#Joey Soloway

[mediademon]

ENDLESS LIST OF FAVORITE FILMS:

AFTERNOON DELIGHT (2013) dir. Joey Soloway

[bethlapides]

Don’t miss UnCabaret at El Cid! Friday night 6/23. Our monthly revival tent/pep rally/group therapy with all star line up Joey Soloway, Julia Sweeney, Laura Kightlinger, Jared Goldstein, Aparna Nancherla, Jamie Bridgers join Beth. Plus Alex Burke sitting in for Mitch Kaplan - plus the band. “A comedy be in!” Rolling Stone. Doors at 6 show at 7. Food and full bar including mock tails:) See you there and then 🔥🎟️🔥🌈🎟️🌈 💫🎟️💫❤️🎟️❤️💋

[feliciagarrivan]

Joey Soloway discusses the Female Gaze at TIFF

In 2016 Joey Soloway gave a keynote address at the Toronto International Film Festival (TIFF) about the female gaze. The official Youtube blurb says: Joey Soloway asks what it would take to bring it the forefront of film, art, and culture. By making space for women to take the lead in shaping female protagonism, can we get one step closer to igniting a revolution to overthrow the patriarchy?

Joey’s speech is an hour long and meanders a little. It’s also very lyrical and ends with a kind of poetry. If you don’t have time to watch, you can read the full transcript here.

Defining The Female Gaze

Ultimately, Joey argues that the female gaze is more than a role reversal where women objectify men, or having a woman as the main character in a typical action film. It goes a step further and invites the viewer to feel as a woman feels. To go beyond simply seeing and instead to immerse oneself in feeling what the main character feels.

Soloway’s female gaze is also about communicating what it feels like to be looked at, to be objectified by the male gaze. And then, having pointed that out, to demand to become the subject, not the object.

Soloway says that there’s been 100 years of filmmaking and almost all films in that time have been made by men, about men’s experience. They suggest that society needs 100 years of just women filmmakers to even up the scales. 

They also joke about the ubiquity of sport in culture and how this caters primarily to men. They suggest a world where women’s needs are catered to just as extensively, using “feminist arguing” as something they themselves wish had as much media and coverage.

Select Quotes From The Speech

"Art is propaganda for the self… TV and filmmaking and fuck, all culture making — is people going, I’m okay! And people who are similar to me are okay!… We all need friends and so we make tribes with our art.

Protagonism is propaganda that protects and perpetuates privilege.

The Female Gaze. Part One. Reclaiming the body, using it with intention to communicate Feeling Seeing… It could be thought of as a subjective camera that attempts to get inside the protagonist, especially when the protagonist is not a cis male. It uses the frame to share and evoke a feeling of being in feeling, rather than seeing – the characters… Things maybe that you watch where you say, I can tell a woman wrote and directed it because I feel held… the emotions are being prioritized over the action.

Part Two. I also think the Female Gaze is also using the camera to take on the very nuanced, occasionally impossible task of showing us how it feels to be the object of the Gaze. The camera talks out at you from its position as the receiver of the gaze… This is how it feels to be seen. The gazed gaze.

This third thing involves the way the Female Gaze dares to return the gaze. It’s not the gazed gaze. It’s the gaze on the gazers. It’s about how it feels to stand here in the world having been seen our entire lives. Or, in a line I heard in a web series today, we don’t write culture, we’re written by it. It says we see you, seeing us. It says, I don’t want to be the object any longer, I would like to be the subject, and with that subjectivity I can name you as the object. 

This part of the female gaze is a sociopolitical justice-demanding way of art making.

Roger Ebert said “film is an empathy machine” and this is true of television, and all story. 

The Female Gaze is not a camera trick it is a privilege generator, It positions me, the woman, as the subject. On a journey. You will be on her side. You will be on my side. My camera, my script, my word on my notes, my side. I want you to see the Female Gaze as a conscious effort to create empathy as a political tool. It is a wresting away! Perhaps a wresting away of the point of view, of the power of the privilege propaganda for purposes – of changing the way the world feels for women when they move their bodies through the world feeling themselves as the subject.

