Tag: Women in Film

Quote of the Day: ‘Movie-Made America’

Movie-Made America by Robert Sklar
I came across this interesting piece from Movie-Made America: A Cultural History of American Movies, in which author Robert Sklar talks about a fairy-tale aspect of acting (being “discovered”), the patriarchal foundation of casting, and the behind-the-scenes women of the 1910s and 1920s. I’ve added some links to the original text for further reading.
In the World War I era–an unsettled period when late-Victorian mores persisted side by side with an emerging image of a “new woman”–it could only have been disconcerting to respectable Americans to see photographs of determined young women in the ankle-length dresses, high-button shoes and broad-brimmed hats standing in long lines outside a Hollywood casting office. The American middle class had only just begun to regard movies as something other than immoral trash for working-class people; and suddenly their daughters were packing up and leaving home to seek their fortunes in the movies.
If they had to go, the least one could do was give them sound advice, most of it intended to be discouraging. A girl should plan to have enough money to survive for a year without additional income; authors of advice books and articles for the movie aspirant set the minimum figure at $2,000. She should have resources enough to be able to acquire her own wardrobe, since extras in those days had to supply their own outfits for scenes of contemporary life. She should consider what abilities she possessed and perhaps direct her ambitions to other interesting work in motion pictures.
Studios needed talented dress designers, set decorators, film cutters, all jobs that were open to women. In fact, the motion-pictures studios in the 1910s and 1920s gave more opportunities to women than most other industries, far more than they ever did again. Many of the leading scenario writers were women, among them Anita Loos, June Mathis, Frances Marion and Jeanie Macpherson. Lois Weber was a well-known director and independent producer, and Elinor Glyn, Dorothy Arzner and other women directed films during the 1920s. Women were occasionally found in executive positions in Hollywood producing companies. And if a woman possessed none of these talents, there were always jobs as secretaries, mail clerks, film processors, and in other modest but essential roles in the making of movies.
But what women wanted was to be actresses. They could see that other girls, many still in their teens, without acting experience, were making it. Why not they? But no one informed them that a fair share of the young girls with film contracts were “payoffs,” as Colleen Moore called them: players who were hired as a favor to influential people or to pay back a favor they had done the studio. Moore got her start because her uncle, a newspaper editor, gave D.W. Griffith help in getting his films approved by the Chicago censorship board, and Griffith repaid him with a contract for his niece. In Silent Star, Moore reports that Carmel Myers, Mildred Harris (a bride at sixteen to Charlie Chaplin) and Winifred Westover, who began acting as teen-agers, were all “payoffs” in similar ways.

2011 MTV Movie Awards

The 2011 MTV Movie Awards aired last night (Sunday, June 5), and something interesting happened: a lot of young women won awards.
I didn’t watch the ceremony. I’m too old for MTV, and didn’t even realize the show had happened until I came across a mean-spirited article, published last year, unironically lamenting “Why Twilight Ruined the MTV Movie Awards.” Because no other movie with a lousy script ever won an MTV Movie Award? No one would argue that MTV awards are based on high art and excellent filmmaking, but, like most major awards, they’re worth looking at for their cultural significance. And, for some reason, this year’s winners give me something to feel good about.

Here are a selection of the winners (you can see the full list here).

Best Comedic Performance: Emma Stone for Easy A

Best Female Performance: Kristen Stewart for The Twilight Saga: Eclipse

Best Scared-As-S**t Performance: Ellen Page for Inception

Best Line from a Movie: Alexys Nycole Sanchez for Grown Ups

MTV Generation Award: Reese Witherspoon

Best Breakout Star: Chloë Grace Moretz for Kick-Ass

Biggest Badass Star: Chloë Grace Moretz for Kick-Ass

Only one of the above categories is gender specific, and though we could endlessly debate The Twilight Problem (Stephanie did just that in her review of New Moon), it’s worth noting that Stewart won the Best Female Performance award for a film geared toward a female audience. If you have nothing at all positive to say about The Twilight Saga, you still have to admit that this film series is wildly popular with and unabashedly made for young (and some not so young) women. This shouldn’t be remarkable, but it is.
Young women are highlighted in these awards for being funny, for being iconic, for breaking out, and for being badass. What other awards are recognizing women–particularly young women–in this way?
I’ll admit that many of the films these actresses won for (the ones I’ve seen, at least) are problematic. I’m not really celebrating that Easy A (which I found virtually unwatchable) won an award, but I am celebrating that a film with a female lead is being recognized as containing a great comedic performance. There was a lot of controversy surrounding Kick-Ass and the way the character Hit Girl was portrayed, but I am thrilled that a teenage girl (who was 12 when she made the film) is being recognized and rewarded as “badass.” 
Even if MTV continues to make us shudder with their programming, they are highlighting young women in film. Hollywood and other awards shows: take notice!

Quote of the Day: bell hooks

In 1997, the Media Education Foundation produced an interview with bell hooks, a renowned author, feminist, and social activist, called, “BELL HOOKS: Cultural Criticism & Transformation.” hooks discusses a variety of pop culture topics, including rap and hip-hop, Madonna’s influence, Hollywood, and the often negative representations of race, class, and gender within them. You can watch the full interview in parts on YouTube, and you can read the entire transcript of the interview, but I want to quote from just two sections; the first deals with the feminist backlash in mass media:
One of the issues that no one wants to talk about is that finally, the most successful political movement in the United States over the last twenty years was really the feminist movement, and that there is a tremendous backlash to feminism that is being enacted on the stage of mass media. So that films like Leaving Las Vegas really are about ushering in a new, old version of the desirable woman that really is profoundly misogynous based and sexist. It’s no accident; we know that when women went into the factories in the World Wars because men were not here–that when those wars ended–mass media was used to get women out of the factory and back into the home. Well in a sense, mass media is being used in that very same way right now, to get women out of feminism and back into some patriarchal mode of thinking, and movies to me are the lead propaganda machine in this right now.

