Warner Brother’s Dangerous Dame

“My passions were all gathered together like fingers that made a fist. Drive is considered aggression today; I knew it then as purpose.”

By Maggie Pool

Ruth Elizabeth “Bette” Davis was an American actress on film, television, and theater. With a career spanning over 60 years, Davis is known as one of the greatest actresses in Hollywood history, but she didn’t start off that way. Davis’s first few roles flopped at the box office, and the film executives in charge of her were left wondering what to do. Due to what they considered her “unconventional” beauty, Davis was put into a different box compared to most female Hollywood stars. However, her fierceness, boldness, and unwillingness to give in to “the man” led to her victory against the misogynistic moguls running Hollywood. Eventually, Davis’s talent was realized, harnessed, and triumphantly executed.

During her first audition in Hollywood, Davis arrived at Universal Studios with no one waiting to greet her. It was later found out, a studio employee waited for her but left because he didn’t see anyone that “looked like an actress.” Davis was casted in minor roles, all of which didn’t exploit her abilities because she didn’t fit Universal’s beauty standards. After a year, and six unsuccessful movies, Universal chose not to renew her contract.

Davis’s luck changed. Warner Brother’s film maker, George Arliss chose Davis to lead in the Warner Brothers picture, The Man Who Played God (1932). Warner Bros. He signed her to a five-year contract and remained at the studio for the next 18 years. In 1934, Better Davis was loaned out to RKO Pictures to star in Of Human Bondage. Her role garnered so much praise from critics it eventually led to an uproar when she wasn’t nominated for an Academy Award. Due to the circumstances, the Academy president said, “any voter… may write on the ballot his or her personal choice for the winners.”

This was the only time in Academy history where a candidate not officially nominated was considered for the award. Davis followed up Of Human Bondage with another next breakout role in the movie, Dangerous (1935). A reviewer from Picture Post wrote, “I think Bette Davis would probably have been burned as a witch if she had lived two or three hundred years ago. She gives the curious feeling of being charged with power which can find no ordinary outlet.” *This wasn’t just an issue with Davis.

All the praise in the world could not sway President of Warner Brothers, Jack Warner. For years, Bette Davis insisted on bigger and better roles, but Warner always rejected her pleas*. Due to her displeasure, Davis filed a lawsuit in 1937 against Warner and sought to move to England after being offered two movie deals better suited to her talents, even though this would be in direct violation of her contract. She later admitted in an interview, “I knew that only directors and good scripts could give me a career, I couldn’t do it with the junk.”

Davis lost the lawsuit, but won the war. She began to get parts she yearned for and what movie lovers will remember forever. For five years in a row, Bette Davis was nominated for an Academy Award for Best Actress for her roles in Jezebel (1938)**, Dark Victory (1939), The Letter (1940), The Little Foxes (1941), and Now, Voyager (1942). In a 1988 interview, Davis asserted, “unlike many of her fellow actresses, she had forged a career without the benefit of beauty.” She admitted to being terrified during the beginning of her career, but became tough by necessity. In the end, her unruly toughness won her one of the most memorable performance careers in Hollywood history.

 

Dorothy Arzer : Hollywood’s Most Prominent Woman Director

By Maggie Pool

Director, editor, and screenwriter, Dorothy Arzner is one of the most prolific woman studio directors in the history of American cinema. She was the only woman directing feature-length studio films in Hollywood in the 1930s. Her career spanned from 1919 to 1943. Arzner was one of the few directors to successfully continue their career from the silent era into the era of sound in film.  She worked on a total of 25 films, many of which have received significant attention from feminist film critics and queer theorists. Arzner began her career in the film industry typing scripts for the Famous Players-Lasky Corporation, later known as Paramount. After six months, she became the chief editor in charge of film cutting and editing. This led to Arzner’s first “big picture,” cutting and editing Blood and Sand (1922). This was the first film for which she undertook some of the filming.

Eventually, Arzner was entrusted with directing feature films at Paramount, all of which garnered much success. Some of these silent films include: Fashions for Women (1927), Ten Modern Commandments (1927), Get Your Man (1927), and Manhattan Cocktail (1928). Because of her triumphs, Paramount bestowed upon Arzner the directing role for the studio’s first sound film, The Wild Party (1929) starring Clara Bow.

