Golden Globes and Independent Spirit Award Nominees

In case you hadn’t noticed, it’s awards season. We all know that some awards are better than others, and that the best picture is rarely the best picture (Crash as the 2005 Academy Award winner, for example). 
As flawed as film awards are, however, they are a good way to take our cultural temperature; they provide examples of the kinds of themes we’re interested in as a society and the kinds of performances we value.
Plus, they’re fun to discuss and argue about, and they provide us handy lists of movies to see in the theatre.
Here are a selection of nominees. We’re only including a few categories here, and the list is not all-inclusive. We plan to cover other award nominee lists in future posts. If you think we should cover a particular organization’s nominees and/or winners, please let us know!

Golden Globes (Hollywood Foreign Press Association)

Best Motion Picture – Drama
Black Swan
The Fighter
Inception  (check out our review here)
The King’s Speech
The Social Network (check out our Roundup here)

Best Performance by an Actress in a  Motion Picture – Drama
Halle Berry – Frankie and Alice
Nicole Kidman – Rabbit Hole
Jennifer Lawrence – Winter’s Bone
Natalie Portman – Black Swan
Michelle Williams – Blue Valentine

Best Motion Picture – Comedy or Musical
Alice in Wonderland
Burlesque
The Kids Are All Right
Red
The Tourist

Best Performance by an Actress in a Motion Picture – Comedy or Musical
Annette Bening – The Kids Are All Right
Anne Hathaway – Love and Other Drugs
Angelina Jolie – The Tourist
Julianne Moore – The Kids Are All Right
Emma Stone – Easy A

Best Performance by an Actress in a Supporting Role
Amy Adams – The Fighter
Helena Bonham Carter – The King’s Speech
Mila Kunis – Black Swan
Melissa Leo – The Fighter
Jacki Weaver – Animal Kingdom

No women were nominated for Best Director–Motion Picture, though Lisa Cholodenko was nominated (along with her co-writer) for Best Screenplay–Motion Picture. Women, as has become the norm, seem to do better in television categories. See the complete list of Golden Globe nominees here.

Film Independent Spirit Awards (IFC)

Best Feature
127 Hours
Black Swan
Greenberg
The Kids Are All Right
Winter’s Bone

Best Director
Darren Aronofsky – Black Swan
Danny Boyle – 127 Hours
Lisa Cholodenko – The Kids Are All Right
Debra Granik – Winter’s Bone
John Cameron Mitchell – Rabbit Hole

Best Screenplay
Lisa Cholodenko, Stuart Blumberg – The Kids Are All Right
Debra Granik, Anne Rosellini – Winter’s Bone
Nicole Holofcener – Please Give
David Lindsay-Abaire – Rabbit Hole
Todd Solondz – Life During Wartime

Best Female Lead
Annette Bening – The Kids Are All Right
Greta Gerwig – Greenberg
Nicole Kidman – Rabbit Hole
Jennifer Lawrence – Winter’s Bone
Natalie Portman – Black Swan
Michelle Williams – Blue Valentine

Best Supporting Female
Ashley Bell – The Last Exorcism
Dale Dickey – Winter’s Bone
Allison Janney – Life During Wartime
Daphne Rubin-Vega – Jack Goes Boating
Naomi Watts – Mother and Child

I think it’s a notable difference that 2 out of the 5 nominees in the directing category are women, and 3 out of the 5 screenplay nominees are women. Click here for the complete list of nominees.

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

Movie Preview: The Tempest

Director Julie Taymor’s (Across the Universe, Frida) adaptation of the Shakespeare classic The Tempest includes one central deviation from its source material: the central character’s gender has been changed. Prospero is now Prospera, played by the incomparable Helen Mirren. The switch should change a major dynamic in the story–the relationship between Prospero/a and the daughter.

Critics don’t seem to be loving the film thus far, but here’s a nice summation from Entertainment Weekly’s Lisa Schwarzbaum:

Taymor repositions Shakespeare’s mysterious story of magic, revenge, and forgiveness on a strange island by turning the play’s vexed sorcerer, Prospero, into a sorceress, Prospera, played by Helen Mirren with moody feminist authority.