hooks said this in 1997. Almost fifteen years ago. So have movies gotten better or worse since then in contributing to the feminist backlash? When I try to come up with some truly great feminist-leaning films released (in Hollywood) in those fifteen years, it’s admittedly a struggle–and that doesn’t mean I’m saying they don’t exist. Yet when I think about sexism in Hollywood films, it takes about three seconds to recall a handful of misogyny-laden movies released only within the past several months. In fact, it’s virtually impossible not to find sexist films hitting the mainstream every opening weekend.
hooks continues her discussion of movies, referencing the filmmaker Spike Lee and critiquing representations of blackness in Hollywood:
A major magazine like Time or Newsweek just recently carried a story on Spike Lee as a failure. I mean, it just was amazing! How could you talk about Spike Lee as a failure? It was something like, Malcolm X was made for thirty-seven million, but it only made forty-some million. And I thought, well, how is that a failure? You not only paid for your movie, but you had some excess profit–though not a great deal, not what Hollywood would want. But that can become talked about in mass media as a failure, even though Woody Allen, who has made many films that do not make a lot of money, does not then get talked about as a failed filmmaker. And so that is in the interest of a certain structure of white supremacy and patriarchy, to put Spike Lee down at this point in his career, and to make it seem that somehow he could not deliver the goods, because part of that is about sanctioning white people to become the new makers of so-called black film.

As in, for example, a film like Waiting to Exhale, which is sold and marketed in ways that suggest this is a black film. I mean, people kept telling me, this is a film about black women, this is going to be for black people. In fact, this was a typical Hollywood shitty, uninteresting film–the script written by white people, all marketed as being a film by and about blackness, successfully. Nothing Spike Lee has done can match the financial return of this piece of shit. This is how blackness can be done successfully, and the problem lies not with the terms of what makes blackness successful in Hollywood or on the screen, but with Spike Lee as an individual. And that I think is tragic because so many black people are buying into that mode of thinking. That Spike Lee somehow represents a failure, when in fact, Spike Lee will continue to be the most successful black filmmaker in the United States, and he’s not by any means a failure.

Here’s a way in which, as Hollywood decides to occupy the territory of blackness, it becomes very useful to say, “We let black people have that territory, and they just didn’t know what to do with it. They made these strange films like Girl 6–it didn’t even have a plot. I mean, Crooklyn didn’t even have a plot.” Which of course is completely bogus, because the plot of Crooklyn was very obvious and very simple; it was about a family where the mother is dying in the family. But I can’t tell you how many white reviewers wrote that it didn’t have a plot. When what they should have said is that it didn’t have a plot that interested us. That White America is not interested in black mothers that are dying. So I think that is going to have deep ramifications for the future of representing blackness in Hollywood–because it is really almost a public announcement of the white takeover of that particular territory, the issue of representing blackness in Hollywood. 

It’s interesting to look at how films represent blackness in Hollywood currently, and if it’s changed for the better or for the worse within the past fifteen years. Tyler Perry has certainly become one of the most prolific and successful–if not the most successful–black filmmakers in Hollywood, but there’s also much controversy surrounding his representations of race in film. Precious, Based on the Novel Push by Sapphire, garnered Oscar nominations and a Best Supporting Actress win for Mo’Nique, and Dreamgirls catapulted Jennifer Hudson’s career after she won her Best Supporting Actress Oscar. And within these past fifteen years, the Best Actress Oscar was awarded, for the first time ever, to a black woman, Halle Berry.

I don’t have the answers. I think it’s important in general to look at the kinds of roles Hollywood rewards women for playing; but it’s perhaps even more important to keep insisting that Hollywood filmmakers create better roles for women. Overall, I’d argue that we’re much more inundated with pop culture imagery everywhere now than we were fifteen years ago, with advancements in technology (and the increased and constant advertising that comes with it). So if the representations of race and gender in the media, and movies in particular, haven’t changed much–or have in fact gotten worse–and the pop culture and mass media machine is churning out this shit faster than it ever has in history, where does that leave us? 

Bitch Flicks’ Weekly Picks

Women In Media from Channel One News

O Apatow, Where Art Thou? from The Funny Feminist

Oscar-Winner In a Better World’s Box Office Slashed by Harsh Reviews UPDATED from Thompson on Hollywood

Vancouver Whitecaps sexualize soccer with painted nude model from About-Face

The battle hymn of a dangerous black woman …  from Angry Black Bitch

The Misogyny Machine That Rules Hollywood Comedies from Women and Hollywood

Women in Economy: Geena Davis on Her Career from MarketWatch

Tropes vs. Women: #2 Women in Refrigerators from Bitch Magazine

Leave your links in the comments!





Guest Writer Wednesday: Sucker Punch

Sucker punched by “Sucker Punch”– Girls and guns don’t equal female empowerment

This is a cross-post from What Tami Said.

This really is the best movie ever cuz its like hollywood finally said to me Fuk yeah you my man are all we care about heres some awesome shit for you to get off on and everyone else can just go fuk themselves and you get to watch. Read more…

