Search Results for: sex and the city

Seed & Spark: On ‘Ex Machina,’ Artificial Intelligence of Color, and How to Become a (White) Woman

I decided to be a filmmaker because I believe that women of color should proclaim ownership over the creation and dissemination of our images and stories. When Ava DuVernay asked her Twitter followers to name films that featured black, brown, Native, or Asian women leads, only a handful of films on that list featured an Asian American actress with an Asian American woman director at the helm. (And the drop-off between first and second efforts is alarming; Alice Wu, the writer/director of 2004’s ‘Saving Face,’ has never made another feature.)

‘Entourage’: Masculinity and Male Privilege in Hollywood

Turtle reminds Vince that “the movie is called ‘Aquaman,’ not ‘Aquagirl.'” This line is indicative of the “boys club” that continues to thrive in Hollywood. An actress’s livelihood in the industry is dependent on her co-star.

The Blind (Drunk) Leading the Blind (Drunk): Masculinities and Friendship in Edgar Wright’s Three Flavours Cornetto Trilogy

Two distinct masculinities pull the Trilogy’s heroes in different directions. Given Wright’s frequent use of pop culture references, I’ve opted to borrow Dungeons and Dragons’ terminology and describe these extremes as lawful and chaotic. Lawful masculinity is characterized by competency and order; it is the hallmark of the responsible (but rigid) adult. Chaotic masculinity is characterized by hedonism and anti-authoritarianism, usually embodied in the series by characters in a state of adolescence (whether age-appropriate or not).

The Complex Masculinity of ‘Outlander’s Jamie Fraser

It’s a surprising twist on the trope. Jamie is undoubtedly a force of man to be reckoned with, though the fact that he is a virgin and thus relatively inexperienced in terms of sex when he encounters Claire – the older, more experienced woman – attributes some unexpected “feminine” qualities to his character.

Review and Q & A: ‘Out in the Night’ and the Myth of “Killer Lesbians”

At February’s Athena Film Festival I saw the documentary ‘Out in the Night’ (showing this Monday, June 22 on PBS’s POV) about a group of queer women who defend themselves against a man who harassed them in the street. The film shows newspaper clips referring to the seven women, friends from Newark out for a night in the West Village (historically the queer part of NYC) as a “lesbian wolfpack” and “killer lesbians”–as if groups of queer women habitually roam city streets and take revenge on men who give them shit. The group of us ‘Bitch Flicks’ writers sitting together at the screening said simply, “We wish.”

Lies The Government–and Movies–Tell Us: ‘(T)ERROR’ and ‘Me and Earl and the Dying Girl’

To see a portrait of the inner workings of the FBI we have to look to films like the new documentary, ‘(T)ERROR’ co-directed by Lyric R. Cabral and David Felix Sutcliffe, showing this Sunday, June 14 as part of the Human Rights Watch Film Festival. In a highly unusual coup, an FBI informant Saeed aka “Shariff” (who used to be Cabral’s neighbor) agrees to be followed by the camera (though he complains to Cabral during closeups “You’re always getting the fucking headshots”) as he talks about his past cases and sets up a current one.

Sex, Drugs, and Developing Breasts: ‘The Diary of a Teenage Girl’ an Unforgettable Debut

The film is beautifully shot and highly stylized, allowing us a panoramic view of Minnie’s inner life through animated versions of her intense and thoughtful comic illustrations, drawn frame by frame. Still, ‘Diary’s best feature is its script. While the lessons Minnie learns are expected ones, they are important and the audience will be deeply pleased to see her arrive there. As Minnie reflects on her changing body, interests, and desires, it becomes easy to empathize with a character so familiar and yet so individual.

“And That’s the Truth”: The Talent and Comedic Timeliness of Lily Tomlin

I owe a great debt to Tomlin for helping me discover comedy, for helping shape my sense of humor, and for helping me define a sense of identity that might not have ever emerged without her. How can anyone argue that women aren’t funny, when my sole entire reason for making people laugh was inspired by a (funny) woman?

‘Tales of the Grim Sleeper’ and ‘The Central Park Five’ Show Whose Lives Matter

These same voices weren’t heard or listened to in the various investigations conducted by the LAPD in the 1980s. The film tells the story of Enietra Washington, Franklin’s only known survivor. In 1988, after Franklin picked her up and attempted to kill her, she gave the police a description of Franklin’s car (an orange Pinto) and described his face to a sketch artist.

Vintage Viewing: Mabel Normand, Slapstick Star in Charge

Mabel Normand was once known as “The Queen of Comedy” and “The Female Chaplin.” Her name was featured in the title of her shorts as their star attraction, which she soon parlayed into creative control as director. Normand mentored Charlie Chaplin as well as Roscoe “Fatty” Arbuckle, who went on to mentor Buster Keaton in his turn. Mabel is, therefore, a cornerstone in the development of the American slapstick auteur, but one whose role is regularly overlooked.

The Fat Stardom of James Gandolfini

What’s clear is that, in our contemporary society and culture, the male body is not invisible. Although the female body continues to be more heavily regulated and controlled, particularly in terms of weight and appearance, the male body is no longer removed from similar considerations. As we continue to look more intensely and critically at the male body, we can anticipate a time when new images of masculinity become not only realized but embodied.

Invisible Fat Women on ‘How I Met Your Mother’ and ‘The Big Bang Theory’

Several sitcoms, however, rely not on the on-screen presence of a so-called “unruly body,” but rather on the imagined image on an off-screen one.