The Effects of #MeToo on Film’s Violent Male Gaze
Clover Hope, Jezebel, April 6, 2018
I, Tonya,
director Craig Gillespie’s biographical film about figure skating legend Tonya
Harding, contained multiple scenes of domestic violence, played up for humor.
Though based on Harding’s real experience, and thus worthy of exploration, the
film’s comical treatment of violence read to many as grossly sensational.
director Craig Gillespie’s biographical film about figure skating legend Tonya
Harding, contained multiple scenes of domestic violence, played up for humor.
Though based on Harding’s real experience, and thus worthy of exploration, the
film’s comical treatment of violence read to many as grossly sensational.
 |
|
Illustration:
Angelica Alzona (GMG) |
In an
interview in January, the movie’s star, Margot Robbie, responded to comparisons
of those scenes to the graphic work of Quentin Tarantino. “I’m a huge Tarantino
fan, and I’ve heard him describe his violence as sensationalized violence.
That’s not what we did at all,” Robbie told
the New York Times. “We wanted to emphasize that this is a cycle and this is so
routine for her, because it’s happened her whole life.”
interview in January, the movie’s star, Margot Robbie, responded to comparisons
of those scenes to the graphic work of Quentin Tarantino. “I’m a huge Tarantino
fan, and I’ve heard him describe his violence as sensationalized violence.
That’s not what we did at all,” Robbie told
the New York Times. “We wanted to emphasize that this is a cycle and this is so
routine for her, because it’s happened her whole life.”
Concerns
about these cinematic depictions—of sexual assault, rape, domestic violence,
etc.—persist in 2018, but in a much more transparent environment, with frequent
use of the phrase “the era of #MeToo,” and at a time in which public attention
around sexual violence has escalated across multiple industries. The seeds of a
movement, planted 12 years ago by #MeToo founder Tarana Burke, landed in Hollywood
in 2017 and has not left our cultural consciousness since.
about these cinematic depictions—of sexual assault, rape, domestic violence,
etc.—persist in 2018, but in a much more transparent environment, with frequent
use of the phrase “the era of #MeToo,” and at a time in which public attention
around sexual violence has escalated across multiple industries. The seeds of a
movement, planted 12 years ago by #MeToo founder Tarana Burke, landed in Hollywood
in 2017 and has not left our cultural consciousness since.
An
acknowledgment of the confluence of forces that control and fuel violent sexual
behavior—and the ways that movies serve as a reflection and reinforcement
of prevailing views—has worked to educate the general public. At the same time,
our perhaps healthy pessimism about whether anything will change around the
subject of women, movies, violence (on and off set), sexual harassment, and all
its intersections remains.
acknowledgment of the confluence of forces that control and fuel violent sexual
behavior—and the ways that movies serve as a reflection and reinforcement
of prevailing views—has worked to educate the general public. At the same time,
our perhaps healthy pessimism about whether anything will change around the
subject of women, movies, violence (on and off set), sexual harassment, and all
its intersections remains.
Even with
a shift in tone publicly, it’s easy for a movement to feel more like a moment,
especially under the facade of Hollywood. In contrast to the all-black
ensembles on display earlier this year at the Golden Globes—where the topic of
sexual assault made for an intense conversational backdrop—only
a handful of attendees at the 2018 Academy Awards wore modest orange flag
pins on their garments in support of Time’s Up, Ryan Seacrest
performed his red carpet duties despite allegations of sexual harassment (E!’s
red carpet ratings were down
43 percent), and few actors addressed the issue on the main stage.
a shift in tone publicly, it’s easy for a movement to feel more like a moment,
especially under the facade of Hollywood. In contrast to the all-black
ensembles on display earlier this year at the Golden Globes—where the topic of
sexual assault made for an intense conversational backdrop—only
a handful of attendees at the 2018 Academy Awards wore modest orange flag
pins on their garments in support of Time’s Up, Ryan Seacrest
performed his red carpet duties despite allegations of sexual harassment (E!’s
red carpet ratings were down
43 percent), and few actors addressed the issue on the main stage.
“The
problem is that what’s on the screen is indicative of what’s happening in the
minds of the people making the films.”
