Top 10 in 2011: Why Should Men Care? An Interview with Matt Damon

Readers, you really really love Matt Damon. That’s the only reason we can figure for this little post, featuring a video of Damon explaining his involvement in the PBS Women, War and Peace series, being #2 in 2011. Perhaps, though, it’s not just Damon’s presence, but how succinctly he explains the importance of men’s involvement in so-called women’s issues. (But we really really like him, too.)
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Matt Damon narrating Women, War, and Peace

At Bitch Flicks, we’re featuring reviews of the five-part PBS documentary Women, War & Peace—all by the fabulous Megan Kearns—the first of which we published on October 19th. (Megan’s review of Part Two will appear later today.) Matt Damon narrates the series, and he was interviewed about his participation, explaining why he wanted to be a part of the event and why men should care about how war impacts women, especially when rape is used as a weapon of war. I’m posting the video of the 4-minute interview, but it’s also linked to above (just in case).

From the Archive: Dude Rules: A Response

This post by Stephanie Rogers first appeared at Bitch Flicks in March 2009.

Glenn Whipp of the L.A. Times wrote a fascinating piece a few days ago titled “Dude rules: leaping into buddydom,” which explores Judd Apatow’s legacy of films, as well as films that imitate the ever-popular prepubescent man garbage that continues to dominate the box office. Whipp lists seven rules on how to nurture on-screen guy bonds, and I offer my response to these rules, highlighted in red below. It’s a good idea to take a look at Whipp’s original article to get the full context of what we’re dealing with.
Rule #1
Sharing fun, challenging and intellectually engaging activities can strengthen friendships.

The point is: Male friendships need not solely revolve around sports and beer. In fact, in today’s movie world, those guys are the losers to be mocked and avoided.

The Real Point is: Male friendships need not solely revolve around sports and beer. In fact, in today’s movie world, male friendships can revolve around exploiting women (the boys’ Flesh of the Stars website in Knocked Up) and living out their 30s and 40s as man-children, sometimes with their mothers (Will Ferrell in Wedding Crashers), while often jobless and perpetually stoned.
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Rule #2
Friends are optimists, not naysayers.

The point is: No one likes to be around negative energy. If the dude doesn’t like Bob Marley, tell him “peace out” and move on.

The Real Point is: Friends are optimists, not naysayers, especially when it comes to getting you laid. Without Kumar, Harold wouldn’t have hooked up with Maria. Without Harold, Kumar wouldn’t have hooked up with Vanessa. Without the sage advice from the gang at SmartTech, Andy would now be a 44-year-old virgin. Without a little prodding, Carl (Jim Carrey) would still be a single guy, watching movies alone in his apartment (Yes Man). If the dude doesn’t help you score, tell him “peace out” and move on.
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Rule #3
Friends carry each other.
The Real Point is: This rule can often be applied when your friend’s adolescent shenanigans go just a little too far. In Old School, when Frank (Will Ferrell) destroys his marriage by acting like a 12-year-old, his friends warmly accept him as their fellow fraternity brother. In The 40-Year-Old Virgin, when Andy (Steve Carell) is too freaked out to hook up with the girl he went home with, the token crazy-sex-whore (Elizabeth Banks), Cal (Seth Rogen) does the right thing and steps in to take care of it.
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Rule #4
Friends accept friends for how they are. Even when alerting the authorities might be the more prudent call.

The point is: If your friends are 40 years old and still living at home (Step Brothers), don’t try to change them. Buy them a case of Fruit Roll-Ups instead. If your buddy is a heavily medicated mall cop looking to join the police force (Seth Rogen’s upcoming Observe and Report), you pat him on the head and hand him some pepper spray. And if your wingman gets a fake ID with the name McLovin on it — well, you can tell him he’s an idiot — but then you ask him to go score some beer.

The Real Point is: If your friends are 40 years old and still living at home, that’s totally acceptable. If your friends are 40 years old and still living at home, that’s totally hilarious. It’s funny when Will Ferrell’s character in Wedding Crashers screams, “Ma! The meatloaf!” after saying goodbye to a woman he lied to (at a funeral, no less) in order to get in her pants. In fact, why not just say “fuck it” and live out your 40s in a fraternity, with an entire group of man-children, complete with blow-up dolls, underage girls, and bikini-clad mud wrestlers (Old School).
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Rule #5
Friends make an effort to stay in touch.

The point is: … You don’t wait for buddies to call you. You pick up the phone. Or better: Just show up on their doorstep.

The Real Point is: You don’t wait for buddies to call you. You call them, so you can avoid your wife and kids to hang out with 19-year-old girls all day (Wedding Crashers). You call them, so you can lock them in a room and force them to watch pornography (The 40-Year-Old Virgin) as a way to educate them on what it’s like to score. In fact, why not just show up on their doorstep to lend them your very own giant box of porn. Knowing your friend’s at home, jerking it to your homemade mixed-porn-tape, Boner Jams ’03, surely qualifies as staying in touch.
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Rule #6
Friends remain equally loyal in good times and bad.
The Real Point is: Friends will very loyally do anything to get you laid, including enduring a “midnight rape” by the hilarious token psycho female (Wedding Crashers), accidentally setting you up with a transsexual (The 40-Year-Old Virgin), which leaves room for the always-hilarious and requisite gay jokes, and giving you amazing, hard-earned advice on how to spot the most vulnerable drunk girl to take home (The 40-Year-Old Virgin).
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Rule #7
Friends know it’s OK to say, “I love you.” But they don’t have to, you know, talk about it at length.

The point is: These days in movies, male friendship means never having to say anything more than “I love you, man.”

The Real Point is: These days in movies, male friendship means never having to say anything more than “I love you, man” as long as it’s a way to prove that you’re secure in your masculinity. Of course, you’ve probably spent most of the movie bonding over hot chicks, and ways to go about screwing hot chicks, and fetishizing lesbians (who are most certainly always hot and making out for your pleasure only), and fantasizing about the MILF, and standing around with various nude-for-no-reason background women who you probably never speak to, and throwing in a few gay jokes here and there. Congratulations! By that point, I’d say you’ve proven your straightness to the audience enough to risk just a little hetero-bro-love.

‘War Redefined’ Challenges War as a Male Domain and Examines How Violent Conflict Impacts Women

When we think of war, we often think of soldiers, tanks, weapons and battlefields. But most wars breach boundaries, affecting civilians, mostly women and children. Soldiers, guerillas and paramilitaries use tactics such as rape, fear, murder and pushing people off their land. We need to shift our paradigm of war and look at how it affects women’s lives.
War Redefined, the 5th and final installment in Women, War & Peace (WWP), is the capstone of the groundbreaking series featuring politicians, military personnel, scholars and activists discussing how women play a vital role in war and peace-keeping. Narrated by actor Geena Davis, a phenomenal women’s media activist, written and produced by Peter Bull, co-produced by Nina Chaudry, this powerful film threads stories told in the other parts of the series: Bosnian women surviving rape camps, Liberian women protesting for peace, Afghan women demanding their rights in negotiations and Afro-Colombian women contending with internal displacement. War Redefined, and the entire WWP series, challenges the assumption that war and peace belong to men’s domain.
Zainab Salbi, Founder of Women for Women International, said: 

“If you look at the front line discussion of wars, and this is what newspapers report on – the fighting tactics, the troops, the politics, the borders, the weapons, the armies, all of these things – that is a men’s story. The back line discussion of the story is how you actually exist and live and continue on living in war. That’s a women’s story. And that story has never been told.”

Well, I think we’re long overdue for women’s stories to be told.
PROLIFERATION OF SMALL ARMS AND LIGHT WEAPONS
More than 30 armed conflicts, insurgencies and wars are fought each year. Each year?! In past wars, strategic bombing from high altitudes killed thousands. Now, except for the U.S. invasion of Iraq, “wars are smaller in scale and more intimate.” Civilians are no longer separate from battle. Often they’re targeted. In discussing war, Secretary of State Hillary Clinton asserted:

“I think it’s way past time that we redefine what we mean by war because there are no front lines in the wars in today’s world…The primary victims in today’s wars are women and children.”

