Quote of the Day: Susan Faludi

Below is an excerpt from Susan Faludi’s famous Backlash: The Undeclared War Against American Women. It comes from her chapter, “Fatal and Fetal Visions: The Backlash in the Movies.”

Hollywood joined the backlash a few years later than the media; movie production has a longer lead time. Consequently, the film industry had a chance to absorb the “trends” the ’80s media flashed at independent women–and reflect them back at American moviegoers at twice their size. “I’m thirty-six years old!” Alex Forrest, the homicidal single career woman of Fatal Attraction moans. “It may be my last chance to have a child!” As Darlene Chan, a 20th Century Fox vice president, puts it: “Fatal Attraction is the psychotic manifestation of the Newsweek marriage study.”
The escalating economic stakes in Hollywood in the ’80s would make studio executives even more inclined to tailor their message to fit the trends. Rising financial insecurity, fueled by a string of corporate takeovers and the double threat of the cable-television and home-VCR invasions, fostered Hollywood’s conformism and timidity. Just like the media’s managers, moviemakers were relying more heavily on market research consultants, focus groups, and pop psychologists to determine content, guide production, and dictate the final cut. In such an environment, portrayals of strong or complex women that went against the media-trend grain were few and far between.
The backlash shaped much of Hollywood’s portrayal of women in the ’80s. In typical themes, women were set against women; women’s anger at their social circumstances was depoliticized and displayed as personal depression instead; and women’s lives were framed as morality tales in which the “good mother” wins and the independent woman gets punished. And Hollywood restated and reinforced the backlash thesis: American women were unhappy because they were too free; their liberation had denied them marriage and motherhood.
The movie industry was also in a position to drive these lessons home more forcefully than the media. Filmmakers weren’t limited by the requirements of journalism. They could mold their fictional women as they pleased; they could make them obey. While editorial writers could only exhort “shrill” and “strident” independent women to keep quiet, the movie industry could actually muzzle its celluloid bad girls. And it was a public silencing ritual in which the audience might take part; in the anonymity of the dark theater, male moviegoers could slip into a dream state where it was permissible to express deep-seated resentments and fears about women.
The pop culture backlash against women might’ve begun in the ’80s, but it’s certainly seen a resurgence as of late. Only this time, people kinda don’t think it’s a big deal, or, they don’t read it as sexist. Susan J. Douglas calls it “enlightened sexism,” and she argues that:
Enlightened sexism is a response, deliberate or not, to the perceived threat of a new gender regime. It insists that women have made plenty of progress because of feminism–indeed, full equality has allegedly been achieved–so now it’s okay, even amusing, to resurrect sexist stereotypes of girls and women. After all these images (think Pussycat Dolls, The Bachelor, Are You Hot?, the hour-and-a-half catfight in Bride Wars) can’t possibly undermine women’s equality at this late date, right? More to the point, enlightened sexism sells the line that it is precisely through women’s calculated deployment of their faces, bodies, attire, and sexuality that they gain and enjoy true power–power that is fun, that men will not resent, and indeed will embrace.

Take the recent release of Sucker Punch and last year’s The Social Network. Both films have gotten flack for their sexist and offensive portrayals of women. And in these films, male moviegoers don’t necessarily need to, as Faludi argues, “express deep-seated resentments and fears about women,” because the women display sexuality in such a way that it’s fun! And powerful! Representing a kind of  power that, as Douglas argues, “men will not resent, and indeed will embrace.” So where does that leave us now? Hollywood certainly continues to make the kinds of films Faludi discusses; in fact, it’s hard to think of a recent woman-centered film where women aren’t at some point set against other women. But in addition to the “good mother,” now we’ve got the “MILF.” In addition to the “independent career woman,” now we’ve got characters like Elle Woods in Legally Blonde (independent and brilliant and gorgeous and HasItAll). 
Worse, if Hollywood joins the backlash “a few years later than the media” (which Faludi points out about ’80s cinema), what in the fuck kinds of movies do we have to look forward to in, say, 2015? I’m betting on, Abortion Is, Like, So Five Years Ago, written and directed by Hollywood. And, When Rape Was Illegal: a Documentary, sarcastically narrated by the signers of the Free Polanski Petition. Thoughts?

Quote of the Day: Jennifer L. Pozner

Reality Bites Back: the Troubling Truth about Guilty Pleasure TV by Jennifer L. Pozner (Seal Press)

While there are huge swaths of this book I’d like to quote, I’ve chosen a passage from the chapter “Unraveling Reality TV’s Twisted Fairytales: Cinderellas and Cautionary Tales,” which focuses on reality dating programs (such as The Bachelor). It’s often simple to dismiss such programming, but like all media, these programs do significant work in cultural norming, and we don’t always understand how powerful the messages are.