I just “liked” Flick Filosopher Maryann Johanson on Facebook solely on the basis of her Sucker Punch review, written in what oddly sounds like the voice of the guy who sat behind me yesterday afternoon when I went to see the movie. Based on the predominately male and middle-aged audience in the theater, I am likely the only woman who fell for the previews and thought Sucker Punch might be some video game or graphic novel-based film about ass-kicking chicks who slay dragons and other cool shit. Well, actually, that stuff does happen, but it’s surrounded by too many other porny, fetishy, gender- and race-biased tropes to be any sort of empowerment tale. The characters were too cartoonish to be relatable. And the fight scenes and CGI weren’t exciting enough to allow me to forget the analysis and enjoy the fun. Sucker Punch comes off like a slightly twisted adolescent’s wet dream–if said wet dream had the benefit of a cool score and awesome computer-generated graphics.
Set some time in the late 50s/early 60s, Sucker Punch tells the story of 20-year-old Baby Doll (Emily Browning), who accidentally kills her little sister, while attempting to save the girl from being sexually assaulted by their stepfather. The act earns Baby Doll, whose mother dies in the film’s first frames, commitment to a Goreyesque Vermont mental facility, and, after her stepfather pays off a weasly orderly, a date with a lobotomist (Jon Hamm, who seriously must be saying “yes” to every acting job now), due at the hospital in five days. As Dr. Don Draper stands poised above a bound Baby Doll, wielding the long, sharp orbitoclast he will pound into her frontal lobe, Baby Doll (and the audience) escapes into the fantasy that is the rest of the movie, including a second world, where Baby Doll and her fellow inmates are enslaved at a “dance club,” where they are forced to offer sexual favors to keep the moneyed, male clients happy.
Let me concede that the dirty, gothic look of Sucker Punch was arresting. The soundtrack, with an ominous cover of the Eurythimics’ “Sweet Dreams,” was fantastic. I’ve already downloaded it. It’ll be great accompaniment when I haul my butt off the couch and start my spring running regimen. Also, I’m gonna need to explore more of actor Oscar Isaac’s oeuvre. The fight sequences in Sucker Punch were pleasingly flashy and loud with lots of leaping and flashing steel and steampunkery, but ultimately they were made hollow by repetition and uninspired choreography. We’re more than a decade on since The Matrix debuted. You gotta give me more than slow motion shots of a character leaping past bullets and dragon fire.
Since Sucker Punch couldn’t entertain me with its sound and fury, I couldn’t help but notice the larger problem in the movie: A disturbing and regressive treatment of women masquerading as “girl power.”
**Spoilers Ahead**Spoilers Ahead**Spoilers Ahead**Spoilers Ahead**Spoilers Ahead**
We can start with the infantilization of the lead character, Baby Doll, a 20-year-old rendered as woman child–tiny but big-headed, with large eyes and white blonde, pig-tailed hair, perpetually dressed in schoolgirl drag. She is mute and trembling through much of the first half of the film. The result is that Sucker Punch plays on “jail bait” fantasies using the cover that its heroine is truly an adult woman.
So too does the film leverage implied threats to women to titillate–particularly sexual threat. From the earliest scenes, when Baby Doll’s hulking stepfather eyes her lasciviously and tries to push his way into her bedroom, Sucker Punch highlights the protagonist’s sexual vulnerability–not to make a point about violence toward women, but to render her more fragile and endangered, and by extension, to underscore her femininity and desirability.
And it must be said here that the key to Baby Doll’s persona and her place in the film is her whiteness. Sucker Punch genuflects to the traditional views of womanhood that have historically been assigned exclusively to white women (to the detriment of ALL women). It is not a mistake that, of the gang of female characters, Baby Doll is the blondest and most alabaster of skin. She is the most innocent. It is she that is reserved for the most special of the fantasy club’s clients, the High Roller. It is her dancing that is so arousing that it hypnotizes the men who witness it. It is Baby Doll that the swarthy pimp/orderly (depending on the fantasy world) must have and who he intends to take by force. (A nasty nod to the white women in danger of rampaging dark men stereotype.) Conversely, it is the women of color in the film–Amber (Jamie Chung) and Blondie (Vanessa Hudgens)–who are drawn as the flattest of the flat characters, with no back stories or desires, but to serve Baby Doll. And it is those women whose lives are unwillingly sacrificed (literally) so that one pretty, blonde, white woman can live the life she deserves.
The most obvious sign that Sucker Punch is no female empowerment film–not even a Kill Bill (which I really liked and to which Sucker Punch plays homage)–is the plot itself. The idea that a young woman, who has recently lost her mother and sister; who is imprisoned for fighting against domestic violence; who may have endured rape at the hands of her stepfather or just narrowly escaped it; who is about to endure a forced medical procedure would, for relief from her trauma, retreat into a fantasy world where she is a sexual slave who must dance provocatively for strange men…absurd.

Sucker Punch is no female fantasy. Sucker Punch isn’t about women at all, despite the female leads. Josh Larsen of Larsen on Film describes exactly what Sucker Punch is:

…it’s the fantasy of a 14-year-old boy steeped in kung fu, “Call of Duty” and online porn. Read more…

And this is why I should start reading film reviews before I see films not after.
Tami Winfrey Harris writes about race, feminism, politics and pop culture at the blog What Tami Said. Her work has also appeared online at The Guardian’s Comment is Free, Ms. Magazine blog, Newsweek, Change.org, Huffington Post and Racialicious. She is a graduate of the Iowa State University Greenlee School of Journalism. She spends her spare time researching her family history and cultivating a righteous ‘fro.

Seriously? These Are the 40 Greatest Movie Posters?

Look, it’s not like I want to keep sending traffic to the Total Film site. Especially after they treated us to their list of the 100 Greatest Female Characters. But last Wednesday, they published another list of greatness, this one involving movie posters. Well, I love movie posters, and I understand that my Greatest Ever list won’t match Amber’s Greatest Ever list, or anyone else’s Greatest Ever list, and that one’s reaction to and appreciation of all forms of art is subjective and often deeply personal. So I’m not here to discuss whether these are, in fact, the 40 Greatest Movie Posters. I’m here to talk about how Total Film talks about the posters that feature women. (I’m using the word “feature” here loosely, as most of the posters that dare include a woman often objectify, obscure, and/or dismember her.) Feel free to look at their list of all 40 posters, but I’m including only the posters that “feature” women below.
  