With “no international treaty regulating the global transfer of small weapons,” war has become simpler and more cost-efficient. Arms dealers supply warlords and guerillas with cheap weapons. It’s extremely difficult to control the distribution of small arms. Rachel Stohl discussed the staggering number of weapons produced:

“875 million small arms and light weapons in circulation today. About 650 million are in the hands of civilians. About 8 million weapons are produced newly every single year. About 10-14 million rounds of ammunition are produced every year. That’s enough weapons to arm 1 in every 8 people and enough ammunition to shoot everyone in the world twice. 

Wait, enough ammo to shoot everyone twice?! That’s mindboggling. 
Women are attacked in refugee camps and their homes. They face rape and sexual assault. Even when women aren’t the combatants, Stohl says “they’re often the victims of these weapons,” left to contend with the aftermath.
HUMAN SECURITY
Security intertwines with war, taking into account personal safety. Human security, as Professor Kaldor explains, is an alternative to national security. It puts the focus on protecting individuals and communities, not states and borders. 
In Afghanistan, women’s rights activist Shahida Hussein said she felt safer during the oppressive regime of the Taliban. Safer DURING the Taliban?! Women were able to go to the market and restaurants. But after the U.S. invaded, along with the proliferation of weapons and “atmosphere of potential violence,” it’s no longer safe, imprisoning women in their homes.
One way to protect women’s security is to engage them. Sgt. Abby Blaisdell leads a Female Engagement Team (FET) in Afghanistan. In many areas, unless they’re related, “women are forbidden from interacting with men.” The soldiers talk with women about their needs, including healthcare and education, “to improve their quality of life.”
Security goes beyond weapons. It includes many basic amenities we take for granted. Professor (and feminist!) Cynthia Enloe questioned:

“When you start thinking about women and war, you really change your idea about what security is. Security becomes, is there water out of the tap? Or, is the well polluted? You begin thinking about electricity or what happens to women’s security when electricity fails. How do they make a living in the middle of war?”

INTERNAL DISPLACEMENT
But how can you begin to think about human security when people are uprooted from their homes? Reaching “epidemic proportions,” the number of people internally displaced by violence conflicts “has increased more than 65% since the Cold War ended.”
In Colombia, guerillas and paramilitaries terrorize Afro-Colombian citizens, trying to drive them from their homes to control the gold-rich land. In 2002, guerillas launched a gas attack against paramilitaries near the village of Bojidar. A bomb landed in a church, killing 119 villagers, mostly women and children. After fleeing the massacre, the survivors joined the other 4 million internally displaced in Colombia, “one of the worst and least reported humanitarian crises in the world.”
Displacement isn’t temporary, usually lasting 5 years or more. Nobel Peace Prize-winning activist Leymah Gbowee was a refugee during Liberia’s civil war:

“Refugee life, displaced life, is one of the most undignified ways of life. It’s horrible. You don’t have a comfortable bed. You don’t have a comfortable place to sleep. Sometimes medical aid is non-existent. You rarely find food to eat. You become frozen in that moment when you left. So wherever you find yourself, your whole mind about your community is about when you left.”

When people are refugees in their own country, when should other nations respect a nation’s sovereignty and when should they intervene?
RAPE AS A WEAPON OF WAR
One of the most horrifying aspects of war is the pervasiveness of rape.
Major General Patrick Cammaert “shocked the U.N with his first-hand testimony” on the rise of rape as a weapon of war:

“It has probably become more dangerous to be a woman than a soldier in an armed conflict.”

Wait, WHAT?! It’s shocking that one’s gender alone could endanger them more than a soldier.
When faced with rape and sexual assault against women and girls, Major General Cammaert said he wasn’t “prepared for that kind of violence.” Used to uproot and humiliate women, he discussed rape’s ramifications on society:

“Any armed group that is using rape as a weapon and a tactic of war is destroying the community. The women are booted out of the community. Husbands are divorcing their wives. They are mentally broken and therefore it is such an effective weapon. You demoralize, you humiliate those people and destroy the fabric of society.”

It took the international community awhile to realize rape during war had become systematic, rather than isolated incidents. But rape as a weapon of war has been used for decades. 
Russian soldiers raped 900,000 German women in WWII. When Bangladesh split from Pakistan in 1971, Pakistani soldiers tortured and raped 200,000-400,000 Banglasdeshi women. Ethnic cleansing by Serbs caused an estimated 20,000 Bosnian Muslims to flee their homes. War crimes investigator Fadila Memisevic recorded first-hand accounts of their brutal attacks, compiling a list of over 1300 suspected rapists. Soldiers rounded women up in rape camps and raped 20,000-50,000 Bosnian women. During the 1994 Genocide in Rwanda, Hutu forces murdered 1 million ethnic Tutsis and moderate Hutus. It emerged later that “atrocities included the rape of as many as half a million Tutsi women and girls.”
In groundbreaking war crimes tribunals established for Bosnia and Rwanda, for the first time, rape was charged and convicted as “a crime against humanity.” Memisevic’s files were crucial evidence in getting rape recognized as a war crime. “Female prosecutors and justices were instrumental in pushing for and handing down convictions.” 
But the passage of laws doesn’t automatically alter behavior. In the eastern Congo, rebel groups battle to control diamond and gold mines. With “nearly 2 million women and children raped…at a rate of nearly 1 every minute,” the DRC has been called “the rape capital” of the world.
WOMEN IN NEGOTIATIONS
Despite atrocities affecting women, they are often shut out of the peace process. Around the world, women’s organizations challenge the notion that “that only those who are the key actors in war should be the key actors in peace.” 
In 2000, pressured by female activists, the U.N. Security Council adopted resolution 1325, which mandates women’s inclusion in all post-conflict negotiations and reconstructions. Despite this historic step, women still comprise less than 10% of those involved in “formal peace negotiations.” Secretary Clinton is helping to change that. In Afghanistan, she valiantly advocates women must be included in the peace process.
Sometimes women take matters into their own hands. The women of Liberia, led by Leymah Gbowee, joined together and peacefully protested, helping end the civil war ravaging their country. Their protests led to the ousting of warlord Charles Taylor. In 2005, Liberia elected Africa’s first female president, Ellen Johnson Sirleaf. Under her leadership, Liberia has experienced the longest period of peace and prosperity. 
Earlier this year in Cote d’Ivoire, women in the city of Abidjan protested peacefully against President Gbagbo, who refused to relinquish power. Soldiers loyal to him opened fire, killing 7 women. Gbowee organized a 1,000 Women March in solidarity with the women of Cote d’Ivoire. They came together in unity. Gbowee said:

“You can’t sit and say this is one country’s issue when you are a woman and all of the wars in our region now our fought on the bodies of women. These are things that have really made it important for us as West African women to rise up and speak.”

Madeline Albright discussed the need for reconciliation and respect, of women and each other’s differences. Secretary Clinton mentioned the rise of social media in bringing visibility to social issues and fueling activism:
“Women themselves have to empower themselves, it has to come from within. And it has in so many different settings. It’s not only because it’s the right thing to have women’s voices, minority voices, etc., in the room. It’s no longer going to be possible to keep them out of the process.”
While it can certainly be watched alone, War Redefined provides an arc connecting all of the individual stories in the WWP series. A testament to compelling storytelling, I kept yearning for more, particularly coverage of women’s role in the Arab Spring. This powerful film provides an eye-opening global overview of the atrocities and obstacles women must overcome in war. 
The film left me with so many questions. How can people commit such atrocities to women? How can I stop rape or end displacement or help raise women’s voices in negotiations? How can we each make a difference?
Women are often forgotten in war. Their voices must be heard. It’s vital we include a gender lens when discussing conflict. In the film, a West African woman protesting said: 

“One African woman cries, we cry all over…We are all speaking with one voice.” 

