I recently put together a post on Fantasia for Dark Room, a blog my friend Caitlin runs. As Caitlin is quite the feminist horror film scholar, her blog focuses mainly on movies and some television programs that are either scary, darkly comedic, or both. Appropriately, I wrote about how the movie in question scared me as a kid as part of an ongoing series on childhood cinematic traumas.
It should be noted that I’m a bit of a ‘fraidy cat when it comes to horror movies. Thus, Caitlin is responsible for opening my eyes to the feminist possibilities of watching and interpreting horror. If you’re a feminist music geek who’s a bit skittish about the genre, I highly recommend reading her pieces on Dario Argento’s Opera and horror-informed music videos. I also value her assessments of TV shows like True Blood and movies like An American Crime, Palindromes, Heavenly Creatures, and Jennifer’s Body, among many others.
And if you’re a feminist music geek who loves horror, you should already be reading Dark Room. 😉
So, I’m still a little brain-drained from working on Cinemakids this weekend. I helped a group of nine-year-olds make a short movie about skatin’ dudes and pie fights (or, more accurately, walked them through the basics of making their own movie, tried to keep them positive and focused, sometimes mediated arguments, and sometimes provided them with Oreos). It was fun and if you want to see the movie “Team I Want Some Pie” made, along with the other participants, the screening is on November 7th.
And sometimes being a little brain-drained is good. It’s inspiring. And because today is Monday and we might all be a little slow getting back into our weekly routine, I thought I’d make a quick list of rad stuff I’m stoked about or inspired by. Feel free to share your rad lists as well.
Sadie Benning. Thanks to grad school and Kill Rock Stars, I know who this is. Benning is my go-to “girl filmmaker,” however essentializing that term may be. But I kept thinking about her work all weekend and how, if you have a vision and a Fisher-Price camera, you can start making movies at any age (an experimental filmmaker parent may also help, but not necessarily guarantee inspiration). If you don’t know her work, I highly recommend looking at some of her shorts. You can also watch her work in Julie Ruin’s “Aerobicide” music video.
On that tip, Molly Schiot has made some great videos too. Might I point you in the direction of Mika Miko’s “Business Cats” and Sleater-Kinney’s “Entertain”? Also watch the interview footage Schiot put together of Pat Place and Cynthia Sley of Bush Tetras talking about being tuff feminists on the lower East Side in the early 80s. This interview plus a recent screening of Downtown ’81 convinces me that I’m not tough enough to have lived in New York and the early 80s, and neither are most people of my generation. These women lived “Too Many Creeps.”
Oh hai Jane Campion. I’m looking forward to seeing Bright Star. Additional points of interest for apparently configuring Fanny Brawne as a proto-punk fashion icon.
Karen O, music supervisor of Where The Wild Things Are. How is Spike Jonze’s new movie not going to be awesome? Regardless, I know the Yeah Yeah Yeahs frontwoman’s musical contributions to the movie will necessitate its own post. Can’t wait for it to come out!
The Gossip are coming to ATX next month, two days after Parton’s box set is released. Yet another reason why October is for winners. We can only hope that Beth will pull out the wig and cover some Dolly.
I missed Mad Men last night because I was cheering on the KOOP Kilowatts. I suspect others may have missed last night’s episode too due to the Emmys (or at least had to back-and-forth it). Regardless, apparently Betty and Don’s angsty eldest daughter Sally discards a Barbie doll her mom gives her in last night’s episode. Ugh, you totally don’t get my ten-year-old girl needs, mom. Season three has been Sally’s season, in my mind.
Oh, on that tack, I need to rewatch season two and see the documentary on women’s liberation that was included in the DVD set. For more on the subject, Mary Kearney just wrote a great Flow column on it. I wonder how Sally will be impacted by these changes.
I recently bought Kate Bush’s Hounds of Love at Cheapo. Yes, that does mean that I listened to “The Big Sky” on my drive to work.
I have been pairing this with Julie Ruin’s “Valley Girl Intelligensia,” bringing us back full circle to grrrl germs.
So, you may have seen yesterday’s Vulture post on the trailer for Jennifer’s Body, screenwriter Diablo Cody’s anticipated follow-up to Juno. If not, you can view it here.
1. I haven’t seen Megan Fox in anything. I’ve kind of avoided the Transformers franchise because, eh, well, let someone else do it. I’ll definitely see this, though. I wonder how this movie and this role will evolve Fox’s Jolie 2.0 bombshell persona. I’d be curious what my friend Annie has to say about it.
2. I do kinda wish Jennifer was being played by Kat Dennings (Norah from Nick and Norah’s Infinite Playlist). I feel like Fox is ripping her off. That and I just want to see Dennings in more movies.
3. I like that the popular girl is a demon. Making the normatively feminine monstrous? Yes. “No, I’m killing boys” might be my favorite line in the trailer (the “Am I too big?” line is a close second). I see some potential feminist commentary.
4. Fox’s “I swing both ways” line to Amands Seyfried suggests one step forward, two steps back. I’d pair this with the shot of panty-clad Jennifer leering at Seyfried’s character and saying “we always share your bed when we have slumber parties.” Hello, boys. I’m sure having Jennifer play for both teams also builds up Fox’s star persona as a lipstick bisexual.
5. Why is Jennifer friends with the nerdy girl? Is it some kind of psychological “keep your friends close and your enemies closer” thing? We know that Veronica Sawyer couldn’t stay friends with Betty Finn to be one of the cool girls in Heathers. I’m intrigued.
6. It’s interesting to me that Cody’s is doing horror (albeit decidedly of the black comic variety). This suggests the influence of movies like Heathers and Scream on Cody as a screenwriter in ways more pronounced than Juno, which was cultivated and marketed as a prestige picture.
7. It’s a little annoying that the screenplay comes from “the mind of Diablo Cody.” Um. Karyn Kusmana directed it too. Plus I’m ambivalent about Cody’s writing style. Kids just aren’t that slick. And even with Daniel Waters’s super-heightened Heathers screenplay, a lot of the banter was slang-based. Or it was gross, which teenagers definitely are. I have an easier time believing a teenager would ask someone if they had a tumor for breakfast than telling a grubby-fingered peer to have a Chinese nail technician “buff your situation.” Plus, points off for reusing the fuck/Phuk Thailand joke.
7A. But the Buffy the Vampire Slayer dialogue didn’t bother me, in part because it seemed to be making a commentary on other network teen dramas like Dawson’s Creek. We shall see.
8. It seems that the soundtrack may play an important part for the movie’s burgeoning franchise. In the trailer, the soundtrack’s featured artists appear before the production credits and boasts hot acts like Little Boots and Panic at the Disco. Pair this with the prominent use of bad girl hits like The Runaways’ “Cherry Bomb” and The Waitresses’ “I Know What Boys Like” and you have a potential Billboard contender. This is important. Apart from the Disney machine, I can’t think of a teen movie with a soundtrack so at the fore of its marketing strategy since the mid- to late 90s (ex: She’s All That, William Shakespeare’s Romeo and Juliet, Cruel Intentions, Ten Things I Hate About You, and Clueless). I’ll be listening as well as watching.