Tag: Nicole Elwell

Beyond the Mainstream: How Indie Films See Sex Workers

‘Welcome to the Rileys’ and ‘Starlet’ are not flawless examples of how to depict sex workers in film, but they are a step in the right direction. With Hollywood’s repetitive use of sex workers as one-dimensional cardboard cut-outs with a single purpose, the indie genre often gives sex workers, both supporting characters and protagonists, expressed thoughts and feelings, making them fleshed out and human.

This guest post by Nicole Elwell appears as part of our theme week on Representations of Sex Workers.

It’s no secret that Hollywood has issues with accurate representations of the daily life it tries to capture. Society is a film’s subject and audience, but that fact doesn’t always guarantee accuracy. It’s also no secret that certain aspects of society are captured more often and more thoroughly than others, creating a majority that’s up on screen and a minority that shakes their heads from their theater seats. Representation isn’t just about numbers and how often one gets screen time, but it also concerns the details of that screen time. In the case of representation of women in Hollywood, it’s not always the quantity but rather the quality. A film could have numerous female characters on screen and still create a qualitative representation issue.

This ties in with how Hollywood often portrays female sex workers. They exceed in quantity and fail in quality. Despite my lack of knowledge for all Hollywood films that depict sex workers and of actual experiences of a sex worker in modern American society, it’s easy to question and criticize the repetitive formula most sex workers are expected to exist under: be untrustworthy, manipulative, grotesque, or perhaps–worst of all–simply nothing. Most sex workers are written to be as impactful to the story as an out-of-focus desk lamp. They may appear for a single moment, create obstacles for the protagonist, or function as décor or pure entertainment for other characters. If they do serve a greater purpose to the story, it’s usually to flesh out the protagonist or motivate them in some way. With these limits as to what a sex worker can be in Hollywood, one can wonder if this serves as a subtle way of telling society this is how we should view sex workers in general. After all, society is a film’s subject and audience.

The independent film industry is often seen as the antithesis of Hollywood: with no major studios to answer to, the ever-present concern of profit is not always the motivation behind a film’s production. But does the indie genre really use its freedom to break barriers and create a more accurate picture of otherwise inaccurate and potentially damaging stereotypes? Well, yes and no. The independent industry is far from a haven of precise and meaningful stories, but considering that how good an indie film is will usually determine how many people see it, most truly terrible indie films stay buried. Much like Hollywood, the indie genre’s relationship with sex workers is hit or miss. With a far greater number of hits, the indie genre at times feels like the best hope for better representation of sex workers in film.

The film Welcome to the Rileys follows Doug Riley, a man distraught with martial problems and grief over the death of his daughter eight years ago. On a business trip to New Orleans, Doug befriends a prostitute named Mallory and finds new meaning in his life and a surrogate daughter through his growing friendship with her.

James Gandolfini and Kristen Stewart in Welcome to the Rileys
James Gandolfini and Kristen Stewart in Welcome to the Rileys

 

Doug’s wife eventually comes to New Orleans and sees the same opportunities in Mallory, so they all begin to live together. Despite the Rileys’ offers to help Mallory leave her life of prostitution, she repeatedly refuses and, fed up with the lack of acceptance, runs away only to be arrested and bailed out by Doug. The two have a confrontation, and Mallory asserts that she’s “not somebody’s little girl. It’s too late for that.” Doug comes to accept this and heads back home with his wife. This film could have easily been yet another example of how sex workers are catalysts for a male protagonist’s development, and for a large part of the movie that is the case. With Mallory’s refusal to submit to this cliché, the film becomes a hit rather than a miss because it dismisses the same formula that it used for the majority of the movie, while also giving Mallory her own character and declaring that prostitution is not something all women are looking to be saved from.

The film Starlet (available to stream on Netflix) follows the unique and charmingly awkward friendship between 21-year-old Jane and 85-year-old Sadie. After crossing paths with Sadie at a garage sale, Jane becomes increasingly interested in Sadie’s life, mostly to escape the constant drugs and apathy that fills her own. The majority of the film focuses on forming their bond while also exemplifying a generation gap that makes the friendship both refreshing and difficult.