It’s about bodies again, bodies of women. Ladies. Girls. Gender non-conforming people…

This Female Gaze is a political platform, it means we start to call out how awful it is to be offered access in exchange for succeeding at being seen. The Female Gaze calls out how the Male Gaze divides us…

The Female Gaze can be a cultural critic. We can use it to call out all of those fucking storylines on those procedurals — that are meant to work as public service – meant to educate us about rape but they actually are just more rape…. What if only women were allowed to craft storylines about our bodies, about rape or consent for the next 100 years? Could we change the laws with our gaze? As we write and direct and produce our own truths about the violence on our bodies, it’s back to our bodies again.

Creating from inside of our own bodies and generating our own gaze, we can ask the important questions, say the things the dominant narratives have tried to distract us with.

We get divided by the male gaze – but we want our subjectivity back, we want to knit it back together, our wholeness and make it uncomfortable unacceptable to blatantly use us as objects, to turn us into slices to push you towards your own plot climaxes, of rescue or revenge.

The Female Gaze is political protagonism and it is not afraid to ask: What is toxic masculinity? When are we going to be done with it?

The Female Gaze is more than a camera or a shooting style, it is that empathy generator that says I was there in that room."

[infamousmonkey-cat]

i just saw that eileen myles was charged with disorderly conduct for saying "free free Palestine" to a cop and it reminded me that they used to date joey soloway and then soloway cast cherry jones as a thinly-veiled fictionalisation of them in transparent and had cherry jones boycott israeli goods and then fall in a HOLE? and then the next season they all went to israel? when cherry jones fell in the hole was the moment i stopped watching that fucked cursed show... fuck joey soloway for real

[bikinikillarchives]

does everyone know about kathleen hanna's t-shirt company, Tees 4 Togo, where they work beside Peace Sisters to support young girls' education in Togo, West Africa? 100% of the profits go to Peace Sisters, a non-profit started by Tina Kampor who's mission is to provide equal education for girls in her hometown, Dapaong, Togo. every $40 t-shirt sends a girl to school for one year.

working besides local artists, these tshirts include art of: Joan Jett, Ad-Rock, Carrie Brownstein, Brontez Purnell, W. Kamau Bell, John Waters, Kathleen Hanna, Fugazi, Chuck D, Billie Joe Armstrong, Kim Gordon, Grimes, JD Samson, Justin Vivian Bond, Joey Soloway, Patton Oswalt, Hari Kondabolu, and Kristen Schaal. sizes ranging from a unisex small to unisex xxxx-large. not intrested in a t-shirt? you can still donate $40 though Tees4Togo, or donate directly through Peace Sisters!

[edwardalbee]

my family life is constantly on some hbo prestige drama shit. jenji kohan joey soloway type beat

[criticarter]

Films Watched in 2023 - (56/???)

Afternoon Delight (2013) -- Joey Soloway (2.5/5)

Hahn and Temple both show a base of the talent we'd later see used in spades in future projects, but the view of sex work (either a term completely alien to the other characters or a life that the protagonist must save Temple's character from) didn't take long to be horribly dated.

[idontwannabethesupreme]

Need to reblog this again because this movie just becomes more and more relevant to my mindset. God bless Joey Soloway.

“Not everyone gets to be happy.”

Afternoon Delight (2013)

[janamonji]

'A Transparent Musical': A Cautious Farewell Party ⭐️⭐️⭐️

I didn’t follow the Amazon Prime Video comedy-drama streaming series “Transparent.” The series ended on 27 September 2019 with a feature-length finale: “Musicale Finale.” The “A Transparent Musical”  is a cozy farewell party for Maura’s story, with a book written by series creator Joey Soloway (with MJ Kaufman) and music, lyrics and vocal arrangements by Faith Soloway. The production had its…

[graphicpolicy]

Matilda Lutz, Wallis Day, and Robert Sheehan join Red Sonja

Matilda Lutz, Wallis Day, and Robert Sheehan join Red Sonja #redsonja #comics #comicbooks

The leads for Millennium Media‘s Red Sonja have been set. The movie will star Matilda Lutz, Wallis Day, and Robert Sheehan and be directed by M.J. Bassett. The film is based on the comics by Dynamite Entertainment and the heroine created by Robert E. Howard for Marvel and later adapted by Roy Thomas. Details of the film have been kept quiet. Joey Soloway and Tasha Huo handled the script for the…

[saint-starflicker]