On fairytale imagery:

For women, these representations conjure our earliest memories–of the stories our parents read to us before bed, of the cartoons that danced in our imaginations, telling us what we could (and should) look forward to when we grew up. No matter how independent we might be as adults, how cynical we consider ourselves, or how hard we’ve worked to silence external cultural conditioning, decades of sheer repetition make it extremely difficult to fully purge societal standards from our psyches. Simply put, it’s damn near impossible to live completely outside the culture, no matter how well we try to shield ourselves from its impact.

[…]

Regardless of where we fall on this continuum–from conscious refusal to let childish notions inform our love lives to enthusiastic embrace of fantasies we’ve nursed since we were little girls–producers play on these deep-seated ideas about gender, love, and romance for ratings. This, in part, is what Mike Darnell was talking about when he told Entertainment Weekly that the secret to airing a successful reality TV show is to create a premise that is “steeped in some social belief.” And, as we’ll soon see, similar stereotypes about race, class, beauty, and sexual orientation are endemic, even necessary, to reality TV–in all its forms.

I believe that media literacy is the education issue of our time. While many people are cynically aware that they’re being sold products in television–through both traditional advertising and product placement–they’re less savvy about the ideas and cultural norms being sold to them. As Pozner points out, it’s the “sheer repetition” of the regressive ideas and images in reality TV that has a lasting effect on our views of women, in particular.
I highly recommend reading–and purchasing–Pozner’s Reality Bites Back. It’s a fantastic book, very teachable (if you’re a teacher-type), and published by Seal Press, which prints books by women and for women.

Quote of the Day: Susan J. Douglas

Enlightened Sexism: The Seductive Message that Feminism’s Work is Done by Susan J. Douglas

Note: all boldface is my emphasis, not the author’s.

Today, feminist gains, attitudes, and achievements are woven into our cultural fabric. So the female characters created by Shonda Rhimes for Grey’s Anatomy, to choose just one example, reflect a genuine desire to show women as skilled professionals in jobs previously reserved for men. Joss Whedon created Buffy the Vampire Slayer because he embraced feminsim and was tired of seeing all the girls in horror films as victims, instead of possible heroes. But women whose kung fu skills are more awesome than Jackie Chan’s? Or who tell a male coworker (or boss) to his face that he’s less evolved than a junior in high school? This is a level of command-and-control barely enjoyed by four-star generals, let alone the nation’s actual female population.

But the media’s fantasies of power are also the product of another force that has gained considerable momentum since the early and mid-1990s: enlightened sexism. Enlightened sexism is a response, deliberate or not, to the perceived threat of a new gender regime. It insists that women have made plenty of progress because of feminism–indeed, full equality has allegedly been achieved–so now it’s okay, even amusing, to resurrect sexist stereotypes of girls and women. After all these images (think Pussycat Dolls, The Bachelor, Are You Hot?, the hour-and-a-half catfight in Bride Wars) can’t possibly undermine women’s equality at this late date, right? More to the point, enlightened sexism sells the line that it is precisely through women’s calculated deployment of their faces, bodies, attire, and sexuality that they gain and enjoy true power–power that is fun, that men will not resent, and indeed will embrace. True power here has nothing to do with economic independence or professional achievement (that’s a given): it has to do with getting men to lust after you and other women to envy you. Enlightened sexism is especially targeted to girls and young women and emphasizes that now that they “have it all,” they should focus the bulk of their time and energy on their appearance, pleasing men, being hot, competing with other women, and shopping.

Enlightened sexism is a manufacturing process that is produced, week in and week out, by the media. Its components–anxiety about female achievement; a renewed and amplified objectification of young women’s bodies and faces; the dual exploitation and punishment of female sexuality; the dividing of women against each other by age, race, and class; rampant branding and consumerism–began to swirl around in the early 1990s, consolidating as the dark star it has become in the early twenty-first century. Some, myself included, have referred to this state of affairs and this kind of media mix as “postfeminist.” But I am rejecting this term. It has gotten gummed up by too many conflicting definitions. And besides, this term suggests that somehow feminism is at the root of this when it isn’t–it’s good, old-fashioned, grade-A sexism that reinforces good, old-fashioned, grade-A patriarchy. It’s just much better disguised, in seductive Manolo Blahniks and an Ipex bra.

Susan J. Douglas is the author of Where the Girls Are, The Mommy Myth, and other works of cultural history and criticism. Her work has appeared in The Nation, The Progressive, Ms., The Village Voice, and In These Times. (taken from the jacket cover of Enlightened Sexism)

Quote of the Day: Nina Power

Below is an excerpt from Nina Power’s One Dimensional Woman, in which she raises some interesting points and questions about the so-called Bechdel Test (or Ripley’s Rule, as we generally refer to it).