I think it’s time we women united globally and started speaking with one voice.
Watch the full episode of War Redefined online or on PBS.

Megan Kearns is a feminist vegan blogger, freelance writer and activist. She blogs at The Opinioness of the World, where she shares her opinions on gender equality, living cruelty-free, Ellen Ripley and delish vegan cupcakes. Her work has also appeared at Arts & Opinion, Fem2pt0, Italianieuropei, Open Letters Monthly, and A Safe World for Women. She earned a B.A. in Anthropology and Sociology and a Graduate Certificate in Women and Politics and Public Policy. Megan lives in Boston with more books than she will probably ever read in her lifetime. She is a Monthly Guest Contributor to Bitch Flicks.

2012 Golden Globe Nominations

Here they are! I don’t have much to say about these (yet), but if we’ve reviewed them or commented on them, I’ll link you up.

Best Motion Picture — Drama

“The Descendants”
“The Help”
“Hugo”
“The Ides of March”
“Moneyball”
“War Horse”

Best Performance by an Actress in a Motion Picture — Drama

Glenn Close, “Albert Nobbs”
Viola Davis, “The Help”
Rooney Mara, “The Girl With the Dragon Tattoo”
Meryl Streep, “The Iron Lady”
Tilda Swinton, “We Need to Talk About Kevin”

Best Performance by an Actor in a Motion Picture — Drama

George Clooney, “The Descendants”
Leonardo DiCaprio, “J. Edgar”
Michael Fassbender, “Shame”
Ryan Gosling, “The Ides of March”
Brad Pitt, “Moneyball”

Best Motion Picture — Comedy or Musical

“50/50″
“The Artist”
“Bridesmaids”
“Midnight in Paris”
“My Week With Marilyn”

Best Performance by an Actress in a Motion Picture — Comedy or Musical

Jodie Foster, “Carnage”
Charlize Theron, “Young Adult”
Kristen Wiig, “Bridesmaids”
Michelle Williams, “My Week With Marilyn”
Kate Winslet, “Carnage”

Best Performance by an Actor in a Motion Picture — Comedy or Musical

Jean Dujardin, “The Artist”
Brendan Gleeson, “The Guard”
Joseph Gordon-Levitt, “50/50”
Ryan Gosling, “Crazy, Stupid, Love”
Owen Wilson, “Midnight in Paris”

Best Animated Feature Film

“The Adventures of Tintin”
“Arthur Christmas”
“Cars 2”
“Puss in Boots”
“Rango”

Best Foreign Language Film

“The Flowers of War” (China)
“In the Land of Blood and Honey” (USA)
“The Kid With a Bike” (Belgium)
“A Separation” (Iran)
“The Skin I Live In” (Spain)

Best Performance by an Actress in a Supporting Role in a Motion Picture

Berenice Bejo, “The Artist”
Jessica Chastain, “The Help”
Janet McTeer, “Albert Nobbs”
Octavia Spencer, “The Help”
Shailene Woodley, “The Descendants”

Best Performance by an Actor in a Supporting Role in a Motion Picture

Kenneth Branagh, “My Week With Marilyn”
Albert Brooks, “Drive”
Jonah Hill, “Moneyball”
Viggo Mortensen, “A Dangerous Method”
Christopher Plummer, “Beginners”

Best Director — Motion Picture

Woody Allen, “Midnight in Paris”
George Clooney, “The Ides of March”
Michel Hazanavicius, “The Artist”
Alexander Payne, “The Descendants”
Martin Scorsese, “Hugo”

Best Screenplay — Motion Picture

Woody Allen, “Midnight in Paris”
George Clooney, Grant Heslov, Beau Willimon – “The Ides of March”
Michel Hazanavicius – “The Artist”
Alexander Payne, Nat Faxon, Jim Rash – “The Descendants”
Steven Zaillian, Aaron Sorkin – “Moneyball”

Best Television Series — Drama

“American Horror Story”
“Boardwalk Empire”
“Boss”
“Game of Thrones”
“Homeland”

Best Performance by an Actress in a Television Series — Drama

Claire Danes, “Homeland”
Mireille Enos, “The Killing”
Julianna Margulies, “The Good Wife”
Madeleine Stowe, “Revenge”
Callie Thorne, “Necessary Roughness”

Best Performance by an Actor in a Television Series — Drama

Steve Buscemi, “Boardwalk Empire”
Bryan Cranston, “Breaking Bad”
Kelsey Grammer, “Boss”
Jeremy Irons, “The Borgias”
Damian Lewis, “Homeland”

Best Television Series — Comedy or Musical

“Enlightened”
“Episodes”
“Glee”
“Modern Family”
“New Girl”

Best Performance by an Actress in a Television Series — Comedy or Musical

Laura Dern, “Enlightened”
Zooey Deschanel, “New Girl”
Tina Fey, “30 Rock”
Laura Linney, “The Big C”
Amy Poehler, “Parks and Recreation”

Best Performance by an Actor in a Television Series — Comedy or Musical

Alec Baldwin, “30 Rock”
David Duchovny, “Californication”
Johnny Galecki, “The Big Bang Theory”
Thomas Jane, “Hung”
Matt LeBlanc, “Episodes”

Best Mini-Series or Motion Picture Made for Television

“Cinema Verite”
“Downton Abbey”
“The Hour”
“Mildred Pierce”
“Too Big to Fail”

Best Performance by an Actress in a Mini-Series or Motion Picture Made for Television

Romola Garai, “The Hour”
Diane Lane, “Cinema Verite”
Elizabeth McGovern, “Downton Abbey” (Masterpiece)
Emily Watson, “Appropriate Adult”
Kate Winslet, “Mildred Pierce”

Best Performance by an Actor in a Mini-Series or Motion Picture Made for Television

Hugh Bonneville, “Downtown Abbey” (Masterpiece)
Idris Elba, “Luther”
William Hurt, “Too Big to Fail”
Bill Nighy, “Page Eight” (Masterpiece)
Dominic West, “The Hour”

Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television

Jessica Lange, “American Horror Story”
Kelly MacDonald, “Boardwalk Empire”
Maggie Smith, “Downtown Abbey” (Masterpiece)
Sofia Vergara, “Modern Family”
Evan Rachel Wood, “Mildred Pierce”

Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television

Peter Dinklage, “Game of Thrones”
Paul Giamatti, “Too Big to Fail”
Guy Pearce, “Mildred Pierce”
Tim Robbins, “Cinema Verite”
Eric Stonestreet, “Modern Family”