This is all to say that when most people say "The Female Gaze"...uhh...they can't be wrong, because usage of the word/phrase determines the meaning of the word/phrase more than the meaning of the word/phrase determines the usage. But. They are wrong, somehow, though. (I include myself in that, because yeah sometimes I say Female Gaze in the same way that everyone else saying it means it.) The popular understanding of The Female Gaze is in the pretension to a woman-owned kyriarchy ( Fiorenza, Elisabeth Schüssler. The Rhetoric of Empire. Fortress Press: 2007.) And this is probably an error of the term itself as Male Gaze also presumed heteronormativity—therefore the newest internet sexyman that heterosexual girls seem to like becomes upheld as a bastion of The Female Gaze. Mulvey writes that "the male figure cannot bear the burden of sexual objectification", so that is subversive to do, or it would've been in 1975 or even now. Joey Soloway instead defined The Female Gaze as something necessarily subversive to this system itself, not a mere genderswap of who gets objectified and does the objectifying. The Female Gaze is not simply the same ideology as The Male Gaze but turned towards men. Soloway's Female Gaze instead requires:

re-introducing an emotive and sensual dimension, as in Gabriel Marcel's sentio in "The Mystery of Being"; Soloway didn't say that, I'm making the connection and throwing Marcel in here—but the other's body as depicted onscreen this way is not a means to the end of visual pleasure, but more complex and subjectified through camera techniques that evoke this emotive and sensual dimension

The camera is prohibited from claiming its pretensions to being a "neutral, objective" tool through which to view things and people. This watcher is being watched...

...by a subject who knows that the watched camera viewpoint is watching that subject.

With regards to Saltburn 2023, at last we get to Saltburn 2023...I think there's arguments for the cinematic techniques successfully accomplishing both The Female Gaze (by the populist, pedestrian, very online definition) and The Female Gaze (Soloway's version) — but that the queerness of what we're even talking about is a major factor that the binary gendered gazes might not successfully convey. That's it, that's all. I don't know why this site wouldn't let me post those final few paragraphs in the previous post.

guys. saltburn oomfs. i'm going insane. help me. SHOULD I WRITE A THESIS ON EMERALD'S WORK?

i want to write about promising young woman and saltburn as examples of feminine and queer monstrosity. theories of the monstrous feminine (which other scholars have linked to pyw) challenge patriarchal representations of women, while queer monstrosity has often been reclaimed by queer people. i'd argue that the events of the films align with film/cultural theories of abjection, or disrupting cultural boundaries. this operates on multiple levels: the lead characters are abject in that they push the boundaries of polite society, but the films themselves are also abject because they challenge people and make them uncomfortable, leading to the intense, often critical, response we've seen to both her films. i want to talk about her films as using genre to comment on culture, and how both subvert their genres. i also need to explain how radical it is that saltburn is canonically and proudly queer. so. there's a lot there lmao i can't stop thinking about this please share thoughts

[farsight-the-char]

Joey Soloway and Gail Simone.

From Gail's Twitter.

...

We are getting the damn Bikini. Nice.

[comicweek]

By Crom, the actress to wield the savage sword of Red Sonja has been found.

Hannah John-Kamen, who starred as a villain in Ant-Man and the Wasp and was a lead in series Brave New World, will star in Millennium’s long-gestating sword and sorcery feature.

Joey Soloway is directing the project and co-wrote the script with Tasha Huo, the screenwriter who is showrunning and executive producing the upcoming animated Tomb Raider series for Netflix and Legendary.

“Hannah is a very talented actress who we’ve been following for years and she IS Red Sonja,” said Soloway in a statement. “Her range, sensibilities and strength are all qualities we have been looking for and we couldn’t be more excited to embark on this journey together.”

Sonya was created by Roy Thomas and Barry Windsor-Smith for Marvel Comics’ Conan the Barbarian comic in the early 1970s and was an amalgam of several characters from Conan creator Robert E. Howard. The character, fiery and strong enough to go toe-to-toe with Conan while refusing his advances, proved popular enough to get her own book, continuing to this day even as the Howard and Conan licenses have moved through several companies. Millennium is saying their movie is based on the comic published by Dynamite Entertainment.

[chispas-and-broken-bindings]

Thoughts on the female gaze?

Thank you for this ask @palominojacoby​ because I have so many thoughts! Too many to contain in one answer. 