Arzner left Hollywood in the 1940s and was all but forgotten until the 1970s, when feminist film theorists dug up her work, and she was brought to new recognition. Much of Arzner’s legacy lies in feminist critics analyzing her work such as Christopher Strong (1933) and Dance, Girl, Dance (1940). Christopher Strong is about female aviator, Lady Cynthia Darrington (Katharine Hepburn) and Parliament member, Sir Christopher Strong (Colin Clive). The two characters meet at a party and become instantly attracted to one another. Azrner’s direction leads you to believe Lady Darrington is willing to tie down her free spirit for love, but this dramatically changes. Rather than sacrifice her independence for a man, Lady Darrington broke the world record for height achieved in air, and removed her oxygen mask, causing her to lose consciousness and send the plane into a deathly nosedive.

In Dance, Girl, Dance, Arzner explores female stereotypes, such as women being just a “spectacle” for men and are either wrapped up in sexuality, grace, or innocence. The movie centers around two good friends, Judy and Bubbles who are both dancers. While Bubbles uses her good looks and sassy personality (sexuality) to get jobs, Judy is a dedicated ballerina (grace and innocence) and finds it more difficult to succeed in her chosen profession. Arzner’s Christopher Strong and Dance, Girl, Dance showcase the challenges women face while pursuing their passions and careers.  It is for this reason, that Arzner’s work as a female pioneer in the early ages of Hollywood has become an important area of film.

 

Perpetuating Gender Stereotypes or Empowering Strong Women?

By: Emily Moore

The Netflix movie, Falling Inn Love released on August 29, 2019, follows a young woman who moves to New Zealand to renovate a rundown inn after losing her job and boyfriend. She ends up developing feelings for the contractor she employs. After reading a brief overview of the plot, I was curious if women would be represented in a positive, independent light. After watching the movie, I discovered the main character, Gabriella Diaz played by Christina Milan perpetuates many female stereotypes while breaking others.

After Gabriela experiences cliché post breakup devastation, she is presented as an ignorant, impulsive, superficial person. A perfect example takes place in the first scene. Gabriela ends up stranded on the side of the road, (keep in mind this takes place in a small town in New Zealand) and tries to trek through the mud in heels. She only cared about her cute clothes and refused to admit she needed help. This is incredibly problematic in regards to presenting women in a way that promotes equity. Once again, a female lead is portrayed as being clueless, helpless, and stubborn. While the male lead waits to rescue the incapable woman.

At the cost of women’s equity, this film also puts women against each other. Gabriella finds herself in a competitive power struggle with another female inn owner. The two women find themselves in a personal quest to become the most prominent woman in the town. Once again, women are portrayed as superficial, catty, and ignorant.

Overall, the movie comes off as initially cheesy and as a predictable romantic comedy. There is nothing wrong with that. The larger issue is even in a relatively basic movie, women are still made out to be conceited, stubborn, negative, ditzy, etc. Everyone knows media in all forms plays a significant role in influencing the way that we consider ourselves and others. It is crucial that media outlets are conscious of the messages they are sending to young people, especially young women.

Turning A Man’s World Into Our World

By: Maggie Pool

Since our first American History class, a few names have been imbedded into our minds regarding the history of equality and women’s rights. Names such as, Susan B. Anthony, Rosa Parks, Elizabeth Cady Stanton, and Harriet Tubman are familiar to anyone who received a general education in America. Noticeably, lessons surrounding women’s history is geared towards women’s suffrage, but the fight for equality did not stop once women gained the right to vote in 1920. After this leap toward equality, who continued the fight?

Joan Ruth Bader, known as Ruth Bader Ginsburg (RBG), was born on March 15th, 1933. She attended the Harvard School of Law but transferred to Cornell University after being scolded for pursuing a male dominated career. In 1954, Ginsburg graduated from Cornell in the top of her class. Despite facing gender discrimination, she became the first female member of the Harvard Law Review. Ginsburg continued fighting against gender discrimination, and in 1980 was appointed by President Jimmy Carter to serve on the U.S Court of Appeals. In 1993, President Bill Clinton appointed her to fill a vacancy in the Supreme Court. She served as Associate Justice until 2010.

On December 25th, 2018, “On the Basis of Sex,” a biopic presenting RGB’s rocky beginnings as a lawyer in a man’s world was released. The film centers around a tax case about a Colorado man who is denied a tax benefit routinely given to women caring for family members. The case triggers a series of arguments about gender, society, and the law. Ginsburg’s ruthless dedication to prove many laws are generated on the basis of sex is catapulted by this one event, and the journey she faces forces her to maneuver longstanding sexist barriers by only using the weapon of law.

It’s hard for audience members to not get riled up about the discriminating figures Ginsburg confronts, especially since the movie sets up her logic behind the case. We are immediately on Ginsburg’s side, rooting for her to finally shed light on equality for those too stubborn to accept reality. “On the Basis of Sex” does its job of introducing Ginsberg and her struggling start as a lawyer but also her unwavering intensity for justice, which immediately grips you, inciting you to continue the fight for future generations.

