#where it feels very much like it's constantly trying to make white and/or cishet audiences feel included in the joke or the action

[chronomally]

I'm rewatching The Birdcage and there's something about the like incisive satire of queer comedies from the '90s that are so thoroughly unconcerned with the feelings of cishet audiences

[immortalconclusions]

This incomprehensible post from @0junemeatcleaver0 was brought to my attention. Like ok first of all, this post was so embarrassing it gave me full body cringe. This is like a badly written high school English essay from someone who didn’t read the book. If you know you know.

And look, I usually try not to be controversial on the internet. I try to stay away from drama. Frankly I am too busy in my real life and I don’t have the time or emotional energy. But even though I am not the target audience of this post and it doesn’t mention me, and it's kinda old news by now, I felt I had to say something in particular because it goes after my brilliant co-writer, who is a WOC. Did you know that? I can’t really let that slide, sorry June. Also, the racism in this fandom is getting worse and becoming impossible to ignore. While I can assure you I am very much not a “cishet white man”, I am not an expert or authority on this topic by any means—I am also constantly learning. But I work as hard as I can to do my part to support my BIPOC siblings both in real life and online.

So I’m gonna get right into it. First of all, you referenced a couple of handy dandy lists from dosomething.org:

Prepare For The Conversation

Understand why white people should have conversations with one another

Think about why you want to have this conversation.

Choose who you want to talk to and how

Establish goals for the conversation

Set expectations for yourself and your conversation partner

And

Have The Conversation

1. DO start the conversation from a place of curiosity and care

2. DO lead with “I” statements

3. DO ask open ended questions

4. DON’T end the conversation at the first sign of discomfort

5. DO stay on topic

6. DON’T think you have to do this alone (IE: bring resources)

7. DO consider taking a pause and returning to the conversation at a different time if you feel like the conversation is moving more towards conflict and away from conversation.

Y’all need to learn basic ass communication skills that you should have learned as a child? How to not be a dick? Shame on you, that’s embarrassing AF, and also kind of hilarious? (Ohhh but I’m *insert neurodivergent acronym here* I refer you to these articles, and these ones too. Please don’t weaponize your fragility and incompetence in a situation where it is hardly relevant).

Not to mention all the ways your post contradicts many of these points. There are just too many to name, and I don’t have the time to go through and name them all. Plus they’re all super obvious if you have more than one brain cell. But, you know, I’m willing to roll with you here in the spirit of logical positivism. Let’s work with your model. Just gotta mention a few because they made me laugh out loud.

To wit, let’s look at the third resource you referenced from guidetoallyship.com. It’s actually pretty good, definitely the best of the three. Good job there! But—oh wait, did you actually follow any of these yourself? Hmm let’s see:

To Be An Ally Is To…

Take on the struggle as your own

Transfer the benefits of your privilege to those who lack it

Amplify voices of the oppressed before your own

Acknowledge that even though you feel pain, the conversation is not about you

Stand up, even when you feel scared

Own your mistakes and de-center yourself

Understand that your education is up to you and no one else

You wrote: “Anti-racist work looks just the same in fandom as out of it. The mechanics are the same. He could have asked Google this question instead of asking fans of color.”

From your checklist:

“Choose who you want to talk to and how”

“Amplify voices of the oppressed before your own”

What happened to amplifying voices of marginalized people? Idk man I don’t really put much stock in these generic basic af wonder bread articles written by other white people (see the first two lists). Like if you were gonna cite some sources….at least make them good ones? You might have to *gasp* click on the second page of Google search results, but I believe in you baby, you can do it. (Since I know we’re all learning, and learning is a process, if you want a reading list I can share mine with you. Feel free to DM.)

You wrote: ““A lot of white people are afraid to talk about racial issues & that’s why this shit keeps happening.” (First line of the first paragraph of that post). From what I’ve seen through my research the reason white folks in the Tumblr VC fandom were beginning to become afraid of discussing race (and racism in Anne’s work and racism in fandom or the implications inherent in narrative choices the showrunners were rumored to be making) was that he was insinuating anyone who didn’t agree with his thoughts on the choices the showrunners were making were all covert racists. He actively made this stuff difficult to talk about. Which is not the role of an ally.”