The
pressure on women behind the movement to not only show up but develop
subsequent systems to solve the problem feels both inconvenient and fitting. In
a piece
in March about the effectiveness of Time’s Up, The Hollywood Reporter noted
that the campaign has raised $21 million in legal defense funds, then pointed
to the organization’s apparently cliquish nature and lack of structure while
wondering what’s next.
On the
Oscars red carpet, Tarana Burke told The
Los Angeles Times, “We’ve only been talking about sexual violence for four
months, so when people are already rushed to say what’s next, we have a lot to
unpack where we are right now. Really, what’s next is figuring out how to get
sexual violence resources. We have millions of people around the world who have
opened up and are talking about their needs.” What is really about to change
and what won’t?
Oscars red carpet, Tarana Burke told The
Los Angeles Times, “We’ve only been talking about sexual violence for four
months, so when people are already rushed to say what’s next, we have a lot to
unpack where we are right now. Really, what’s next is figuring out how to get
sexual violence resources. We have millions of people around the world who have
opened up and are talking about their needs.” What is really about to change
and what won’t?
Violence
as a release of fantasy—and women as props for the male director’s
inhibitions—has worked as an immortal trope in Hollywood for decades, making
the link between real-world sexual violence and depictions of violence against
women in movies cause for ongoing interrogation. In August 1984, the New York
Times published a story
titled “Violence Against Women in Films.” The piece covered a study from the
American Psychological Association confirming violence as a sexual stimulant
for men, as well as a survey, which found that “one in eight movies
commercially released in 1983 depicted violent acts against women, a sharp
increase from 1982 when the rate was one movie in 20.”
as a release of fantasy—and women as props for the male director’s
inhibitions—has worked as an immortal trope in Hollywood for decades, making
the link between real-world sexual violence and depictions of violence against
women in movies cause for ongoing interrogation. In August 1984, the New York
Times published a story
titled “Violence Against Women in Films.” The piece covered a study from the
American Psychological Association confirming violence as a sexual stimulant
for men, as well as a survey, which found that “one in eight movies
commercially released in 1983 depicted violent acts against women, a sharp
increase from 1982 when the rate was one movie in 20.”
What’s
clear is that representations of violence against women in film involve
psychology, social conditioning, and manifestations that are just now being
rightfully probed.
Thirty
years later, in 2014, the Washington Post wrote
about the historic indulgence of the male director’s fantasy in connection with
“sexualized violence” against women. Citing then-new films like Tombstones
(starring Liam Neeson) and The Equalizer (starring Denzel Washington), writer
Ann Hornaday noted the desensitizing nature of acts of violence on screen. “I’m
not suggesting that movies cause violence against women or encourage the abuse
of children,” she wrote. “What I am suggesting is that violence exists within a
continuum of culturally sanctioned, ritualized aggression, from Sunday
afternoon football games to Quentin Tarantino—that itself exists on a
continuum, from the symbolic, cleansing and cathartic to the desensitizing,
exploitative and profoundly hypocritical.”
What’s
clear is that representations of violence against women in film involve tons of
psychology, social conditioning, and manifestations that are just now being
probed by a larger group of people. What’s been robbed of women, in these
discussions, is the privilege of complexity, consideration of how women
fantasize, and how we respond to or reject violent imagery.
clear is that representations of violence against women in film involve tons of
psychology, social conditioning, and manifestations that are just now being
probed by a larger group of people. What’s been robbed of women, in these
discussions, is the privilege of complexity, consideration of how women
fantasize, and how we respond to or reject violent imagery.
The film
perhaps most often referenced in the pantheon of violent acts of cinema is
Bernardo Bertolucci’s Last Tango in
Paris (1972), starring Maria Schneider. Last July, for an article
about the creation of rape scenes (disturbingly known as “rape choreography”), published
by L.A. Weekly, April Wolfe wrote:
perhaps most often referenced in the pantheon of violent acts of cinema is
Bernardo Bertolucci’s Last Tango in
Paris (1972), starring Maria Schneider. Last July, for an article
about the creation of rape scenes (disturbingly known as “rape choreography”), published
by L.A. Weekly, April Wolfe wrote:
Just a
few years before her 2011 death, Schneider opened up about director Bernardo
Bertolucci’s harsh treatment of her on set and his decision — with Marlon
Brando — to spring some of the rape choreography on her at the last second,
specifically Brando brandishing a stick of butter to lubricate her anus before
he simulated penetration. “I felt a little raped,” she’d told the Daily Mail in
2007, blaming that experience for her personal downward spiral after she shot
the film.