Ginsburg, now 86-years-old, remains one of women’s fiercest advocates. When President Bill Clinton nominated her to the Supreme Court, he compared her legal work on women to that of Thurgood Marshall on behalf of African-Americans. Because of her heroic feats, I hope the name Ruth Bader Ginsburg is another woman’s name future students are taught to remember and respect throughout American history.

“We should not be held back from pursuing our full talents, from contributing what we could contribute to the society, because we fit into a certain mold ― because we belong to a group that historically has been the object of discrimination.”
– Ruth Bader Ginsburg

A Semester in Reflection by the Women’s Center’s Christina Terrell

By Christina Terrell

I have been at the Women’s Center since November of 2018 and Spring 2019 was my second semester here and it has been nothing but non- stop excitement all semester long. However, this spring semester has really taught me a lot and allowed me to really get involved with campus life.

I was able to attend about 18 out of the 25 events that we hosted this semester, which gave me the opportunity to witness and experience things that I had not done before. For example, this semester I took on the role of taking pictures for most of the events, which allowed me to see things through a different lens, literally. It really brought me joy being able to capture such great moments of some of our events such as, The Vagina Monologues, The Her Art Women’s Persistent Muse Luncheon, and Denim Day. Being an armature photographer was not something that I pictured myself doing in a million years, however I am glad this new venture was brought to me because it showed me, I have interest in things I would not have thought of on my own.

Reflecting on my semester here at the Women’s Center, another big highlight for me was that I took on some leadership roles this semester, which allowed me to gain skills and confidence in areas that I had not realized I embodied. For instance, this semester I oversaw office information such as managing our Women’s Center Library. Along with I decided to take on the role of organizing the end of the year celebration that we have at the end of each semester, which allows us to come together and reflect on the highlights of the semester.

In the end my semester here at UMKC’s Women’s Center has been nothing short of exciting, and fulfilling, being a work-study student here has really allowed me to get involved, experience new things, and embody roles that I would not have imagined of doing before becoming a part of such an empowering team like this one.

Time Magazines Top 100

By Caitlin Easter

Time Magazine’s list of the 100 most influential people of the year came out recently, and it’s one of the most diverse and intersectional issues ever. The list also features the most women ever awarded, at almost half of the list being female. There are 48 women featured in this year’s list, which is up from the 45 who were featured last year. The list is made up of pioneers, artists, leaders, icons and titans, and women are representing in each category.

The list is selected every year from a list of candidates who made the largest impacts in the world, good or bad.  Nominated by list alumni and voted on by the public, the list embodies the changes that happened throughout the beginning of each year.

This year’s list is made up of strong, groundbreaking women from all walks of life: activists, chefs, athletes, authors, scientists, actresses, singers, models, painters, directors, designers, politicians, a first lady, survivors, journalists, business women, and architects. We see big names such as Sandra Oh, Taylor Swift, Michelle Obama, Alexandria Ocasio-Cortez and Ariana Grande, but also have the pleasure to learn names that we’re not all familiar with such as Greta Thunberg, Vera Jourova, Jeanne Gang, and Jennifer Hyman.  Women are finally starting to be equally represented in different aspects of life, and we’re ready for it!

A full list of this year’s recipients can be viewed at: http://time.com/collection/100-most-influential-people-2019/.

 

The Vanity Myth of Makeup

By Christina Terrell

There should be no shame in doing something that makes you feel comfortable in your own skin. One of the latest trends that has taken the beauty community by storm has been the development of all the possibilities that makeup offers. The only issues are women have started to get backlash for exploring all these makeup possibilities, for instance women are being told that since they wear makeup, that they are trying to wear a mask that hides their true self from the world, rather than this is something women do to empower themselves. Sha’Condria, also known as “i’Con” is a female poetry empowerment speaker and at the 2015 Texas Grand Slam Poetry Festival, Condria presented a poetry piece titled “In My Skin”. In this poetry piece Condria speaks about her personal experience with being shamed for wearing makeup and how it is almost as if people treat the word makeup as if it were a curse word.

From my personal stand point I feel as though a woman should not be told what defines her as beautiful, because beauty should not be what anyone else’s definition of it is but should be whatever your own personal definition is. Self-love is a concept that is already hard to acquire and find in one’s self and when you add the negative opinions of others it can make things much harder on a woman who may deal with insecurities.

There is an issue that stands in the way of women who choose to wear makeup and then the people who disagree with wearing makeup. That issue being that typically someone who says you shouldn’t paint your face to be pretty or that natural beauty is the best beauty. Would be that those individuals do not understand, is that in a harsh world when women find peace and something that aids their happiness then they must do all they can to continue to empower and up lift themselves.