What does contemporary visual culture say about women? Here a thought experiment comes in handy: The so-called ‘Bechdel Test’, first described in Alison Bechdel’s comic strip Dykes to Watch Out For, consists of the following rules, to be applied to films, but could easily be extended to literature:
  1. Does it have at least two women in it,
  2. Who [at some point] talk to each other,
  3. About something besides a man.

Writer Charles Stross adds that

“if you extend #3 only slightly, to read “About something besides men or marriage or babies, you can strike out about 50% of the small proportion of mass-entertainment movies that do otherwise seem to pass the test.”

Once you know about the test, it’s impossible not to apply it, however casually. Stross is right–huge quantities of cultural output (possibly even more than he suggests) fail. Several questions emerge from the test:

  1. What is so frightening about women talking to each other without the mediation of their supposed interest in men/marriage/babies?

  2. Does cinema/literature have a duty to representation such that it is duty bound to include such scenes, as opposed to pursuing its own set of agendas? Why should literature/cinema be ‘realistic’ when it could be whatever it wants to be?

  3. Does reality itself pass the test? How much of the time? Can we ‘blame’ films/TV for that?

Nina Power is a Senior Lecturer in Philosophy at Roehampton University. She has published widely on topics including Iran, humanism, vintage pornography and Marxism. (taken from the jacket cover of One Dimensional Woman.)

Quote of the Day: Ellen Page

I think it’s a total drag. I’ve been lucky to get interesting parts but there are still not that many out there for women. And everybody is so critical of women. If there’s a movie starring a man that tanks, then I don’t see an article about the fact that the movie starred a man and that must be why it bombed. Then a film comes out where a woman is in the lead, or a movie comes out where a bunch of girls are roller derbying, and it doesn’t make much money and you see articles about how women can’t carry a film.

 On the controversy created by Juno:
I was like, “You know what? You all need to calm down.” People are so black and white about this. Because she kept the baby everybody said the film was against abortion. But if she’d had an abortion everybody would have been like, “Oh my God.” I am a feminist and I am totally pro-choice, but what’s funny is when you say that people assume that you are pro-abortion. I don’t love abortion but I want women to be able to choose and I don’t want white dudes in an office being able to make laws on things like this. I mean what are we going to do — go back to clothes hangers?

Quote of the Day: Geena Davis

Gender in Media activist and actress Geena Davis

Perhaps best known for her award-winning roles on television and in film, Geena Davis is the founder of the Geena Davis Institute on Gender in Media. According to the website 

Five years ago, while watching children’s television programs and videos with her then 2-year old daughter, Academy Award winner Geena Davis noticed a remarkable imbalance in the ratio of male to female characters. From that small starting point, Davis went on to raise funds for the largest research project ever undertaken on gender in children’s entertainment (resulting in 4 discrete studies, including one on children’s television).

The research showed that in the top-grossing G-rated films from 1990-2005, there were three male characters for every one female – a statistic that did not improve over time.

The concern was clear: What message does this send to young children?

We’ve highlighted our disappointment with Pixar for its girl problem (WALL-E, Up), but nearly every Disney film deserves the same–if not worse–scorn (and that’s just picking on two production companies). As angry as films make us when they don’t depict real, complex women, the problem really starts with children’s programming–and the solution might, too.
We really learn our value in society by seeing ourselves reflected in the culture–kids more so than anyone. I mean, as they’re learning what their role in society is and what’s their place and value, they’re exposed to massive amounts of media, and the message that boys and girls are getting currently is that girls are not as valuable as boys, and that women are not as important as men.

Kudos to Geena Davis for tackling this important problem. Check out her website, and watch a short interview about her project below.

Quote of the Day: Margaret Cho

courtesy of margaretcho.com

Whenever anyone has called me a bitch, I have taken it as a compliment. To me, a bitch is assertive, unapologetic, demanding, intimidating, intelligent, fiercely protective, in control–all very positive attributes. But it’s not supposed to be a compliment, because there’s that old, stupid double standard: When men are aggressive and dominant, they are admired, but when a woman possesses those same qualities, she is dismissed and called a bitch.

These days, I strive to be a bitch, because not being one sucks. Not being a bitch means not having your voice heard. Not being a bitch means you agree with all the bullshit. Not being a bitch means you don’t appreciate all the other bitches who have come before you. Not being a bitch means since Eve ate that apple, we will forever have to pay for her bitchiness with complacence, obedience, acceptance, closed eyes, and open legs.

There is a dangerous myth going around this country that sexism doesn’t exist anymore, that we have gotten past it and that “alarmist” feminists are an outdated nuisance. Warnings like “Oh, watch out–here comes the feminazi!” abound in our culture, as if for a woman, entitling yourself to an opinion puts you on a par with followers of the Third Reich.

 from the Foreword to bitchfest: Ten Years of Cultural Criticism from the Pages of Bitch Magazine