From your checklist:

“Take on the struggle as your own”

“Acknowledge that even though you feel pain, the conversation is not about you”

“Stand up, even when you feel scared”

“Own your mistakes and de-center yourself”

...omg UWU we white people cant talk about w-wacism because we’re scared, because other people are so m-mean to us T_T and make it hard for us to talk about. I’m sorry what? I have no sympathy for white fragility lmao.

Attention White People: If someone calls you a racist, you should consider the possibility that you actually are. Just by chance of sheer probability. Think about that for a second. No really, use your brains. I know it’s hard. I promise you won’t vaporize on the spot. If you find out that you are, nobody is going to eat you. You just learn and get better. It’s a process, it doesn’t hurt all that bad.

You wrote: “This is not someone who needs to be doing this work.” Says you? Uhm, ok. Didn’t realize it was up to you, but go off ig. Seems to me like the more people the better.

And finally, this gem:

You wrote: “Do you think you know better about racism than a WOC?”

Hey, June.

Do YOU?

[metaphorewhore25]

Beach Rats (2017) & Why We Need More Movies Like It

There is a general underlying paradigm in society that “men do the looking and women are to be looked at” and Beach Rats (2017) is a movie that challenges that from its very first shot. The movie opens with an 18-something teenager taking mirror selfies in a dirty basement mirror. The camera pans over his very masculine features – his biceps, armpit hair, nipples, and the rest of his torso.

I was sold to the movie right there. Hardly do I see movies with such a focus on the male form. I have watched Eliza Hittman’s ‘It Felt Like Love’ (2013) which does the same thing from a teenage girl’s point of view but Beach Rats simply does it more and does it better.

I know that Beach Rats is a gay movie and hence the camera captures the perspective of a boy, not a girl, and hence may not exactly be called ‘The Female Gaze’ but it is written and directed by a cishet woman and frankly, I believe even that is a start when it comes to subverting the male gaze, flipping the camera and putting men at the centre, making them subjects of visual pleasure.

What Beach Rats does extremely well is this: It makes the audience uncomfortable.

And that is precisely why I loved it. In mainstream movies when the lead actresses are introduced by butt-to-lips-to-head shots, it doesn’t really make us uncomfortable anymore because it has become the norm. We’ve just accepted girls being captured in this way. We may even accept young, underage girls portrayed in a sexualized manner but focusing on men’s butts and forearms is sure to make us rethink what we are seeing on screen. Long idle shots of Frankie, the protagonist and his friends shirtless by the beach playing handball or just swimming, their chiselled dude-bro bodies taking up the majority of the screen is something we are quite unused to.

Even the scenes where Frankie is in his room and browsing a gay cam site on the internet makes us feel uncomfortable because we are simply more exposed to women doing these things like posing and pouting. It was quite fresh to see the white man become the one being looked at. It almost felt like revenge to me, like “You see this is how it feels to be constantly scrutinized or unnecessarily sexualized!”

I feel that we need to get more comfortable with the idea of male bodies presented on screen just as we are with female bodies.

However, I am aware that “Revenge�� is not what women in the industry are going for, or should go for. Unlike the Male Gaze, the Female Gaze is much trickier to define. Simply objectifying men back will not do. We don’t want to revert the power structure, but rather deconstruct it.

Alina Gufran from The Swaddle says “While the act of objectifying a man through the eyes of a woman remains revolutionary, it ultimately lends itself to a very “male” idea of what the female gaze should be.” When women are handed over the cameras and the pens and the main roles, the product is often not just an objectification of men but rather a humane and emotional portrayal of both men and women as people.

Although, I would personally say that after years of having seen myself and the media around me through men’s perspectives, it is fun sometimes to objectify men and get back at the system.

I believe Beach Rats takes that extra step, by not only sexualizing men like some feminist revenge fantasy but also showing the audience vulnerability, emotions and honest intimacy. The camera zooms in on Frankie’s face a lot. He is often dreamy, confused or just melancholic. In the course of the movie his father, suffering from cancer passes away, he witnesses his younger sister getting intimate with a boy her age and his friends, although given hardly any dialogues are a key influence in his life as he often forced to fit in with them and arrange drugs for them which he steals from his father’s medicine cabinet. His friends are toxic and not at all empathetic as he often proclaims “These are not my friends” as a joke with an element of truth. All this while he is navigating personal conflict regarding his sexuality and suppressing his true self with his friends and family because he cannot fathom how they would understand.

