Women in Film

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.

 

The First Woman to Make Feminism Fashionable

By Maggie Pool

“If you always do what interests you, at least one person is pleased.”
-Katharine Hepburn

Hollywood Actress, Katharine Hepburn will always be remembered for her fierce and fiery performances in film. After all, she still holds the record for the most Academy Awards (in either gender) for acting*. However, Hepburn is not solely known for her ability to perform. She curated what is considered the “modern woman” of the 20th century by separating herself from several of society’s conformities, like evading the Hollywood publicity machine, wearing trousers before it was fashionable or acceptable for women, and living independently for the rest of her life after being married for six years.

Hepburn was born in Hartford, Connecticut in 1907 to Thomas Norval Hepburn and Katharine Martha Houghton. Her famous rebellious spirit was inevitable. Her father established the New England Social Hygiene Association, which worked to enlighten the public on venereal disease while her mother advocated for women’s rights. Hepburn joined her mother for many women’s suffrage demonstrations, and for a time, dressed as a tomboy, cut her hair short, and called herself “Jimmy.” From a young age, Hepburn frequented the movies every Saturday night and put on plays for her neighbors, friends, and siblings for 50 cents a ticket**. Katharine continued acting in college and found success on Broadway. Raving reviews led to her led to her recognition in Hollywood. When Katharine hit the big screen, she didn’t shed her revolutionary values to please anybody. She remained uninterested in publicity (for most of her life). On one occasion, she snatched a camera out of a reporter’s hand for taking pictures without permission.

Her never-ending aggressive energy wasn’t subverted when it came to the standards of women’s fashion. In the 1930s, women’s fashion had not felt the effects of World War II. It was still possible for a woman to be arrested and detained on the charge of “masquerading as men” if they were caught wearing slacks in public. In an attempt to force Hepburn to wear a skirt, RKO Pictures stole her blue jeans from her dressing room while she was on set. However, instead of succumbing, Hepburn paraded around in her underwear. Her jeans were soon returned. She went on to star in, Christopher Strong (1933), The Philadelphia Story (1939), Women of the Year (1942), and Adam’s Rib (1949).

Despite the backlash and oppression Hepburn faced, she lived out her beliefs never altering to conformity. To this day, she is an important cultural icon of American history who continues to influence and empower women.

Many paid tribute to Hepburn when the actress passed away in 2003:

“Confident, intelligent and witty, four-time Oscar winner Katharine Hepburn defied convention throughout her professional and personal life … Hepburn provided an image of an assertive woman whom [females] could watch and learn from.” – Horton and Simmons

“What she brought us was a new kind of heroin—modern and independent. She was beautiful, but she did not rely on that.” – Jeanine Basinger

 

Perpetuating Gender Stereotypes or Empowering Strong Women?

By: Anonymous

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.

Emmy Rossum Had No Shame Asking for Equal Pay

By Ann Varner

Emmy Rossum is the unsung hero in Hollywood right now after she demanded, fought for, and receive equal pay of her co-star, William H. Macy. One of my favorite shows is Shameless. The show is set in south side Chicago with Macy playing a dead beat dad with six children. The oldest of the children is Fiona (played by Rossum) who is truly the center of the show.

When Rossum began the show 9 years ago she didn’t have the equivalent experience as Macy, so the unequal pay wasn’t an issue to her. However, 7 seasons later and after directing many of the shows herself, she decided it was time to ask for equal pay.  Due to the extensive negotiations about her pay, production for the 8th season was put to a halt. Fortunately, Rossum got what she wanted and deserved and is now beginning filming for the 9th season.

While finding articles about her equal pay fight, I was pleased to find that Rossum had major support behind her fight for equal pay, including support from Macy: “It’s show biz’s job to get us for as cheaply as they can – and our job to say no…It’s unconscionable they would pay a woman less for the same job.”

Regarding becoming a champion for equal pay, Rossum stated: “This is across the board in every industry, how women are paid versus how men are paid. And then you take it further, that kind of bias extends not just to gender but to race, ethnicity, religion.”

Emmy Rossum is a role model and exactly who we need to inspire more women in Hollywood and the real world to demand their equal pay.

“Avengers: Infinity War” and Feminism

By Megan Schwindler

Spoilers ahead! Proceed with caution.

