Best Director: Kathryn Bigelow?

Hollywood has long been a boy’s club and this truth has never been more apparent among its elite directors—Spielberg, Coppola, Scorsese, Lucas, Cameron, Eastwood. Their names are synonymous with a distinctive style, box office success, massive fan followings and accolades galore. Considering this overwhelming male-presence in the directing category, I’ve sometimes wondered what it will be like when a female director finally wins the Academy Award for Best Director. As a cynic, I’ve also pictured the world imploding 2012-style as this director makes her acceptance speech.

Throughout the 82-year history of the Academy Awards, only four women have been nominated for Best Director: Lina Wertmüller, Jane Campion, Sofia Coppola and Kathryn Bigelow, who is nominated for directing the Iraq War thriller The Hurt Locker. Kathryn Bigelow is often compared to her peers for her directorial choices. Unlike big-name female directors such as Nora Ephron (Julie & Julia) and Nancy Meyers (It’s Complicated), Bigelow is an action film director. For this reason, her films, which feature male characters and big explosions, are recognized as not being “female.” This fact is often harped on by critics when reviewing her films, including The Hurt Locker.

The Hurt Locker is the first post-invasion Iraq war film that has been a critical success. The film seems destined to be named the Best Picture at this year’s Oscars ceremony. The film follows a bomb disposal unit during the final months of their deployment. It is a graphically violent depiction of war yet has a moral message unseen in typical war films. Considering that war movies and female directors almost never go together, this unique moralistic message has been credited to the female presence behind the camera.

Bigelow recognizes the need to focus on her gender as a determining factor for why her action films are unique. But as she said in an interview with Slate magazine, “I think of a person as a filmmaker, not a male or female filmmaker…Yes, we’re informed by who we are, and perhaps we’re even defined by that, but yet, the work has to speak for itself.”

Still Bigelow is in the unfortunate circumstance of being nominated the same year as her ex-husband, James Cameron. Although Bigelow and Cameron are good friends and have even collaborated since their 1991 divorce, the fact it’s the first time a divorced couple has been nominated in the same category will be continually discussed by the media. It seems that no matter how female directors remove themselves from the patriarchal system that is Hollywood, there will always be a catch. The work of female directors can never speak for themselves.

This is why as much as I think that Kathryn Bigelow will win the Academy Award for Best Director on Sunday night, it is still one outcome I won’t believe can happen until it does.

Published: March 4, 2010
The Mount Holyoke News

Review: My Name is Khan (2010)

My Name is Khan: A post-9/11 epic Bollywood journey for love

“My name is Khan, and I am not a terrorist.”

These are the words Rizwan Khan, a Indian Muslim immigrant living in California, wants to say to the President of the United States. Khan travels across the country for nearly a year by plane, bus and foot to meet the Pre ident (first Bush and then Obama) to share his message, attracting attention from federal authorities and the media. But Khan, who suffers from Asperger Syndrome, doesn’t quite understand why the media, authorities, and the American public are invigorated by his journey. Khan doesn’t see the message of identity and tolerance that he is spreading. As far as Khan knows, he is simply traveling across the country for love and to reunify his family after a great tragedy.

Continue reading “Review: My Name is Khan (2010)”

16 and Pregnant and Teen Mom: MTV’s groundbreaking reality programs

teen mom 2In the United States, approximately 1/3 of all teenage girls will get pregnant. This is the highest teen pregnancy rate among developed countries—and the teen pregnancy rate in the US is rising. While these sobering facts are not recent news, something of late has made teenage pregnancy story-worthy in popular culture: it seems that movies and television shows featuring expecting teens are now everywhere.

In 2007, the Oscar-nominated movie Juno was both a critical sensation and a highly scrutinized film. That same year, then 16-year-old tween celebrity Jamie Lynn Spears announced her pregnancy, initiating concerns from parent groups that teenage pregnancy was being glorified by celebrity culture and the media. More recently, television shows such asSecret Life of the American Teenager have attempted to “de-Juno-fy” the issue of teenage pregnancy by reminding audiences that pregnancy has consequences and you can’t simply find adoptive parents in The Penny Saver. But no series can effectively address the issue of teen pregnancy because it is not real (shocking, I know). In fact, no programs have had more impact in addressing teenage pregnancy than the MTV documentary series,16 and Pregnant and Teen Mom, which both premiered in 2009.

