Author Archives: riesba

Legally Blonde and Hollywood Feminism (Or Lack of It)

The presentation on Legally Blonde today got me thinking about Hollywood in general and how it negotiates feminism and political correctness with the box office and the desire to create a commercially viable product.  The latter, of course, wins out.  Miss Representation … Continue reading Continue reading

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The Double Standard Through Another Lens

There’s always a point where self-pitying on the part of the most privileged class becomes excessive and offensive.  This is fair.  I think about white people from the south (relatives come to mind) complaining that they can’t wave their Confederate … Continue reading Continue reading

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Feminism and Openness to Moral Questions

I spent a long time this afternoon trying to figure out exactly what it was that bothers me about feminism, or at least my perception of it.  I often find myself defending feminism to other people (typically conservatives, including relatives), … Continue reading Continue reading

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Final Project: Feminism in David Lynch’s “Inland Empire”

Few directors are as divisive and controversial as David Lynch, whose films often eschew any narrative cohesion and bombard the viewer with strange and often startling images of surreal dreamscapes.  Lynch described his first film, Eraserhead, as “a haunting dream … Continue reading Continue reading

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A Harsh Lesson in “The Unknown Woman”

A few weeks ago I went to an International Lens screening of 2006′s The Unknown Woman (La sconosciuta).  I know at least one other person from our class was there.  It was a very strong and entertaining film that slowly … Continue reading Continue reading

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Philadelphia, All About My Mother, and Suffering in Hollywood

The degree of maturity with which Pedro Almodóvar’s All About My Mother (which sounds much better as its original title Todo sobre mi madre) treated its diverse set of characters somewhat startled me.  The film came out in 1999, three … Continue reading Continue reading

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Retaining Their Mystery

The reading that was passed around in class today about Paris is Burning referenced director Jennie Livingston’s satisfaction for The New Yorker’s review of it (written by Terrence Rafferty).  I actually read the review after I finished the movie and … Continue reading Continue reading

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Tensions within the Construction of “But I’m a Cheerleader”

I want my comment to start by focusing on one clip from But I’m a Cheerleader that you can find on YouTube here: Confrontation Scene Megan’s family and friends all gather to confront her about their ‘concerns’ that she might be … Continue reading Continue reading

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The Wachowskis and The Matrix

Bound was a fascinating introduction to Andy and Lana Wachowski.  Watching the Matrix movies, it’s easy to think that they need a huge budget and massive special effects in order to make exciting movies, but the incredibly clever Bound proves … Continue reading Continue reading

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Real Enough to Forget – A look at Berger and Mulvey

John Berger’s “Ways of Seeing” (1972) ends with a declaration that the same objectifying qualities and assumed male perspective exhibited by traditional paintings of the female nude continue to manifest themselves in new ways through “advertising, journalism, and television.” (63).  … Continue reading Continue reading

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