Posts Tagged ‘patriarchy’

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The little-dick film snobs lost their shit over this:

 

However, feature-length narrative cinema made by mostly white male auteurs dominated the collection. These are not the films that need seeing or saving. They may not circulate widely in popular culture, but they account for almost our entire institutional and disciplinary canon. And despite the collective anxiety about their disappearance, they will endure in archives, film studies programs and, yes, even online …More radically, however, we might ask whether these are the works we need to rescreen or urge others to discover.

 

FilmStruck wasn’t that good for movies. Don’t mourn its demise.

 

What an absolute gift it would be to escape the corrupt inheritance of the auteur — a 20th-century invention; film scholars have the receipts — and the long shadow of a canon that has compelled generations of students to mimic the powers of patriarchy and colonialism, to play at corporate theater, or to wonder about their own exclusion from what they see on screen.

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The Rethug “Platform” is as heinous as you’d expect. More religion, less abortion, more oil, coal and nukes. Less wages and unions. They want a bastard Gilded Age redux with rising sea levels, fake Christian gibberish everywhere, guns, and soot hanging thick in the air. Fuck these idiotic monsters…

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(Also: The Witch – Joe’s Review)

‘But if you take the movie symbolically, the movie is kind of a primer on what fucked America up in the first place: delusional Christian assholes stealing the land and then using their obsessive and insane religion to create a dogma of hate and intolerance.’

 

by Kim Niccolini

If you plan on heading to the movies to check out Robert Eggers’ The Witch, you better hurry. It most likely will vanish before even having a chance to get stoned to death by the general public. Most people have flocked to the film expecting a standard Hollywood shocker horror film. Sure, it could be a crap movie, but at least it would provide screams and squirms and squirts of blood and guts.

Audiences have been gravely disappointed and confused by what they have found in The Witch. Sure, it’s a horror film, but it’s about the horror that is American Christian culture and the disease it has inflicted on social and sexual culture since the moment the first Puritan bible hit the New World. The film is a moody, minimalist parable for the sickness of American conservative Christianity and the horror of its vile intolerance. Rather than finding cheesy creepy shlock shock, most audiences have left the theater surprised, disappointed, and more than a little disturbed. Set in the 1630s and chronicling a Puritan family living in exile, the film is a dismal, dark, stark and disturbing reminder of the original Christian sin that gave way to the rape of the American land, Christian-sanctified genocide, the oppression of women, and the repression of sexuality that has never left the dark core of American socio-politics.

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“Forgive me Lord for I have trespassed” is certainly a biblical phrase that most people are familiar with. And trespass is exactly what those Puritan bible thumpers did. They trespassed in the name of God. They trespassed on land that was not theirs. They trespassed on human rights. They trespassed on women and children. They trespassed on the natives that occupied the land they stole. And they trespassed on themselves, promoting a culture of self-loathing, sexual repression, and a dogma under which it is impossible to be right and thereby gives license to wrong so many.

That is the religious landscape that is portrayed in this colorless, bleak and dismal film. It is a tale stripped to bare bones insanity. Those Puritans were run by a bunch of insane patriarchs like Jonathan Edwards and who scared people into submission with such tirades as his infamous sermon Sinners in the Hands of an Angry God. Edwards and his crew of patriarchs thumped their Bibles and ruled with fear. They set the stage that would infect American culture with a dominant ideology which propagates feverish paranoia, xenophobia, sexual repression, misogyny, and intolerance all bred from a culture of Self Hatred, and this dogma rings as true today as it did back in the 1600s during which this film was set. To quote John Trudell on Christianity’s dogma of self-hatred: “If you don’t love yourself, what the fuck good are you going to do for the rest of the world?” The answer is simple. None. Instead Americans have turned their self-hatred into an Imperialist regime of murder, racism, and sexism. Spreading Democracy in the name of God one bomb and bullet at a time. Or back in the days of the witch trials, one stone at a time.

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In Effort To Reinvent The GOP Jeb Bush Hires Woman Hating Gay Bashing Techie

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Evan Rachel Wood lets loose on the MPAA for double standards and bias…

Evan Rachel Wood Calls Out the MPAA for Sex Scene Double Standards on Deleted ‘Charlie Countryman’ Scene

This bolsters another recent complaint about female pleasure being censored on TV.

 

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Strong performances from all involved, and an unexpected turn elevate this biopic.  Linda Lovelace’s story of coming of age and rising to stardom is worth noting for a couple of reasons.

