Quote of the Day: Sirena J. Riley

From her essay “The Black Beauty Myth,” which appears in the anthology Colonize This! (published in 2002):

As a women’s studies major in college, body image was something we discussed almost ad nauseam. It was really cathartic because we embraced the personal as political and felt safe telling our stories to our sister feminists. Whenever body image was researched and discussed as a project, however, black women were barely a footnote. Again, many white feminists had failed to step out of their reality and see beyond their own experiences to understand the different ways in which women of color experience sexism and the unattainable beauty ideals that society sets for women.

Discussions of body image that bother to include black women recognize that there are different cultural aesthetics for black and white women. Black women scholars and activists have attacked the dominance of whiteness in the media and illuminated black women’s tumultuous history with hair and skin color. The ascension of black folks into the middle class has positioned them in a unique and often difficult position, trying to hold onto cultural ties while also trying to be a part of what the white bourgeois has created as the American Dream. This not only permeates into capitalist material goals, but body image as well, creating a distinctive increase in black women’s body dissatisfaction.

White women may dominate pop culture images of women, but black women aren’t completely absent. While self-deprecating racism is still a factor in the way black women view themselves, white women give themselves too much credit when they assume that black women still want to look like them. Unfortunately, black women have their own beauty ideals to perpetually fall short of. The representation of black women in Hollywood is sparse, but among the most famous loom such beauties as Halle Berry, Jada Pinkett Smith, Nia Long, Iman and Angela Bassett. In the music scene there are the young women of Destiny’s Child, Lauryn Hill and Janet Jackson. Then, of course there is model Naomi Campbell and everyone’s favorite cover girl, Tyra Banks. Granted, these women don’t necessarily represent the waif look or heroin chic that plagues the pages of predominately white fashion and entertainment magazines, but come on. They are still a hard act to follow. 

Disembodied Women Take Five: Mouthing Off

According to the following posters, women have bright red mouths.  Wide open mouths with perfect white teeth.  That they can put things inside of.  See, women often have objects inside their bright red mouths, like golf balls or strawberries, that they’re usually biting.  And if they aren’t visibly biting anything, it’s implied that they’ve recently bitten something, what with them all sexy-licking the dripping blood off their–in case you forgot–bright red mouths.  Or maybe they’re just biting their own mouths.  Or maybe their mouths actually become food (bright red food, even). But if they aren’t biting anything, then the least those bright red mouths can do is stay silent.  In fact, looking at the posters in succession, one could even argue that all those bright red mouths (oh yeah, and the completely erased mouths) represent the silencing of women.  Who can talk while wearing an implied ball gag?  Or while eating?  Or when you don’t have a mouth?  Or when your mouth is, you know, really just a pair of red chili peppers?  Or if you’ve got a bloody knife pressed against it? Or if that shit is zipped shut?

 
As discussed in the other parts of this series, separating women from their body parts in media images subtly reinforces women’s status as commodities, or pleasure-objects, or victims, who aren’t valued as whole, and who are, as a result, denied their humanity.  And we all know, because we live in This Society and it’s 100% inescapable, that the representation of women’s mouths is all kinds of tied up in the mouth-as-vagina metaphor–with the accompanying requisite phallic cigarette and lipstick images apparently never getting old. (And I’d be thrilled to never have to hear the phrase “dick-sucking lips” ever. again.)  But if the mouth isn’t a vagina, then it’s a nonstop, life-ruining motormouth (ever hear someone call a man a motormouth?) that even Mr. Potato Head wants to slap the shit out of. (If you don’t know what I’m talking about, have a look at the Mr. and Mrs. Potato Head commercial that ran during the Superbowl.)  
I guess I shouldn’t be surprised.  Molly Ringwald putting her lipstick on with her cleavage in The Breakfast Club is one of the most famous scenes in all of 80s film.  We’ve come a long way, baby!

Oscar Acceptance Speeches, 2001

Leading up to the 2011 Oscars, we’ll showcase the past twenty years of Oscar Acceptance Speeches by Best Actress winners and Best Supporting Actress winners. (Note: In most cases, you’ll have to click through to YouTube in order to watch the speeches, as embedding has been disabled at the request of copyright owners.) 