Animated Children’s Films: Is Smurfette Giving it Away? Let Your Kids Decide

My younger daughters are obsessed with their Smurf Village. They build things, create and sustain communities, plant virtual peas that need to be watered. In general, they have an excellent pseudo SIM experience, only with little blue guys. Civilization building is fun for boys and girls. My involvement in Smurfland is limited to checking in now and then to make sure, when my kids are in school, that the plants get watered and don’t die. 
‘Til I heard the question,  “Mom, can I buy Smurfette?”
Of course she wants Smurfette. What girl doesn’t love Smurfette? I loved Smurfette. My sister loved Smurfette. She’s fabulous. She’s fun. She’s blue. Now she’s Katy Perry, for goodness sake.
“What are you buying her for?” I asked. 
Blank looks.  
“What do you mean?”
“Who else can you buy? And what for? ‘Cause your village is filled with hundreds of frantically busy little blue dudes hoeing and hammering?”
I was happy and relieved to hear that other Smurfs were also available for premium purchase: Tailor, Miner, Farmer and a handful of others, almost all eponymously named for their JOBS (a handful for their vices, like Lazy).  
But, the one female Smurf?  
No job. Not even a  personality trait like, Lazy or Vanity (who, by the way is a male, but has a pink mirror, because, please, we all know that vanity is a female trait).
Smurfette?
She’s named for her VAGINA. Know any boys or men with the diminuitive “ette” at the end of their names? It’s usually a dead giveaway. 
She does nothing except be female, the token ‘non-male’ – the one who deviates from the norm, which in this case is 50,000 blue boys with floppy white tams who apparently have magical maleparthenogenesis capabilities. Nada but little tail-wagging lusciousness. I know. I know. It’s just a game, a story, right?
And what, exactly, does the Smurf village story teach boys and girls about being Smurfette? It tells them that:
·      Smurfs are boys 
·      She’s defined by her sex, reduced entirely to her femaleness, which is after all simply not-maleness
·      She was created to wreak havoc on the utopian male world (what else is new?)
·      She doesn’t work, have a job, or serve any “real” function
·      She’s super pretty, did I say that?
·      Oh, I almost forgot, Smurfette is expensive, the most expensive one for sale
My kids get to download apps on my Ipad in exchange for cultural deconstruction credits (woo-hoo, party time in our house!). So, before they could sign on to play in Smurfland, they had to tell me what The Smurfette Principle was. They already knew that it was bad enough that there is only one female Smurf, who, by the way, serves two purposes 1) she was created to sow dissention and jealousy among the males and 2) she’s there to show that the little blue men aren’t…shhh…gay. But, actually selling her, for being female. IT SUCKS. I know, blah blah feminist blah. So boring. 
Don’t I know there are really serious things happening? And Nicholas Kristof, thank goodness, writes about them as much as possible. For example, girls being sold into slavery in other parts of the world. 
That’s right. Slavery. And why?
Because they’re perceived as sub-human. They’re commodities. Something you trade, buy and sell.  Sounding familiar?
“Are you serious???” you say. Cute, innocent, wholesome Smurfs, little blue memes of subtle but virulent sexism? No way. This is America. Not only do women have nothing to complain about, but for some people we’re destroying all the men. At the very least, we’re the good guys and gals. The genuinely most fair and equal place in the world…those are the core tenants of American Exceptionalism. We are better than the rest of the world.   
So, no, it’s not just a story. It’s our culture and we get to make it. Then it makes us. That Smurf story is no different from 80% of the hyper-gendered stories we tell our kids. And if you find that hard to believe go visit The Geena Davis Institute Web Site where you will find hard stats.
‘Cause we’re at the stage in this country where the true hard work of equality has to take place. This is the land where culture’s destructive and dangerous messages about gender hierarchies and power are not delivered with blunt force trauma (like stoning a young girl for being raped, which is so obviously wrong), but rather through fun and entertaining games and movies.
Why would I let my children play culture-shaping games involving the commoditization and sale of the only girl in the land without explaining it? It would be like serving them lard for breakfast, lunch and dinner and then pretending not to know why they were having heart attacks at 35.
Anyway, before saying anything to my daughter (in age appropriate ways, for those of you who are praying for my children’s eternal salvation), I let my daughter purchase Smurfette to see what exactly she would do once unleashed onto the Smurf Village. Turns out she sweetly and innocently skips around town blowing heart kisses and distributing power credits to every little blue boy she swings by.
She should be careful. People will talk.
Besides, I’m kinda stuck on the idea that my daughters and I, my mother and sister, my sisters-in-law, my nieces and my female friends are fully human, not deviant from anything. Silly me. I must be a bitter, angry feminist. Oh, I forgot ugly. And old.

Soraya Chemaly writes feminist satire. She is a regular contributor to The Good Men Project and The Huffington Post. She is also the creator of the retired blogs: Poog, a Goop Spoof and The Guide to Manic Moms


Guest Writer Wednesday: Post-Feminist Entertainment

This guest post by Melissa McEwan previously appeared at her blog Shakesville.
—–
[Trigger warning for misogyny.]
I’ve been really excited to see the previews for this awesome new show, coming next week to Fox:

Male Voiceover: Just because you have a teenage daughter doesn’t mean you’re not all that.

Blond White Woman working behind counter at cafe, to Conventionally Attractive White Man: I am definitely a cool parent. I’m always online, networking socially. [canned laughter]

Auburn-Haired White Female Friend, leaning against counter: I’m a cool mom, too. LOL. Whatevs. Justin Bieber. [canned laughter]

Male Voiceover: I Hate My Teenage Daughter. Wednesday, November 30th, on Fox!

HA HA! Perfect. Definitely what this post-feminist world needs is some post-feminist programming with edgy narratives about how women are jealous bitches who resent their own daughters as they age disgracefully and mourn their lost youth. WELL DONE, FOX.
And what a title! Goooooooooooood one. In this post-feminist world, where there is definitely no concern about the emotional health of teenage girls and bullying is not a problem and misogyny is FOR SURE a thing of the past, where no one uses “girl” or “schoolgirl” as an insult, where no one accuses anyone of throwing like a girl or crying like a schoolgirl, and companies would never do something like conflate a teenage girl with mayhem, where teenage girls are all totally secure in their worth as full and equal beings and their humanity is never diminished by objectification or exploitation or marginalization or myriad narratives that daily communicate you are less than, in this amazing new world where feminism has been rendered moot, this is obviously a perfect show that is super funny.
Thank Maude we live in this remarkable new frontier of undiluted equality, because can you even imagine the horror of being a teenage girl in a misogynist world and having to hear I Hate My Teenage Daughter played for laughs week after week after week…? Shiver. I don’t even want to contemplate it.
Fuck you, Fox. 

—–

Melissa McEwan is the founder and manager of the award-winning political and cultural group blog Shakesville, which she launched as Shakespeare’s Sister in October 2004 because George Bush was pissing her off. In addition to running Shakesville, she also contributes to The Guardian‘s Comment is Free America and AlterNet. Melissa graduated from Loyola University Chicago with degrees in Sociology and Cultural Anthropology, with an emphasis on the political marginalization of gender-based groups. An active feminist and LGBTQI advocate, she has worked as a concept development and brand consultant and now writes full-time.

YouTube Break: The Twilight Saga: An Interview with Dr. Natalie Wilson

Breaking Dawn, Part 1 opened in theaters last Friday, November 18th. I mainly know this because my sister, a self-professed “Twi-Hard” talked about it nonstop for about two weeks. She also went to the midnight showing. I’ve seen all the previous films in the series and wrote about New Moon awhile ago, and I’m well aware of the feminist criticism of both the novels and the films. I personally find the films fairly nuanced (don’t judge), and I think they invite many different, more complex readings than they’re often given. However, I’d say the series is pretty antifeminist overall. I suppose I’m most bothered by the disgusting, misogynist reaction to the fans of the Twilight Saga (who are mostly young women), and the disgusting, misogynist (and homophobic) reaction to Edward as a sparkly (read: totally, like, gay dude) vampire–as opposed to a super awesome killer vampire who, you know, doesn’t sparkle. And it isn’t surprising that it’s mostly young dudes who lambast girls and women all over the net for loving Twilight, yet it’s perfectly acceptable for them to male bond over the horrible franchise that is Transformers (and to simultaneously ogle Megan Fox’s ass, of course). This is all for another post about The Rise of the Fangirl, though, which I will write one day. At the very least, it’s important to discuss Twilight because it’s the First Franchise Film Series Ever to directly target teen girls, and we should probably look at what that means for the future of films made for young women, especially since the Twilight Saga has been overwhelmingly successful at the box office. Luckily, I found an amazing interview with Dr. Natalie Wilson, who points out some major problems with the Twilight Saga, and who blogs for one of my favorite sites, Professor, What If …?

This post is dedicated to my sister, Heather, who needs to understand that the Twilight Saga is kind of bullshit. I included a transcript in case the video doesn’t play. Enjoy!