few years before her 2011 death, Schneider opened up about director Bernardo
Bertolucci’s harsh treatment of her on set and his decision — with Marlon
Brando — to spring some of the rape choreography on her at the last second,
specifically Brando brandishing a stick of butter to lubricate her anus before
he simulated penetration. “I felt a little raped,” she’d told the Daily Mail in
2007, blaming that experience for her personal downward spiral after she shot
the film.
The 1970s
often are cited as the glory days for daring cinema, but this is also the
decade that drew up the blueprint for rape scenes that would follow.
often are cited as the glory days for daring cinema, but this is also the
decade that drew up the blueprint for rape scenes that would follow.
In the
piece, Wolfe also referenced director Sam Peckinpah’s 1971 film Straw Dogs for
context—and how he reportedly aimed to shoot “the greatest rape scene ever”—and
she reported that “while narratives of sexual assault are nothing new… these
storylines have become particularly common in film and TV lately.” A
Playlist.net piece about the history of rape in film further noted,
regarding the Academy Awards, that: “Half of 2016’s eight Best Picture nominees
depicted, alluded to, or dealt heavily with rape.”
piece, Wolfe also referenced director Sam Peckinpah’s 1971 film Straw Dogs for
context—and how he reportedly aimed to shoot “the greatest rape scene ever”—and
she reported that “while narratives of sexual assault are nothing new… these
storylines have become particularly common in film and TV lately.” A
Playlist.net piece about the history of rape in film further noted,
regarding the Academy Awards, that: “Half of 2016’s eight Best Picture nominees
depicted, alluded to, or dealt heavily with rape.”
While the
theory and execution of the male gaze on screen has been thoroughly studied,
conversations around #MeToo have us re-examining the trend with fresh eyes and
scrutiny of its roots, from Alfred Hitchcock’s women protagonists in peril to
Tarantino’s vengeful femme fatales and, more recently, excessive depictions of
rape on television. (Years after its 1986 release Spike Lee admitted
to wrongfully depicting his lead character enjoying her own rape in his first
film, She’s Gotta Have It.) The lack of sweeping change in Hollywood begs
the question of whether (or rather, how) we’ll see progression in ways that
take us beyond dreams and theory.
theory and execution of the male gaze on screen has been thoroughly studied,
conversations around #MeToo have us re-examining the trend with fresh eyes and
scrutiny of its roots, from Alfred Hitchcock’s women protagonists in peril to
Tarantino’s vengeful femme fatales and, more recently, excessive depictions of
rape on television. (Years after its 1986 release Spike Lee admitted
to wrongfully depicting his lead character enjoying her own rape in his first
film, She’s Gotta Have It.) The lack of sweeping change in Hollywood begs
the question of whether (or rather, how) we’ll see progression in ways that
take us beyond dreams and theory.
“The
problem is that what’s on the screen is indicative of what’s happening in the
minds of the people making the films,” Debra Zimmerman, executive director of
the advocacy group Women Make Movies, which focuses on representation in film
and ending violence against women, tells Jezebel. “We are inundated with images
of women as victims, images of murdered women’s bodies. They are rarely the
narrative force; they’re rather the narrative background, or they’re being
acted upon rather than acting.”
problem is that what’s on the screen is indicative of what’s happening in the
minds of the people making the films,” Debra Zimmerman, executive director of
the advocacy group Women Make Movies, which focuses on representation in film
and ending violence against women, tells Jezebel. “We are inundated with images
of women as victims, images of murdered women’s bodies. They are rarely the
narrative force; they’re rather the narrative background, or they’re being
acted upon rather than acting.”