Personally, I enjoy most Shakespeare adaptations–even the bad ones–and am interested in what Taymor has done with this one.

Here’s the film’s trailer:


And an interview with Taymor on The Colbert Report:


The Colbert Report Mon – Thurs 11:30pm / 10:30c
Julie Taymor
www.colbertnation.com
Colbert Report Full Episodes Political Humor & Satire Blog March to Keep Fear Alive

Quote of the Day: Nina Power

Below is an excerpt from Nina Power’s One Dimensional Woman, in which she raises some interesting points and questions about the so-called Bechdel Test (or Ripley’s Rule, as we generally refer to it).

What does contemporary visual culture say about women? Here a thought experiment comes in handy: The so-called ‘Bechdel Test’, first described in Alison Bechdel’s comic strip Dykes to Watch Out For, consists of the following rules, to be applied to films, but could easily be extended to literature:
  1. Does it have at least two women in it,
  2. Who [at some point] talk to each other,
  3. About something besides a man.

Writer Charles Stross adds that

“if you extend #3 only slightly, to read “About something besides men or marriage or babies, you can strike out about 50% of the small proportion of mass-entertainment movies that do otherwise seem to pass the test.”

Once you know about the test, it’s impossible not to apply it, however casually. Stross is right–huge quantities of cultural output (possibly even more than he suggests) fail. Several questions emerge from the test:

  1. What is so frightening about women talking to each other without the mediation of their supposed interest in men/marriage/babies?

  2. Does cinema/literature have a duty to representation such that it is duty bound to include such scenes, as opposed to pursuing its own set of agendas? Why should literature/cinema be ‘realistic’ when it could be whatever it wants to be?

  3. Does reality itself pass the test? How much of the time? Can we ‘blame’ films/TV for that?

Nina Power is a Senior Lecturer in Philosophy at Roehampton University. She has published widely on topics including Iran, humanism, vintage pornography and Marxism. (taken from the jacket cover of One Dimensional Woman.)

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

Oscar Acceptance Speeches, 1991

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: 1991

Kathy Bates, Misery
Anjelica Huston, The Grifters
Julia Roberts, Pretty Woman
Meryl Streep, Postcards from the Edge
Joanne Woodward, Mr. and Mrs. Bridge

Best Supporting Actress Nominees: 1991

Annette Bening, The Grifters
Lorraine Bracco, GoodFellas
Whoopi Goldberg, Ghost
Diane Ladd, Wild at Heart
Mary McDonnell, Dances With Wolves

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Kathy Bates wins Best Actress for her performance in Misery.

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Whoopi Goldberg wins Best Supporting Actress for her performance in Ghost.

Guest Writer Wednesday: That Glee Photo Shoot

Cross-posted at Fannie’s Room and Shakesville.

So, there is this. View the slideshow (warning: might not be safe for some workplaces).

I love Glee. I sometimes am annoyed by it, but generally, I appreciate its ode to geekiness. I also do sometimes like looking at photos of attractive women (and men), if the photos are tastefully done and don’t seem like they’re completely exploiting the person. And subtlety is good. Subtext, to me, is often sexier than in-your-face displays of sexual availability.

Those disclaimers aside, I could now go on about how these photos at once infantilize adult women by portraying female actresses as sexy schoolgirls while also inappropriately sexualizing these characters, who are supposed to be under the age of 18.

I could also talk about how annoyingly predictable it is that, of all of Glee’s diverse cast members, it is the two women who most conform to conventional Hollywood beauty standards who have been granted the empowerful privilege of being sexified for a men’s mag. For, despite Glee’s idealistic and uplifting message that It’s What’s On the Inside That Counts, the show’s resident Fat Black Girl With A Soulful Voice is noticeably absent from the shoot.

And then there’s the fact that it’s titled Glee Gone Wild! a not-so-subtle allusion to that paragon of klassy art that made Joe Francis a
pimp
wealthy man. Yeah, I could talk about how that’s not my favorite.