Dree Hemingway and Besedka Johnson in Starlet
Dree Hemingway and Besedka Johnson in Starlet

 

About 50 minutes into the film, the suspicious daily lives of Jane and her friends are brought to life: they are all a part of the porn industry. What Starlet does right is holding off the fact that Jane does porn. Rather, the film makes sure the audience understands that above all else, Jane is a person and shouldn’t be defined by her job. The film establishes raw character before anything else, which serves to not only dismiss multiple stereotypes associated with sex workers in film, but also establish the notion that sex workers are not defined by their professions. The film doesn’t judge or punish Jane, and in its execution encourages its audience to the same. Starlet is an innovative rejection of society’s obsession with careers by asserting that profession doesn’t trump character.

Welcome to the Rileys and Starlet are not flawless examples of how to depict sex workers in film, but they are a step in the right direction. With Hollywood’s repetitive use of sex workers as one-dimensional cardboard cut-outs with a single purpose, the indie genre often gives sex workers, both supporting characters and protagonists, expressed thoughts and feelings, making them fleshed out and human. With the ever-changing and diverse nature of humans, it’s virtually impossible to ever capture a perfect and flawless representation of any type of person, but Hollywood could learn a thing or two about representation from the independent film industry.

 

Nicole Elwell is a sophomore at the University of Baltimore, majoring in Psychology and minoring in Pop Culture. She hopes to bring psychology and feminism into a future career in writing for the movies.

 

The CW: Expectations vs. Reality

The CW is a rarity among the many networks of cable television. Its target demographic is women aged 18-34, and as a result has a majority of its original programming centered on the lives of young women. On paper, this sounds like a noteworthy achievement to be celebrated. However, the CW produces content devoid of any sense of the reality of its young audience, and as a result actually harms its most devoted viewers. The CW creates an unattainable archetype for what a teenager should look like and fails to maturely handle issues of murder and rape.

This guest post by Nicole Elwell appears as part of our theme week on Child and Teenage Girl Protagonists.

The CW is a rarity among the many networks of cable television. Its target demographic is women aged 18-34, and as a result has a majority of its original programming centered on the lives of young women. On paper, this sounds like a noteworthy achievement to be celebrated. However, the CW produces content devoid of any sense of the reality of its young audience, and as a result actually harms its most devoted viewers. The CW creates an unattainable archetype for what a teenager should look like and fails to maturely handle issues of murder and rape.

Despite the assertion that the CW’s programming is for adults aged 18-34, one look into the fervent fan bases of shows such as The Vampire Diaries suggests that audiences can be much younger.

Vampire Diaries fan base
The Vampire Diaries fan base

 

This makes sense when considering that the majority of the CW’s most popular programs are about teenagers. Because of this, it can be assumed that the basic plotlines of the CW’s best performing programs reflect what the network believes young women desire in a television show. IMDb describes The Vampire Diaries’ plot as “a high school girl is torn between two vampire brothers.” Newcomer Reign is gifted with the lengthy description: “chronicles the rise to power of Mary Queen of Scots when she arrives in France as a 15-year-old, betrothed to Prince Francis, and with her three best friends as ladies-in-waiting. It details the secret history of survival at French Court amidst fierce foes, dark forces, and a world of sexual intrigue.”

These simplistic plots offer a glimpse into the mindset of a network that claims to understand its audience: young women don’t want realism in their television but rather escapism into epic love triangles and even more love triangles amidst “dark forces.” Not to say that some young women don’t enjoy these themes (as is clear with the popularity of these shows), or that escapist television is wrong or harmful, but the CW has a habit of repeating its content due to popularity (perhaps the best example being the lovechildren of The Vampire Diaries, The Secret Circle and The Originals). When the same formula is used again and again, it becomes the norm and hurts both the audience and the network. Even the most far-fetching escapist stories need some base of reality in order to connect with a human audience, and the CW struggles with this. Because of its image to serve everyone’s inner teen, the CW’s content is also implicative of what teens actually want in their television. When looking at the basic plots of the CW’s programs, it can be established that female teen audiences want sensationalized love affairs and no substance.