In short,
men in power have stalled the course of evolution in film. But, of course,
there’s more to the subject than simply the idea that male directors love
torturing women on screen. Film critic Molly Haskell wrote in an introduction
for the third iteration of her 1974 book, Reverence to Rape: “Compared to the
astonishing presence of women in the arts, on the internet, in public life—Out
There and brimming with confidence in ways unimaginable 30 or even 20 years
ago—the movie industry feels rearguard, the last bastion of boys-club
supremacy.” Haskell also cited both the neglected sadistic fantasies of women
audiences and the agency of women on set.
men in power have stalled the course of evolution in film. But, of course,
there’s more to the subject than simply the idea that male directors love
torturing women on screen. Film critic Molly Haskell wrote in an introduction
for the third iteration of her 1974 book, Reverence to Rape: “Compared to the
astonishing presence of women in the arts, on the internet, in public life—Out
There and brimming with confidence in ways unimaginable 30 or even 20 years
ago—the movie industry feels rearguard, the last bastion of boys-club
supremacy.” Haskell also cited both the neglected sadistic fantasies of women
audiences and the agency of women on set.
In line
with decades of nuanced feminist film theory that’s defined women characters
as, in many ways, proxies for male desire, filmmaker Nina Menkes made the
connection between onscreen violence, objectification, and the effects of
Harvey Weinstein, in an essay
for Filmmaker. There, she broke down how the issue of violence begins,
naturally, with how women are seen.
with decades of nuanced feminist film theory that’s defined women characters
as, in many ways, proxies for male desire, filmmaker Nina Menkes made the
connection between onscreen violence, objectification, and the effects of
Harvey Weinstein, in an essay
for Filmmaker. There, she broke down how the issue of violence begins,
naturally, with how women are seen.
It’s not
about being the sex police… there’s such an overpowering message that comes
through when this is what you’re constantly seeing.
“The
actual language of cinema, the shot design itself, the way that women are
photographed, creates a sort of subconscious indoctrination that all of us
absorb, women and men,” Menkes tells Jezebel, adding that awareness of these
images isn’t the same as censorship. “It’s not about being the sex police. It’s
about pointing out that in something like 97 percent of the films we see, women
are sexualized and made into sexual objects. It would be okay if it was 30
percent of the films and a lot of other things, too, but there’s such an
overpowering message that comes through when this is what you’re constantly
seeing. There is a very bizarre consciousness created about what women are
really here to do. They’re here to fulfill desires or if I want to kill them,
it’s sexy.”
Besides
considering the views of the women involved in the violence depicted on film,
we should note the eras in which women’s stories (white women’s) dominated
Hollywood, in stark comparison to recent times. In a thorough essay
about the false promise of feminist movies, filmmaker Anna Biller (The Love
Witch) gave historical context on how films of the ’20s and ’30s focused on
socializing men, and how the aspiration of glamour gave white women in
Hollywood certain control of the gaze on screen:
considering the views of the women involved in the violence depicted on film,
we should note the eras in which women’s stories (white women’s) dominated
Hollywood, in stark comparison to recent times. In a thorough essay
about the false promise of feminist movies, filmmaker Anna Biller (The Love
Witch) gave historical context on how films of the ’20s and ’30s focused on
socializing men, and how the aspiration of glamour gave white women in
Hollywood certain control of the gaze on screen:
Women
were sexualized in many earlier movies and in men’s magazines, but usually not
violently, and censorship codes required that the kinkier and more aggressive
modes of expression would remain either unexpressed, or buried firmly in the
underground.
were sexualized in many earlier movies and in men’s magazines, but usually not
violently, and censorship codes required that the kinkier and more aggressive
modes of expression would remain either unexpressed, or buried firmly in the
underground.
The
pre-code writers (many of whom were women) seemed to have social goals in mind
when they wrote their scripts. They thought that if men knew what women really
went through, they would be kinder and more empathetic towards them, and there
would be less domestic violence. If a man saw that a sexualized woman was also
a human being (all of those movies about a fallen woman with a heart of gold),
he would treat women he was attracted to with more respect. The romance movies
also socialized men (and women) to fall in love, creating a perfect utopia that
gave men an incentive to love and marry women and not just try to use them for
sex.
pre-code writers (many of whom were women) seemed to have social goals in mind
when they wrote their scripts. They thought that if men knew what women really
went through, they would be kinder and more empathetic towards them, and there
would be less domestic violence. If a man saw that a sexualized woman was also
a human being (all of those movies about a fallen woman with a heart of gold),
he would treat women he was attracted to with more respect. The romance movies
also socialized men (and women) to fall in love, creating a perfect utopia that
gave men an incentive to love and marry women and not just try to use them for
sex.