I take it back. I am going to talk about the offensiveness of these shitty selections. Out of the nineteen posters above–and that’s nineteen out of Total Film’s forty that actually contain some semblance of a woman’s image–most either sexually objectify the woman or show her getting attacked. Or she’s dead or dismembered. I mean fuck, out of Total Film’s list of 40 Greatest Movie Posters, Bitch Flicks has previously criticized the posters of American Beauty, Choke, The Silence of the Lambs, and Secretary for showcasing dismembered women. That’s bad enough. But the way the Total Film writer, George Wales, talks about the women/characters in these posters is just … problematic at best. 
Jaws: “Nubile young swimmer versus hungry giant shark. We know who our money’s on …” Um, nubile? Really? 
Rosemary’s Baby: “They should stick one on the wall of every Boots. Sales of contraception would skyrocket!” Why even bother selling contraception anymore? Just force doctors to make every girl, immediately when she begins menstruating, sit in an an empty room alone with this poster. I’m sure we can get some legislation passed on that if we just casually mention it to a nearby Republican.
The Silence of the Lambs: “The presence of the moth over the girl’s mouth …” The girl’s mouth? She’s not five.
Pulp Fiction: “Uma Thurman practices her best come-to-bed expression …” Is that what she’s doing? Practicing? That’s a thing she sits around practicing? Like learning to play an instrument? 
Secretary: “Okay, so it’s more than a little pervy, but given the subject matter, that’s probably fairly appropriate. And there’s a wonderful symmetry to the image … oh who are we kidding?” I don’t even know what this means. What’s pervy? The poster? The film’s exploration of fetish and S & M? The writer of this article?
Hard Candy: “Every parent should mount one of these in their child’s bedroom to ward off sexual predators …” Look, George Wales. You can’t tell from the poster that this is a film about sexual predators. And even if you could, you’re basically implying that it’s the responsibility of the victim to ward off a potential attack. A child has no responsibility in warding off sexual predators, okay? A child abducted and abused by a sexual predator is a victim of kidnapping and sexual abuse. End. Of. Story.
Brick: “The more hard-boiled elements aren’t on display, but the amount of fragile beauty conjured up by a single wrist is most impressive.” Yeah, when I look at a dead woman’s hand floating in the water, I’m all, “OMG the gorgeous subtlety of a woman’s probable murder.” 
Being John Malkovich: “Cameron Diaz’s make-under is also on full display.” Because that’s important to note. 
Choke: “It certainly captures the off-kilter mood, although we must clarify that Sam Rockwell doesn’t actually eat any women in the film.” He doesn’t?!! What a misleading rip-off. Reminds me of the title of an article I just read at Total Film called, “The 40 Greatest Movie Posters.” 

Our 3-Year Blogiversary!

Dolly Parton, Lily Tomlin, and Jane Fonda plot their revenge in 9 to 5
Three years of Bitch Flicks! How can it be? Have we done any good? Is the state of women in film any better than it was when we started, on March 28, 2008? Or are we just shouting into the abyss?
Our egos aren’t so big as to think this little ol’ blog would chip away at a machine as big and finely-tuned as Hollywood. However, we see ourselves as part of a growing reaction against conservative, patriarchal values in mainstream film and the lack of women–and especially of diverse women–starring in, directing, writing, producing, and critiquing movies, television, and media in general (check out our “Sites We Like” blogroll for a number of people doing excellent work). We’re (still) sick to death of misogynistic, exploitative, sexist, racist, homophobic, ageist, one-dimensional, etc. portrayals of women in film. We’re (still) sick to death of the reign of the adolescent-male demographic as the coveted Ones. We’re (still) sick to death of being the exception, the Other, the minority, the ignored, the simplistic chicks. 
In other words, we still need Bitch Flicks.
Running a blog is, as those of you who do it yourselves know, difficult and time-consuming work. It’s also often thankless: you don’t make any money, you have to fend off trolls and commenters only interested in personal attacks, and you worry that no one reads that post you spent hours writing. But it’s also very rewarding: you meet people online who share your interests and concerns, you explore ideas that other people help you more fully understand, and you have a venue for fighting back against systems that seem untouchable in everyday life. We’re grateful for all of you who read our pieces, comment on them, link to them and cross post them on your own sites. We’re especially grateful for those of you who have contributed pieces to our site, and expanded the discussion.
Here’s the part where we ask for your help.
We’ve tried to keep Bitch Flicks free from obnoxious, and often offensive, ads (yes, there’s that one Google ad in the sidebar, kept as a mere experiment, as we’ve earned nothing from it)–which means there has been zero revenue to pay for site hosting, guest writers, and upgrades. So we’ve added two ways you can help us pay for these things:
  1. Donate via PayPal. Notice the “Donate” tab at the top right of the page. If you’re a reader who supports what we do, consider donating to the cause. Any amount, however small, is a gesture of support and will help pay for our expenses.
  2. Purchase items through our Amazon store. We sometimes link to products on Amazon in our posts, and have a widget in our sidebar called “Bitch Flicks’ Picks.” If you go on to make purchases through our site, we earn a small percentage of the proceeds, and if it’s an awesome feminist film, TV show, or book–then we all win.

If you support what we do but can’t afford the financial contributions, there are a number of things you can do to show your appreciation and help spread the word about Bitch Flicks.

Finally, a big public thanks to the volunteer who created our new banner. We wanted to re-vamp the look of the site for our blogiversary, and that new banner is the biggest visual change. You might also notice the new pages (not all of which are complete yet!), new sidebar widgets, and new pictures on Twitter & Facebook. There are other new ideas we’ll be implementing in the coming months, so stay tuned, and, as always, thanks for reading!
–Amber & Stephanie

    Miniseries Preview: Mildred Pierce

    Mildred Pierce, the new miniseries from HBO starring Kate Winslet, Evan Rachel Wood, and Guy Pearce, premieres Sunday, March 27th at 9pm. The miniseries is based on the novel by James M. Cain, with a hat-tip, I’m sure, to the 1945 film of the same name, which won Joan Crawford a Best Actress Academy Award for her performance in the title role. 
    From the wikipedia plot summary (of the novel): 
    Set in Glendale, California, in the 1930s, Mildred Pierce is the story of a middle-class housewife’s attempt to maintain her and her family’s social position during the Great Depression. Frustrated by her unemployed cheating husband, and worried by their dwindling finances, Mildred separates from him and sets out to support herself and her children on her own.