It is hard to imagine that MTV, the network best known for hot-tub loving twenty-somethings living in the “real world,” bisexual dating games, and the ridiculous antics of guidos and guidettes at the Jersey Shore, is also the home of pregnant teenagers and teenage mothers struggling to get by. Yet these two shows are some of the network’s most watched new programming; Teen Mom had the highest rated premiere episode for the network in over a year.

The first season of 16 and Pregnant follows six girls, ranging from ages 16 to 18, from different socio-economic backgrounds and with different family situations, all expecting. The cameras follow them during the last months of their pregnancy, through labor and delivery, and through their child’s first months. Each girl has big dreams for their futures and how having a baby will affect their goals. But most quickly learn the harsh reality of having a child at 16. In the episode that follows 16-year-old Whitney, she talks about dropping out of high school and being too embarassed to leave her house to take a GED class. Her boyfriend loses his minimum-wage job, her family’s home is sold by the landlord and her baby is born with a chronic liver disease. Whitney’s story is not unique. Each episode features family arguments, out-of-work fathers, completely absent fathers and girls coming to terms with motherhood. Every episode ends with the girl commenting in a video diary about her experience as a teen mother. Most often they admit they aren’t mature enough for the responsibility.

Teen Mom follows four of these same six girls through their first year of motherhood. Their relationships crumble under the pressure of parenthood as they struggle to find jobs and complete their educations. Even Catelynn, a high school senior who gave her daughter up for adoption and does not face the daily trials of teenage parenthood, struggles with her decision every day. Granted, these shows are edited to tell complex stories in under an hour, but it is abundantly clear that these shows do not sugarcoat anything.

Yet 16 and Pregnant and Teen Mom, as with any documentary-reality series, teeter on the edge of educational and entertainment. It is easy to sit back and judge these girls for the decisions they make, especially if you have never been there yourself. As with any reality show, we watch because we are taken aback by the very fact that these people and these stories exist. But what do these shows say to an actual teen audience?

The second season of 16 and Pregnant premiered on Tuesday, Feb. 16 and MTV has already announced plans for a third season. The more girls featured on 16 and Pregnant (in season two there will be ten girls featured) and then Teen Mom, the more concerns need to be raised about these shows. Will 16 and Pregnant and Teen Mom follow the trend, and like Juno, Jamie Lynn Spears and Bristol Palin, trivialize teen pregnancy?

For now, I don’t know the answer, but I am still tuning in each week.

Published: Mount Holyoke News
February 18, 2010

Reprinted with permission

Going Rogue: The unbearable right-ness of being Sarah Palin

Given the media-saturated culture we live in, where run-of-the-mill families strive for celebrity and then become vilified tabloid fodder, we shouldn’t be surprised when an unworthy public figure—Rod Blagojevich, Carrie Prejean—pens a memoir in defense of their character. Released on Nov. 15, former Alaska governor and GOP Vice Presidential candidate Sarah Palin’s memoir Going Rogue:?An American Life falls somewhere between fodder and defense. It is far too soon for us to be reliving her presence in the 2008 campaign, but to Palin’s credit, she has yet to film an appearance on I’m a Celebrity, Get Me Out of Here, so her public persona is (ever so slightly) more redeemable than most.

In Going Rogue: An American Life, Sarah Palin offers an inside look at her childhood, her family life, her tenure as governor of Alaska and her 2008 vice presidential campaign. It is a book that is part memoir, part ode to Alaska and part self defense. Palin initially charms with stories from her childhood, her teenage years and her college days, which is understandable; these are the few private stories about Palin we were not privy to last November. It is when the book transitions to her years as Alaska’s governor and to the presidential campaign that Going Rogue becomes practically unbearable to read.

Going Rogue becomes Palin’s platform to remind readers of her politics. Palin has always been up front about her beliefs, but what comes with this is Palin’s frequent ability to offend others. At one point, Palin writes about her unexpected fifth pregnancy with son Trig. “Sad,” Palin writes, “that our society has elevated things like education and career above the gift of bringing new life into the world.” Coming from a working mother of five, statements like these question Palin’s claims to her feminist identity.

