The radical notion that women like good movies
Often in feminist criticism female friendships are discussed as a great barometer for the authenticity of the female characters. Strong bonds and healthy interactions serve the dual purpose of highlighting positive female roles and for showing the many dimensions of women as whole persons. I propose that in order to continue the push to show women as well-developed characters we also need representations of flawed female friendships.
On the surface, a lot of his female characters reflect strong ideals. … But take a deeper look and Linklater’s female characters tell another story: one of a creator deeply obsessed with ignorant male stereotypes and the women that encourage them. … Looking back through his films, they all contain this running theme of underdeveloped man-children who are routinely validated in their anti-woman approach.
Pahuja sees the film as going beyond the issues of women’s rights; according to her, the film is about India, and what’s happening there, and the fear about the future as the culture of the country goes through extreme changes. She adds that, through the film, she would like to showcase the kind of “hatred being taught in the camps in the guise of patriotism.”
If Austen’s earlier ‘Pride and Prejudice’ and ‘Sense and Sensibility’ (both written by age 23) seem to represent “unnatural prudence” by justifying and approving the Madonna’s inhibitions, then her later Emma and Persuasion both defend “natural romance.” Between proper “prudence” and regretful “romance” hovers ‘Mansfield Park’; every avenue is intolerable and every gate locked.
To get an idea of the Soska sisters, picture ‘The Shining’s Grady twins, only all grown up and in control of their destinies. Just in time for Halloween, Jen and Sylvia Soska spoke with us about their favorite horror movies, the hardships of working as female directors in masculine genre, their work on ‘See No Evil 2’ and what’s next for their careers.
Check out all of the posts for our Female Friendship Theme Week here.
Working-class female protagonists remain rare, however. More often than not, working-class women play supporting roles as mothers, wives or lovers. Their characters are invariably underwritten or stereotypical.
It is, also, of course, essential that we see female characters make their own way in professions traditionally monopolized by men. They reflect social change as well as inspire. It is equally essential that women of power are portrayed on the big and small screen with greater frequency as well as with a greater degree of complexity. American films and television programs should not, however, block out the lives of working-class and poor women. So many stories, struggles, journeys and adventures, remain unacknowledged and untold. It is a strange and troubling thought that contemporary American audiences are simply unaccustomed to seeing interesting, strong and resourceful working-class women. Whether ordinary or extraordinary, working-class women of all races and backgrounds, need greater representation.
My Sister’s Keeper is a story about growing up, identify, family, death, and life (how can we truly tell any story about life when death isn’t the costar?), but its uniqueness is that it is told primarily through two young girls.
Adore film poster. Written by Erin Tatum. The original title of Adore was Two Mothers, which should give some indication of its Freudian undertones. Best friends since childhood, Lil (Naomi Watts) and Roz (Robin Wright) remain close throughout their lives. They have sons the same age: Roz has Tom (James Frecheville) and Lil has Ian (Xavier … Continue reading “She’s Too Old: Sexuality and the Threat of Aging in ‘Adore’”