    After a difficult search, she finally finds a job as a waitress, but she worries that it is beneath her middle-class station. Actually, Mildred worries more that her ambitious elder daughter, Veda, will think her new job is demeaning. Mildred encounters both success and tragedy, opening three successful restaurants and operating a pie-selling business, and coping with the death of her younger daughter, Ray. Veda enjoys Mildred’s newfound financial success, but increasingly turns ungrateful, demanding more and more from her hard-working mother and letting her contempt for people who must work for a living be known. Mildred’s attachment to Veda forms the central tragedy in the novel. 

    The miniseries has been getting great reviews. Dan Callahan of Slant Magazine writes:
    …Mildred Pierce is a triumph from beginning to end, and the casting in supporting roles couldn’t be bettered: Melissa Leo does her best Aline MacMahon as Mildred’s next-door neighbor Mrs. Gessler, while Mare Winningham seems to have sprung straight out of a 1930s diner as Ida (in the Crawford version, the sardonic Eve Arden played Ida like a valued secretary doing a bit of slumming in the restaurant trade). Haynes lets his female characters operate as they would have at the time in this milieu. He doesn’t do any modern editorializing on their plight and he doesn’t outright celebrate their resourcefulness; instead, he sets up a panorama of female struggle and solidarity and views it distantly, like somebody writing a history book and trying to keep personal opinions out of it.

    And Dennis Lim of the New York Times discusses Todd Haynes’s affinity for “the woman’s picture”:
    Asked recently about his longstanding attraction to the melodramatic form known as the woman’s picture–“the untouchable of film genres,” as the critic Molly Haskell once put it–the director Todd Haynes had a ready answer.

    “Stories about women in houses are the real stories of our lives,” he said. “They really tell what all of us experience in one way or another because they’re stories of family and love and basic relationships and disappointments.”

    Lim later writes: 

    Framed as a whodunit–it opens with the killing of Mildred’s second husband, the rakish Monty Beragon–the original “Mildred Pierce” has long been a staple of feminist film theory, which generally views it as a conflicted genre hybrid that combines the masculine conventions of film noir and the feminine ones of melodrama.

    I haven’t seen the Joan Crawford film or read the book, but I’m aware of the feminist and queer discussions of the first film. I’m excited that HBO has decided to turn this into a five-part miniseries, too, because I’m starting to wonder (especially after reading Total Film’s ridiculous list of the Greatest Female Characters) if television might offer more opportunity for complex women–and feminist–characters to shine. (I’ve been thinking about HBO shows in particular, like Big Love, The No. 1 Ladies’ Detective Agency, and Deadwood, but Showtime certainly doesn’t shy away from strong women, with shows like Nurse Jackie and The United States of Tara, which both have season premieres on Monday, the 28th. I also wouldn’t rule out the latest season of Dexter–because it took on some serious feminist issues as well. But, alas, this is all for another long-ass blog post.) 
    In the meantime, here’s to hoping Mildred Pierce doesn’t disappoint! 

    Seriously? These Are the 100 Greatest Female Characters?

    This past Monday, Total Film published its list of the 100 Greatest Female Characters. As everyone knows, these Best Ever lists tend to have the pretty obvious problem of not being able to include everyone and, therefore, not being able to please everyone. But we here at Bitch Flicks found this particular list more problematic than usual. For a variety of reasons. Before we discuss the WTF-FAIL of this, check out the list below and/or scroll through the photo-list at Total Film (especially if you’re interested in their use of sexist language and images).