She became an icon, largely the result of being in the right place at the right time.  Taboos were fading fast, and oral sex was suddenly out of the closet.  Now that it was suddenly permissible to mention it in the media, the wave of success swept up Lovelace unexpectedly.

Across the spectrum this sexual discussion became a joke, a source of ridicule and even a symbol of liberation and empowerment.  The idea of empowerment through porn is exposed during the film when set against the reality.  It was a disempowering experience, in the extreme.  A strong patriarchal oppression runs throughout both her home life and in the larger society.

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Her life and the narrative take a hard turn because of a particular party, the pimp whom she married.  The film has a real bad guy, and he’s the central focus.  The story is based on Lovelace’s telling in her book, and events are filtered through her.  She may not be a completely reliable narrator, and then again the filmmakers may not have included enough of the story for it to make several points clear.  They did keep the movie moving along pretty well though, and the look and feel are fluid and cinematic

What is clear is the abuse that she suffered at the hands of her husband, and that he was the motivating factor to push her into that world.

 

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The slow burn of eternity weighs down this effort, which is more of a drama than a thriller.  The film fared poorly at the box office despite being well shot and well acted.  The media world has been inundated with the vampire menace, and these variety don’t have exceptionally magical powers.  They are the working class undead, struggling through afterlife.

Another point that may have sunk the film is that it is a woman’s story, a story of a prostitute and her illegitimate daughter, up against the patriarchy of the old world.  Lead actress Gemma Atherton called it a “post modern feminist” story.  The prostitute/vampire must adapt to sexism in life as well as in the afterlife. One would think the female movie going audience would support such a story, but it didn’t materialize.

Perhaps prostitution is still so taboo that it repulses the female viewer, although Julia Roberts didn’t suffer much for Pretty Woman.  Go figure.

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Saoirse Ronan, of Hannah fame, is the main character here, the daughter of 18th century prostitute Clara.  The two are very different from one another, with Eleanor (Ronan) raised in a religious orphanage away from her mother’s life for her first 16 years.

Now the female empowerment may have been undermined by the crucial role of a particular male character in the plot. I doubt that this was important to the film’s financial distress.  It doesn’t have grand special effect laden, over the top, computer generated nonsense for the trailer.  It doesn’t try to outdo Avatar with big “wow” visuals to draw in the largely numbed audience.  As a small production, with small people and small lives, it’s more of a specialty film, despite its Young-Adult style main storyline.  This combination of an oversaturated vampire market, a numb over-marketed public and a more realistic universe killed the film.  Perhaps the hard edged sexual tinge kept away the young audiences as well, as they would need to sneak in to even see it.

But the movie may be vindicated with rentals.  Who knows?

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Abby Martin interviews Peace and Freedom Party presidential candidate and Occupy activist Roseanne Barr.  Roseanne doesn’t mince words and doesn’t back down to the banksters and government fascists.

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Freak Daddy rages and cults up LA, babies (Boingboing).

 

Now there’s a guy who’s livin’ the life (film website).

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FULL REVIEW HERE

 

Fantastic independent film: ugly Americans, ugly America.  I swear this is a post 9/11 ass-ramming for a nation of bullies, patriarchal, abusive conquistadors drunk on their own “civilizing missions.”  This white man’s burden gets an unexpected take, when a wild, feral woman is found living like an animal in the woods.

The woman winds up stretched out in a torture position for most of the film, reminiscent of the torture of prisoners at Bagram Air Base in Afghanistan, as well as at Abu Ghraib prison in Iraq.  The man, Chris Cleek, who runs the show by capturing the woman, is a militaristic, unhinged authoritarian.  He acts out of a need for natural order and dominance by the white male in charge – himself.  His family lives in terror of his temper, and all are scared of crossing him, with good reason.

The acting is chilling to the bone, by the entire cast.  The terrorized family unit really brings the story to life, as it all unfolds in broad daylight.

The socio-political backdrop in The Woman is too obvious to ignore when Chris acts repeatedly out of his supposedly noble motives to tame the savage for her own good, while his own acts are equally as savage throughout.  This glaring hypocrisy adds to the tension, as Chris’ orders and his Manifest Destiny vision are similar themes to what passes for American politics on the larger scale out in the world.  The hypocrisy scales up too.

The Woman ends pretty savagely, so I wouldn’t consider this a kids’ movie.  Definitely earned its R rating with an old-school grindhouse bit of splatter at the opportune moments.