During daylight hours, Frankie has to keep up appearances by maintaining a girlfriend but during the nighttime, he often goes on a website for gay men in Brooklyn and meets up with older men for one-night stands that are often fulfilling, but often also leave him confused.

The film is definitely voyeuristic but it also has its non-sexual intimate moments. There’s a scene where Frankie has to go masturbate before joining his girlfriend in bed because he can’t maintain erections in her presence. In moments like this, we can see his vulnerability as he tries to laugh it off or gets frustrated at his body quite often telling him something else.

My favourite scene I would say is when he decides for the first time to meet up with an older, more experienced man from the website and the camera shoots him preparing for the rendezvous in a very vulnerable and intimate way. Frankie is shown lifting weights to perhaps tone his muscles, trimming his pubic hair with a scissor and taking a shower and giving himself a thorough wash. I believe shots like this, give the character a very human feel and helps the audience relate to his insecurities and struggles that lie behind the muscular façade.

Admittedly, Frankie’s friends are only two-dimensional characters and used as props for plot development and often fall into the cliché dude-bro stereotypes. They are perhaps used only to flex their shapely bodies and contribute to Frankie’s inner conflict. They are not people, they are just cishet men in the movie. They are the ones we may call purely “objectified”.

The sexual politics are at one point even explicitly stated in the film’s dialogue when Frankie asks Simone (his girlfriend) if two men making out is hot. Simone says that two girls making out is no big deal and is obviously hot but two men making out is just gay. Reading into the subtext, the word “gay” here is used in the derogatory sense.

Of course, neither should be seen as “hot”. Homosexuality is supposed to exist in its own place, having an identity of its own and shouldn’t be co-opted by and for heterosexuals for their pleasure or entertainment.

But, due to the infiltration of the male gaze in popular media and a society that entitles men and suppresses female voices; women bear the burden of being unfairly sexualized. This same patriarchy socializes young boys and girls to view themselves a certain way, boys are taught not to be emotional and affectionate and are thus also disadvantaged by the patriarchy. I’m talking about things like “boys don’t cry” or “two guys don’t hold hands”.  The movie shows the reflections of these through Frankie’s toxic masculine friends and sometimes even Simone.

Frankie feels like he’d never be accepted into the mainstream of society because of the same sexual politics that exist in the world and that Hittman is trying to deconstruct. It is perhaps due to the fact that Frankie cannot come out that the film is shot mostly in the dark and in dingy places.

Beach Rats is a fine example of a movie that shows us a strong, conspicuous alternative to the male gaze. It does one thing very well and it is depicting male bodies in a casual, real, vulnerable, sexy and overt way and we need more of that. We need more male body presence on the screen because we as a culture of people are so oblivious to it. It’s always “Ass or Tits?”, “Pear-shaped or Hourglass-shaped” and “Skinny or Thick” and all these labels that apply only to women’s bodies to an extent where we perhaps don’t even feel like male bodies are something to be gazed at in the first place.

“Men look for looks and women look for personality”. How often have you heard this? I am not trying to defy the evolutionary explanations which may explain things to some extent. But we as this highly intelligent species cannot be completely bound by merely evolutionary instincts. While The Female Gaze does incorporate emotions and intimacy, I liked how Beach Rats balanced out the emotional and the purely carnal.  I am not saying we need more male bodies on screen in simply a sexual way. I want to see male bodies even in very mundane non-sexual ways just because I feel it needs to be normalized. Normalize focusing on the man’s body too in heterosexual romance films perhaps. Beach Rats was quite a refreshing watch despite its dark colour pallet because I was quite frankly amused to see what happens when the camera is reversed and allowed to linger on manly features. Perhaps through this, we may reach the ultimate goal of both men and women moving fluidly between the subject and object of mutual desire.

