On Entertainment Weekly’s “42 Unforgettable Nude Scenes”: This speaks to the cultural desirability (and also the perceived comedic potential*) of bodies belonging to people of color. Although people of color are often objectified and exoticized for consumption, none–or very few–of these incidents have been deemed “unforgettable” by the fine folks at
EW. On one level, it’s good that we don’t see the vulgar objectification of people of color here, in a piece that is essentially based on objectification (or,
EW might argue, celebrating memorable nude scenes), but it also peculiar and disturbing that the list is so damn white.
Profiling Gender: Punishing the Professional for the Personal on ‘Criminal Minds’: Employing embedded feminism and enlightened sexism,
Criminal Minds uses familiar tropes to reinforce the idea that women can either be professionals or mothers, but never both. As a prime-time drama based almost entirely in the workplace, how women are treated on the show becomes an important representation, and subtle reinforcement, of the double binds still faced by working women.
Criminal Minds, and prime-time shows like it, reinforce double binds because they reach a wide audience, and are typically employed in conjunction with
what Susan J. Douglas termed embedded feminism, which is “the way in which women’s achievements, or their desire for achievement, are simply a part of the cultural landscape.” The cultural landscape of the
Criminal Minds universe is that women FBI agents are valued, trusted, and competent members of the team. Their abilities and equality within the institution are uncontested; therefore, the workplace goals of the women’s movement have been accomplished, and no longer require representation.
Preview: The Iron Lady: It’s also interesting to think about the film in the context of women in politics–again, I’m thinking primarily of the US–and what it takes for a woman to be successful. At the beginning of the trailer we see an emphasis on her appearance and her voice (which reminds me of
The King’s Speech, last year’s Best Picture Oscar winner–the similarity is likely no accident), and the importance of maintaining an
image of leadership and power. Our culture is obsessed with image, and we see how closely scrutinized female politicians are–from Hillary Clinton’s pantsuits and alleged cleavage when she was running for president in 2008, to Michele Bachmann’s french manicure and shoe choices this year, the media tears down Women who Want to Lead.
Guest Writer Wednesday: Darren Aronofsky’s Black Swan: Viewers’ and Critics’ Miss-steps in a Dance with a Female Protagonist: Many feminist film reviewers also lambasted the misogyny of the ballet’s artistic director, Thomas (played by Vincent Cassel), even though his character’s inherent sexism (referring to his principle dancer as his “Little Princess,” for example) is essential to the themes of repression and being able to break free from said repression. Jill Dolan, at The Feminist Spectator, says that “As her [Nina’s] relationship with Thomas gets more and more entwined, she begins to suffer from a kind of Stockholm Syndrome, idealizing and even identifying with Thomas and his mercurial cruelty.” This is begging the question that Nina is the victim–would we ever assume a grown man in a similar role was the victim? Perhaps we’d glance at the notion, but never give him the simple, passive role of “victim.” Relegating Nina to the role of the victim belittles and negates the larger focus of the film.
Movie Review: Martha Marcy May Marlene: And still, in both of these environments, bonds between women flourish. Martha and Lucy have their differences, but it is clear that they both want to have a relationship again, and they are determined to do whatever they can to make that possible, even while Ted makes Martha feel threatened and unwelcome. Meanwhile, Zoe takes Marcy May under her wing and eases her into the community; this relationship is mirrored later in the film, when Sarah joins the cult and Marcy May transitions from initiated to initiator. Despite the traumas witnessed and experienced by these women, their relationships stay strong. They share support, laughter and strength in the face of abuse, time and time again. Complex relationships between women aren’t commonplace in film these days, so
Martha Marcy May Marlene is a refreshing change of pace in this regard.
is Wes Anderson’s best film, I gave it a try. I’m not the biggest Anderson fan—I generally find his aesthetic too precious, his characters over-privileged bores, and his daddy issues repetitive and tiresome—but it seemed to me that stop-motion animation might be the ideal medium to capture his intentions. 