Best Actress Nominees: 2001

Joan Allen, The Contender
Juliette Binoche, Chocolat
Ellen Burstyn, Requiem for a Dream
Laura Linney, You Can Count on Me
Julia Roberts, Erin Brockovich 

Best Supporting Actress Nominees: 2001

Judi Dench, Chocolat
Marcia Gay Harden, Pollock
Kate Hudson, Almost Famous
Frances McDormand, Almost Famous
Julie Walters, Billy Elliot

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Julia Roberts wins Best Actress for her performance in Erin Brockovich.
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Marcia Gay Harden (transcript only) wins Best Supporting Actress for her performance in Pollock.
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Click on the following links to see the nominees and winners in previous years: 199019911992, 1993, 1994, 1995, 1996, 1997, 1998, 1999, 2000

Oscar Acceptance Speeches, 2000

Leading up to the 2011 Oscars, we’ll showcase the past twenty years of Oscar Acceptance Speeches by Best Actress winners and Best Supporting Actress winners. (Note: In most cases, you’ll have to click through to YouTube in order to watch the speeches, as embedding has been disabled at the request of copyright owners.)

Best Actress Nominees: 2000

Annette Bening, American Beauty
Janet McTeer, Tumbleweeds
Julianne Moore, The End of the Affair
Meryl Streep, Music of the Heart
Hilary Swank, Boys Don’t Cry

Best Supporting Actress Nominees: 2000

Toni Collette, The Sixth Sense
Angelina Jolie, Girl, Interrupted
Catherine Keener, Being John Malkovich
Samantha Morton, Sweet and Lowdown
Chloe Sevigny, Boys Don’t Cry
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Hilary Swank wins Best Actress for her performance in Boys Don’t Cry.
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Angelina Jolie wins Best Supporting Actress for her performance in Girl, Interrupted.
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Click on the following links to see the nominees and winners in previous years: 1990199119921993199419951996, 1997, 1998, 1999

Oscar Acceptance Speeches, 1997

Leading up to the 2011 Oscars, we’ll showcase the past twenty years of Oscar Acceptance Speeches by Best Actress winners and Best Supporting Actress winners. (Note: In most cases, you’ll have to click through to YouTube in order to watch the speeches, as embedding has been disabled at the request of copyright owners.)


Best Actress Nominees: 1997

Brenda Blethyn, Secrets & Lies
Diane Keaton, Marvin’s Room
Frances McDormand, Fargo
Kristin Scott Thomas, The English Patient
Emily Watson, Breaking the Waves

Best Supporting Actress Nominees: 1997

Joan Allen, The Crucible
Juliette Binoche, The English Patient
Barbara Hershey, The Portrait of a Lady
Marianne Jean-Baptiste, Secrets & Lies
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Frances McDormand wins Best Actress for her performance in Fargo.
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Juliette Binoche (transcript only) wins Best Supporting Actress for her performance in The English Patient.
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Click on the following links to see the nominees and winners in previous years: 199019911992, 1993, 1994, 1995, 1996

Oscar Acceptance Speeches, 1995

Leading up to the 2011 Oscars, we’ll showcase the past twenty years of Oscar Acceptance Speeches by Best Actress winners and Best Supporting Actress winners. (Note: In most cases, you’ll have to click through to YouTube in order to watch the speeches, as embedding has been disabled at the request of copyright owners.)


Best Actress Nominees: 1995

Jodie Foster, Nell
Jessica Lange, Blue Sky
Miranda richardson, Tom & Viv
Winona Ryder, Little Women
Susan Sarandon, The Client

Best Supporting Actress Nominees: 1995

Rosemary Harris, Tom & Viv
Uma Thurman, Pulp Fiction
Jennifer Tilly, Bullets Over Broadway
Dianne Wiest, Bullets Over Broadway
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Jessica Lange wins Best Actress for her performance in Blue Sky.
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Dianne Wiest wins Best Supporting Actress for her performance in Bullets Over Broadway.
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Click on the following links to see the nominees and winners in previous years: 199019911992, 1993, 1994

Oscar Acceptance Speeches, 1993

Leading up to the 2011 Oscars, we’ll showcase the past twenty years of Oscar Acceptance Speeches by Best Actress winners and Best Supporting Actress winners. (Note: In most cases, you’ll have to click through to YouTube in order to watch the speeches, as embedding has been disabled at the request of copyright owners.)



