The newspaperman, and newspaperwoman, have long captured the American imagination – and reporters, anchors, and even photojournalists have served as the protagonists in comics, animation, television and film.
As a woman writer and pop culture herstorian I can’t help but be drawn to places in pop culture where women and journalism intersect – and that means I absolutely adore Lois Lane.
She is not the first woman reporter in popular culture, but Lois is likely the most recognizable – and certainly the longest lasting in the American cultural consciousness, having debuted alongside Superman and Clark Kent in 1938.
Readers, we are living an era of ill-advised remakes of already great (or at the very least, already classic movies). Titles allegedly in the re-works include: Red Dawn, Red Sonja, Faster, Pussycat! Kill! Kill!, Total Recall, Barbarella, Short Circuit, and The Karate Kid. So this morning’s report from Variety about a new adaptation of James M. Cain’s novel, Mildred Pierce, had me exhaling a huge sigh. According to the report, Todd Haynes, who wrote and directed I’m Not There and Far From Heaven, is slated to write and direct a miniseries staring Kate Winslet with the possibility that it will air on HBO.
While I’d watch Winslet do anything after her guest appearance on Extras, and she can surely go toe-to-toe acting wise with the original film’s star, Joan Crawford, who won an Academy award for the role, I wondered if a new version would have anything different to offer.
Sarah Mirk’s post last month, Beat the Majority - Name a Female Scientist, reminded me of an ad I saw several years ago for a Women in Film festival here in Seattle. In it, a dominatrix flanked by muscle men is asking a man in an interrogation chair if he can name five female directors – five female directors who weren’t actresses first. Of course, he can’t, and the dominatrix proceeds to list all the directors included in that year’s festival line-up. While many accomplished actresses have also directed – Barbara Streisand, Jodie Foster, Ida Lupino, Sofia Coppola, Penny Marshall, and Diane Keaton – to name but a few; it could be argued that it was their acting that helped them break into directing. This should in no way belittle any of their accomplishments, but what about women who set out to direct in the first place, without the benefit of already being recognized?
Thank you all for a great conversation this week regarding the question “Is Quentin Tarantino a feminist?”
Responses were as varied as could be expected and ranged from expressions of the power and strength one may feel after watching Zoë, Abernathy, and Kim, and a desire to adapt Beatrix Kiddo’s better qualities; resilience, confidence and physical prowess.
After several years, a lot of script work and much trademark frenetic verbosity, writer/director Quentin Tarantino’s long-awaited Inglourious Basterds – his "bunch of guys on a mission" film set during the Second World War – finally premieres on the 21st of this month.
With a nearly all-male cast it’s arguably a return to the tough-guy roots of his earlier movies Reservoir Dogs (1992) and Pulp Fiction (1994), where manly-men bantered over such topics as the meaning of Madonna’s "Like a Virgin" and the global appeal of hamburgers – regardless of whether they’re measured in imperial or metric units.
Though they often repeat the contradictions inherent in representations of women in Exploitation films, and thus come from already problematic source material, the kick-ass heroines of Jackie Brown (1991), Kill Bill (2003 & 2004), and Death Proof (2007) still show visceral examples of female power that women can get excited about.
So this week we’ll take an in-depth look at these characters and Tarantino’s work, and hopefully have a discussion regarding the question: "Is Quentin Tarantino a feminist?"
Jean Seberg is one of those fascinating Hollywood stories that reads like the plot of a dark Hollywood movie. Her tragic story is lesser known than say, Marilyn Monroe’s – though she was just as great a beauty. And her politics caused more damage to her life than that of her acting contemporaries – ultimately leading to her death at the all too young age of 40.