Dr. Jenn: This year for Halloween, we’re going to discuss a pop culture phenomenon about vampires: the Twilight Saga. And I actually personally don’t know a lot about Twilight, but we have a local San Diego professor who knows a ton about this–and specifically a lot about bringing a feminist perspective to analyzing this book and movie series. Today we have Natalie Wilson, who’s a professor of Women’s Studies and Literature at Cal State, San Marcos, specializing in pop culture, feminism … and has a particular interest in sexuality, monstrosity, and the body. She blogs for Ms., Girl With Pen, and Womanist Musings, as well as her own blog, and had two books that came out this year: Seduced by Twilight and Theorizing Twilight. Good to have you on the show. So I know that you do a lot of teaching, writing, and research around women’s equality, and that you tie it to a study of popular culture. How do you do that?
Dr. Wilson: Right. Well, I think oftentimes popular culture is written of as just entertainment, as if it doesn’t matter. But actually popular culture is sort of a huge barometer of what’s going on in our society. So I like to think of studying popular culture as sort of taking the pulse of society. And when you look at popular culture, you can tell how healthy or unhealthy some of our views are. And as a women’s studies professor I’m particularly interested in gender and sexuality, and that is what sort of spurred my interest in writing about the Twilight Saga, because it’s a huge cultural phenomenon, and I feel like it sends some rather problematic messages about gender and sexuality.
Dr. Jenn: And I know you’ve even taught a class about this, a college semester long class about it. Okay, so what would you say the Twilight Saga says about gender, women’s sexuality, and sexual health?

Dr. Wilson: Right. Well, in terms of gender, I would say it’s rather regressive, very traditional roles of gender. For females, you’re supposed to first fall in love, then you’re supposed to get married—no sex before marriage—and as soon as you get married, you should have a child. And you should also give up college because you know, you can’t go to college and be a mother; that would be impossible. So, very sort of regressive ideas in terms of femininity and the female role, really marriage and motherhood. And then in terms of masculinity, the males that are held up in the series as the desirable males are very controlling, almost hypermasculine, very strong, very muscular, very domineering, and very possessive and controlling and even violent toward the females in the series.

Dr. Jenn: And that’s what I was going to ask. I know there seems to be a connection between violence and sexuality, so what have you found around that?

Dr. Wilson: In terms of sexuality, the series is often called “abstinence porn.” It kind of drips with sex, but no sex ever really happens, so there’s desire around sex, but you’re not supposed to have sex before marriage, so there’s a definite abstinence message. And in particular, the female of the series, Bella, is held up as the one that’s responsible for not getting the males too excited, and she’s sort of the policer of chastity.

Dr. Jenn: So the responsibility is put on her.

Dr. Wilson: Yes, the responsibility is put on her. The other thing is that there’s this equation with sex and death—because she’s attracted to a vampire and a werewolf, both of who are supernaturally strong, and could kill her very easily. So the idea is if you turn them on, or you get too involved, your life is at risk. So there’s this equation with sex equaling death for females.

Dr. Jenn: Yikes. What about in terms of, like, the importance of how these messages are showing up … because I know if you look at our rates of STDs and pregnancy compared to other countries, there’s a big difference. Can you speak to that?

Dr. Wilson: Yeah. I think one of the things that happens with sexuality in the novel is there’s lots of desire, but there’s no serious conversations around sex. And there’s, you know, “you will be damned if you have sex” or “you will die,” but there’s nothing about contraception or sexual health or what a healthy relationship is; in fact, Edward is quite abusive. On their first night, their first honeymoon night, Bella ends up black and blue the morning after because he’s so strong, and he’s holding onto her so tightly. And this is framed as very hot and exciting rather than as some sort of sexual violence.

Dr. Jenn: And didn’t one of them black out … is that right? … Or didn’t have memories of that?

Dr. Wilson: Right. She wakes up, and she’s in this post-coital euphoria; meanwhile, she’s completely black and blue and supposedly doesn’t realize that she’s black and blue until she looks in the mirror. And then when she looks in the mirror, she calls the bruises decorations, and that they are, you know, him decorating her with his love. So this sort of blurring of sexuality and violence and sex being dangerous … and then what you were saying about STIs and teen pregnancies: it is a series that’s hugely popular with teens and young people, and there’s no emphasis on, you know, that these types of violent relationships are unhealthy. In fact, they’re held up as desirable. There’s never a discussion of contraception. And she does end up pregnant, of course, the night of the honeymoon.

Dr. Jenn: Her first time?

Dr. Wilson: Yeah, her first time. And then that is framed as, you know, the happy ending. Like, the marriage and her becoming a mother are framed as the happy ending.

Dr. Jenn: You’ve said a lot already that’s very impactful. Anything else that you can speak to … what you think … how this impacts the teenagers that are fans of this?

Dr. Wilson: I think an important thing to point out is that it’s had a huge cross-generational impact, so even though teens are a huge part of the fandom, it’s also very popular among twenty and thirty year olds. And there’s the Twilight moms, so it’s really had a pretty big cultural impact. One of the things you might’ve heard of is the tendency to have a team, like, you’re Team Edward or you’re Team Jacob. And that has sort of spilled out into other … I mean, vampire shows, but also other shows as well–like True Blood, there’s Team Eric or Team Bill. And if you notice, all the teams are male. So it’s this very old idea of male as the sexual aggressor; they’re the one who’s in competition for women—very hypermasculine—and then women are held up as, you know, they can be the fans, or they’re literally sort of the objects that the men are fighting over. So it seems to me in terms of it spreading out into popular culture, it’s going backwards and sort of regressing to older ideas about sexuality where the male was supposed to be the aggressor and the female was supposed to be the passive, you know … And of course, very heteronormative, and very … married, monogamous sex is the only type that’s allowed. And there’s this sort of hypermasculine … the bodies of the males in the films as well as in the books–super muscular, super strong. So those are bodies that are often associated with being violent, and in the saga, they are violent; but it’s held up as, “he just couldn’t help himself,” either he was so turned on that he couldn’t help hurting me, or he loves me so much that he became violent and became jealous. And with the rates of, you mentioned, STIs and teen pregnancy, the United States also has the highest rates of teen sexual violence. So it’s kind of saying that teen sexual violence, “it’s just because he loves me so much” or that it’s actually romantic rather than problematic.

Dr. Jenn: Oh my gosh. Thank you. That was a ton of information. Give a hand here for Natalie Wilson. Wow. And if you want to find Natalie online, you can visit Seduced by Twilight.

On Entertainment Weekly’s "42 Unforgettable Nude Scenes"

This morning I found myself reading old NYT news-alert emails, surfing Facebook, and, finally, browsing a slideshow from Entertainment Weekly called “Bodies of Work: 42 Unforgettable Nude Scenes” which was published earlier this month. (It was a productive morning, see?)
We talk a lot at Bitch Flicks about female bodies in films (and especially in film marketing, as evidenced in our posters series), and how bodies are offered up for viewers’ consumption. There are a few things that strike me about the scenes that EW highlights. I haven’t seen every film mentioned, so there may be more complexities in some of the examples, but there are certainly identifiable trends.
I recommend looking through the slideshow before you continue reading, but you can always go back and look through it afterwards. There is very little nudity in the screen shots from the scenes, so I’d label the slideshow safe for work.
Uma Thurman in The Adventures of Baron Munchenhausen
1. Male bodies are comedic, female bodies are sexy.

There are, of course, a few exceptions, but this is overwhelmingly the case in these scenes. Photo after photo reveals male actors in comedic situations. Whether it’s the odd object hiding genitals (Ryan Gosling with Steve Carell’s head in Crazy, Stupid, Love; John Cleese with a picture frame in A Fish Called Wanda; Peter Sellers with a guitar in A Shot in the Dark) or the uncomfortable display of homophobia (Sacha Baron Cohen in Borat; Ed Helms in Cedar Rapids; Tyler Nilson in Walk Hard: The Dewey Cox Story), the naked male body is often played for laughs. At the same time, a majority of the female actors are shown as beautiful objects to look at, including women showering (Jessica Alba in Machete; Beverly D’Angelo in National Lampoon’s Vacation; Phoebe Cates in In Paradise) and women revealing themselves for a man (Kate Winslet in Titanic, or, as the article states “in almost anything”; Uma Thurman in The Adventures of Baron Munchausen; Halle Berry in Monster).
This tells us something we likely already know: the female body is most often presented for male viewers’ consumption, yet the male body is also being presented for male viewers–most often in a comedic way that reinforces heterosexuality. This emphasizes the notion that Hollywood employs the male gaze, and that films are being made for a (white, heterosexual) male audience. Which leads me to my next point…
2. “Unforgettable” bodies are white bodies.

