Bitch Flicks’ Weekly Picks

Stephanie‘s Picks:
Important Nina Simone News by Melissa McEwan via Shakesville
On Marvel, Mandarin, and Marginalization by Marissa Lee via Racebending.com
Jennifer Aniston’s Adventures in Medialand by Hadley Freeman via The Guardian
Megan‘s Picks:
Disney Heroines Take a More Pro-Active Role by LaGina Phillips via Hello Giggles 
How Can Women Gain Influence in Hollywood? by Melissa Silverstein, Martha Coolidge, Martha Lauzen, Brenda Chapman, Gina Prince-Bythewood, Ted Hope, Cathy Schulman and Susan Cartsonis via The New York Times
How Helen Gurley Brown Became a “Militant Feminist” at 65 by Debbie Stoller via Bust Magazine Blog
‘It Was Rape’: A Film We Need to Talk About by Intern Christina via Bust Magazine Blog
The Influence of ‘Parks and Recreation’ by Alyssa Rosenberg via Think Progress 

What have you been reading this week? Tell us in the comments!

Horror Week 2011: The Silence of the Lambs

The Silence of the Lambs (1991)

This post by Jeff Vorndam is republished with permission.
The horror movie genre has historically exalted the objectification of women. In slasher movies, teen exploitation flicks, and even seemingly innocuous thrillers, women are cast for the purposes of screaming and disrobing. The antithesis within the horror/thriller genre is the 1991 Academy Award winning film The Silence of the Lambs. Although not thought of as a “women’s movie,” a feminist undercurrent is present in the film through its protagonist, a strong female character who contradicts previous genre stereotypes. Her scenes impart an objection to the objectification of women and depict the difficulty of working in a male-dominated institution. Furthermore, her character’s success in the movie is her own doing; there are no male rescuers or helpers.
Jodie Foster plays Special Agent Clarice Starling, the protagonist of The Silence of the Lambs. Starling is an autonomous woman; her mother died at childbirth, and her father was killed in the line of duty when she was ten. She is intelligent (graduated magna cum laude), skilled at her work, and intrepid. Significantly, the film opens with a shot of Starling running alone in the woods, completing an obstacle course in the type of dark sodden forest where one might expect to find a naked dead body. The viewer’s attention is immediately drawn to Starling, and we already sense that she will be in danger. It is the movie’s triumph that it sets our expectation to see her as a doomed victim, and then subverts it by establishing her as a multi-dimensional person in the following scenes.
Roger Ebert wrote about The Silence of the Lambs, “Never before in a movie have I been made more aware of the subtle sexual pressures placed upon women by men.” Ebert refers to the numerous scenes which, taken collectively, give viewers the uncomfortable knowledge that Starling is constantly subjected to stares, condescension, and harassment. By depicting Starling as an object rather than a person in certain scenes, the audience is transposed with her, and feels her apprehension. The first such scene occurs after she is pulled off the obstacle course to meet her superior. There is no dialogue, just a simple shot of Starling, standing 5 feet 2 inches tall in a blue jogging suit, dwarfed and surrounded in an elevator full of burly men over a foot taller than her. Starling stands out even further as an object because her blue sweat suit contrasts with the loud red outfits that each of the men are wearing. It is a situation that any of us would be nervous in, but Starling shows little trepidation. She copes well with the uneasy feeling of the men looming over her. The movie’s self-conscious attempt to display Starling as an object works, though. As an audience, we do feel trepidation.
The same concept applies to a scene in which Starling is holding a punching bag and must withstand the blows of her larger co-workers. The camera’s vantage point is that of the large man delivering the blows. The angle is shot downward so that Starling appears smaller and more vulnerable. Quickly, the viewer sees her as an object–as her male co-workers do as well. It is uncomfortable to watch Starling get hit, and we realize she is objectified this way all the time.
Starling must unfortunately endure many such difficulties because she works in the male-dominated institution of the FBI. As an attractive woman, Starling receives lascivious looks from nearly every male in the movie. When she and her roommate go jogging in one scene, a group of men jogging the other way turn around to ogle the women’s behinds. Earlier, when Starling is looking for Agent Crawford’s (her boss) office, the men gaze at her as if she were an exotic delicacy. Hannibal Lecter’s psychiatrist Dr. Chilton tries to pick her up initially, “Are you familiar with the Baltimore area? I could show you around.” When she explains she has a job to do, Chilton becomes angry, “Crawford sent you here for your looks–as bait.” Lecter surmises that Crawford fantasizes about Starling and that is why she was selected for the assignment. Even the bespectacled etymologist asks her out. In fact, it is only Lecter who is more interested in getting in her head than her pants.