We could also explore how the photos are clearly intended for the heterosexual male gaze (or, say, the gaze of a sexually abusive photographer who talks about how his “boner” compels him to want to “dominate” girls) and his sexual fantasies.

And I will talk about that for a minute, actually.

GQ is a men’s magazine, so while some lesbians and bisexual women might be titillated by such images, they should not be so naive as to think it is they who are the intended recipients of these images. Finn, the football player, is perhaps the one dude on the show who Average Joes most identify with. In GQ’s slideshow, he is almost fully clothed in regular streetwear throughout and often adorned with the Ultimate Straight Male Fantasy of not one, but two, hot chicks who might first make out with each other and then subsequently have sex with him.

As for the women depicted, the images predominately feature the two actors wearing the sexy-lady Halloween costume known as Sexually Available Schoolgirl, thus letting gay men know that this photo shoot about characters in a musical TV show is not intended for them, either.

Which brings me to the self-indulgent, possibly shallow, item I really want to talk about.

See, well, Glee used to be our thing.

The geeks, the losers, the queers, the disabled, the atheists, the dudely jock who likes to sing and dance, the pregnant girl, the teen diva, and the male Asian actor who is supposed to be geeky-cool but who never gets a
speaking part in Glee
solo. The popularity of Glee has been Revenge of the Nerds all the way and for that reason it has been pretty, dare I say, special to a lot of marginalized people and teenagers in all its campy dorkwad glory.

But now, the GQ photo shoot has subverted geekiness to give heterosexual men yet another thing in this world that can be, erm, special to them. And what’s supposed to special about Quinn and Rachel in these photos is not their voices, their struggles, their dorkiness, their self-centeredness, their insecurities, or their dreams, but rather, the never-been-done-before message that it’s women! Who are hot! And young! And thin! Who men want to fuck!

GQ, on behalf of its straight male readership, flaunts Rachel and Quinn in these photos like Sue Sylvester boastingly displays her ginormous cheerleading trophies as yet another reminder to the geeks that “not everyone can be champions” because some people are meant to dominate and others to be dominated. The photos are the equivalent of a major studio finally producing a Xena movie, writing in that long-awaited for Xena/Gabby actual make-out scene, and then having the two main characters end up married. To men, that is. Because what heterosexual men would like to see happen to two female characters is, let’s face it, always what is most important when it comes to TV and film and to hell with any other major fan base.

Glee should know better.

Trying to be popular by catering to the “I only watch shows with multiple major female characters if they’re hot” crowd might make a couple of dorks cool for a while, but it’s also why the rest us can’t have nice things.


Fannie, author of Fannie’s Room, who, when not hanging out at her blog, can probably be found planning the homosexual agenda, twirling her mustache, plotting a leftist feminist takeover of the universe, and coordinating the recruitment effort of the lesbian branch of the Gay Mafia. Her days are busy.


Quote of the Day: Rachel Maddow

Below is an excerpt from an interview that Feministing recently conducted with Rachel Maddow. Definitely read the amazing interview in its entirety.

Chloe Angyal: Why did you decide to make a documentary about the assassination of Dr. Tiller, and why did you feel so strongly about doing a larger-scale production about the anti-abortion movement?

Rachel Maddow: When we covered the Tiller murder when it happened, two things became clear. As soon as you heard last May that a doctor had been killed in Kansas, if you knew anything about the fight over reproductive rights and the radical anti-abortion movement, it was instantly clear that it was George Tiller who was killed, even before you heard the name. I had heard that a doctor was killed in Kansas that Sunday, and knew it was Tiller before I saw in the news that it was Tiller. There are not that many things in America, where you know who’s going to get killed, because there’s a campaign against them that includes people who think that violence up to murder is justified against people with whom they disagree or who they’ve vilified. It’s an unusual thing in America – there aren’t a lot of things like that, so that in itself was shocking enough.