Posted originally on: https://rishikapandit.com/2021/06/08/beach-rats-why-we-need-more-movies-like-it/ 

[lay4decolonisation-blog]

She-Ra: Princesses of Power (2018) and the Representation that I Want

 **CONTENT WARNING:  ABUSE, VIOLENCE**

When I heard She-Ra was back and GAY, I had to jump straight or not so straight into it. The amazing characterisation and themes of the show fit the modern audience perfectly. She-Ra: Princesses of Power (SPOP) did what Voltron: Legendary Defender wish it did. RIP. 

The SPOP series was written by Noelle Stevenson, and produced by Dreamworks. Season 1 aired on the 13th November 2018 via Netflix. 

There’s two things I want to discuss, so I’ll split this up into sections: visual character design & complex characterisation.

Visual Character Design

80’s She-Ra         

 2018 She-Ra

 She-Ra is the hero alter ego of Princess Adora, who transforms when she calls forth “For the Honour of Grayskull!” with The Sword of Protection. 

When I saw the visuals for the series and the new outfit for She-Ra I nearly screamed. It was perfect. I will always prefer Marvel cinematic movie adaptations on the basis that women wear full body armour, and not a skirt. So it was natural for me to fall in love with the shorts, flowy skirt, useful boots and 80’s influenced shoulder flares on She-Ra’s new threads. 

She looked PRACTICAL, and totally badass. I see no male gaze in the update. She-Ra isn’t wearing heels, or red lipstick, her dress doesn’t look like it’s about to give her a nip slip, and her hair still flows like golden threads in the wind! 

Notice how I just used the ‘Male Gaze’. The Male Gaze is essentially a patriarchal control of representation of women and/or other genders in media, and can be applicable to historical documentation (Mulvey 1989). Ponterotto (2016) describes it expands on the media’s control of feminine bodies as: 

“The invisibility of women has been accompanied in an extraordinarily inversely proportionate manner by the visual display of her physical appearance, of her body as material object, to be observed, judged, valued, appreciated, rejected, modified and essentially commodified, for socially-constructed purposes. From a feminist point of view, this purpose can be claimed to be essentially male pleasure, concomitant social benchmarking and commercial profit.” (134)

From the ‘controversy’ from predominantly male audiences on the release of She-Ra’s costume it’s obvious that it’s doing its job (Lenton 2018); with men reacting with things like: 

“The character designs for this show are god awful. She-Ra looks too much like a man.” MECCA_Studios @ twitter

“if you're trying to make your girls look like boys for your show then you are not actually fighting for equality you're proving that men is the superior gender and taken more seriously than a beautiful women, you're only helping sexism not fighting it” - iamconsumer @ twitter

I wanna acknowledge this was mainly white, cishet males reacting to a show that is predominantly AIMED AT YOUNG GIRLS. SPOP’s visual design of She-Ra was so key in getting this show right. She is a woman icon for young girls growing up and seeing her on screen wearing a non-sexual costume whilst being feminine, strong and beautiful will mean something for them growing up. Women/Feminine peoples can look at the screen and say “I’m She-Ra!” and not have to feel like they have to look good for male gaze to do that.  

People Of Colour (POC) Representation

Bow, Mermista, Frosta, Netossa and Catra’s - along with ethnically ambiguous characters - redesign was kind of glossed over with the amount of objections about the Queer and Feminist arguments going around. 

So here’s some of my babies:

Bow 80s 

                                                            Bow 2018

Mermista 80s

                                                            Mermista 2018

Catra 80s                                                  

Catra 2018

Frosta 80s

                                  Frosta 2018

Bow stood out to me alot because I empathize alot for my dark skinned brother’s who don’t have any or many examples of good representation on screen that explores queer identity, gender performativity, body image and positive masculinity that is casual and fun. (I speak of course from an Indigenous background, but a lot of my community look at the African-American community on TV for dark bodies representation.) Imagine a young dark skinned boy watching Bow being fun loving, supportive, gentle, obsessed with crop tops, hanging out with girls and embodying positive masculinity, then using as a mold to treat their sisters, mums and cousins. Incredible. 