Starling does not simply accept the oppression of her job. Upon arriving at a small town where one of the murder victims has washed up, Starling and Crawford are waiting in a room full of local deputies to see the dead body. The deputies are all staring at Starling, wondering why a woman is with the FBI. Crawford announces it’s time to inspect the body, but adds that Starling may want to stay outside because it’s something that a lady shouldn’t see. Afterwards, in the car on the ride home, Crawford says he didn’t want to offend the local authorities. Starling excoriates him for not setting a better example. By reprimanding her superior officer (while still only a trainee), Starling exhibits her strong personality and stands up for herself. Not only does she rebuff her sexist colleagues though, she is victorious over them.
In most thriller or horror movies (Terminator 2, for example), even if the hero of the story is female, she frequently still requires assistance from males to succeed. In The Silence of the Lambs, Starling succeeds on her own, despite various male interlopers. She cracks the vital points of the case, locates and defeats the killer–with no help save from Lecter. It is arguable what type of “help” Lecter gives her. In exchange for clues to the murderer’s identity, Starling provides Lecter with personal information. Lecter only cooperates with Starling because she is the only person who has treated him with any respect. In fact, as Lecter learns more about Starling’s tragic personal history, he becomes even more impressed with her. In their first meeting he calls her a “rube–one generation up from white trash.” Starling admits that he is perceptive and responds, “…but can you turn that high-powered perception of yours inward on yourself, Dr. Lecter?” At this point, Lecter realizes that he is not dealing with just another suit who’s out to use him–Starling is trying to communicate with him on a personal level. Lecter now sees Starling as a person, and is ironically the only male who does. This is emphasized overtly when Starling finishes talking to Lecter. As she exits the prison, an inmate named Miggs two cells down from Lecter throws his semen at her. Earlier, as Starling makes her way to Lecter’s cell, Miggs screams, “I can smell your cunt!” By framing Starling’s first visit to Lecter with two grotesque symbols of male objectification of women, Lecter stands out further as an asexual mentor.
Critics still point out, however, that without Lecter’s cryptic clues Starling could not have solved the case. Moreover, Lecter uses Starling’s investigation to get himself out of jail. Most damning to the notion that Starling is wholly responsible for her success is the charge that Lecter was sexually attracted to her, and aided her out of lust. These claims are spurious. Recall that Lecter appears to be asexual, especially in comparison with Miggs and Dr. Chilton. Symbolically, Lecter is neither male nor female. He is death incarnate. Director Jonathan Demme always photographs Lecter with a harsh white light on his forehead, the rest of his body ensconsed in shadows. The effect is to give Lecter the appearance of a ghoul. In the only camera shot in which Starling and Lecter are shown together, Lecter’s wraithlike apparition grins like a skeleton next to Starling’s determined composure. When their fingers touch seductively at their last meeting, it is not a sexual advance on Lecter’s part, but the film’s chilling reminder that death’s icy grip is stalking Starling. The movie would not be as frightening without Lector’s embodiment of death.
The victim is the daughter of a female Senator, and, because she fights back against the killer, she is portrayed as strong and independent. In an earlier scene, the victim’s mother makes an announcement on television in which she keeps repeating her daughter’s name–Catherine. After watching the plea, Starling comments that it is good that the Senator kept repeating her daughter’s name, “If he sees her as a person and not an object, it will be harder to tear her up.” Unfortunately, as we see in the next scene, Buffalo Bill refers to Catherine as “it” at all times, even when talking to her: “It places the lotion on its skin.” His goal is to make a woman-suit out of women–the ultimate in objectification.
In the end, Starling purges herself of her inner demons and is victorious. The story vindicates Starling and punishes those who have wronged her. Shortly after Starling’s first visit with Lecter, Miggs chokes on his own tongue and dies. Starling shoots and kills Buffalo Bill. At the end of the film, after Lecter has escaped, he calls Starling to congratulate her. He implies that he is going to eat the sexist Dr. Chilton, “I’m having an old friend for dinner.” Because the “bad sexist” people meet grisly deaths, and Starling is rewarded, The Silence of the Lambs takes a clear stand on the evils of sexism in its denouement.
Jeff Vorndam is a film buff living in the Bay Area. In the past he has reviewed movies for AboutFilm and Cinemarati, but he just watches for fun now. His favorite horror movies include Rosemary’s Baby, Kwaidan, and Martin.




Bitch Flicks’ Weekly Picks

Jodie Foster: Even female studio execs ‘see female directors as a risk’ from Los Angeles Times

Cate Marvin Discusses the VIDA Count from Luna Park Review

The FBI’s Definition of Rape: Older Than a Lot of Things from Ms.

Prom Early Reviews: Formulaic Tween Fantasy Flick or Stereotype Reinforcer? from Thompson on Hollywood

Olivia Munn to Bring “Stiletto Feminism,” Sandwich Hatred to Worst TV Show Ever from Tiger Beatdown

The Writers of the Summer Movies from Women and Hollywood

The Love Story that Made Marriage a Fundamental Right from Colorlines 

I know I can fight rape culture by… from Feministe 

Leave your links in the comments!