Biller
went to note the shift in censoring that led to male directors having the
dominant eye:
went to note the shift in censoring that led to male directors having the
dominant eye:
All of
this changed when the censorship codes lifted, and men could finally express
all of the things they’d been bottling up. And what were those things? Mainly,
explicit sex and violence, and anger and frustration towards women. At first
movies could only be explicit if they could prove that they contributed something
worthwhile or artistic to culture, but soon no one bothered to enforce the
obscenity statute, and men were given free rein to express themselves in any
way they pleased. This change in censorship codes led to an unexpected surge at
the box office for violent and sexually explicit films.
this changed when the censorship codes lifted, and men could finally express
all of the things they’d been bottling up. And what were those things? Mainly,
explicit sex and violence, and anger and frustration towards women. At first
movies could only be explicit if they could prove that they contributed something
worthwhile or artistic to culture, but soon no one bothered to enforce the
obscenity statute, and men were given free rein to express themselves in any
way they pleased. This change in censorship codes led to an unexpected surge at
the box office for violent and sexually explicit films.
(Regarding
censorship, a rep for the Motion Picture Association of America, which issues
ratings for movies released in the US, told Jezebel that the MPAA has never
tracked specific types of violence, i.e. rape or domestic violence, in movies.)
censorship, a rep for the Motion Picture Association of America, which issues
ratings for movies released in the US, told Jezebel that the MPAA has never
tracked specific types of violence, i.e. rape or domestic violence, in movies.)
The
filmmakers and advocates I spoke to believe statistics are shifting in women’s
favor, but they also gestured toward Hollywood’s tendency to want to speed up
the veneer of progress. What many people want is to be able to see history
moving. In some ways, it is. “This is the first time I think there’s been
actual fear of women out there. But I don’t know if that means that things will
shift in terms of content,” Biller wrote via email. It has, at least, led to
people trying to do what’s different.
filmmakers and advocates I spoke to believe statistics are shifting in women’s
favor, but they also gestured toward Hollywood’s tendency to want to speed up
the veneer of progress. What many people want is to be able to see history
moving. In some ways, it is. “This is the first time I think there’s been
actual fear of women out there. But I don’t know if that means that things will
shift in terms of content,” Biller wrote via email. It has, at least, led to
people trying to do what’s different.
There’s a
sense that the advancement of women creatives is one obvious solution that
might bring more nuanced, less aggressive depictions of violence against women
on screen. After the New York Times broke its story about Harvey Weinstein on
October 5, according to Kirsten Schaffer, executive director of Women in Film,
the organization started getting calls from members with questions about how to
be active. “I can tell you what has changed is people have cared.
Decision-makers, studios, have cared about this issue,” Schaffer tells Jezebel.
“But we really believe that one of the clearest ways to combat sexual
harassment is to put more women in positions of power.”
sense that the advancement of women creatives is one obvious solution that
might bring more nuanced, less aggressive depictions of violence against women
on screen. After the New York Times broke its story about Harvey Weinstein on
October 5, according to Kirsten Schaffer, executive director of Women in Film,
the organization started getting calls from members with questions about how to
be active. “I can tell you what has changed is people have cared.
Decision-makers, studios, have cared about this issue,” Schaffer tells Jezebel.
“But we really believe that one of the clearest ways to combat sexual
harassment is to put more women in positions of power.”
I think
the main problem with men only seeing their own fantasies on the screen is that
a lot of men sincerely don’t believe that women have their own point of view or
stories to tell.