But there was also some smaller scale stuff about our covering it in day-to-day news way. We do daily production, we have to do a show five nights a week, and turn around things in a short time frame, and the Tiller murder and the Roeder conviction were things that we covered intensively, but on this day-to-day production schedule. And one of the things that we didn’t report on, or didn’t really follow up on because it wasn’t appropriate to report on in that day-to-day schedule was the fact that there was a ton of celebration online when Tiller was killed. And you don’t blame people for their blog comments, and you don’t make a news story out of anonymous commenters on the internet machine. If you did, you’d constantly be foretelling the end of the world. It’s not really appropriate to cover that as news, that anecdotal reaction. But reading that reaction online, on Twitter and in blog comments, not just in the dark anti-abortion extremist corners of the internet, but actually in relatively mainstream places, I found very unsettling. It stuck with me and it made me want to do something longer form, more investigative and more in-depth about the murder.

The fight over reproductive rights and the tactics of the radical anti-abortion movement are subjects that are a bummer. It’s something that we think of as almost unendurable, I think, to dwell on, to think about, because it seems like it never gets better, and like the other side never pays a price. And one of the things that I don’t think people have really grasps, which is in this documentary, is the story of George Tiller, who was resolute, cheerful, clever, holistically cognizant of what was going on as he was being attacked in this way.

At Tiller’s funeral, they made giant flower arrangement that said “Trust Women,” because that was his motto. You have to understand the other side, the radicals and their tactics, in order to understand what’s going on in the fight over reproductive rights. But in order to understand the way that people survive this, and the way that people can even hope to win these battles in the long run, understanding the way George Tiller did it is underappreciated. We’ve got these interviews of him that have never before run on television, and you see him, coming back to his clinic the day after he was shot and the day after his clinic was bombed, saying, “What we’re doing is legal. What these people are doing, these terroristic tactics and this anarchy, is illegal,” and putting up the sign outside his clinic: “Women need abortions and I’m going to do them.” And the devotion that his staff had to him, because of that resolution and that resilience that he had, that is a story worth telling about how to live in the face of threat, and how to live in the face of people who are coming at you in ways that are sometimes are very painful to think about. This is a painful story, but this is also an instructive story and a cathartic story for people who support reproductive rights.

Guest Writer Wednesday: Film Review Roundup

In lieu of a guest review this week, we’re posting links to reviews of a few women-centric films we haven’t yet discussed at Bitch Flicks. Enjoy!


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Starring Annette Bening and Julianne Moore
Written by Lisa Cholodenko and Stuart Blumberg
Directed by Lisa Cholodenko

Roxie Smith Lindemann at Roxie’s World writes:

… what finally—and deeply—disappointed us about the film, despite the splendid performances and some pitch-perfect moments of dialogue, were what felt like multiple failures of imagination in its depictions of lesbian sexuality, long-term partnership, and queer family-building. In the end, to use a metaphor in keeping with the film’s upscale SoCal look and value system, The Kids Are All Right opts to put new wine in an old narrative bottle, and the result is a vintage that looks good but leaves a nasty, corked aftertaste.


… the film gratifies the straight male fantasy that what every lesbian needs is a good roll in the hay and presents lesbian relationships as cheap imitations of the worst heterosexual marriages: like them in being riven by conflict, frustration, and inequality, unlike them in lacking the almighty penis …

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Starring Jennifer Lawrence and John Hawkes
Written by Debra Granik, Anne Rosellini, and Daniel Woodrell (novel)
Directed by Debra Granik

Natalie Wilson at Ms. Magazine Blog writes:

The film offers an extraordinary portrait of the ways class and gender intersect, revealing how the patriarchal Dolly clan abuses not only drugs, but also its female family members. As such, the narrative offers a lesson about the feminization of poverty, illuminating how poverty’s vice is harder to escape and more likely to ensnare when one is female.


… this gem of a feminist film has been attacked for the very thing that makes it so unique and so rare: its understated, implicit feminist narrative that rails against patriarchy, violence against women, cold-hearted capitalism and militarism, as well as critiquing the insidious and complex ways females are framed first and foremost as objects for male use and abuse.


Also, be sure to check out Part I and Part II of Lisa R. Pruitt’s posts at Saltlaw on “Winter’s Bone” and the Limits of White Privilege.