To watch Sha’Condria’s powerful piece, follow this link: https://www.youtube.com/watch?v=5_kkbKs9pY4

 

Catcalling is not a Compliment, it’s Harassment

By Brittany Soto

Since our center has been promoting the “Meet us on The Street” event all throughout this week, focusing on the issues of gender-based street harassment, I wanted to turn my attention to one of my biggest pet peeves; catcalling. Catcalling is when an individual whistles, shouts, or makes sexual comments toward another individual as they are walking by. Women are often the ones faced with having to deal with this ridiculous issue. The fact that I get a little nervous when I decide to get dressed up because I don’t feel like getting harassed, is a problem. Women shouldn’t have to feel self-conscious or nervous every time they get dressed to head out the door or every time they pass by men on the street.

The most common defense that men have against this issue is that catcalls are their way of “complimenting” a woman’s looks. Going up to a woman and telling her she’s beautiful is one thing, but shouting “damn!” “hey sexy!” or whistling and honking the car horn as a woman walks by is a different story. Catcalling can even get to the point of being dangerous if women decide defend themselves or ignore the cat-callers, because often they will get offended causing them to act in an aggressive or intimidating manner by name calling or going as far as assaulting women. THIS is harassment.

What men need to understand is that catcalling is not cute, funny, or complimenting. It’s degrading, demeaning, and disgusting. It lets women know they are being objectified and looked at as nothing more than a piece of meat. It makes women feel as though they have no rights or values. Women are not dogs to be whistled at and they are not sexual objects. Women are more than their looks. Women have the right to be treated with as much respect and dignity when walking down the street as any man. Women deserve to feel safe.

For additional information on how women are fighting cat-calling visit: http://www.womensmediacenter.com/fbomb/how-i-took-a-stand-against-catcalling

What exactly is “Wifey Material”?

By Brittany Soto

The term “wifey” is a fad used to describe what a “real woman” is, you know, one that cooks, cleans, and provides for her husband, making sure he’s always happy. A “wifey” is expected to do all of these things while maintaining her appearance, never looking sloppy, and never complaining. A “wifey” never goes out and parties with her friends, because that wouldn’t be “lady-like” or most importantly “wifey material.”

Our society has come a long way when it comes to the sexist expectations of how women behave and present themselves, however, this terminology has brought to light the mindset that women belong in domesticated roles, nowhere else. I see it everywhere now, especially on social media. There have been misogynistic memes saying things like “if all she does it work, cook, and handle business, she’s wifey material” or “wifey material doesn’t get drunk and go out every Friday.” If a woman doesn’t embody any of the things that a “wifey material” should embody, then they are immediately slut shamed or seen as un-worthy of a man’s heart. My question is, where are the expectations for men?

Women deserve to be respected regardless of their looks or their ability to play housemaid. Women are not dolls. We are human beings that deserve to be treated as such. This “wifey” mentality that promotes unrealistic expectations of how “real women” should conduct themselves, needs to be left in the past along with the sexist and outdated expectations of women.

You Can’t Objectify Me or My Leggings

By: Christina Terrell

Over the years women have always been told what they should and should not wear. Even in the current year of 2019 women are still held to a stigma that they should not wear things that show their “curviest” assets or skin. The impression has been that when women are body shamed for what they wear and how their body is built, it is men who are doing the scolding. This is far from the case of Maryann White and how she expressed her feelings about young ladies wearing leggings.

Maryann White is a mother of two boys who one day when she was at Notre Dame’s church for mass service, noticed a group of young ladies dressed in “black painted on leggings”, with short shirts that did not cover their backsides. This was a distraction in Maryann’s eyes, not only for her but also her children. She responded by writing a letter to the Notre Dame student newspaper, expressing her concerns with the wearing of leggings and how young ladies should not be allowed to do so in mass or on campus.

However, after Notre Dame received this letter, it was quickly published in the student newspaper by request of the female students in question. The female students of Notre Dame decided that the best way to respond to this through awareness and peaceful protest. One of the outcomes of their actions included the women of Notre Dame starting a #leggingdayND. During this day, which later turned into a full week, encouraged the women of the Notre Dame campus to wear their leggings and then to post a video or picture to social media, expressing that there is no one or nothing that should be allowed to tell a female what they should and should not be able to wear on their campus and religious spaces.

In my opinion women should not be objectified to having to look a certain way in a place of religion but they should instead be able to freely practice their religion in their own skin or what makes them comfortable. It is important that we engage in the conversation that no one wants to have, women are not the issue, and neither is what we decide to put on our bodies, after all, it is our body!