The radical notion that women like good movies
My Sister’s Keeper is a story about growing up, identify, family, death, and life (how can we truly tell any story about life when death isn’t the costar?), but its uniqueness is that it is told primarily through two young girls.
There are precious few characters of color and particularly women of color on screen. Characters of color usually serve the primary function of helping white characters through dilemmas. If they are given their own plots, expect their storylines to be zany comic relief while the white characters deal with the serious business. …It’s 2013, so I say it’s about time that we allow women of color to shine in their own right without tacking on white ladies as a wink to ratings or as an apology, wouldn’t you agree?
I’ve recently taken to revisiting some of these forgotten (or culty, depending on who’s looking) classics with a new, more grown-up and feminist eye, and I’ve been examining the lessons that each of these gems showed us. One of my recent new/old film crushes is a 1990 film called Lisa (starring Cheryl Ladd, Staci Keenan, and DW Moffet). It has all the teen angst that a gal could hope for. At first glance you expect this to be a typical thriller, but this film is so much more. It is an open exploration of a young woman coming into her own, exploring her sexuality, rebelling against traditional convention, and if that weren’t interesting enough, Lisa’s story runs parallel to the exploits of a serial rapist/killer. One of the things that makes this film so different is the point at which these two stories intersect, and Lisa proves herself more capable than imaginable and saves herself and her mother from the killer’s clutches. The ending of the film flipped the traditional damsel in distress cliché on its head.
It started when I was 13. Some friends and I went to see Buffy the Vampire Slayer. It sounded like a lovely idea. A movie with a cheerleader as lead for my more “girly” friends, a vampire flick with a female heroine for me and the guy friends who were dragged along on this group “date” and just wanted to see vampires. It wasn’t like we had a choice–none of us had a car, and this was the only thing playing that we were old enough to watch at the theater our parents dropped us off at. I thought it would be perfect until it occurred to me in the lobby, while procuring nachos and popcorn, that this film was devised to please everyone, and usually when movies set out to please everyone, they pleased no one. But, it was a movie, and on a hot summer day that meant air conditioning; plus, there would be vampires, a female heroine and that was all I needed to give it a try.
Romance, lust, and dramatic intrigue are the antidote to our anxiety that we are just boringly adequate enough to make it through everyday life. The best part is that we can deny any accusations of shallowness or narcissism because at the end of the day, we don’t have to take responsibility for the actions of fictional characters. It’s a win-win!
I’m really inspired these days by filmmaker, entrepreneur, community builder Ava DuVernay – inspired about film and about life. IndieWire named her one of their 40 top Industry Influencers and they definitely got it right when they put her in their “Shapeshifter” category. She IS indeed a shapeshifter. She’s not only transforming herself, but she’s calling into being a highly fluid, passionately creative era in filmmaking. She’s inviting us all to shift our perceptions and change our world. She’s calling on us to step out of a sense of desperation and lack, look around, notice what we have available to us, and begin to create.
Check out all of the posts for Male Feminists and Allies Theme Week here.
So what’s feminist about it? Although the word “feminist” is never uttered, Michael plays Dorothy as a bold, liberated woman. At the audition, slimy director Ron Carlisle (Dabney Coleman) tells Dorothy she’s too “soft and genteel” and “not threatening enough” for the part. Dorothy replies: “Yes, I think I know what y’all really want. You want some gross caricature of a woman. To prove some idiotic point, like, like power makes women masculine, or masculine women are ugly… Well shame on the woman who lets you do that.” Right out of the gate, Dorothy not only speaks her mind, but also openly protests sexism.
When you think about feminism in television, The OC and teen soaps in general are probably not the first example to come to mind. If you’re not familiar with The OC, it’s about a troubled youth named Ryan Atwood (Ben McKenzie) who is taken in by the Cohens, a very wealthy family, after his own family has abandoned him. I’m very passionate about The OC and it is much more than that, but I shall not digress (or at least try not to). The Cohens are comprised of Kirsten (Kelly Rowan), a wonderful mother as well as a successful architect and businesswoman, Seth (Adam Brody), the awkward and endearing pop-culture-referencing son, and Sandy (Peter Gallagher), a righteous public defender, father, and husband.
… Kang seems to be a strong advocate for feminism in film. Though South Korea cinema (and the country as a whole) clearly needs far more women in off-screen positions of power, Sunny seems like a small but hopeful step towards equality, and may well inspire girls in today’s high school cliques to one day demand those positions.
Caroline somehow knows that Adam is not a typical young man simply working for minimum wage at a local diner in Minnesota; he is a heavenly catalyst sent not to offer completeness in Caroline’s life, but to remind her that she is worth loving, even in his absence.
Vedder has spent his career fighting for a modern world that accepts and promotes women–he’s fought for reproductive rights, spoken out against sexual assault, and worked for worldwide safe pregnancy/childbirth.