Best Actress Nominees: 1993

Catherine Deneuve, Indochine
Mary McDonnell, Passion Fish
Michelle Pfeiffer, Love Field
Susan Sarandon, Lorenzo’s Oil
Emma Thompson, Howards End

Best Supporting Actress Nominees: 1993

Judy Davis, Husbands and Wives
Joan Plowright, Enchanted April
Vanessa Redgrave, Howards End
Miranda Richardson, Damage
Marisa Tomei, My Cousin Vinny
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Emma Thompson wins Best Actress for her performance in Howards End.
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Marisa Tomei wins Best Supporting Actress for her performance in My Cousin Vinny.
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Click on the following links to see the nominees and winners in previous years: 1990, 1991, 1992

Guest Writer Wednesday: Night Catches Us


This guest post first appeared at Arielle Loren, daily musings for ladies and curious men.

Seeing My Reflection In Film: Night Catches Us Struck a Chord With Me

It is rare that a film invades my imagination to the point of insomnia. After seeing Tanya Hamilton’s Night Catches Us starring Kerry Washington and Anthony Mackie, I felt a sense of deep pride wash over my body and nudge my mind into continuous thoughts about the potential for independent productions to rebalance diversity in black film.

Based in Philadelphia, Night Catches Us tells the story of two former black panthers trying to re-establish life after leaving The Party and the death of a fellow panther years ago. While the central plot revolves around these two characters’ lives, Hamilton integrates into the film historic footage of the Black Panther Party. As this era of black history often is pigeonholed to radicalism, Hamilton truly humanizes The Party through several scenes of police brutality, corruption, and community gatherings. For instance, Washington’s character, Patricia, would raise money to pay the legal fees for her less fortunate clients and feed every child on the block even when she couldn’t pay her light bill.

This sentiment of “community first” is the history with which I identify and the one that I wish we could spread to more mainstream screens. While watching this film, I saw my reflection. From Washington’s afro to her desire to serve her community, I felt hope again for the half-baked images rummaging through mainstream black film. Night Catches Us only is playing in select theaters, BUT you can rent it on iTunes and On Demand via Comcast. Thus, there’s no excuse not to support this film; we’ve got to support the films that we want to see in the mainstream.

I hope Night Catches Us will be nominated for an Oscar and brought to larger screens. As a first time director, Hamilton has left me quite impressed and I can’t wait to see what other stories she will bring to life during her career. Additionally, I am truly proud to see my reflection in her too.

Check out the trailer for Night Catches Us below and if you haven’t seen the film, view it on iTunes. Tell me, how can we get more films like this onto the big screen?



Arielle Loren is a gender and sexuality writer, filmmaker, and web personality. Recently, she directed and produced The Bi-deology Project, a media-acclaimed, online documentary series that chronicles the experiences of straight women dating bisexual men.  


The Fat Body (In)Visible

The New York Times published an article by Roni Caryn Rabin in 2008 titled, “In the Fatosphere, Big Is In, or at Least Accepted.” The author highlights several writers in the blogosphere who focus on Fat Acceptance and the HAES (Healthy at Every Size) Movement.

Rabin describes the Fatosphere as follows:

The bloggers’ main contention is that being fat is not a result of moral failure or a character flaw, or of gluttony, sloth or a lack of willpower. Diets often boomerang, they say; indeed, numerous long-term studies have found that even though dieters are often able to lose weight in the short term, they almost always regain the lost pounds over the next few years.

She continues:

Fat acceptance bloggers contend that the war on obesity has given people an excuse to wage war on fat people and that health concerns—coupled with the belief that fat people have only themselves to blame for being fat—are being used to justify discrimination that would not be tolerated toward just about any other group of people.

