. 

Again, this film shows Roberts in a different motherly role. This time, she is a single mother struggling to support her three children. Her struggles are only furthered when her accident happens and she loses her settlement case. Despite her uphill battle though, Brockovich overcomes and shows that she can survive amongst the high-powered attorneys and deceitful corporations. Based on true-life events, this story is an uplifting account of motherhood and the struggle to survive it alone. 

These three films show a variety of motherhood roles in the film industry. Julia Roberts plays a single mother, an unwilling mother and a woman desperate to become a mother. Amongst all of these films are other mothers trying to protect their children from harm, like Shelby’s mom M’Lynn or Jackie in Stepmom, who also show off their maternal instincts. 

Motherhood in film and television, while oftentimes portrayed by actresses who are not real life mothers, offer a narrative for the struggles and triumphs of mothers in the audience and at home. These films offer mothers, grandmothers, aunts, and other caretakers an escape from their real life mothering to feel the comedy, tragedy, drama and sheer bliss of being a mother. Without these film and television portrayals, we would be left without the experiences and stories of other women, whether alike or different from your own personal story. 




Allison Heard is a writer for HalloweenCostumes.net, and wants to remind you all that your stepmother is not the Wicked Witch of the West.