So, I’ll mull over what’s top-of-mind, related to the female gaze. In a nutshell: 

- I’m digesting Joey Soloway’s wonderful Tiff Talk on the female gaze. It’s funny and poignant and a great primer on the subject. You can find it on Youtube, or there is a written transcript you can find here. 

- I’m thinking about what terrifies men about the feminine gaze (my preferred term for it): one, that they won’t be the objects of it and; two, that the feminine gaze is out of their reach. It is a space or a viewpoint that they don’t have access to but feel entitled to. They want to capitalize on it, and exploit it, just like they are allowed to exploit everything else. This needs to be watched and it needs to be called out. 

- The older I get, the less interested I am in consuming or experiencing art or media created by heterosexual white men. I’ve been in their head space long enough. I’ve been consuming their media and their opinions and their gaze for thirty-four years, and I think, by now, I know what they have to say, and I’m no longer interested in it. It does not inspire me. 

I want to be submerged in the feminine gaze. 

 For the long version, read below the cut. Buckle up, it’s going to be long: 

While eating lunch today, I watched Joey Soloway’s Tiff Talk on the female gaze. Early in their address, after they defined the male gaze, and after they did a funny riff about all the things that the female gaze isn’t (Magic Mike if it were written, directed and produced by a woman/placing women into male roles in your typical Dude Movies), they remind the audience that men have had control of the camera more or less for 100 years (and control of the everything else forever). 

Then they say this: 

So for there to be actual gender parity in the gaze – the kind that would actually make it reasonable for a reporter on the red carpet to say to me – things are getting better for women, right?

We would need the next 100 years of almost every single movie to be produced, written and directed by women. Like, let’s check in again in 2116, people.

And then after that – we could start on the 50/50 thing.

It was that very math – which is perfectly reasonable math – that made me realize that not only do women have to be inspired and funded to start making a fuck of a lot of things in record numbers, but for things to even out, well that’s why I asked that audience of cis men to please: STOP MAKING THINGS.

It did not go over well. 

They then explain why this matters; why it matters that Cis men have controlled art (and everything else) and why it is so important to wrest that control away.

ART IS PROPAGANDA FOR THE SELF.

Yep, TV and film-making and fuck, all culture making, is people going, “I’m okay! And people who are similar to me are okay! Watch this ½ hour then be more on my side! In case of Armageddon! Zika! Trump! Hitler!” 

We all need friends and so we make tribes with our art.

Simply put, Protagonism is Propaganda. Protagonism is Propaganda that protects and perpetuates privilege.

So if only cis men are creating art (or the only ones whose art is amplified), their point of view, their selves, their gazes are the only ones that are going to be privileged in spaces far beyond the art world. Protagonism as propaganda affects politics, personal relationships, economics, etc. etc. etc. 

Joey Soloway’s definition of the female gaze: 

The female gaze is a conscious effort to create empathy as a political tool. It is a wresting away! Perhaps a wrestling away of the point of view. [A wresting away] of the power, of the privilege propaganda for purposes ---​of changing the way the world feels for women when they move their BODIES through the world, feeling themselves as the subject.

It’s a great speech. I highly recommend it. 

During the Q&A after, the third question is from this Cis old white guy, who asks this fucking nonsense: 

My body, right now, is feeling shaken and inspired by everything that you said. So, I just want to ask you, I might be misunderstanding, but I think you your definition of a cis male, is those of us who were born with a penis and identify as male. [Joey Soloway affirms this definition] I’m wondering how you would feel about differentiating those of us who get it and those of us who are perpetuating...

And I just...lost it. (Note: Joey was extremely gracious in their response. I will not be.) Like, holy shit dude. You just sat through this extremely thoughtful, extremely funny talk about the female gaze and how the male gaze and perspective has been privileged for a millennia, and maybe, just maybe, it’s about FUCKING TIME to center other perspectives and YOU IMMEDIATELY TURN THE CONVERSATION BACK ON YOURSELF. YOU INSECURE, FRAGILE LITTLE MAN. SHUT THE FUCK UP FOR 2 FUCKING SECONDS. 

Holy fuck....

Again, you’d think after so long in power, men would be just a tad more secure, but they just fucking aren’t. They’re insecure little bastards (don’t come into my comments and “not all men” me on this). 