And, while Bitch Flicks hasn’t yet reviewed the worst offenders in terms of portrayals of obesity in film and television (eg, Shallow Hal, Norbit, et al), we’ve certainly noticed it in others, like Wall-E and The Big C; and the double standard that exists for men’s and women’s bodies in Couples Retreat is certainly evident. 

So I was thrilled to run across a fat-positive documentary by Margitte Kristjansson called The Fat Body (In)Visible, in which she interviews Jessica and Keena about the experience of being a fat woman in a society that doesn’t value—and even openly discriminates against—fat women. 

Quotes from the documentary:

Jessica, on Fat Acceptance:  Fat acceptance is just the radical idea that every body is a good body and that regardless of your shape or your size that you deserve just as much respect as the next person.

Keena, on Fat Acceptance:  Fat acceptance is just accepting your body where it is at.  Whether you’re bigger or you’re smaller. Just accepting what it is, your arms, your double chin, your thighs, and just not worrying about how other people may view you.

You can read the entire transcript of the documentary at Shakesville.  And also, be sure to check out Substantia Jones’ Adipositivity Project, where you can find more photos like those showcased in The Fat Body (In)Visible.

Oscar Acceptance Speeches, 1990

Leading up to the 2011 Oscars, we’ll showcase the past twenty years of Oscar Acceptance Speeches by Best Actress winners and Best Supporting Actress winners. (Note: In most cases, you’ll have to click through to YouTube in order to watch the speeches, as embedding has been disabled at the request of copyright owners.)


Best Actress Nominees: 1990

Isabelle Adjani, Camille Claudel
Pauline Collins, Shirley Valentine
Jessica Lange, Music Box
Michelle Pfeiffer, The Fabulous Baker Boys
Jessica Tandy, Driving Miss Daisy

Best Supporting Actress Nominees: 1990

Brenda Fricker, My Left Foot: The Story of Christy Brown
Anjelica Huston, Enemies: A Love Story
Lena Olin, Enemies: A Love Story
Julia Roberts, Steel Magnolias
Dianne Wiest, Parenthood
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Jessica Tandy wins Best Actress for her performance in Driving Miss Daisy.
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Brenda Fricker wins Best Supporting Actress for her performance in My Left Foot: The Story of Christy Brown.
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Click on the following links to see the nominees and winners in previous years: 1991, 1992

Equality Now: Joss Whedon’s Acceptance Speech

In 2007, the Warner Brothers production president, Jeff Robinov, announced that Warner Brothers would no longer make films with female leads.

A year before that announcement, Joss Whedon, the creator of such women-centric television shows as Buffy the Vampire Slayer, Firefly, and Dollhouse, accepted an award from Equality Now at the event, “On the Road to Equality: Honoring Men on the Front Lines.”

Watch as he answers the question, “Why do you always write such strong women characters?”

Oscar Acceptance Speeches, 1992

Leading up to the 2011 Oscars, we’ll showcase the past twenty years of Oscar Acceptance Speeches by Best Actress winners and Best Supporting Actress winners. (Note: In most cases, you’ll have to click through to YouTube in order to watch the speeches, as embedding has been disabled at the request of copyright owners.)


Best Actress Nominees: 1992

Geena Davis, Thelma & Louise
Laura Dern, Rambling Rose
Jodie Foster, The Silence of the Lambs
Bette Midler, For the Boys
Susan Sarandon, Thelma & Louise

Best Supporting Actress Nominees: 1992

Diane Ladd, Rambling Rose

Juliette Lewis, Cape Fear
Kate Nelligan, The Prince of Tides
Mercedes Ruehl, The Fisher King
Jessica Tandy, Fried Green Tomatoes

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Jodie Foster wins Best Actress for her performance in The Silence of the Lambs.

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Mercedes Ruehl (transcript only) wins Best Supporting Actress for her performance in The Fisher King.
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Click on the following link to see the nominees and winners in the previous year: 1991