#feminist film writing

[fictionadventurer]

I think I have accidentally become very protective of the story of Snow White.

[bizarrocloudy]

I wonder if I'm the first person to have listened to the audiobook reading of Carol Clover's Men, Women, and Chainsaws while hurtling along in my car at 65 mph while shoving a beef n ched down my gullet

[eeriemilyworlds]

[biitchesbrew]

my thoughts on TCM: The Next Generation part2

[harrowfuckinghark]

Hey remember when I mentioned I was trying to find a place to publish my 12 page essay on Bones and All? Well I finally did it and by did it I mean put it in a blog post on medium! I’m linking it below:

[anewbrainjughead]

i will say that the way poor things handles disability and disfigurement left a bad taste in my mouth

[creativepotatowrites]

Breaking Down the Bold Finale: Why Promising Young Woman Nailed It

Hey, fellow film lovers! Promising Young Woman (2020) is one of my all-time favourite movies and for good reason. It discusses important topics about society and femininity.

Let’s dive into the jaw-dropping finale of Promising Young Woman. Buckle up for a chat about film theory and why that ending is a knockout.

Feminist Film Theory: Power to Cassie

In the realm of feminist film theory, Cassie is our unapologetic protagonist. She emerges as an avenging hero, shattering the conventional narrative. The ending? It had to be bold, reflecting Cassie’s relentless pursuit of justice.

Cassie, portrayed with depth by Carey Mulligan, challenges the typical female character arc. The tension and power dynamics unfold in scenes where she confronts her targets.

The ending becomes a powerful statement. It breaks away from traditional gender norms. The ending also offers a fresh perspective on justice in the face of sexual assault.

Genre Deconstruction: Twisty Turmoil

Now, let’s talk about genre deconstruction. Promising Young Woman begins as a dark comedy. Before long, it morphs into a thrilling tragedy. Why? To keep us on our toes. The ending is unconventional because life itself is messy, and so is this story.

The film’s ability to blend dark comedy with thriller and tragedy is intentional. Shaking up genre expectations makes us question our assumptions about justice and morality. The ending isn’t neatly packaged, but a deliberate departure from the expected.

Visual Language: Colors Speak Louder

Have you noticed those dreamy pastel colours during Cassie’s confrontations? These pallets act as eye candy AND visual storytelling. The ending needed to be a spectacle.

The filmmakers used colours to challenge societal perceptions and scream empowerment. Pastel colours in confrontation scenes add layers of irony. The pallet challenges traditional notions of femininity.

This visual language enhances our understanding of the film’s themes. It adds depth to the ending, making it an interplay of satisfaction AND discomfort.

Dialogue as Subtext: The Unsaid Speaks Volumes

Cassie’s exchanges, especially with characters like Ryan, are dripping with subtext. The coffee shop confrontation? It’s a dialogue masterpiece, wrapping up Cassie’s journey with emotional weight.

Film theory teaches us that dialogue isn’t just about words. It’s also a hidden treasure trove of meaning. We can especially focus on lines leading to the film’s climax.

Let’s talk about THAT line in one of the ending scenes, where Cassie shows up as Candy.

Al Monroe: It’s every man’s worst nightmare, getting accused of something like that.

Cassie: Can you guess what every woman’s worst nightmare is?

Now that’s a kicker.

Al Monroe, played by Chris Lowell, reveals a common sentiment among men. He expresses fear at the thought of a woman accusing him of a heinous act.

Cassie’s retort brings the film’s feminist themes to the forefront. It challenges Al and, by extension, the audience.

Men may fear false accusations, but women live with the constant threat of sexual assault. They face the fear of no one believing them or taking them seriously.

Cassie’s response is a stark reminder of the gendered nature of societal fears. Her line put a spotlight on the systemic issues surrounding sexual assault. These types of lines prompt viewers to confront the disparity in societal expectations.

Cassie’s question is a rhetorical challenge, urging the audience to reconsider their ideas. The line encourages the viewers to empathise with the lived experiences of women. This dialogue lingers, forcing viewers to confront uncomfortable truths about sexual assault.

