The radical notion that women like good movies
Quvenzhane Wallis as Hushpuppy in Beasts of the Southern Wild Guest post written by Laura A. Shamas, Ph.D. Warning: spoilers ahead! With the Oscar season in full swing, many of the nominated films released in 2012 are in the spotlight again. Beasts of the Southern Wild is nominated for four Academy Awards: Best Actress, Best … Continue reading “2013 Oscar Week: ‘Beasts of the Southern Wild’: Deluge Myths”
Written by Max Thornton. In my studies, I work with the intersection of pop culture and religion. This is a frustrating field: a lot of the discourse from the theological side is exceedingly shallow, and the explicit pop-culture engagements with religion are rarely any better. Honestly, I often find I can have the richest theological … Continue reading “2013 Oscar Week: Cosmology, Gender, and Quvenzhané Wallis: ‘Beasts of the Southern Wild’”
Quvenzhané Wallis in Beasts of the Southern Wild Just in case the world does end today, I need to get something off my chest, so I can go to my apocalyptic grave with an unburdened movie-loving conscience: I didn’t get Beasts of the Southern Wild. When it started picking up mad buzz and heaps of … Continue reading “‘Beasts of the Southern Wild’: I didn’t get it.”
I have a confession to make. I’m a big softie when it comes to movies. I shed tears at the drop of a hat. But I usually don’t cry during a film trailer. But Beasts of the Southern Wild — both the trailer and the film itself — made me weep. A strange, haunting, breathtaking … Continue reading “‘Beasts of the Southern Wild’: Gender, Race and a Powerful Female Protagonist in the Most Buzzed About Film”
Even less surprising is their casting choice, where they have once again whitewashed a Native American character, hiring Rooney Mara to play the part of Tiger Lily. Apparently, most Hollywood executives and casting directors live in a fictional land called Neverlearn. … There has been a long standing Hollywood cliche that states, the only color Hollywood executives see is green. This excuses the industry from their role in helping maintain white supremacist patriarchy…
Apparently, most Hollywood executives and casting directors live in a fictional land called Neverlearn.
At the age of 40, I returned to school, to Fitchburg State University’s undergraduate film/video production program, to learn the craft of directing films. During my two years at Fitchburg State, I took as many classes as I could, while writing and directing two short films. I also discovered a new passion for screenwriting, which led me to the low-residency MFA program at New Hampshire Institute of Art: Writing for Stage and Screen, where I am currently enrolled.
Lisa Gerrard of Dead Can Dance, one of the few successful women musicians who made the transition to film composer (she won a Golden Globe for her work on ‘Gladiator’), wrote and performed the music for 2002’s ‘Whale Rider’–and she didn’t have to date writer-director Niki Caro to do so. Gerrard might seem an unlikely choice: when I briefly worked in a women’s sex shop in the 90s, the store owner told me not to play Dead Can Dance on the sound system because they scared away customers. But Gerrard’s score for ‘Rider’ does what the best movie music is supposed to do: reinforcing the drama of the film without calling unnecessary attention to itself.
Films set in high school are often about boys; films which feature high school girl characters complex enough to surprise an audience (one measure of good screenwriting) are relatively rare–‘Say Anything’, ‘Mean Girls,’ ‘Clueless’ and from earlier this year ‘It Felt Like Love.’ ‘Palo Alto,’ the first film directed by Gia Coppola (niece of Sofia and granddaughter of Francis), who also wrote the script (based on the stories of James Franco) focuses on several main characters in high school, including April (‘American Horror Story’s’ Emma Roberts, whose auburn hair and dark eyebrows recall her Aunt Julia’s). We see her as she plays soccer, babysits, goes to boozy parties and is alone in her room.
Great actresses have been gracing the silver and small screens since the birth of moving pictures. Though even today there are still far fewer defining roles out there for women than there are for men, some actresses continue to stand out for the magnificence of their performances, for their commanding onscreen presence, and for their ability to navigate a life in the limelight while still digging up those elusive roles that allow them to shine.
We thought it might be a fun note to end the year on, with the exploration of films like Harry Potter and Matilda, while also taking a closer, more serious look at portrayals of adolescence and girlhood in films and TV. Some questions to think about include, what are Hollywood’s expectations of girls and teenage girls in films and TV? And how do those expectations feed into the public’s acceptance of a teenage girl’s sexuality, for instance. Further, how might a girl character impact a young girl who’s viewing her on screen?
These 18 Lionhearted Heroines in literature, television, and film echo Bullet’s spirit in their own unique ways–possessing faith, valuing friendship, and experiencing unrequited love or loving and expecting nothing in return–as portrayed by the “perfectly imperfect” actresses who embody them.
In the spirit of Bullet, the quintessential Lionhearted Girl, these 18 Lionhearted Heroines each embody the same steadfast strength and selflessness that Bullet possessed.