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Starring Emma Stone, Amanda Bynes, and Patricia Clarkson
Written by Bert V. Royal
Directed by Will Gluck

MaryAnn Johanson at FlickFilosopher writes:

This wonderful, hilarious, subversive film is a smart, witty smackdown to the slew of “dweeby teenaged boys on a quest to lose their virginity” movies we’re currently under barrage from, not to mention the general unfairness of how the universe treats women who own their sexuality. Easy A overtly shames the slut-shaming of our culture, the bizarre pressures that tells us girls and women that we must be sexy all the time, but for Christ’s sake, don’t actually have sex—except under certain strict conditions—unless you want to be labeled a slut, and humiliated for it.


… As satire goes, this is brilliant stuff. As an exploration of the tangled web of popularity and individuality teenaged girls have to navigate, and do so at more peril than boys do, it’s damn nigh unparalleled. More’s the pity.


Disembodied Women Take Four: … Look Closer

The first installments of Disembodied Women focused on film posters that use close-ups of women’s backsides and bare legs to promote movies, and one that illustrated the removal of the woman’s head entirely. This post gives examples of film advertising that uses women’s airbrushed stomachs, and in several instances, divorces pregnant women from the rest of their bodies. (Because we all know, once a women becomes pregnant, she ceases to exist.)

As if reducing women to a collection of nothing more than unrealistically portrayed body parts weren’t enough, the accompanying taglines of these particular film posters also caught my attention.

The Women and 27 Dresses don’t use a catchy tagline on the posters shown below. Maybe the designers of the posters felt that random words shaped into a woman’s torso would suffice, considering these two films exclusively target women audiences. And what do audiences comprised of women want to see in The Women? Nouns, apparently: Bonding Joy Jealous Kids Tears Struggles Laughter Thighs Balance Intuition Fighters Passion Elegance Shoes …

With the 27 Dresses poster, what else could we possibly need? She’s already been made into a fucking dress. (Get it? The movie is called 27 Dresses, so Katherine Heigl’s body is like totally a dress. Neat! Way to objectify a woman by turning her into an actual object.)

Juno’s “Due this holiday season” is the least offensive of the remaining taglines, again because the advertisers perceive no marketing bonus in sexualizing her … she’s a cute little indie hipster weirdo. Still, the fact that the poster emphasizes the pregnancy, rather than the woman who’s actually pregnant (except for the nametag, ha), sends the message that the pregnant woman is no longer as important as Her Pregnancy. (Think Hollywood starlets and the constant Baby Bump Watch.)

The other two posters depicting a pregnant woman each emphasize two men, the first one showing two men in a photo, and the other showing two men smiling ridiculously while cradling the woman’s stomach. Also note the … what, shaving cream smiley face? … painted on her stomach.

Then the taglines.

In Misconceptions, we get: “Good things come in other people’s packages.” Um, okay. Whose “package” are they referring to here exactly? The woman-as-baby-making-machine who will deliver a package in nine months? Or one of the two men apparently involved in providing sperm? With his … package? What the hell is happening here.

In the poster for The Brothers Solomon, they just come out and say it: “They want to put a baby in you.” Great! A film about a woman’s pregnancy that’s actually somehow about two men. Thanks, Hollywood.

The remaining posters that incorporate taglines:

Tomcats: “The last man standing gets the kitty.”

Swimming Pool: “On the surface, all is calm.”

Threads: “The fashion world … unzipped.”

American Beauty: ” … look closer”

The Babysitters: “These girls mean business.”

A couple of them might not be so terrible if they weren’t accompanied by the image of a woman’s bare stomach. But since they are, what differentiates the descriptions of these Hollywood films from the descriptions of soft-core porn?