The stereotyping of a young female audience isn’t even the CW’s biggest problem. The major problem is that the CW makes programs for a younger audience, but doesn’t understand the reality of their audience. According to the CW, an average teenage girl and boy should look something like this:

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After School Special

This is not a problem specific to The Vampire Diaries. Any CW program that centers on the lives of teenagers casts 20-something or even 30-something actors to portray those roles. This creates a ridiculously unattainable archetype for both male and female teenagers to strive for. The inevitable inability to achieve televised perfection has the potential to damage self-esteem, confidence, and feelings of self-worth.

The sexualization of the teenagers in CW programming is also potentially damaging to a teenage audience. Despite my many years of viewership to programs on the CW, I never fully realized the extent to which perceived teenagers are sexualized on the network’s numerous shows. The realization came with one of the more recent episodes of CW’s newcomer Reign, which was recently picked up for a full season. The specific episode “Left Behind” involved Mary Queen of Scots’ home at the French castle under siege by a vengeful Italian who lost his son by French hands. After numerous episodes of love-triangle development, I felt I was finally getting what I came for with Reign–political plot lines and development into Mary Queen of Scots political history. Instead, I came to the realization that Reign has no intention of making Mary Queen of Scots anything more than an object of sexual desire. The show doesn’t even consider Mary exploring her sexuality, but has only shown others desiring her, and this fact coincides with her physical appearance. An opening scene in “Left Behind” shows Mary, the current queen of France, the current prince of France, and the one-dimensional vengeful Italian explaining his reasoning behind overtaking the French castle in the absence of the French king. The dress that Mary wears in this scene and throughout most of the episode, pictured below, is her most revealing dress to date and its distraction completely undermines both Mary’s character and the performance from actress Adelaide Kane.

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This particular episode of Reign was also problematic because of its rape theme and the connection to Mary’s drastic wardrobe change. The sexualization of Mary and the threat of rape aren’t new to Reign, but it’s important to note the coincidence of Mary’s revealing dress and the presence of the one-dimensionally savage Italian army who attacks Mary and her friends with no motivation other than to be evil. When analyzing the implication of changing Mary’s wardrobe in this specific episode, it can be argued that “Left Behind” is supporting the claim that rape victims are in part responsible for their rapes because of the clothes they wear. Whether intended or not, these two aspects of Reign’s plot coming together is detrimental because it reduces Mary to a sexual object and wipes away the legitimate characteristics of intelligence and strength expressed in previous episodes. It is also suggestive of inaccurate and damaging misconceptions about rape.

The sexualiazation of female characters has become an expectation in nearly all CW programming. With a dominant female audience, this becomes a problem to younger viewers who see these unattainable bodies and sex-fueled plots become the norm. Shows like Reign and The Vampire Diaries have the gift of a strong female lead, but never use that gift to develop strong and meaningful plots around their characters. The CW uses teenagers as a focal point for so many of their shows, but continues to shy away from the reality of being a teenager and instead treats teenage characters like they’re adults. Themes of rape and murder are constantly one-episode plot devices and never feel significant to the characters or to the audience. The CW’s audience isn’t made up of teens alone, but those 18 and under who do commit hours to their programs are receiving damaging subliminal messages about body image and issues of rape and murder. The CW has come to expect the impossible from its male and female characters: all must have flawless beauty, an acceptance and forgiveness of murder, and emotional strength that stems from accepting a dire situation rather than fighting against it.  The audience who witnesses this same formula is expected to accept these terms as well. But it’s just not reality.

 

Nicole Elwell is a sophomore at the University of Baltimore, majoring in Psychology and minoring in Pop Culture. She hopes to bring psychology and feminism into a future career in writing for the movies.