The radical notion that women like good movies
Birth of the Living Dead is Rob Kuhns’ documentary of the making of George Romero’s 1968 cult horror genre game-changer Night of the Living Dead. Bitch Flicks writers Max Thornton and Amanda Rodriguez discuss both the documentary (BOTLD) and the original film itself (NOTLD).
The honesty of a man saying, “What the hell was that?” when a woman is trying to do what society expects her to do to be sexy is a pretty clear indication of how our raunch culture makes fools out of women who try to fit into it.
If Reiner had loved it, I think I would have found that scene incredibly Problematic From a Feminist Perspective™. But he didn’t. This otherwise misogynistic character was baffled and troubled by this kind of display.
This is a Roundup of all pieces that appeared during our theme week on Representations of Older Women in Film and Television.
Of course older women have traditionally not been allowed to be sexual beings, and mothers have always been held to a higher sexual standard than fathers. In fact, when a woman of any age does not conform or transgresses sexually she customarily suffers greater social condemnation. What Ali: Fear Eats the Soul makes clear is that the Whore-Madonna complex still reigned supreme in 1970s Germany. When Emmi first tells her daughter and son-in-law that she has fallen in love with a much younger man, they laugh. The thought of an old mother in love and lust is so impossible, so unnatural—horrific, in fact—that laughter is the only fitting response. When she introduces her children to her new husband, one son calls her a whore and another kicks in her television. In the eyes of her deeply conventional, racist children, Emmi is guilty of the most profane double betrayal—racial disloyalty and defilement of the maternal role.
This is the turning point of the movie. All the conflicts revolving around jealousy, beauty, and, of course, youth, are henceforth turned into a spirit of sisterhood. The dependence on Ernest transforms into a friendly co-dependent relationship between the two women. However much of a love-hate sentiment resonates throughout the final part of the movie, friendship and solidarity triumph. The special bond that Madeline and Helen share is still based on the wish for eternal youth, but they have finally turned to each other.
Studio Ghibli This is guest post by Eugenia Andino previously appeared at her Web site (in Spanish) and is cross-posted with permission. The female protagonists in Studio Ghibli films have often been analysed as examples of feminist work; ranging from young women (like Nausicaa or Princess Mononoke) to little girls like Ponyo. The most popular … Continue reading “Older Women Week: Kind Grandmothers and Powerful Witches in Studio Ghibli Films”
Movie poster for The First Wives Club This guest post by Mia Steinle previously appeared at Canonball and is cross-posted with permission. In the late nineties, as I was entering early teenagerdom and as a group of marketers was inventing the term “tween,” my favorite movie was about a group of middle-aged divorcees waging war … Continue reading “Older Women Week: You Don’t Own Me: ‘The First Wives Club’ and Feminism”
The shadow of Patty Hewes dwarfs her protege Ellen Parsons in Damages Emily Thorne stands beside her enemy Victoria Grayson in Revenge Written by Amanda Rodriguez Spoiler Alert Older women in film and TV are generally a stereotypical lot. They’re usually sexless matrons or grandmothers who perform roles of support for their screen-stealing husbands or … Continue reading “Older Women Week: The Ruthless Power of Patty Hewes from ‘Damages’ & Victoria Grayson from ‘Revenge’”
Film poster for My House in Umbria This is a guest post by Amanda Civitello. Emily Delahunty is a writer of fiction. This must be distinctly understood, or nothing wonderful can come of My House in Umbria, a beautifully atmospheric film by Richard Loncraine starring the inimitable Maggie Smith. Smith shines in a rich role … Continue reading “Older Women Week: Telling Stories: ‘My House in Umbria’”
Thérèse film poster. Written by Janyce Denise Glasper The 2012 film Thérèse touches on the aftereffects of burgeoning sexuality between two women–Thérèse and her sister-in-law, Anne–and focuses on a companionship that was formed when they were young girls. “Have you thought about it?” Anne asks. “You mean sleeping with your brother every night?” Thérèse asks back. “Yes? … Continue reading “‘Thérèse’ Explores Twentieth Century Marriage Convictions and the Sexual Paths Of Two Women”
Written by Max Thornton. “At the height of the Great Depression, eleven ironworkers sit side by side on a steel beam, eating lunch. Central Park stretches out behind them as they rest, boots dangling eight hundred feet over the sidewalk of Fiftieth Street. Just a bunch of regular guys. Just another working day.” What makes … Continue reading “The Ones We Forget: ‘Men At Lunch’”
Professor Pony educates the audience about “My Little Pony: Friendship is Magic” Written by Myrna Waldron. I watched My Little Pony: Friendship Is Magic for two seasons. It’s a genuinely good show, with influences from Powerpuff Girls, Sailor Moon, and other television intended for young girls. It occupies an important cultural spot, since we all … Continue reading “The Bronies Documentary is Borderline Propaganda”
