The radical notion that women like good movies
Written by Leigh KolbSocial movements are not without their problems. America’s second- and third-wave feminists (the mothers from the 60s and 70s and their literal and figurative daughters, who have come to age in the 80s, 90s and 2000s) have often appeared to be at odds with one another, and even within themselves. Even though the … Continue reading “‘Pitch Perfect’ and Third-Wave Feminism”
The Significance of Bridesmaids and Magic Mike in a Sea of Masculinity Not this. In Christopher Hitchens’s infamous essay, “Why Women Aren’t Funny,” he points to a Stanford study that rated men and women’s reactions to cartoons on a “funniness” scale. The study found many similarities between men and women’s responses, but also found some marked differences. … Continue reading “Summer Blockbusters Prove Women (Not Surprisingly) Enjoy Laughing and Gawking from Their Own Perspective”
(L-R): Jemima Kirke, Lena Dunham, Alison Williams in HBO’s ‘Girls’ I cannot tell you how ecstatic I am to see Lena Dunham’s new HBO series Girls. I mean, April 15th…hurry up and get here already damnit! After the first 3 episodes received rave reviews at SXSW, the buzz swirling around the indie darling’s new show … Continue reading “Lena Dunham’s HBO Series ‘Girls’ Preview: Why I Can’t Wait to Watch”
When I look at the sloppy homemade label on my screener of 50/50, it looks like it says, “so-so.” Despite solid reviews and the year-end awards nominations, that pretty much sums up how I feel about the movie.
This post by Stephanie Rogers first appeared at Bitch Flicks in March 2009. Glenn Whipp of the L.A. Times wrote a fascinating piece a few days ago titled “Dude rules: leaping into buddydom,” which explores Judd Apatow’s legacy of films, as well as films that imitate the ever-popular prepubescent man garbage that continues to dominate … Continue reading “From the Archive: Dude Rules: A Response”
some romantic comedies This guest post by Lady T previously appeared at her blog The Funny Feminist. A few weeks ago, I announced my intention to tackle 52 romantic comedies over the course of one year. 2012 is the Year of the Romantic Comedy at my blog, and it shall henceforth be dubbed “The Rom-Com … Continue reading “Guest Writer Wednesday: Why Watch Romantic Comedies?”
The movie picks up where the last one (Harold and Kumar Go to White Castle) left off, with Harold on his way to Amsterdam to meet up with the girl he fell in love with. Kumar tags along for the sheer excitement of being legally stoned for the first time in his life. But, because … Continue reading “From the Archive: Harold & Kumar Escape From Guantanamo Bay”
Judd Apatow puts on some panties in Bridesmaids This is a cross post from The Feminist Bride. Having turned 18 at the birth of the Sex and the City era, college and adulthood came at a time when sexual expression and alcohol could be worn like Girl Scout badges, proudly and with accomplishment. It was … Continue reading “Guest Writer Wednesday: Bridesmaids Preview”
Glenn Whipp of the L.A. Times wrote a fascinating piece a few days ago titled “Dude rules: leaping into buddydom,” which explores Judd Apatow’s legacy of films, as well as films that imitate the ever-popular prepubescent man garbage that continues to dominate the box office. Whipp lists seven rules on how to nurture on-screen guy … Continue reading “Dude Rules: A Response”
The movie picks up where the last one (Harold and Kumar Go to White Castle) left off, with Harold on his way to Amsterdam to meet up with the girl he fell in love with. Kumar tags along for the sheer excitement of being legally stoned for the first time in his life. But, because … Continue reading “Movie Review: Harold and Kumar Escape from Guantanamo Bay”
Too often, representations of women fall into clichéd binary opposites in the style of Levi-Strauss. Thus, TV shows feature the “good” woman in direct conflict with the “bad” woman, with this clash driving the narrative forward. Mickey encompasses both; she is simultaneously good and bad, selfish and giving, childish and mature. It is this complexity that ensures Mickey’s believability and development as a character. She is real and human, and thus, relatable.
The body is no longer a Lacanian reflected ideal, it is a biological mess that often exists beyond anyone’s control. The effect of this convention is two-fold–a bait and switch of expectations but also the creation of a sense of biological sameness: man or woman, everybody poops. By placing the body in a biological space instead of a symbolic one, physical comedy is questioning the visual tendencies of subconscious desire.