    100. Baby from Dirty Dancing, played by Jennifer Grey
    99. Cherry Darling from Planet Terror, played by Rose McGowan
    98. Vivian Ward from Pretty Woman, played by Julia Roberts
    97. Samantha Baker from Sixteen Candles, played by Molly Ringwald
    96. Stifler’s Mom from American Pie, played by Jennifer Coolidge
    95. Layla from Buffalo ’66, played by Christina Ricci
    94. Marquise de Merteuil from Dangerous Liaisons, played by Glenn Close
    93. Karen Silkwood from Silkwood, played by Meryl Streep
    92. Marnie Edgar from Marnie, played by Tippi Hedren
    91. Briony Tallis from Atonement, played by Saoirse Ronan
    90. Gertie from E.T. The Extra Terrestrial, played by Drew Barrymore
    89. Mrs. Danvers from Rebecca, played by Judith Anderson
    88. Jean Brodie from The Prime of Miss Jean Brodie, played by Maggie Smith
    87. Malena Scordia from Malena, played by Monica Bellucci
    86. Audrey 2 from Little Shop of Horrors, voiced by Levi Stubbs
    85. Gilda Mundson Farrell from Gilda, played by Rita Hayworth
    84. Matty Walker from Body Heat, played by Kathleen Turner
    83. Annie Savoy from Bull Durham, played by Susan Sarandon
    82. Severine Serizy from Belle Du Jour, played by Catherine Deneuve
    81. Gloria Swenson from Gloria, played by Gena Rowlands
    80. Catherine Tramell from Basic Instinct, played by Sharon Stone
    79. Phyllis Dietrichson from Double Indemnity, played by Barbara Stanwyck
    78. Bess McNeill from Breaking the Waves, played by Emily Watson
    77. Thelma Dickinson from Thelma and Louise, played by Geena Davis
    76. Alabama Whitman from True Romance, played by Patricia Arquette
    75. Coraline from Coraline, voiced by Dakota Fanning
    74. Annie Porter from Speed, played by Sandra Bullock
    73. Kate “Ma” Barker from Bloody Mama, played by Shelley Winters
    72. Marge Gunderson from Fargo, played by Frances McDormand
    71. Elisabet Vogler from Persona, played by Liv Ullmann
    70. Sally Albright from When Harry Met Sally, played by Meg Ryan
    69. Bonnie Parker from Bonnie and Clyde, played by Faye Dunaway
    68. Ada McGrath from The Piano, played by Holly Hunter
    67. Soshanna Dreyfus from Inglourious Basterds, played by Melanie Laurent
    66. Alice Hyatt from Alice Doesn’t Live Here Anymore, played by Ellen Burstyn
    65. Lee Holloway from Secretary, played by Maggie Gyllenhaal
    64. Barbarella from Barbarella, played by Jane Fonda
    63. Annie Wilkes from Misery, played by Kathy Bates
    62. Sylvia from La Dolce Vita, played by Anika Ekberg
    61. Regan MacNeil from The Exorcist, played by Linda Blair
    60. Mary Poppins from Mary Poppins, played by Julie Andrews
    59. Mildred Pierce from Mildred Pierce, played by Joan Crawford
    58. Margo Channing from All About Eve, played by Bette Davis
    57. Adrian Pennino Balboa from Rocky, played by Talia Shire
    56. Nikita from La Femme Nikita, played by Anne Parillaud
    55. “Baby” Jane Hudson from Whatever Happened to Baby Jane?, played by Bette Davis
    54. Summer Finn from 500 Days of Summer, played by Zooey Deschanel
    53. Judy Barton/Madeleine Elster from Vertigo, played by Kim Novak
    52. Debby Marsh from The Big Heat, played by Gloria Grahame
    51. Amelie from Amelie, played by Audrey Tautou
    50. Jessie from Toy Story 2, voiced by Joan Cusack
    49. Nurse Ratched from One Flew Over the Cuckoo’s Nest, played by Louise Fletcher
    48. Alex Forrest from Fatal Attraction, played by Glenn Close
    47. Evelyn Mulwray from Chinatown, played by Faye Dunaway
    46. Blanche Dubois from A Streetcar Named Desire, played by Vivien Leigh
    45. Paikea Apirana from Whale Rider, played by Keisha Castle-Hughes
    44. Charlotte from Lost In Translation, played by Scarlett Johansen
    43. Ofelia from Pan’s Labyrinth, played by Ivan Baquero
    42. Margot Tenenbaum from The Royal Tenenbaums, played by Gwyneth Paltrow
    41. Holly Golightly from Breakfast at Tiffany’s, played by Audrey Hepburn
    40. Mindy “Hit Girl” Macready from Kick-Ass, played by Chloe Moretz
    39. Chihiro Ogino from Spirited Away, voiced by Rumi Hiragi
    38. Mia Williams from Fish Tank, played by Katie Jarvis
    37. Jessica Rabbit from Who Framed Roger Rabbit, voiced by Kathleen Turner
    36. Older Daughter from Dogtooth, played by Aggeliki Papoulia
    35. Ursa from Superman II, played by Sarah Douglas
    34. Ann Darrow from King Kong, played by Fay Wray
    33. Betty Elms/Diane Selwyn from Mulholland Dr., played by Naomi Watts
    32. Scarlett O’Hara from Gone With the Wind, played by Vivien Leigh
    31. Coffy from Coffy, played by Pam Grier
    30. Kym from Rachel Getting Married, played by Anne Hathaway
    29. Trinity from The Matrix, played by Carrie-Anne Moss
    28. Lady from Lady and the Tramp, voiced by Barbara Luddy
    27. Louise Sawyer from Thelma and Louise, played by Susan Sarandon
    26. Nina Sayers from Black Swan, played by Natalie Portman
    25. Enid from Ghost World, played by Thora Birch
    24. Rosemary Woodhouse from Rosemary’s Baby, played by Mia Farrow
    23. Mrs. Robinson from The Graduate, played by Anne Bancroft
    22. Dory from Finding Nemo, voiced by Ellen Degeneres
    21. Veronica Sawyer from Heathers, played by Winona Ryder
    20. Mia Wallace from Pulp Fiction, played by Uma Thurman
    19. Clarice Starling from The Silence of the Lambs, played by Jodie Foster
    18. Laurie Strode from Halloween, played by Jamie Lee Curtis
    17. Carrie White from Carrie, played by Sissy Spacek
    16. Bridget Gregory from The Last Seduction, played by Linda Fiorentino
    15. Catwoman from Batman Returns, played by Michelle Pfeiffer
    14. Matilda from The Professional, played by Natalie Portman
    13. Lisbeth Salander from The Girl with the Dragon Tattoo, played by Noomi Rapace
    12. Jackie Brown from Jackie Brown, played by Pam Grier
    11. Eli from Let the Right One In, played by Lina Leandersson
    10. Sugar Kane Kowalczyk from Some Like It Hot, played by Marilyn Monroe
    9. Hildy Johnson from His Girl Friday, played by Rosalind Russell
    8. The Bride from Kill Bill, played by Uma Thurman
    7. Hermione Granger from Harry Potter, played by Emma Watson
    6. Dorothy Gale from The Wizard of Oz, played by Judy Garland
    5. Princess Leia Organa from Star Wars, played by Carrie Fisher
    4. Clementine Kruczynski from Eternal Sunshine of the Spotless Mind, played by Kate Winslet
    3. Sarah Connor from The Terminator, played by Linda Hamilton
    2. Annie Hall from Annie Hall, played by Diane Keaton
    1. Ellen Ripley from Alien, played by Sigourney Weaver