There is a lot of tokenism going on in EW‘s piece. There is one Asian man (Ken Jeong in The Hangover II), one Black woman (Halle Berry), one Hispanic woman (Jessica Alba)–and every other person on the list is white. Let me say that again. Out of 42 scenes, there are 3 people of color. Three. Uno, dos, tres. Oh, there’s also Bart Simpson, who is yellow, but also a cartoon. (Update: I left Jaye Davidson of The Crying Game off the list, so there is also one Black man–who is, incidentally, not the person prominently shown in the image for that film/scene. Thanks to reader Soirore for pointing this out to me.)
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.
*I also want to note that for nude bodies to have comedic potential, those bodies have to have a certain amount of cultural privilege. We can laugh at the white male body because laughing at the white male body poses no threat to men, precisely because white men have the privilege and power to laugh and be laughed at.
David Kelly in Waking Ned Devine
3. Male bodies are active, female bodies are passive. Thus, men are active and women are passive.

This is very close to the first conclusion highlighted above, but it’s worth separating because it’s so prevalent in our culture and in this piece. Two comedies–The Full Monty and Calendar Girls–exhibit the divide perfectly. Both films play the nude body as comedic, but also subvert the comedy and allow for some moments in which bodies generally not considered desirable by mainstream standards are both sensual and wanted. However, Calendar Girls features a group of older women who are photographed for a (nude) calendar (read: the female body as a static, passive object), while The Full Monty shows a group of men performing a stage show (read: the male body in motion, in action). 
It’s not just these two examples in the list, either. You have a man riding a motorcycle nude (David Kelly in Waking Ned Devine), a man running down the street nude (Will Ferrell in Old School), a man riding a horse nude (Russel Crowe in Hammers over the Anvil), a man fighting (Viggo Mortensen in Eastern Promises), etc. 
4. EW has an interesting definition of the word “scene.” They actually mean “person.”

It seems that the piece is mistitled, and that the word “person,” or even “performance” more accurately describes their interest. Nearly every picture features a single person, even if that person isn’t the only nude one in the scene, with only a few exceptions: Sandra Bullock & Ryan Reynolds in The Proposal; Mike Meyers & Elizabeth Hurley in Austin Powers; “The Old Gals” in Calendar Girl; “The Men” in The Full Monty; and Julian Sands, Rupert Graves & Simon Callow in A Room with a View (probably the most subversive example in the piece, as the scene features the three men frolicking together, comfortably nude, in a lake).
Thus, “unforgettable” images of nude bodies are ones that are generally individual people, for the viewers’ consumption, and there is very little interest in portraying (or viewing) sensuality or healthy sexuality.
There are a lot of other things I could say about this collection of nude scenes. There’s certainly something interesting about violence and the male body, and it can’t go unmentioned that there is only one example (from The Crying Game) or maybe two (if you include the scene from A Room with a View) that is not explicitly heteronormative.
What else do you notice about the scenes and/or bodies offered up in EW’s slide show? 

Also, we can play the same game as EW: What unforgettable scenes are missing from the original list?


Why Should Men Care? An Interview With Matt Damon

Matt Damon narrating Women, War & Peace
At Bitch Flicks, we’re featuring reviews of the five-part PBS documentary Women, War & Peace—all by the fabulous Megan Kearns—the first of which we published on October 19th. (Megan’s review of Part Two will appear later today.) Matt Damon narrates the series, and he was interviewed about his participation, explaining why he wanted to be a part of the event and why men should care about how war impacts women, especially when rape is used as a weapon of war. I’m posting the video of the 4-minute interview, but it’s also linked to above (just in case).

 

“Why I wanted to do Women, War & Peace was because I thought it said something really important about the nature of war and the nature of the experience of women. And—as a guy who’s raising four girls—that matters to me. It matters to me anyway, but that makes it matter to me more.” — Matt Damon