Oscar Acceptance Speeches: Honoring Other Women

One of the things I’ve always loved and admired about the award acceptance speeches by women is how often they mention other women. Kate Winslet, accepting her Oscar for The Reader, joked, “I don’t think any of us can believe we’re in a category with Meryl Streep.” And Sandra Bullock, accepting her Oscar for The Blind Side, turned to each of her fellow nominees one by one and congratulated them. It’s something we rarely see from the men who win awards, and I admire that women openly acknowledge the necessity of sisterhood, especially during a male-dominated event (like any awards presentation for film, ever) that so often neglects the contributions of women. Here are a few of my favorites from the past twenty years of Oscar Acceptance Speeches for Best Actress and Best Supporting Actress:


1992: Jodie Foster, winning Best Actress for The Silence of the Lambs

This has been such an incredible year. and I’d like to dedicate this award to all of the women who came before me who never had the chances that I’ve had, and the survivors and the pioneers and the outcasts; and my blood, my tradition. And I’d like to thank all of the people in this industry who have respected my choices and who have not been afraid of the power and the dignity that that entitled me to … And thank the Academy for embracing such an incredibly strong and beautiful feminist hero that I am so proud of.


1993: Emma Thompson, winning Best Actress for Howards End

And finally I would like, if I may, to dedicate this Oscar to the heroism and the courage of women, and to hope that it inspires the creation of more true screen heroines to represent them.





1997: Frances McDormand, winning Best Actress for Fargo

It is impossible to maintain one’s composure in this situation. What am I doing here? Especially considering the extraordinary group of women with whom I was nominated. We five women were fortunate to have the choice, not just the opportunity, but the choice, to play such rich, complex female characters. And I congratulate producers like Working Title and Polygram for allowing directors to make autonomous casting decisions based on qualifications and not just market value. And I encourage writers and directors to keep these really interesting female roles coming, and while you’re at it, you can throw in a few for the men as well.


2001: Julia Roberts, winning Best Actress for Erin Brockovich

I would like to start with telling you all how amazing the experience of feeling the sisterhood of being included in a group with Joan Allen and Juliette Binoche and Laura Linney and Ellen Burstyn for these last weeks has been. It’s just felt like such a triumph to me to be in that list. My name starts with “R” so I’m always last, but I still love the list.



2002: Halle Berry, winning Best Actress for Monster’s Ball

This moment is so much bigger than me. This moment is for Dorothy Dandridge, Lena Horne, Diahann Carroll. It’s for the women that stand beside me, Jada Pinkett, Angela Bassett, Vivica Fox. And it’s for every nameless, faceless woman of color that now has a chance because this door tonight has been opened.  



2006: Reese Witherspoon, winning Best Actress for Walk the Line

A very special thank you to Jim Mangold who directed the film and also wrote this character who is a real woman who has dignity and honor and fear and courage. And she’s a real woman, and I really appreciate that. It was an incredible gift that you gave me, so thank you … And I want to say that my grandmother was one of the biggest inspirations in my life. She taught me how to be a real woman, to have strength and self-respect, and to never give those things away. 


2007: Helen Mirren, winning Best Actress for The Queen

Now, you know for fifty years and more Elizabeth Windsor has maintained her dignity, her sense of duty, and her hairstyle. She’s had her feet planted firmly on the ground, her hat on her head, her handbag on her arm, and she’s weathered many, many storms. And I salute her courage and her consistency, and I thank her, because if it wasn’t for her, I most, most certainly would not be here.


2010: Sandra Bullock, winning Best Actress for The Blind Side(read our review)

I would like to thank the Academy for allowing me in the last month to have the most incredible ride, with rooms full of artists that I see tonight and that I’ve worked with before and I hope to work with in the future, who inspire me and blaze trails for us. Four of them, that I’ve fallen deeply in love with, I share this night with and I share this award with. Gabby, I love you so much. You are exquisite. You are beyond words to me. Carey, your grace and your elegance and your beauty and your talent makes me sick. Helen, I feel like we are family, and I don’t have the words to express what I think of you. And Meryl, you know what I think of you, and you are such a good kisser … 

But there’s so many people to thank, not enough time. So I would like to thank what this film was about for me, which are the moms that take care of the babies and the children no matter where they come from. Those moms and parents never get thanked. I, in particular, failed to thank one. So, if I can take this moment to thank Helga B. for not letting me ride in cars with boys till I was eighteen, ’cause she was right; I would’ve done what she said I was gonna do. For making me practice every day when I got home, piano, ballet, whatever it is I wanted to be. She said to be an artist you had to practice every day. And for reminding her daughters that there’s no race, no religion, no class system, no color, nothing, no sexual orientation, that makes us better than anyone else. We are all deserving of love. 

So, to that trailblazer who allowed me to have that, and this [referring to the Oscar], and this, I thank you so much for this opportunity that I share with these extraordinary women, and my lover Meryl Streep. Thank you.

2010: Mo’Nique, winning Best Supporting Actress for Precious: Based on the Novel Push by Sapphire (read our review)

First, I would like to thank the Academy for showing that it can be about the performance and not the politics. I want to thank Miss Hattie McDaniel for enduring all that she had to so that I wouldn’t have to.

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