Catharsis and Disquiet: Emotional Rollercoaster

As we approach the finale, that mix of satisfaction and disquiet isn’t accidental. Film theory says it’s purposeful. The ending brings catharsis, a release, but it also nudges us to question more. It’s a rollercoaster designed to make us think.

The emotional impact of the ending is intentional. It prompts us to reflect on our own expectations and biases. The ending pushes us to confront uncomfortable truths about justice and societal expectations.

The film doesn’t spoon-feed us a tidy resolution. Instead, it leaves us with a cocktail of emotions. It sparks conversations long after the credits roll.

A Cinematic Rebellion

In a nutshell, Promising Young Woman chose its ending for a reason. Feminist film theory empowered Cassie. Genre deconstruction kept us guessing. The visual language uses colours to challenge norms. Dialogue spoke volumes.

The ending delivered catharsis and disquiet, leaving us with thoughts to ponder. This film isn’t just a movie. Promising Young Woman is a conversation starter. This film challenges norms and sparks discussions about justice and revenge for women.

That’s why the ending had to be a spectacle. Promising Young Woman shows a cinematic rebellion against the norm. Through feminist film theory, genre deconstruction, visual language, and dialogue analysis, the film crafts an ending as bold as its protagonist.

[edwardtulanepdf]

she’s a 10 but she has parasocial relationships with disney characters

[smokeringsofmemory]

Currently reading Chaos by Tom O’Neill. It’s perhaps the only piece of literature that has scared me to my bones. It details the sixties, the CIA, and Charles Manson— but most specifically that there is a great evil lingering among those in power, and many are oftentimes silenced to keep it private. There has always been a connection between crime and corruptive government, but this book… this book!— the detailing of Sharon Tate, the found videotape of Roman Polanski literally forcing her to have sex with men, the diligent people in Hollywood who didn’t dare speak a bad thing about his name— it just feels like a prelude to Jeffrey Epstein. These abuses of power and their consequences are not coincidental. They are intentionally created.

[peridot-tears]

Truths that Co-Exist

Barbie (2023) is a giant product placement that profits off nostalgia.

The writing is profound and life-changing and understands why we seek nostalgia in a way most nostalgia-driven entertainment doesn’t.

The film is self-aware about how even now, Barbie dolls set incredibly unrealistic beauty standards. Their “body diversity” does not even scratch the surface of what that phrase really means. I don’t expect this to change.

The film still made a beautiful statement with the scene on the bench about how societal beauty standards are narrow and restrictive! And that beauty comes from experiencing life and the marks it leaves on you!

Its feminist statements are validating. Many of us see our reality onscreen, and the great thing is that it includes how cishet men fall down a pipeline of toxic hypermasculinity. It also shows the solution, and allows men to express themselves despite what society expects them to be.

The film is a capitalist venture.

The cast (aside from the leads) and crew were probably overworked and severely underpaid during filmmaking.

We can still appreciate that something fun was made, and we all made another wonderful memory where we and our loved ones went to the movies color-matching in pink.

We should not feel guilty about seeing ourselves in this film.

Meanwhile, support the WGA and SAG-Aftra strike.

[tim-hoe-wan]

someone described oppenheimer as «  tar for the boys » would you agree?

My brother described it as a bunch of men Barbie would commit manslaughter to and I cannot imagine it any other way

[eeriemilyworlds]

[daenrys]

well i watched promising young woman for the first time and i hated it

[whencartoonsruletheworld]

"It’s no longer 1937… she’s not gonna be saved by the prince." 

The absolute DISRESPECT for the FIRST ANIMATED MOVIE EVER MADE and its female character who was strong in her own way! The DISRESPECT for Snow White coming from people who plan to """update""" her story??? I'm FUMING. i am FURIOUS. This is the SAME shit I said about Girlboss Cinderella do you understand???

Snow White was an abused CHILD who was isolated within her castle and then suddenly thrown into the  woods and she managed to survive using only her hope and kindness!!! She found a house and offered to work to earn her keep and she DID!!! Snow does not have to be a badass to be a strong female character. And more importantly, SHE DOES NOT NEED TO BE "BADASS" TO DESERVE HER HAPPY ENDING. Some of us in abusive situations CANNOT escape on our own. We CANNOT physically fight back and WE STILL DESERVE HAPPY ENDINGS.