The Marvel Cinematic Universe that I grew up with was completely male-dominated. If you look back you’ll see Hulk,  Logan, Deadpool, Spiderman, Iron Man, Captain America, Thor, and the list goes on. There were women in these films yes, but how many could pass the Bechdel test? For those of you who don’t know, the Bechdel test uncovers sexism in fiction by asking two questions:

  1. Do two (named) female characters talk to each other?
  2. Do they talk about something other than a male character?

So how does Marvel hold up? According to an article from 2017, only 56% pass the test. But things are changing in the Marvel Universe. Black Panther introduced us to the badass women of Wakanda, and the new Avengers: Infinity War takes it one step further by bringing all of the female superheroes together. For the first time ever we get Nebula, Gamora, Scarlet Witch, Black Widow, Shuri, Okoye, and Mantis all on the same screen. Can you say chills? What’s better is that they all defy the typical role female superheroes lead (the token heroine or the damsel in distress/love interest). All of the female superheroes contribute to the plot in meaningful ways and are way more than side-pieces with witty-comebacks and perfect makeup.

One of my favorite scenes is when Scarlet Witch is knocked down and the villain (also female) tells her she is about to die alone. But then we hear off screen, “She’s not alone” and Black Widow and Okoye come in and fight the alien-like enemy. While the statement was short, it said a lot. Finally, the Marvel Universe is celebrating strong women and giving them a platform to inspire young girls everywhere. Kayleigh Dray puts it best:

“These three little words are a staunch reminder that Marvel’s female superheroes are no longer alone, they are a team of impossible strength and force. And they act as something of a promise, too: Marvel has sworn that these amazing badasses – all every bit as complex, engaging, and necessary to the cinematic universe as their male counterparts – will never again be reduced to the role of ‘token’ woman.”

And to top it all off, in the final scenes, Nick Fury attempts to contact Captain Marvel, arguably the most empowering female character. According to Marvel her powers include, “flight, enhanced strength, durability and the ability to shoot concussive energy bursts from her hands.” She sounds pretty cool right? And since half of our favorite Marvel superheroes are dead (or just momentarily gone) we definitely need a superhero to step in and not only defeat Thanos, but to defy all the gender stereotypes.

While Avengers: Infinity War is far from the perfect feminist film, it’s certainly a step in the right direction and hopefully will inspire viewers young and old to realize that women are just as smart, strong, and powerful as men.

 

Ava DuVernay: Director, Producer, and Screenwriter

By: Korrien Hopkins

There’s something very important about films about black women and girls being made by black women. It’s a reflection as opposed to an interpretation.

Ava DuVernay is an American film director, producer, screenwriter, film marketer, and film distributor. DuVernay was born on August 24, 1972 in Long Beach, California. She was raised by her mother, Darlene, an educator, and her stepfather, Murray Maye. She grew up in Lynwood, California near Compton and graduated in 1990 from Saint Joseph High School in Lakewood. She attended the University of California, Los Angeles (UCLA), and double majored in English Literature and African-American studies. During her summer vacations, she would travel to the childhood home of her stepfather, which was not far from Selma, Alabama. DuVernay said that these summers influenced the making of Selma and her successful career in film.

Prior to her filmmaking career, DuVernay worked as a publicist and marketer for 14 years. The award-winning firm she worked with provided strategy and execution for more than 120 film and television campaigns for acclaimed directors. These included directors such as Steven Spielberg, Clint Eastwood, Michael Mann, and Bill Condon. DuVernay is also the founder of ARRAY, a grassroots distribution and advocacy collective dedicated to strengthening films by people of color and women. DuVernay sits on the boards of both Sundance Institute and Film Independent and in 2017, DuVernay was named one of Fortune Magazine’s 50 Greatest World Leaders and TIME Magazine’s 100 Most Influential People.

At the 2012 Sundance Film Festival, DuVernay won the U.S. Directing Award Dramatic for her second feature film Middle of Nowhere, and was the first African-American woman to win the award. For her work in Selma in 2014, DuVernay was the first black female director to be nominated for a Golden Globe Award. With Selma, she was also the first black female director to have her film nominated for the Academy Award for Best Picture. In 2017, she was nominated for the Academy Award for Best Documentary Feature for her film 13th in 2016. DuVernay’s latest film premiered March 9, 2018. The groundbreaking fantasy film A Wrinkle in Time, had a budget exceeding 100 million dollars, making her the first black woman to direct a live-action film with a budget of that size. DuVernay was the first of many, setting the bar high and opening the door for future women of color filmmakers like myself. She continues to inspire many and displays what it is to be a phenomenal woman of history by using her power to share stories of those like us.

The Activism of Josephine Baker

By Dasha Matthews

Born Freda Josephine McDonald on June 3, 1906 in St. Louis, Missouri, Baker is known as an extremely popular singer and dancer from the 1920-1940’s. As a child, Baker worked as a live-in housekeeper for white families in St. Louis. She dropped out of school at age 12 and began waitressing at the ‘Old Chauffeur’s Club’. At this time, Baker was living on the streets due to complications with her mother, Carrie McDonald, who did not encourage her dreams of becoming an entertainer. In 1921, at age 15, Josephine had a brief marriage to Willie Baker whom she divorced in that same year. Shortly after her divorce, Baker found work with a street performance group called the ‘Jones Family Band’. During her time with Willie Baker her career began to gain traction, and although they were divorced, she kept the last name. Baker’s career began with blackface “comedy” at local clubs, and these performances led to opportunities for her to tour in Paris. In 1925, Baker moved to Paris where she became an instant success for her erotic dancing. In the early 1930’s Josephine starred in two movies, Zou-Zou and Princesse Tam-Tam, and moved her family from St. Louis to Les Milandes, an estate in Castelnaud-Fayrac, France.

