Search Results for: the entity

The Love Quadrangle with 10 Million Views: Julie Kalceff Answers our Question about Her Lesbian Web Series, ‘Starting From… Now!’

In recent years, web series have emerged as a platform for LGBT stories – so much so that that Bitch magazine named 2014 the summer of lesbian web series. Just as technology has helped to democratize other forms of story-telling, the falling price of video and audio production, and free delivery platforms like YouTube, have created a world where content that would be a tough sell for network television can find a niche audience online. The crowd-funded Australian web-series ‘Starting From… Now!’ provides a good example of how creators can connect with fans through content, despite their budget limitations.

Carey Mulligan on Her Feminist Character in ‘Far from the Madding Crowd’

Following are highlights from the press conference with Carey Mulligan, where among other things, she talked about her character, her collaborative work with her co-stars and director, the elaborate costumes, and how expert she became handling sheep.

‘Age of Ultron’s Black Widow Blunders

‘Avengers: Age of Ultron’ succeeds in all the places you’d expect it to fail, but while Joss Whedon was tiptoeing around all the expected pitfalls of a major franchise sequel, he stumbled over a cliff when it came to the one character I would have most trusted him to get right: Scarlet Johansson’s Natasha Romanoff, or Black Widow.

Fatphobia and Fat Positivity: The Roundup

Fat, Black, and Desirable: Fat Positivity and Black Women by Chantell Monique If these women aren’t seeing any positive images of themselves on screen, how are they able to construct an identity of truth? Even though they can rely on their community for positivity, if it’s not reinforced through media representation then it renders that … Continue reading “Fatphobia and Fat Positivity: The Roundup”

Fat, Black, and Desirable: Fat Positivity and Black Women

If these women aren’t seeing any positive images of themselves on screen, how are they able to construct an identity of truth? Even though they can rely on their community for positivity, if it’s not reinforced through media representation then it renders that support useless.

“Men’s Vows Are Women’s Traitors”: Helen Mirren Runs the Chastity Gauntlet in Shakespeare’s ‘Cymbeline’

After recalling his greatest tragedies, Shakespeare suggests that all could end well, if men loved without defensive cowardice. “Some griefs are med’cinable.” Rising to such newfound greatness of heart, King Cymbeline describes himself as becoming “mother.” William Shakespeare: feminist punk?

‘The Royal Road’ Standing Still

Olson is one of the only butch-identified filmmakers who also makes films about butch identity. The closest another recent film has come to including “butch” anything was ‘Blue Is The Warmest Color,’ a film from a straight male director in which a straight actress, Léa Seydoux, played a recognizable butch. In that role Seydoux was still firmly within the bounds of what straight male directors and producers deem “fuckable“–conventionally pretty and sexy even with short hair, minimal makeup and “tomboy” outfits.

Tanya Tagaq Voices Inuit Womanhood In ‘Nanook of the North’

Robert Flaherty not only framed Inuit womanhood according to his fantasies of casual sensuality, but according to Euro-American patriarchal fantasy. His portrait of Inuit life is neatly divided between the woman’s role, limited to cleaning igloos and nursing infants, apparently immune to the frustrations of Euro-American women in that role, and the man’s role, leading the band, educating older children, and hunting.

Seed & Spark: The Feminist Act of Telling a Man’s Story

‘The wHOLE’ explores humanity, exposes the prison industrial complex which controls and subverts the humanity of all those it houses, and in the course of the series it invites viewers to grow in empathy for a person, who, for some, would be otherwise unlikely to evoke it.

‘It Follows’: More Dread Than Bloody Red

It’s not the best horror movie I’ve seen, but it’s a decent flick that can be added to the pantheon of solid fares to check out this year. Many of my horror comrades hated it or were disappointed, but I encourage everyone to see it just for the masterful use of dread instead of the usual one-note slasher or gore-riddled bloodfests that are passed off as great horror cinema. The genre I love is more concerned with spectacle rather than genuine fear.

Disney’s ‘Oliver & Company’: Rita’s Voice in Dodger’s Song

Though the villain of ‘Oliver & Company’ is a loan shark, the film mainly portrays poverty as something that just happens through strokes of bad luck, and which doesn’t have institutionalized causes via intersectional oppression from a capitalist society.