Horror Week 2011: Rosemary’s Baby: Marriage Can Be Terrifying

RosemarysBaby_quad_UK-1
This is a guest post by Stephanie Brown.  
Rosemary’s Baby is one scary movie. It’s about a woman’s lot in a hostile world. It is about a terrible marriage to a narcissistic and selfish person. It is about the fear of motherhood and giving birth. It is convincing as a terrifying movie about the supernatural, and as a life lesson about selling your soul to a metaphorical devil. I like horror to convince me that I have learned something about the dark side of human nature…not just play with gore, or supernatural themes, or catastrophic nightmares. It has to name a fear that we really have, or a truth we find hard to believe, and the best horror enlightens us by showing us the darkness that haunts our lives.
The film, directed by Roman Polanski and released in 1968, has been written about at length, for its link to the era’s zeitgeist, its use of everyday people as agents of evil, even its shooting locations. Urban legends have been told about it; real-life events surrounding and following the film have been scrutinized. Rosemary’s Baby is essentially a fable about marriage and motherhood, and its magic is in the sleight of hand that all effective horror movies use: we focus on the scary yarn and are fascinated by it, so that the truth told (in this case, domestic unhappiness) goes down entertainingly. If it were told in a straight narrative arc, it would be kitchen-sink-drama depressing. Ira Levin, who wrote the novel the movie is based on, also wrote The Stepford Wives. How did we ever function without the phrase “Stepford Wife,” such a useful pejorative that has entered our lexicon? We all understand this shorthand phrase to describe a certain kind of too-perfect woman who seems to have lost the ability to articulate thoughts of her own. In Levin’s upper-middle class America of the 1960s, a male-controlled, male-centered marriage meant a slow death for a wife, as she loses control of her mind, her choices, and especially her body. In both novels, the husbands are able to transform the women’s bodies against their will—this is what marriage amounts to. Levin was acutely tuned-in to embarrassing truths about self-centeredness—the man who programs his robot wife to yell, “You’re the champ!” while having sex in the Stepford Wives; Guy Woodhouse, Rosemary’s husband in Rosemary’s Baby, eager to sacrifice his wife for his acting career. And while we all know a Stepford Wife, we probably have met these husbands as well. I find them recognizable. Levin’s characters found themselves in predicaments that were hard to imagine coming true—but the motivations for their behavior (wanting a pliant spouse, selfish ambition) were not hard to imagine at all. These human foibles are at the heart of the matter.
In the film, Mia Farrow is Rosemary Woodhouse, and John Cassavetes is her husband, Guy, an actor whose career is stalled and going nowhere. The two of them move into a spacious apartment in the Bramford building (shot on location at the Dakota building) in Manhattan. Rosemary meets a neighbor in the laundry room, a young woman who speaks highly of the people she lives with, Minnie and Roman Castavet whom, she says, took her in off the streets and saved her life. Just a few days later she is found dead on the sidewalk outside the building, a suicide. Rosemary and Guy meet Minnie and Roman that night; they are both strolling home to the building and arrive at the same time. Minnie and Roman are an older couple, in their late 60s or 70s, played by Ruth Gordon and Sidney Blackmer. They soon insinuate themselves into the younger couple’s lives, forcing themselves onto the couple, who are too polite to reject them, but soon Guy is seduced by them. You don’t see it happen but later you come to understand that Roman has proposed a deal to Guy and Guy has accepted it. Guy has sold his soul to the devil so that he can have success in his career, and it works. The man playing the role he covets suddenly goes blind, and Guy gets the part.
The price for his success? His wife will be impregnated by the devil and bear his child. The young woman who has fallen to her death was supposed to bear the child, but maybe killed herself or was killed when she realized what she was involved in. In a terrifying scene, Rosemary, surrounded by the coven that includes Minnie and Roman, is held down and raped. She is hallucinating as this happens but some of the action she sees is taking place, and eventually she screams what has become a signature line from the film, “This is not a dream! This is really happening!” The next day, Rosemary discovers long claw marks on her back, and Guy tries to pretend that he made the marks during sex with her the night before. Rosemary looks at him differently than she has; she had seemed to adore him and now she looks at him with confusion and fear. If he scratched her like that, it’s very strange; if he is lying, it’s worse still. Much of the rest of the movie is about Rosemary trying to figure out what is happening to her, understanding what is happening, and trying to convince others that it is “really happening.” After she gives birth, the coven members tell her that her baby has died, and Guy expects her to move on and forget about it. The baby hasn’t really died, and the ambiguous ending makes it clear that the coven will use the baby to gain power and wreak havoc.
One of the reasons the film is so effective is because of the fine performances by all of the actors, even those in small roles such as Patsy Kelly as Minnie’s dim-witted friend, and Ralph Bellamy as a bellicose doctor. Ruth Gordon’s Academy Award winning performance, however, is a stand-out. She makes the conceit of devil-worshippers-who-look-like-your-grandma work, and it works beautifully. Her Minnie seems to be a batty old lady, kind of nosy but endearing and well-meaning, eccentric but not dangerous, and most importantly, harmless. It is hard to believe—nearly impossible to believe—that this old woman with her badly applied lipstick, gaping handbags and herbs from her herb garden, is sinister and evil. Gordon is entirely convincing as someone who is a skilled liar and con artist. She wiles her way into their lives because a person like Rosemary is too polite to refuse her. By the time she is sick of the Castavets and is ready to politely refuse them, Guy has been seduced and will not hear of her rejecting them.
If you take away the supernatural element, Guy could be any man who is seduced by his neighbors—wanting to keep up with the Joneses, wanting to get in on the deal, wanting to be famous, wanting to impress the others, whether it be in the building, on the job, or to the world. These people are a ticket to a bigger life and more success, money, and fame. He is willing to use his wife’s body to make it happen. Surely this is a metaphor for a person who sells his soul for success. The wife in this situation can be sacrificed in many ways to make it happen: to work hard while he pursues his dream, to be ignored or be ashamed of when he realizes he wants another kind of life than the one she can offer, to help him become a success until he is successful enough for a trophy wife. One of the tenets of a religious marriage vow is the promise to keep sexually faithful and even, in some vows, to “worship” each other’s bodies, perhaps in a holy sense of worship; what happens in the Woodhouse marriage is a complete blasphemy of this idea. A selfish person puts his or her own desires ahead of the other—with that person, there can really be no union. Stories of the “black mass” and Satanic stories may even reinforce the validity of the religious idea that they purport to trample, as may Satanic fables reinforce our most basic values: when you think about it, there could be nothing more appalling than betraying your spouse, and when it happens to you it feels horrific, like being fucked by the devil.
I’ve watched Rosemary’s Baby at different points in my life, and when I watched it after giving birth, it resonated with me about the experience of childbearing. Rosemary finds herself craving raw meat and having terrible pains—due to the fact that she is birthing a devil baby. However, cravings, pains, sickness—these are real and miserable parts of pregnancy. Having had my pregnancy nausea and sickness start around Valentine’s Day, I only have to think of Valentine’s Day to feel nauseous, and that happened to me nearly twenty years ago! I remember the fear and mixed feelings I had about having a baby, and I wanted to have a baby, and so did my husband. But I had sensitivity to smells, felt dizzy, threw up every day, and felt completely out of control of my body; I felt invaded as well as afraid, in the first part of my first pregnancy. That changed; I felt happy and calm as time progressed. But having a baby is a change that marks your life forever, and there is no turning back once it happens. It’s something that is seldom talked about or admitted to; we are annoyed or disgusted by women who feel that their pregnancy is less than ideal, or that their passage into motherhood was not easy. We do not talk about how we fear that we could be bearing a monster or a “bad seed,” how we may not know what to do, that we fear we may not have enough love or patience or mothering instinct. We do not want to hear about those fears, and we do not want to hear about how pregnancy changes a man and woman’s relationship, maybe for the worse. In Rosemary’s Baby, Guy is shown as not caring much about the baby; he knows that it will be taken away and given to the coven. How many women have found that their husband is not really interested in their pregnancy, or feels it interferes with the attention given to them, to their needs? Guy is really only interested in his burgeoning career. The knowledge that one has made a mistake, that the person one is tied now to is not the person you thought you married—Rosemary’s Baby reveals that bleak, depressing, and real-life scary story. Rosemary realizes it when she sees the scratches on her back, and she never feels the same way about him again. When Guy sees what is waiting for him in a glittering future, he realizes he’s set his sights too low in a life with Rosemary. He is no longer an understudy and is ready for more.
Horror stories like Rosemary’s Baby tell the truth about our darker natures. We can look at our bad feelings, hatreds, misgivings and betrayals without knowing too well what the story really reveals about our feelings—it’s displaced onto a monster, a Thing, a killer, a mist, a contagion. We can see the truth and the horror refracted, like looking at a Medusa head in reflection so that we do not turn to stone. We can look at our darker natures, and accept that they exist somewhere, displaced into a place we call the supernatural.

Stephanie Brown is the author of two collections of poetry, Domestic Interior and Allegory of the Supermarket. She’s published work in American Poetry Review, Ploughshares and The Best American Poetry series. She was awarded an NEA Fellowship in 2001 and a Breadloaf Fellowship in 2009. She has taught at UC Irvine and the University of Redlands and is a regional branch manager for OC Public Libraries in southern California.

Ellen Ripley, a Feminist Film Icon, Battles Horrifying Aliens … and Patriarchy

 

Sigourney Weaver as Ellen Ripley

 

Written by Megan Kearns.

When I was 10 years old, the scariest movie I ever saw was Aliens. I remember the first time I saw it like it was yesterday. Late one night, plagued with insomnia (perhaps a product of my tumultuous childhood), I heard the TV on in my mother’s bedroom. Sitting down next to her, I began watching too. My mom was watching Aliens. It was the scene where Ellen Ripley goes down the elevator, guns strapped to her, to rescue Newt. Entranced, I watched as encased in a forklift, she clashed with the Alien Queen.

But it wasn’t the gore or even the alien that mesmerized me. It was Ripley. Seeing a strong badass woman on-screen left in an indelible impression on me.

With its tense, gritty, noir atmosphere, Alien broke ground spawning numerous imitations in the horror and sci-fi genres. Set in the year 2122, crew of the freighter spaceship Nostromo answer a beacon on the planet LV-426 and encounter a terrifying and insidious creature that attempts to wipe out the crew. Eschewing some of its horror roots in favor of an action-packed bonanza, the sequel Aliens features Lt. Ellen Ripley (the superb Sigourney Weaver), the Nostromo’s sole survivor (along with Jones the cat), warning and advising a group of Marines going to LV-426 to investigate after Earth lost contact with the planet’s colonists.

For me, I can’t separate Alien and Aliens (although I pretend the 3rd and 4th don’t exist…ugh). Both amazing films possess pulse-pounding intensity, a struggle for survival, and most importantly for me, a feminist protagonist. Radiating confidence and strength, Ripley remains my favorite female film character. A resourceful survivor wielding weapons and ingenuity, she embodies empowerment. Bearing no mystical superpowers, she’s a regular woman taking charge in a crisis. Weaver, who imbued her character with intelligence and a steely drive, was inspired to “play Ripley like Henry V and women warriors of classic Chinese literature.”

Sigourney Weaver’s role as Ripley catapulted her to stardom, making her one of the first female action heroes. Preceded by Pam Grier in Coffy and Dianna Rigg as Emma Peel in The Avengers, she helped pave the way for Linda Hamilton’s badassery in T2, Uma Thurman in Kill Bill, Carrie-Anne Moss in The Matrix, Lucy Lawless as Xena, Sarah Michelle Gellar as Buffy, and Angelina Jolie in Tomb Raider and Salt. But Ripley, a female film icon, wasn’t even initially conceived as a woman.