    Well. Let’s discuss the most ridiculous, WTF-FAIL elements of this list.
    1. 7% of the 100 Greatest Female Characters are–wait for it–not human. We’ve got Audrey 2 the plant; Coraline the cartoon girl; Jessie the cartoon cowgirl; Chihiro Ogino the cartoon girl; Jessica Rabbit the (sexy) cartoon rabbit; Lady the dog; and Dory the fish. And only three of these seven Greatest Female Characters are even animated humans. The rest are animals. And one, the plant, is voiced by a man. 
    2. Only 5% of the 100 Greatest Female Characters were directed by women, and that includes a co-director credit (Andy and Lana Wachowski) for The Matrix. The other woman-directed films include Andrea Arnold’s Fish Tank, Jane Campion’s The Piano, Niki Caro’s Whale Rider, and Sofia Coppola’s Lost in Translation. Maybe I shouldn’t be so appalled by this statistic, considering how difficult it is for women directors to get their films made in general. But seriously, 5%?
    3. What’s up with all the children and teenagers on this list? Am I really supposed to believe that, in the history of film, 20% of the Greatest Female Characters were younger than twenty? I know ageism in Hollywood is bad, but that doesn’t mean amazing women characters over forty don’t exist. And I mean in addition to Stifler’s Mom (MILF!) from American Pie, who Total Film so graciously remembered to include. Just sayin,’ list compilers, if you were really hard-pressed, you could’ve checked to see if any women of color have ever acted in films.
    4. Why is this list so fucking white? I’m not familiar with every movie or every movie character on the list, but I know I’m having a hard time finding nonwhite women. Pam Grier’s two blaxploitation characters, Jackie Brown and Coffy, jump out right away, and I’m fairly confident that’s not a good thing. Is Pam Grier the only black actress the Total Film list compilers are familiar with? Because, I mean, off the top of my head I’ve got: Whoopi Goldberg in The Color Purple, Queen Latifah in Chicago, Jennifer Hudson in Dreamgirls, Angela Bassett in What’s Love Got to Do With It?, Halle Berry in anything …
    5. You know what’s also interesting about those characters I just listed? None of them is completely deranged (Mrs. Danvers, Annie Wilkes, Alex Forrest.)  Or a prostitute (Vivian Ward, Severine Serizy, Alabama Whitman.)  Or a Fighting Fuck Toy (Barbarella, Catwoman, Cherry Darling.) Or a seductress (Marquise de Merteuil, Matty Walker, Annie Savoy.) And I’m not even suggesting that prostitutes and deranged women and seductresses and fighting fuck toys (okay, maybe them) are all necessarily terrible characters. But many of these characters, and the films they inhabit, have been deemed antifeminist as fuck.  
    Basically, compiling a slew of antifeminist characters from antifeminist films and putting them on a list called The 100 Greatest Female Characters–while ironic–is kind of unacceptable. I’ve only barely grazed the surface of this nonsense. If you want to see some really messed up statistics surrounding this list, check out The Double R Diner for a much more in-depth analysis, including a look at the many characters who are victims of violence and sexual assault. 

    So, readers, what female characters would you include on a list of the 100 Greatest?

    Bitch Flicks’ Weekly Picks

    At home (and away) with Agnes Varda from BFI

    The Day the Movies Died from GQ

    Why are films so sexist? from Ad Fontes

    Hall Pass: I apologize to my mother for the review I’m about to write from Slate

    The ‘Blue Valentine’ Conundrum: Why So Many Boring Women In Indie Film? from The Atlantic

    James Cameron the Feminist? from AMC Blog

    Young Rapping Girls Call Out Lil Wayne for Misogyny from Jezebel

    Insulting Chuck Lorre, Not Abuse, Gets Sheen Sidelined from The New York Times

    “30 Rock” takes on feminist hypocrisy–and its own from Salon

    In Which We Have to Consider Why Shorty Always Wanna Be a Thug from This Recording

    The Women of ‘!W.A.R.’ from The New York Times

    Not another terrorised film female from The Guardian UK

    Women in Film: Where have all the strong women gone? from The Vancouver Sun

    Oscar winner Geena Davis hits out at Hollywood’s female stereotypes at UN Women gala from The Herald Sun

    Women breaking glass ceiling in Malayalam film industry from Sify News

    No Country For Old Men Presented by The Girls on Film from YouTube

    Ladies Wear the Blue (1974) from Fyddeye


    2011 Spirit Award Winners

    The 2011 Film Independent Spirit Awards Ceremony took place on Saturday night–the night before the Academy Awards–and aired on IFC. (Which I didn’t watch, because I don’t get IFC.)
    In terms of who and which films were nominated, there was a good bit of crossover this year for indie films: four of the five Best Feature nominees were also Best Picture Oscar nominees (Greenberg didn’t make the cut); five of the six women nominated for Best Lead also received Oscar nods; and the Best Foreign Film award went to the Best Picture award winner–The King’s Speech.
    But there are some very important differences, some of which we highlighted in our post about the Spirit Nominees. Namely–you guessed it–how much better women fare in the indie world. Here is a selection of winners, and some thoughts about each. You can see a list of all nominees and winners here.
    Best Feature: Black Swan
    There is nothing near a consensus on how to read this film. Some find it a feminist statement about the unbearable pressures put on women in modern society, while some find it a misogynist exploration of madness and exploitation of the female body. Nevertheless, it is a female-centered film.
    Best Director: Darren Aronofsky for Black Swan
    Although a man won, there were two women (Lisa Cholodenko for The Kids Are All Right and Debra Granik for Winter’s Bone) in contention, and the winner directed a woman-centered film. 
    Best Screenplay: Lisa Cholodenko and Stuart Blumberg for The Kids Are All Right
    This was a great category for women. In addition to Cholodenko, Debra Granik and Anne Rossellini were nominated for Winter’s Bone, and Nicole Holofcener was nominated for Please Give.
    Best First Screenplay: Lena Dunham for Tiny Furniture
    The best “first” categories are important, in that they give exposure to mostly little-known films (in terms of the mainstream audience) and help launch new voices into the world of filmmaking. The other female nominee in the category is Diane Bell, for Obselidia.
    Best First Feature: Get Low

    In addition to promoting new filmmakers, this category is exciting because it often introduces films many of us haven’t seen, or haven’t heard much about, including Tanya Hamilton’s Night Catches Us and Dunham’s Tiny Furniture.