“The
cynic in me thinks that, to some extent, we’re preaching to the converted or
swimming in the same pools,” Schaffer adds. “I think that some of the men that
have perpetrated these ideas for a long time, it’s not necessarily bubbling up
to them, but I hope it is seeping in, in some ways. That guy grew up watching
these films in the ’70s, ’80s, ’90s and they’re replicating those images so
we’re in a cyclical pattern, and I think it’s gonna take some enlightenment and
a lot more women behind the camera.”
cynic in me thinks that, to some extent, we’re preaching to the converted or
swimming in the same pools,” Schaffer adds. “I think that some of the men that
have perpetrated these ideas for a long time, it’s not necessarily bubbling up
to them, but I hope it is seeping in, in some ways. That guy grew up watching
these films in the ’70s, ’80s, ’90s and they’re replicating those images so
we’re in a cyclical pattern, and I think it’s gonna take some enlightenment and
a lot more women behind the camera.”
Of the
top 250 films at the box office, 18 percent employed women directors,
screenwriters, producers, executive producers, editors, and cinematographers,
according to a study
by San Diego State’s Center for the Study of Women in Television and Film.
top 250 films at the box office, 18 percent employed women directors,
screenwriters, producers, executive producers, editors, and cinematographers,
according to a study
by San Diego State’s Center for the Study of Women in Television and Film.
“I think
the main problem with men only seeing their own fantasies on the screen is that
a lot of men sincerely don’t believe that women have their own point of view or
stories to tell,” Biller stated via email. “Because there is no widespread
social awareness about the way women are systemically blocked from achieving
their ambitions, many men think that it’s a more or less level playing field
and that women are just bad storytellers or that they just don’t have anything
to say. That obviously has huge repercussions on whether or not women are hired
to do creative jobs.”
the main problem with men only seeing their own fantasies on the screen is that
a lot of men sincerely don’t believe that women have their own point of view or
stories to tell,” Biller stated via email. “Because there is no widespread
social awareness about the way women are systemically blocked from achieving
their ambitions, many men think that it’s a more or less level playing field
and that women are just bad storytellers or that they just don’t have anything
to say. That obviously has huge repercussions on whether or not women are hired
to do creative jobs.”
She
added, “In my blog, I wrote about how everyone talks about feminism now as if
they think it’s really important, but that has not led to more feminist content
being made—it’s only led to the violent movies men make being labeled as
feminist. The only thing that seems to really change content is box office
returns.”
added, “In my blog, I wrote about how everyone talks about feminism now as if
they think it’s really important, but that has not led to more feminist content
being made—it’s only led to the violent movies men make being labeled as
feminist. The only thing that seems to really change content is box office
returns.”
In a New
York Times feature
published in February—the salacious tone of which undermined the story’s point
about the absence of clear agency among actresses on set—Uma Thurman spoke on
her experience working with Quentin Tarantino on Kill Bill and with
Weinstein. “I stand as both a person who was subjected to it and a person
who was then also part of the cloud cover, so that’s a super weird split to
have,” she said.
York Times feature
published in February—the salacious tone of which undermined the story’s point
about the absence of clear agency among actresses on set—Uma Thurman spoke on
her experience working with Quentin Tarantino on Kill Bill and with
Weinstein. “I stand as both a person who was subjected to it and a person
who was then also part of the cloud cover, so that’s a super weird split to
have,” she said.
Jezebel
later posted an unearthed audio
of Tarantino on Howard Stern’s radio show in which Tarantino defended Roman
Polanski’s sexual assault of a 13-year-old, by saying, “She wanted to have it.”
Instances of powerful creative men reflecting sexual violence onto women, or
bad views about women, are prevalent, Woody Allen being chief
among them. Allegations of sexual misconduct against Louis C.K., which he confirmed
as true, ran concurrent with promotions for his film
about a 17-year-old girl and a predator filmmaker, I Love You, Daddy, which was
later pulled from release. And Tarantino is Tarantino.
later posted an unearthed audio
of Tarantino on Howard Stern’s radio show in which Tarantino defended Roman
Polanski’s sexual assault of a 13-year-old, by saying, “She wanted to have it.”
Instances of powerful creative men reflecting sexual violence onto women, or
bad views about women, are prevalent, Woody Allen being chief
among them. Allegations of sexual misconduct against Louis C.K., which he confirmed
as true, ran concurrent with promotions for his film
about a 17-year-old girl and a predator filmmaker, I Love You, Daddy, which was
later pulled from release. And Tarantino is Tarantino.