I think they are afraid of two things. 

1) That if feminine creators are actually given the space and the funding and the amplification to create feminine gaze works, cis men aren’t going to be the objects or even the subjects of that art. 

I think this terrifies them. Not only are they not going to be behind the lens, but they might not be in the picture either. This is something I’m still mulling over, and don’t have much more to say about it at this time.  

2) They really don’t like being told that a space isn’t theirs. They don’t want the feminine gaze to be out of their reach. They see feminine gaze works gaining notice and prestige and critical acclaim, and they want in. 

This had me thinking about something I’ve noticed in film. Every time a feminine (or queer) gaze film gains critical acclaim, there is almost IMMEDIATELY a rush by white cis male filmmakers to capitalize on that success. 

And it’s exhausting. In Joey’s speech, they say this: 

Sometimes the first gasp of this re-centering of ourselves is a kind of paralysis when it occurs to us how we have been groomed to stay quiet simply by having TAKEN IN all of this work, all of our lives of consuming such an overwhelming amount of cis male artists splashing in their privilege, by telling their stories which work like propaganda that suggest how we should act, for access to their attention. 

And how that stops us from gathering our own attention on ourselves. Like, I wish I could put into film the feeling of being eleven years old, to look around the classroom. Walls lined with presidents, looking around the ceiling of the whole damn room -- ALL of them men? And to think, I’m going to be the first woman president, and then on that very same day, same body, walking home listening to Rod Stewart, because he was my favorite, singing along to Tonight’s the night. Thinking I’m going to be president and then singing “Don’t say a word my virgin child / Just let your inhibitions run wild / The secret is about to unfold / Upstairs because the night’s too oldTonight’s the night? Gonna be alright / Cuz I love ya babe / Ain’t nobody gonna stop us now.” 

Singing along to a pedophile grooming an underage girl to have sex with him. When I sang along, was I Rod or the virgin child? It didn’t matter: my presidential power dreams got lost throughout all of my adolescence, or had to do extreme high jumps throughout my life, dreams of power getting lost in being sister golden hair sublime, sugar magnolia, being the lady in red, your body is a wonderland, you look wonderful tonight, you do, you look so wonderful night. 

I can’t even listen to the radio anymore, I mean, it’s a problem. This Female Gaze is a political platform, it means we start to call out how awful it is to be offered access in exchange for succeeding at being seen. 

We are so tangled up in the male gaze, that one or two or three or four or a dozen, or fucking one hundred feminine gaze stories ISN’T GOING TO BE ENOUGH. 

So when I see a feminine gaze film like Portrait of a Lady on Fire gain critical acclaim, I applaud and I’m excited and I want more.

But then...

Inevitably...

A shithead like Casey Affleck produces and stars in The World to Come, a tale about two women who fall in love on the frontier, adapted from a short story written by Jim Shepherd (if you couldn’t guess by the name, spoiler: he’s an old white guy). 

and...I’M SUSPICIOUS. 

I haven’t seen the film. And I’m not saying men can’t make films that center women, or women loving women. They can, and they obviously have all the resources to (so don’t come at me about cancel culture or gatekeeping), but... 

I’M SUSPICIOUS

and furthermore....

I’m just not that interested. I’m not interested in what Casey Affleck or Jim Shepherd have to say about the experience of being a woman who has lost a child, or is struggling with her marriage, or with material comforts, or is falling in love with another woman. 

I’m interested in what women have to say about those experiences. I’m a woman who has experienced those things. I don’t need, nor do I trust a dude to tell me what that feels like. 

Which brings me to my final thought. 

I want to be submerged in the feminine gaze.

I want to consume media created by feminine artists for feminine viewers. It’s what inspires me. It’s what makes me curious. It’s what I want more of. 

[whitewaterpaper]

Har sett henne i bland annat Killjoys och hon känns som ett kompetent val till rollen. Och nu blev jag lite småsugen att se om klassikern med Birgitte Nielsen... Både Joey Soloway (Regi/Manus) och Tasha Huo (manus) känns som nya oprövade kort efter att ha kollat upp dem på IMDb.

Länkar.

Filmen @ IMDb.

Filmen @ tMDb.

Filmen från 1985 @ Vodeville.

Filmen från 1985 @ PlayPilot.