 SPOP centers ethnic looking characters amazingly with their characterisation. Having POC on screens breaks out of normalizing whiteness, and de-centers it as the default way of being (Scharrer & Ramasubramanian 2015). People might argue that fantasy worlds don’t overlap with real worlds because race mightn’t exist in the fantasy world, but when you’re a ethnic kid growing up watching/ reading white bodies being superheroes and warriors and People of Colour don’t exist you have no representation, or worse POC are negatively stereotyped. Representation is IMPORTANT. Representation is the ability to control the way the world perceives a group of people, or yourself - white people often struggle understanding this because whiteness as an identity is invisible by normalization (hooks 1992, Dyer 1997). It can be compared to men as ungendered compared to women, or non-cis and queer people with heteronormativity. So it can only be visible when colour is involved, and depending on whether it’s good or bad POC representation it can create racial stereotypes (Brigham 1971, Nosek 2007). 

LGBTQIA+ Visual Representation

I feel like you can find a lot of this, but not any by me! 

I will start with Scorpia cause she’s such a dear. 

JUST LOOK AT HER. 

Everyone is screaming ‘butch lesbian’ little to know that she is a total femme (anyone can fight me on this). Her open attraction towards Catra was loud, unapologetic and was super ultra normal. Despite her giant crab claws, I just want her to hold me gently. I think it’s another good example of different body types. Like it’s not just an exterior what makes a woman a woman or a good person a good person. Before I die of thirst, let’s move on to my Bow’s dads. 

OH MY GAWD. Bow resembles Lance and George so much. Like the perfect little mix between their two personalities UGH. Both very different individuals who share a common obsession with history. Two gay Black dudes just be out here owning the biggest collection of ancient artifacts, studying the classics and raising 13 kids like wojefdikewajfaij

Lance out here rocking dreads and the glasses with sandals *bathump* and George with his little moustache and fancy hair. They go on like a normal couple picking on one another and knowing each other’s personalities, caring about their son and reflecting on their parenting when they realize they messed up instead of blaming their kid for not understanding them okmfoerngfa

Sorry, my heart nearly went into cardiac arrest thinking about them. 

I won’t miss the exceptional drop of them telling Bow their disappointed that he had to hide a part of himself because he was afraid of what they’d think of him or do. I remember that feeling….*glances at my physical wooden closet*

SPINNERELLA AND NETOSSA.

Netossa is the only character (I’m pretty sure) who was originally dark skinned in the 80s She Ra - she also had no powers. 

Now rocking up with powers and gf, she is out here living her best life. Look at them. Just look at my babies. They swapped chokers, like wow, what a lesbian power move. Plus sized, buff queer women rocking their femininity being loyal and totally badass. Their actual appearances on screen are limited but impactful as they are seen as people seem to question more what the heck they do in the Rebellion rather than their queer relationship. 

Complex Characterisation

Let’s start with Shadow Weaver’s relationship with Catra and Adora. 

Starting off at Mystacor as Light Spinner, she a teacher and getting one of her students, Micah, to perform a spell that conjured evil magic - The Spell of Obtainment - ultimately decided her path as Shadow Weaver. She became an abusive, manipulative and self righteous authoritative figure to Catra and Adora. 

Shadow Weaver is an abuser. Abuse works differently in each situation but is defined by White Ribbon Australia in categories of:  Physical, Financial, Emotional, Verbal, Social, Sexual, Stalking, Spiritual, Image based, Dowry and Elderly Abuse. 

The emotional, verbal, social and I’m going to add economical (instead for Financial) abuse she inflicted on Adora and Catra made them stick together as companions through the hardships. Adora upon realizing the Horde’s actions and motives rejects and calls out Shadow Weaver’s abuse. Catra, on the other hand, looks for something like approval from Shadow Weaver. Catra grew up neglected and constantly compared to Adora in her duties to the Horde by Shadow Weaver, so when Adora left a shift happened in Catra. Adora was her main source of comfort and sense of safety in Shadow Weaver’s irract attitude towards her. Adora was her constant feeling of affection and comfort, when she went against the very codes that kept them together their entire lives - Catra was betrayed. Finally, maybe she could get the parental approval she was seeking from Shadow Weaver she never got when Adora was around. Also looking for validation of her moral that has been cause her actions other than rage and sadness that Adora had left her alone. Catra sort out her Abuser’s approval because that’s the only way she knew how to get validity and self assurance of her identity as a member of the Horde - all she ever knew. 