That’s
not to say that predatory behavior necessarily manifests itself artistically,
but that the overlapping connections between real life and film, which may have
formerly been seen as innocuous, have risen to the surface to reveal how much
sexual violence culture is ingrained.
not to say that predatory behavior necessarily manifests itself artistically,
but that the overlapping connections between real life and film, which may have
formerly been seen as innocuous, have risen to the surface to reveal how much
sexual violence culture is ingrained.
“I think
we need some more discussion of exactly that point, the correlation between
what we see on screen and the behavior of these men. It’s complicated,” says
Zimmerman. “What seems really creepy is when it is actually reflective, and I
think that’s the case with Woody Allen. Or Louis CK, doing these performances,
these monologues about what exactly was going on, and he was making a joke of
it and we were all laughing. That’s the beginning of that correlation.”
we need some more discussion of exactly that point, the correlation between
what we see on screen and the behavior of these men. It’s complicated,” says
Zimmerman. “What seems really creepy is when it is actually reflective, and I
think that’s the case with Woody Allen. Or Louis CK, doing these performances,
these monologues about what exactly was going on, and he was making a joke of
it and we were all laughing. That’s the beginning of that correlation.”
“I
understand why men don’t want to give up power in Hollywood,” Zimmerman adds.
“If I could walk around in the world and see primarily images that reflect my
fantasies, my dreams, and my desires, where I’m always the hero and I’m always
the one going through the action and coming out with the beautiful woman, yeah,
sure, I would want that too. I like seeing myself as a hero, and I want to be
the one who’s choosing my path, and I certainly don’t want to see myself victimized
all the time.”
understand why men don’t want to give up power in Hollywood,” Zimmerman adds.
“If I could walk around in the world and see primarily images that reflect my
fantasies, my dreams, and my desires, where I’m always the hero and I’m always
the one going through the action and coming out with the beautiful woman, yeah,
sure, I would want that too. I like seeing myself as a hero, and I want to be
the one who’s choosing my path, and I certainly don’t want to see myself victimized
all the time.”
It’s
through the allegations in the past few months that, in theory, more people
have realized how violence gets depicted, in part, because real violence is
allowed to persist. In an ideal world, there would be more women of various
backgrounds, not just white, in position to balance the point of view without,
as people fear, stifling art. Change has so far been reflected unfortunately in
the way people promote so-called “#MeToo
Movies” and highlight films with a sexual assault angle—another
example of the veneer of Hollywood. What we don’t want is more instances of
#MeToo turning into a marketing point rather than an observed reflection of how
women have long lived. And yet, that points to how much any type of progression
tends to go hand-in-hand with profit.
through the allegations in the past few months that, in theory, more people
have realized how violence gets depicted, in part, because real violence is
allowed to persist. In an ideal world, there would be more women of various
backgrounds, not just white, in position to balance the point of view without,
as people fear, stifling art. Change has so far been reflected unfortunately in
the way people promote so-called “#MeToo
Movies” and highlight films with a sexual assault angle—another
example of the veneer of Hollywood. What we don’t want is more instances of
#MeToo turning into a marketing point rather than an observed reflection of how
women have long lived. And yet, that points to how much any type of progression
tends to go hand-in-hand with profit.
Nina
Menkes says, “I don’t think anyone in the industry thinks about their
responsibility regarding violence in movies. People are mostly interested in
what they like to see on screen and in what sells.”
Menkes says, “I don’t think anyone in the industry thinks about their
responsibility regarding violence in movies. People are mostly interested in
what they like to see on screen and in what sells.”
“I do
think women will speak out more on set, and some men will speak out on set and
say this should not be happening. But I would say that it is about numbers,”
says Zimmerman. “When there’s one person in the mix, one woman or even two in
the room, it’s very hard. You need a certain number to tip the balance, to feel
empowered, to feel like you’re not alone. That’s what’s actually started to
create the change. It’s the accumulation.”
think women will speak out more on set, and some men will speak out on set and
say this should not be happening. But I would say that it is about numbers,”
says Zimmerman. “When there’s one person in the mix, one woman or even two in
the room, it’s very hard. You need a certain number to tip the balance, to feel
empowered, to feel like you’re not alone. That’s what’s actually started to
create the change. It’s the accumulation.”