Guest Writer Wednesday: Let This Feminist Vampire In

Cross-posted at Ms. Magazine
Warning: spoilers
Vampires have become so common in contemporary texts that they have lost some of their bite. With most of them falling into the emo, brooding, love-struck and angst-ridden variety (Edward of Twilight, Damon of The Vampire Diaries and Bill of True Blood), the female vampire featured in Let Me In (the U.S. remake of the Swedish film Let the Right One In) presents a refreshing change. Abby (Chloe Moretz), the 12-year-old lonely-yet-resilient vampire in a world populated by male violence, is a feminist vampire worth rooting for.
While the original film was also excellent, it lacked some of the more overt gendered analysis of the U.S. version. Though this may be due to discrepancies in translation (I saw the film both in Swedish with English subtitles and dubbed in English), the bullying theme running throughout the narrative was framed very differently in the Swedish version. In it, the young male protagonist, Oskar, was repeatedly told to “squeal like a pig” by his tormentors. In contrast, the male protagonist in the U.S. version, now named Owen (played by Kodi Smit-McPhee), is attacked by bullies with taunts such as  “Hey, little girl” and “Are you a little girl?”
Owen’s burgeoning friendship with the young vampire Abby (named Eli in the original) furthers this gendered meme when she advises him “You have to hit back … hit them back harder than you dare.” When she promises to help him, he says “But you’re a girl,” exhibiting the belief the bullies have instilled in him that girls are scared and weak. Even though an earlier scene showed Owen smiling as he views a girl punching the lead bully in the arm, this approval of female resistance has not erased the anti-girl taunts the bullies have polluted his brain with.
With an existence shrouded by his parents’ ugly divorce, the film suggests Owen has turned to voyeurism as an escape from his prison-like existence at both home and school. As Owen watches the world from his bedroom telescope and from behind his wide-eyed gaze, we see the daily injustices humans enact upon one another: bedroom fights, schoolyard torture, sibling abuse, interpersonal violence. Much of this violence is linked to codes of masculinity, including the muscling-up men do to create bodies capable of violence.
In comparison, vampire Abby’s thirst for blood becomes less violent and a lesser evil: Killing is something she resorts to in order to survive, in contrast to it being a sport (as with the bullies) or a means to secure and keep a mate (as with her “father” figure). The everyday violence in the film is more horrific and has more lasting effects than Abby’s monstrous thirst.
Unfortunately, the opportunity to further the suggestion that “average humans” are plenty monstrous is rendered less horrific in the American version by removing the references/suggestions of pedophilia in the original novel and film. Nevertheless, the remake provocatively suggests that our cultural proclivity to focus on exceptionally violent crimes of the “stranger danger” variety allows enduring, daily acts of violence to go comparatively unnoticed. Owen has adopted this view as well–he never mentions evil until he learns Abby is a vampire, failing to see that what the bullies do to him is actually more evil.
Though the film drips with gendered representations (although ones not as graphic, nor as queer as the original novel, as discussed here), reviews such as those in The New York Times and at MovieFone offer no gender analysis–an omission that seems particularly odd given the misogynistic bullying the film depicts as well as its focus on a girl vampire, a rarity in our male-dominated vampire tales of late.
To find such analysis, one most go back to reviews of the original film, including here at Feminist Review. Noting the tendency for a “queer sensibility about female vampires in film, whether explicit or subtextual,” Loren Krywanczyk argues the “gender non-normativity” of the two young protagonists presents us with a queering of gender as well as of childhood sexuality. Such queer readings are even more apt if Abby/Eli’s centuries-earlier castration (cut in the American film and only alluded to in the Swedish version) is taken into account.
While there has been much rallying against the necessity of remaking the film to appease Americans subtitle-avoidance (as here), I feel this new version offers yet another useful spin on a very complex tale–one a bit less queer but also one that  links the cultural disdain for femininity to the ubiquity of horrific daily acts of violence. If only our mainstream news media would similarly let that argument in.
Natalie Wilson, PhD is a literature and women’s studies scholar, blogger, and author. She teaches at Cal State San Marcos and specializes in the areas of gender studies, feminism, feminist theory, girl studies, militarism, body studies, boy culture and masculinity, contemporary literature, and popular culture. She is author of the blogs Professor, what if…? and Seduced by Twilight. She is a proud feminist mom of two feminist kids (one daughter, one son) and is an admitted pop-culture junkie. She previously contributed posts to Bitch Flicks about The United States of Tara, Nurse Jackie, and Lost.