Catra feels alone and like she can’t depend on anyone, and because she knows how that feels she was also able to emotionally manipulate Entrapta into join the Horde. It’s a consistent cycle of isolation that stemmed from one person’s influence. 

The thing that differs Adora and Catra, was more Adora being given opportunities to lead and step up where Catra was always on the side. Adora gained leadership skills and an emotional capacity where she was able to trust others and trust herself. This ultimately allowed her to do the right thing and join the Rebellion. Catra on the other hand had to quickly use her head and be more aware of things other than herself which made her falter in the leadership role of Shadow Weaver, but that is her coping mechanism of isolating herself and having to immerse herself with other people and the world to take action. 

Adora’s culture shock between the way the Princesses live and the way it was in the Horde only shows how she’s been manipulated through learning the knowledge and behaviours that were enforced on her in the Horde. Princesses aren’t evil. The Horde is evil.

Adora’s role of She Ra has put a lot of pressure on her, and she is fighting her own self. 

What happened with Adora was she was specifically chosen because she’s had the experiences she’s had. She knows what it's like in the Horde. How their systems work. What type of people and kids are there. She knows all of that to use to win the war. She’s not gonna break into it, but out of it. 

When Adora breaks out of the Horde’s learning, and the truth telling begins the walls will crumble and there will be internal upset. There’s a good and evil battle going on inside of each character. Adora wants to protect her friends and do the right thing, but sometimes those two things aren’t the same thing. 

Another character I wanna bring up is Glimmer. Glimmer has been fighting to fight. She’s having to fight a struggle in her internal kingdoms. She’s been trying to tell the truth to the other Kingdoms and unite the Kingdoms so they can beat the Horde and save everything they love. She needed to stand up to her mother, the other Princesses, and herself. She is so damn strong and I love her so much omg. 

When Bow went to the ball with Perfuma and she was upset, this was because she was afraid Bow would leave her. She’s been isolated also by her mother into doing Princess things that don’t actually have a big impact, but Bow has been consistent in her life and training to be a leader. When he left her side, she was scared that she was going to be isolated again. She knew it was irrational, but that kind of stuff just happens. Sometimes our feelings don’t always make sense to us at first, and we have to look somewhere else to understand what we’re feeling right then and there. But the besties will prevail. 

The other thing I didn’t touch on earlier, but will now is age. The Princesses age from around 11-18 (?). The thing about having young people saving the world is really where we’re at. Kids are rioting in the streets trying to get big corporations led by greedy bastards who want resources and exploit people to stop, and save their entire world - yeah, you know I’m talking about situations like the climate strike. We will learn from our elders mistakes and do it right. 

We shouldn’t give up because our parents did. We will be the ones to win, just like Glimmer, Adora, Bow and the gang.

Representation isn’t a debate - it’s a necessity.  

Thanks for reading babes. 

Reference List

Dyer, Richard. (1997) ‘The Matter of Whiteness’ in White, London: Routledge.

Brigham, John C. "Ethnic stereotypes." Psychological bulletin76.1 (1971): 15.

Nosek, Brian A., et al. "Pervasiveness and correlates of implicit attitudes and stereotypes." European Review of Social Psychology 18.1 (2007): 36-88.

Bell, Hooks. "The oppositional Gaze: Black Female Spectators." Black Looks: Race and Representation (1992): 115-131.

Mulvey, L. (1989). Visual pleasure and narrative cinema. In Visual and other pleasures (pp. 14-26). Palgrave Macmillan, London.

Ponterotto, D. (2016). Resisting the male gaze: feminist responses to the" normatization" of the female body in Western culture. Journal of International Women's Studies, 17(1), 133-151.

Scharrer, E., & Ramasubramanian, S. (2015). Intervening in the media's influence on stereotypes of race and ethnicity: The role of media literacy education. Journal of Social Issues, 71(1), 171-185.

https://www.whiteribbon.org.au/understand-domestic-violence/types-of-abuse/