Although she was living in France, Baker supported the 1950’s Civil Rights Movement. During a trip to New York with her husband Jo Bouillon, they were refused service at 36 different hotels due to racial discrimination. Josephine was so upset by this treatment that she wrote articles about the segregation of the United States. She also traveled south and gave speeches at different HBCU’s (historically black colleges and universities). Baker also refused to perform for segregated audiences in the United States. She often got calls from people claiming to be from the Ku Klux Klan, but she made public announcements that she was not afraid of them. Baker also worked closely with the NAACP. The organization honored her work by having Sunday, May 20 declared as “Josephine Baker Day”. In 1963 she spoke at the March on Washington alongside Dr. Martin Luther King Jr., she was the only official female speaker. After the assassination of Dr. King, his widow Coretta Scott King approached Baker and asked her to consider taking her husband’s place as leader of the Civil Rights Movement. Baker refused, saying that her children were “too young to lose their mother.”

Josephine Baker died on April 12, 1975 at the age of 68. She left behind her 12 children, longtime boyfriend Robert Brady, and a legacy that will carry on for decades

Why Black Panther’s 16-Year-Old Sister Shuri is So Important

By Tatiahna Turner

          The new Marvel movie, Black Panther which is set to be released in theaters February 16, 2018 has what some may call an unexpected important character. Letitia Wright will be playing the role of Black Panther’s 16-year-old half-sister, Shuri. Although Shuri has been around in the comics, Black Panther will be her cinematic debut. It couldn’t have come at a better time given our society’s current climate surrounding the equality and representation of women. In this day and age the young, bright minds of women in our community need inspirational characters like Shuri to remind them that women can be intelligent and powerful. In an interview with Comic Book Resources, Wright has only good things to say about Shuri, “She’s princess of Wakanda, but also she designs all of the new technology there. . . She’s so vibrant; a beautiful spirit, but also so focused on what she does. And that’s good for other people to see, especially young people to see, because it’s like, ‘Look, there’s a young black girl who loves technology and she’s from Africa.’ It’s something refreshing.” Nate Moore, Black Panther’s producer says that Shuri is, “the smartest person in the world, smarter than Tony Stark but she’s a sixteen year old girl which we thought was really interesting.” Moore goes on to say, “Again, black faces in positions of power or positions of technological know-how, that’s a rarity. So it’s something that’s a big part of the film.”

The underrepresentation of women in film of, and especially black women in positions of power, is something that is rarely talked about. It seems that society often forgets just how powerful film and television can be in our lives. It can be subconsciously defeating or discouraging for women to never see themselves portrayed in films or shows across the world as intelligent, strong, and beautiful. More often than not, we are made to seem weak-minded, powerless, and beneath our male counterparts. The representation of women as simply objects that can be controlled and taken advantage of is very degrading, and is why it is important that we begin to see more characters like Shuri on the big screen.  For a woman of color to be a centerpiece of a film and to be portrayed as “the smartest person in the world,” I would say is a great first step in the right direction.

Tick, Tock Time’s up for Sexual Violence

By Zaquoya Rogers

Last night at the Golden Globe Awards, Hollywood elite strolled the red carpet in their finest black attire. It was no coincidence that everyone chose to wear black. The choice was very conscious as a show of solidarity and support for the Time’s Up Campaign against sexual harassment.  I first became aware of the campaign from a video on social media about a legal defense fund for sexual assault cases. Interested, I researched more. And what I found, I really loved.

Over 300 actresses, directors and writers including Shonda Rimes and America Ferrera, have launched a campaign to help fight sexual harassment. The Time’s up Campaign raises money to fund legal support for men and women victims of sexual harassment and violence. This in itself is amazing, but what really made me get excited for this campaign was that the target audience for this support is working class men and women. The founders described the effort as “unified call for change from women in entertainment for women everywhere.”

Many cases of sexual violence happen amongst regular working class people who do not have the financial resources to take action against their abuser. Taylor Swift stated in her sexual assault case “I acknowledge the privilege that I benefit from in life, society and my ability to shoulder the enormous cost of defending myself in a trial like this.”

Time’s Up has raised $13 million out of their $15 million goal. I absolutely support this because I believe that celebrities have a duty to help advocate for issues that many people are fighting for. They have the resources, the power and the following to actually make progress towards positive change.