TV and film are in the thick of an unprecedented sociopolitical reckoning, the first ever of such scale and ferocity, a microcosm of our ever-more-literal national culture war. But to make that reckoning stick, we have to look ahead and ask ourselves what we want of this new Hollywood, and look back to avoid repeating the past.
Hollywood is both a perfect and bizarre vanguard in the war for cultural change. Perfect because its reach is so vast, its influence so potent; bizarre because television and movies are how a great many toxic ideas embedded themselves inside of us in the first place.
.. When I was growing up, I didn’t chafe at the shallow, exploitative representations of my gender that I saw on screen; I took notes. I added item after item to my mental lists of how to be a woman and the things I should yearn for and tolerate from men.
.. From makeover shows, I learned that I was ugly. From romantic comedies, I learned that stalking means he loves you and persistence means he earned you
.. From Disney movies, I learned that if I made my waist small enough (maybe with the help of a witch), a man or large hog-bear might marry me, and that’s where my story would end.
.. “The Smurfs” taught me that boys can have distinct personalities, like being smart or grumpy, and girls can have only one (that personality is “high heels”).
.. From “The Breakfast Club,” I learned that rage and degradation are the selling points of an alluring bad boy, not the red flags of an abuser.
.. From pretty much all media, I learned that complicated women are “crazy” and complicated men are geniuses.
.. What we could really use from Hollywood is about 100 years of phase cancellation.
.. We are not done talking about why so many men feel entitled to space, power and other people’s bodies.
.. We are not done talking about how to get justice for “imperfect” victims
.. Unseating a couple (or a score, or even a generation) of powerful abusers is a start, but it’s not an end, unless we also radically change the power structure that selects their replacements and the shared values that remain even when the movement wanes. Art didn’t invent oppressive gender roles, racial stereotyping or rape culture, but it reflects, polishes and sells them back to us every moment of our waking lives. We make art, and it simultaneously makes us. Shouldn’t it follow, then, that we can change ourselves by changing the art we make?
An art critic explains what the Guggenheim was really saying when it offered Trump a golden toilet
Saddam Hussein, it was reported after the fall of his regime, had golden toilets, or at least gold-plated toilets.
.. The conceptual piece advanced two ideas that were becoming fashionable at the time: How to create work that was entirely immaterial, rather than a physical object; and how to create work that called attention to the capitalist economy in which art was bought and sold, like any common commodity?
.. The Guggenheim contretemps also has both immaterial and conceptual elements. The immateriality is in the chatter it provokes, the jokes, the pleasure some will take in seeing the president humiliated, and resulting insiders’ discourse about contemporary art and irony. The jokes just seem to make themselves. But it also carries with it a conceptual element based on the exchange, or nonexchange, of one thing for another... The Guggenheim has said no to the president of the United States, which is a powerful gesture in itself. But it has also presumed to offer him something “more” valuable according to the value system it imputes to him: a tawdry love of gleaming gold fixtures, common to vulgar despots all the way back to Midas himself. The subtext here is: We assume you only want the van Gogh painting as a status symbol, which we refuse to endorse; but we will give you what you really crave, which is crass gold.If he accepts the golden toilet, he confirms their view of him. If Trump declines the golden toilet, by implication he would seem to believe that there are things (such as van Gogh paintings) that transcend money and commerce. And thus, he may undermine his own worldview, in which all things have their price and anything can be exchanged for something else if the money is right.So the artwork here is not by Cattelan, who is merely instrumental in this game. Rather it is the work of Guggenheim curator Nancy Spector, who made the offer to the White House. Curators may be talented and creative, but they are not often in the business of making art itself. But now the Guggenheim owns a new work, a Spector original, which will add if not luster at least levity to the museum’s collection.
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If You Like Art, Don’t Take the Bechdel Test
Suppose your favorite film critic started sprinkling his reviews with references to the “Cowboy Test” and made it clear that he was factoring into his appraisal of a work of art whether it contained cowboys. La La Land? Manchester by the Sea? Moonlight? All problematic, as these benighted films contain no cowboys. On the other hand, Cowboys and Aliens, Armageddon, and the Village People movie Can’t Stop the Music, each of which contains cowboy characters, would easily pass the Cowboy Test and receive a hearty blessing.
You would think this approach to movies a bit odd. It is. But no odder than the Bechdel Test, a feminist litmus test that is currently being thrown around by movie critics as an important way to assess the quality or at least the political correctness of a film.
.. In the past few years, the Bechdel Test has begun popping up casually in reviews like a feminist Good Housekeeping Seal of approval.
.. Neither of these two tests gives you any hint as to the worth of a film, and furthermore neither of them tells you anything about a film’s general feminist wokeness. It doesn’t even tell you whether the film is entirely about a woman. Lots of films that have female protagonists fail the Bechdel Test — notably Alien 3; Run, Lola, Run; Breakfast at Tiffany’s (there is actual heated debate on this one, but if it passes it barely does so); and Gravity. The Princess Bride fails the Bechdel Test
.. Lots of blockbusters with beloved female characters fail the Bechdel Test, including the original Star Wars trilogy, Avatar, and all of the Lord of the Rings films.
.. Showgirls, on the other hand, passes the test. Do feminists look at Showgirls and chalk that one up as a big win?
.. To give you some inkling of how little the Bechdel Test matters when it comes to filmmaking, consider that Sofia Coppola had never heard of it when asked about it in a recent interview. Coppola is one of today’s most accomplished and acclaimed female directors, and all of her seven films prominently feature women, usually in the main roles. Yet her latest movie, The Beguiled, passes only incidentally.
.. a strategy for drawing attention to the general way women are sidelined in Hollywood. But movies aren’t intended to be a proper demographic cross-section of America. Movies (at least Hollywood movies) are about people on the extremes of society — cops, criminals, superheroes. These extreme characters tend to be men, and men tend to be the ones who create them.
.. Women enjoy much more prominence in the milieu of low-budget independent movies, where the stories are more focused on ordinary people with real-world problems, but those movies usually attract small audiences.
.. It might be true that there would be more women prominently featured in movies if more women were writing and directing more movies. But it might also be true that the reason there aren’t as many women making films is that women’s movie ideas aren’t commercial enough for Hollywood studios.
.. To be slightly less reductionist than the Bechdel Test, women tend to write movies about relationships, and men tend to write movies about aliens and shootouts.
.. Have a wander through the sci-fi and fantasy section of your local bookstore: How many of these books’ authors are female? Yet these are where the big movie ideas come from. If a woman wants the next Lord of the Rings–style franchise to pass the Bechdel Test, then a woman should come up with a story with as much earning potential as J. R. R. Tolkien’s.