Palin paints herself as the heroine of small-town America, as a champion of fiscal conservative politics and as the ultimate victim of the 2008 presidential campaign. It is believable that Palin probably didn’t know the lengths to which she would be scrutinized as the vice presidential candidate, but there is only so much one can read about her blatantly naïve understanding of American politics and the election process. She questions, for instance, why Barack Obama’s family was left untouched by media when her family, namely daughter Bristol, became a major media fixation. Likewise, she comments on her now infamous interview with Katie Couric and calls the journalist and her interview style “badgering” as a way to prove how she was, yet again, wronged by the media during the campaign.

Palin uses the final chapters of her memoir to criticize the Obama administration. She questions current White House policies, frequently asking “Is this what the president meant by change?” This chapter not only feels out of line and irrationally argued, but like one last strained attempt to prove to readers how she would have been the best choice for the country.

I can’t help but think about Senator Ted Kennedy’s memoir, True Compass, which I recently read and reviewed for this newspaper. Say what you will about Kennedy the politician and the public figure, but there was probably no one more deserving than Kennedy to pen his memoirs. In it, he does not attack other politicians and he does not place the blame on the media for how his actions were received. Rather he writes intelligently and passionately about his life, his decisions and his career as he looks back on his life from the perspective of someone who is wiser because of his experiences. That is difference between True Compass and Going Rogue: one memoir was a lifetime in the making while the other took only months.

Published: The Mount Holyoke News
December 3, 2009

What is between the frames: A weekend of experimental cinema

If you have ever walked through the East Village in New York City, you probably have never noticed the Anthology Film Archives. It is located in an indistinguishable brick building without a bright flashing marquee. In fact, you would probably recognize this building as the exterior for Doc Ock’s laboratory in Spider Man 2, before you ever knew of the significance the Archives have had in the history of avant-garde and experimental cinema.

The Anthology Film Archives has been the cornerstone of experimental cinema since it was founded in 1970 by Jonas Mekas, Stan Brakhage, P. Adams Sitney and Peter Kubelka. It is dedicated to the preservation and exhibition of experimental cinema. It was at the Archives where I found myself on Nov. 6 and 7 for a series of four screenings, sponsored by Mount Holyoke.

The event, entitled “Origins, Influences, & Interests: Four Women Filmmakers,” brought together four female experimental filmmakers who came of age during the 1970s and early 1980s:Peggy Ahwesh, Ericka Breckman, Abigail Child and Su Friedrich. Robin Blaetz, Associate Professor of Film Studies, asked the filmmakers to curate a program that featured work that influenced and intrigued them. What resulted was over six hours of films that represented every end of the avant-garde spectrum.

The first night of screenings began with the work and influences of Abigail Child in a program entitled “Beyond Gendered Sound: Noise Film, Scratch Video, and the New Psychedelic Acid House Vulnerability”. This 95 minute program emphasized how sound and image work together to create a sort of filmic poetry. This screening featured works from the last decade, highlighting how new media is changing filmmaking. Su Friedrich used her screening to show the works of filmmakers who have influenced her: Majorie Kellor, Leslie Thornton and Joyce Wieland. Friedrich also discussed her transition from film to digital filmmaking. Stating that she was “over it” already, she called video a lesser medium, but said because “this is what I’m doing, I have to do it.”

Ericka Beckman’s screening, “Performing the Image”, showcased performance art and conceptual imagery. Peggy Ahwesh, besides her 1993 film The Scary Movie and 1910 print of The Wizard of Oz, selected films from no earlier than 2008. These works, often by her students at Bard College, showcased the work of younger female experimental filmmakers who have been inspired by Child, Friedrich and Ahwesh.

Each screening addressed a common theme:how these filmmakers went against the establishment of avant-garde filmmaking in the late 70s and 80s. Their work was criticized by both feminist critics for being too “male-like,” and by male critics for having too much gendered content. Leslie Thornton, who was present at the screenings,said that because their work dealt with emotional life, “we didn’t fit into the establishment of our field because we were dealing with things so charged.” Yet despite these criticisms, what has resulted are the works of four unique female experimental filmmakers whose work is influencing a new generation of female filmmakers.

Published: Mount Holyoke News
November 12, 2009