- A filmmaker’s take on movies, TV, and industry trends, from a feminist perspective.
Agnès Varda’s career as a feminist filmmaker moves from the French New Wave and Left Bank movements to political modernism, portraying with sincerity the lives of women. From her first film, La Pointe Courte (1956), she combines realism with subjective … Continue reading
Rainer Werner Fassbinder’s Ali: Fear Eats the Soul  achieves an empirical objectivity that breaks the system of visual pleasure described by Laura Mulvey using its forms to show, not efface, society’s objectification of the “other.” He focuses on characters … Continue reading
Spike Lee has difficulty creating a female character that can be both sexual and a strong woman (though there are some exceptions). Almost every woman in Spike’s films fits into the virgin/whore complex (particularly in the films he wrote). Genius … Continue reading
The exploitation of women extends even further in some films, to the point of rape. Rape in Spike’s films serves to assert male power over women: putting the unruly woman back in her place. In School Daze, Julian exhibits his complete … Continue reading
The threat of the woman embodied in the idea of temptation is fully expressed through the betrayers, female characters who have sold out (or appear to have sold out) the man they love for their own gain. Both betrayers are … Continue reading
White women function as a symbol of white power and/or its perks. Ms. White in Inside Man, played by Jodie Foster, symbolizes white power and its corruption, yet she is also one of the stronger female characters in his film. She … Continue reading