Dan O’Bannon and Ronald Shusett, Alien’s screenwriters, wrote into the original script that all of the characters, while written as men (including “Ripley” who was originally written as “Roby”), were in fact unisex and could be cast as either women or men. While they never actually pictured Roby/Ripley as a woman, when producers Walter Hill and David Giler rewrote the final draft of the script, Ripley was indeed a woman…huzzah!

While the original and final scripts differ, particularly in that android Ash isn’t in the original, Roby and Ripley are surprisingly similar, sharing similar dialogue and eventually asserting their authority through decisive actions. Neither character wants to let the injured crewmember (Standard the Captain in the original script / Kane the Ex. O in the final draft) onto the ship as they might be infected. Although interestingly, Ripley stands her ground and doesn’t let him in while Roby caves. Also, both remain the sole survivors of the crew.

While both Alien and Aliens straddle the sci-fi/horror divide, one of the horror elements apparent in Alien is Carol Clover’s notion of the “final girl.” In numerous horror films (Nightmare on Elm Street, Halloween, The Descent), the resourceful woman remains the sole survivor, the audience intended to identify and sympathize with her. Oftentimes sexual overtones exist with the promiscuous victims and the virginal survivor. While Alien and Aliens display sexual themes (we’ll get to those in a moment), Ripley isn’t sexualized but remains the sole survivor in the first film. She’s also never masculinized as Clover suggests happens to final girls in order to survive.

So remember those sexual themes I just mentioned…well just because Ripley isn’t sexualized, doesn’t mean sexuality doesn’t play a pivotal role in Alien. Swiss artist H.R. Giger designed the alien as well as some sets for the first film with pervasive phallic and vaginal imagery (don’t believe me…take a look; you won’t be able to not see it). Alien took the horror of rape comingled with the “male fear of female reproduction” and put it in space. Rather than maniacal villains attacking women and glorifying femicide, as many horror films do, Alien showed a creature attacking men (and eventually women too). While dangerous sexual elements abound, women weren’t punished for their sexuality.

Ripley never becomes an object merely for the male gaze. In Alien, she strips down to a tank top and underwear before she enters the cryogenic chamber. But rather than objectifying, to me it seemed to symbolize her vulnerability. The alien stows away in her escape pod yet she doesn’t hesitate, immediately slipping into a spacesuit to battle the alien. The script initially intended for Ripley to sleep with Dallas the Captain. Thank god that was never filmed! We need more movies where a woman is not reduced to a sex object. Ultimately, Ripley is not defined by her relationship with a man; she defines herself.

Films rarely feature multiple women; even rarer is it to see various depictions of women. In Alien, Ripley is juxtaposed with Lambert (Veronica Cartwright). While Ripley remains calm and collected, Lambert is an emotional hot mess, unhinged by fear. Time after time, the media pits women against one another. But after initial reluctance, Ripley and Lambert in Alien and Ripley and Vasquez (fiercely played by Jeanette Goldstein) in Aliens, work cooperatively together.

Motherhood exists as a reoccurring theme in Alien and Aliens. A pivotal scene cut from Aliens reveals that Ripley had a daughter. When she returns to Earth, after being stranded in space for 57 years on the Nostromo’s escape pod, Ripley discovers her daughter recently died at the age of 66. She survives to ultimately lose her daughter. Her grief catalyses her connection with the young girl Newt (Carrie Henn). Ripley risks her life to save and protect this little girl, perhaps in an attempt to reconcile her feelings of loss. At the end of the film, Newt hugs Ripley, calling her “Mommy;” she becomes a mother again. Even in Alien, Ripley smashes the computer called “Mother” onboard the Nostromo. Interestingly in Aliens, Ripley isn’t fighting a male villain; she combats a female: the Alien Queen. While the Alien Queen doesn’t equal a human woman, it’s hard to ignore that the film portrays one mother warring against another, both protecting their children.

Of the few truly empowered female film characters, most are lioness mothers: Ripley protecting Newt, Sarah Connor fiercely protecting her son and all of humanity in Terminator and T2, The Bride/Beatrix Kiddo a vengeful mother in Kill Bill. Despite the frequent comparisons made between the two badass women warriors, there’s a crucial difference between Ellen Ripley and Sarah Connor. Connor exists solely to protect her male son from assassination or humanity will be wiped out; she possesses no other identity. While Ripley becomes a surrogate mother to Newt, her identity still remains her own, not solely contingent on another.

A feminist commentary regarding female voice confronted by sexism in society emerges in both Alien and Aliens. In Alien, Ash undermines Ripley’s authority as Warrant Officer as he lets Kane onboard, disobeying Ripley’s decision to follow protocol and quarantine him. Dallas the Captain disregards Ripley’s concerns about not trusting Ash. After Ripley uncovers Ash’s treacherous plot, he stuffs a porn magazine in her mouth, “the film’s most explicit equation of male violence with the desire to annihilate the female voice.”

In Aliens, Ripley tries to warn the Weyland-Yutani Corporation about the danger of the alien and the LV-426 colonists’ impending doom. When she travels with the Marines, they initially discount her testimony. Only when the shit seriously hits the fan do they listen, looking to her as a tactical leader to survive. A futuristic Cassandra, prophesying destruction yet no one heeds Ripley’s warning. Is it because she’s a woman? That seems to be the message. Society continually devalues women, silencing their voices.

The media inundates us with images of male protagonists so it’s refreshing to see women lead…and of course kicking ass! Living in a world dominated by patriarchy, women receive societal cues telling them explicitly and implicitly how to behave, look and speak. Social norms dictate that women should be gentle, nurturing, and caring. Subtly implied lies the assertion that women should support the men in their life, that they should not be too outspoken or too unruly.

In theory, women action heroes break that mold. But in reality, most female film characters don’t shatter gender stereotypes. They rarely lead as heroes, usually serving as props to the male protagonists, and serving as love interests. Rather than showcasing empowerment, researcher Katy Gilpatric found that women in action films ultimately succumb to stereotypical gender roles.

Under the guise of empowerment, most female film characters still play out gender norms where women serve men and stay out of the limelight. That’s what makes Ripley so unique. She subverts traditional gender roles while retaining her female identity.

In an interview in Time Magazine, Weaver talked about Ripley and film roles for women:

“Usually women in films have had to carry the burden of sympathy, only coming to life when a man enters. Doesn’t everyone know that women are incredibly strong?”

Growing up, Ellen Ripley was my role model, a fierce feminist. Alien and Aliens taught me an invaluable lesson. They showed me a woman doesn’t need a man to solve a problem or fight their battles. After recently watching the documentary Miss Representation, which exposes the ways the media objectifies and attempts to strip women and girls of their power, I realize the gravity of seeing strong, confident women on-screen who aren’t valued merely for their appearance. And therein lies the power of Ripley.

While sexist studio execs might not want a 60-year-old Sigourney Weaver to reprise her iconic role, we need more Ripleys on-screen. Weaver said that all women possess “a secret action heroine” inside them. Women don’t always know their own strength. We don’t need to be rescued or saved; we can do that on our own.

We may not live in a world with chest-bursting aliens bleeding acid for blood. But anyone can aspire to be Ellen Ripley.

Megan Kearns is a blogger, freelance writer and activist. She blogs at The Opinioness of the World, a feminist vegan site. Her work has also appeared at Arts & Opinion, Fem2pt0, Italianieuropei, Open Letters Monthly, and A Safe World for Women. She earned her B.A. in Anthropology and Sociology and a Graduate Certificate in Women and Politics and Public Policy. Megan lives in Boston with more books than she will probably ever read in her lifetime.

Megan contributed reviews of The Girl with the Dragon Tattoo, The Girl Who Played with Fire, The Girl Who Kicked the Hornet’s Nest, Something Borrowed, !Women Art Revolution, The Kids Are All Right (for 2011 Best Picture Nominee Review Series), The Reader (for 2009 Best Picture Nominee Review Series), Game of Thrones and The Killing (for Emmy Week 2011), and Women, War and Peace’s I Came to Testify. She was the first writer featured as a Monthly Guest Contributor.