Women don't have to be badasses in order to be strong female characters. So she needs to be saved-- so WHAT? Saying Snow White is an antifeminist character solely because she doesn't save herself is offensive to abuse survivors and to the original character who WAS a good character. You can criticize OTHER parts of the movie– the implication that men living without women will be useless and filthy the entire time, or we can discuss the Queen’s feud with Snow being fuelled by misogynist standards, etc.!! But just saying “she needs to be saved so it’s bad” LIKE. ARE YOU SERIOUS

Badass Snow White reboots are fine in moderation, but just like Girlboss Cinderella reboots, too many and it becomes clear what society is trying to say now- that if you're feminine and can't fight a battle, you don't deserve to be saved. Do you see why this is a bad message????? Some girls are badasses who can kill and fight as well as or better than the boys. Those girls have Mulan, Merida, Raya, Moana, Rapunzel, Elsa. They are good female characters. But you know what? So is Snow White. So is Cinderella.

I'm sure people are going to accuse me of being antifeminist for saying “oh she NEEDS to be saved by a man”– I’m NOT SAYING THAT. You could have her be saved by a woman. Be saved by the dwarves, her platonic friends. By the animals. You could write a badass Snow White reboot without being disrespectful to the original film or tale. Just fucking TODAY I read the Disney Mirrorverse Snow White book– it’s written for 13yos basically so not high art but even with them having to make her an adaptational badass, they managed to keep her personality PERFECTLY. She learns how to save herself in this book, but also remains HERSELF. And her previous inability to fight was NOT CRITICIZED by any character; her sudden badassery was a bonus for her, not an indication of her character!!!

YOU are the ones saying that if Snow White (and Cinderella) isn't saving herself, she doesn't deserve to be saved. But everyone deserves happiness and that includes those too weak to fight for it alone.

anyway that was a long feminist rant. this is also super disrespectful to the FIRST ANIMATED MOVIE EVER, the people who worked on it, Walt Disney himself, and everyone who enjoyed or was inspired by it. You absolute fucking dickheads.

also can't believe i have to say this but if y'all use this as an excuse to be racist towards anyone in the cast i will hunt you down and put shoelaces in your lungs

[raisinchallah]

xena warrior princess was the closest we ever got to a mass attempt to make straight men into femslash fujoshis that is making straight men appreciate and engage with f/f relationships in the way that women play with their tortured tormented gay barbie dolls in great works of literature it all starts with the placement of women in battle against and beside other women and this being a place of bonding camaraderie and love and by placing this in ancient greece it begins to attempt its bold rewriting of history and working as a grand femslash manifesto by yurifying one of the great root yaois of the western canon but also this ultimately understands that in the same way many of the most high octane and insane homoerotic relationships between men often appeal most to women that xena is positioned with a foot in the hot babes breasting boobily genre of previous attempts at lesbicious homoeroticism between women aimed at men of things like barbarella and lesbian vampire films while also understanding that women watch these films but also that this is the girl power 90s and that lesbians will be tuned in and so also engages in a tongue in cheek fashion with the feminist rewriting of mythology and constructs a world a beautiful mirror of yaoi world the world of men where all the most important relationships are between women and men are evil exes or mediocre husbands or enemies to vanquish or silly jesters kept around to laugh at much in the way women can be set dressing or romantic rivals for the main relationship in great works of homoerotic literature about men sadly this did not seem to work as a manifesto to inspire grand change within the genre as the only straight men converted to this cause were the straight men writing for xena and the straight women believed it was unfeminist to make women lesbians and that by seeing xena as a great work of homoerotic television it was undermining its feminist message and television decided that only the worlds most boring lesbians and bisexual women would be allowed to write for tv thus unable to truly construct a grand second generation of xena inspired works with even more homoeroticism rather than less thus leaving it somewhat of an evolutionary dead end in that regard tragically