    Best Female Lead: Natalie Portman for Black Swan
    The winner here is no surprise; Portman swept the awards for her portrayal of determined ballerina Nina, which, regardless of how you feel about the film, was an amazing performance. The other nominees were Annette Bening, Greta Gerwig, Nicole Kidman, Jennifer Lawrence, and Michelle Williams.

    Best Supporting Female: Dale Dickey for Winter’s Bone
    This is another exciting Spirit category, as was the corresponding Oscar category (for different reasons), though there was no overlap between nominees. Other nominees were Ashely Bell for The Last Exorcism, Allison Janney for Life During Wartime, Daphne Rubin-Vega for Jack Goes Boating, and Naomi Watts for Mother and Child.

    While the Spirit Award nominees represent a slightly more progressive and inclusive range of stories and people who tell them, they also reveal a continuing problem: the lack of films about, centering on, made by, or starring people of color. As far as I can tell (as I haven’t seen all the films, nor do I know each storyline), Hamilton’s Night Catches Us is the only nominee focusing on the experience of people of color, specifically Black Americans.

    The Spirit Awards may be better than the Oscars, but we still have a long way to go.

    2011 Post-Oscar Response

    Might as well dive right in! Here is the list (short version) of the winners:

    Best Picture: The King’s Speech

    Best Actor: Colin Firth in The King’s Speech

    Best Supporting Actor: Christian Bale in The Fighter

    Best Actress: Natalie Portman in Black Swan

    Best Supporting Actress: Melissa Leo in The Fighter

    Best Animated Feature Film: Toy Story 3

    Best Director: Tom Hooper for The King’s Speech

    Best Documentary Feature: Inside Job

    Best Documentary Short: Strangers No More

    Best Foreign Language Film: In a Better World

    Best Adapted Screenplay: Aaron Sorkin for The Social Network

    Best Original Screenplay: David Seidler for The King’s Speech

    Well. As we said earlier in the week:
    “the Academy Awards are the most visible celebration of filmmaking in the United States–and possibly the world. Yet–and despite the misnomer of ‘liberal Hollywood’–they continue to exhibit cultural values and norms that are conservative and simply unacceptable. Women are typically rewarded for playing roles that support a central male character in films. People of color are rarely nominated for–and even more rarely win–major awards. This year (as in most years), all Best Director nominees are white men. (Only one woman has EVER won this category.) The Best Picture nominees are about white people (or white cartoon characters), and are lauded by mostly white male critics. Even in a movie about lesbians, a man takes center stage. We could go on, but you get the idea.”

    So now that the 2011 Academy Awards have aired, what did you think? I love the discussions that’ve been happening leading up to the Oscars, and I’ll highlight a few of the ones I found particularly enlightening. For starters, the Feminist Frequency video below is an absolute must-watch:  

    In our Best Picture Nominee Review Series, we (with the help of our Guest Writers) showed that most of the films were about men, with the exception of Winter’s Bone, Black Swan, and The Kids Are All Right–with the latter two still exhibiting some major problems with their portrayals of women. We also showcased Ten Years of Oscar-Winning Films (in posters), which further illustrated the accolades presented to male-dominated films.
    Add The King’s Speech to the ever-growing list.
    For those of you who watched the 2011 Academy Awards, you heard Steven Spielberg list several Great Films that had previously won Oscars for Best Picture. He then listed several more Great Films that were nominated for Best Picture Oscars but hadn’t won. His lists included the following films: On the Waterfront, Midnight Cowboy, The Godfather, The Deer Hunter, The Grapes of Wrath, Citizen Kane, The Graduate, and Raging Bull. What do they have in common? They’re all movies about Heterosexual White Men. So I ask, what would’ve been wrong with including some of these films in the list: Rebecca, The Sound of Music, Kramer vs Kramer, Terms of Endearment, or Driving Miss Daisy … ? At this point, I’m honestly starting to wonder if The Academy gives a flying fuck at all about people who aren’t Heterosexual White Men; they sure as hell have no interest in pretending they do.
    The following Oscar analyses deepen the discussion.
    “Talking About the 2011 Oscars” from The Funny Feminist:
    It would appear that expanding the Best Picture category to include ten films instead of five has resulted in more recognition for movies about women.

    It hasn’t, though, seemed to improve the field for other marginalized groups, because, as Shakesville pointed out, not a single person of color was nominated in the acting categories.  I guess no people of color acted in any movies last year!  Or else, the Academy filled their quota last year by giving nominations to Gabourey Sidibe and Mo’Nique and don’t feel the need to recognize any other people of color.  Excuse me while I go roll my eyes.

    The Academy also filled their quota of female directors last year.  In 82 years of the Academy Awards, they finally recognized a female director (Kathryn Bigelow) and awarded her for her work on The Hurt Locker. I guess no women made movies this year, because the Best Director category is all male.

    “Oscar was a Dude: America’s Celebration of Men” from The Sociological Cinema:

    Hollywood didn’t invent patriarchy, but that doesn’t preclude it from being implicated in reproducing it. The cultural critic, Stuart Hall, once observed that the people who work in creating media stand in a different relationship to ideology than the rest of us. That is to say, those who produce, direct, and act in films have at their disposal a powerful tool, which can be used to transform how people come to understand the world in which they live. Movies–especially the ones the Academy deems worthy of its coveted Oscar–pose answers to questions many people never asked, such as, “whose story is likely to matter most?” or just, “who matters?” As evidenced from the list of nominated films this year, those who were hoping for a revolution in the kinds of stories Hollywood tells may be disappointed. For now, a critical awareness of the men and masculinity America is (also) celebrating on Sunday may have to suffice.

    Thoughts? Concerns? What the hell?