The Female Killer In Hollywood: A Mini Essay By Silas Denver Melvin

“How do we forgive our fathers? Maybe in a dream. Do we forgive our fathers for leaving us too often, or forever, when we were little? Maybe for scaring us with unexpected rage, or making us nervous because there never seemed to be any rage there at all? Do we forgive our fathers for marrying, or not marrying, our mothers? Or divorcing, or not divorcing, our mothers? And shall we forgive them for their excesses of warmth or coldness? Shall we forgive them for pushing, or leaning? For shutting doors or speaking through walls? For never speaking, or never being silent? Do we forgive our fathers in our age, or in theirs? Or in their deaths, saying it to them or not saying it. If we forgive our fathers, what is left?”

— Thomas Builds-the-Fire, Smoke Signals (Sherman Alexie)

thoughts on death and marriage and girls

(sophocles, antigone 891-4, c. 441 bce; ovid, metamorphoses x.1-7, 8 ce; phrasikleia kore inscription, 550-530 bce; euripides, iphigenia in aulis 1502-3, 405 bce)

inspired by @regenderate and @risissecupido and also joan breton connelly and nicole loraux

“In an experiment revealing the importance of having friendships, social psychologists have found that perceptions of task difficulty are significantly shaped by the proximity of a friend. In their experimental design, the researchers asked college students to stand at the base of a hill while carrying a weighted backpack and to estimate the steepness of a hill. Some participants stood next to close friends whom they had known a long time, some stood next to friends they had not known for long, and the rest stood alone during the exercise. The students who stood with friends gave significantly lower estimates of the steepness of the hill than those who stood alone. Furthermore, the longer the close friends had known each other, the less steep the hill appeared to the participants involved in the study. In other words, the world looks less difficult when standing next to a close friend.”

— my new favorite psychological study, done by Schnall, Harber, Stefanucci, and Proffitt and published in the Journal of Experimental Social Psychology.

“Male culture ensures that women’s anger is not taken seriously (and thus that women’s anger will not lead to social change) by defining anger in women as pathological. Broverman et al. (1972) found that mental health professionals judged aggression to be a trait associated with a healthy man, but not a healthy woman. Feinblatt and Gold (1976) found that more girls than boys were referred to children’s mental health centers for being defiant and verbally aggressive. Aggressive girls described in hypothetical case studies were rated both by graduate students in psychology and by parents as more disturbed, as being more in need of treatment, and as having poorer prognosis than boys described with identical problems. Hochschild (1983) found that males who displayed anger were thought to have deeply held convictions, while females were considered personally unstable.”

— Dee L. R. Graham, Loving to Survive (via reading-blog)

  The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination, Sandra Gilbert and Susan Gubar

male gaze is not 'when person look sexy' or 'when misogynist make film'

death of the author is not 'miku wrote this'

I don't think you have to read either essay to grasp the basic concepts

death of the author means that once a work is complete, what the author believes it to mean is irrelevant to critical analysis of what's in the text. it means when analysing the meaning of a text you prioritise reader interpretation above author intention, and that an interpretation can hold valid meaning even if it's utterly unintentional on the part of the person who created the thing. it doesn't mean 'i can ignore that the person who made this is a bigot' - it may in fact often mean 'this piece of art holds a lot of bigoted meanings that the author probably wasn't intentionally trying to convey but did anyway, and it's worth addressing that on its own terms regardless of whether the author recognises it's there.' it's important to understand because most artists are not consciously and vocally aware of all the possible meanings of their art, and because art is communal and interpretive. and because what somebody thinks they mean, what you think somebody means, and what a text is saying to you are three entirely different things and it's important to be able to tell the difference.

male gaze is a cinematographic theory on how films construct subjectivity (ie who you identify with and who you look at). it argues that film language assumes that the watcher is a (cis straight white hegemonically normative) man, and treats men as relatable subjects and women as unknowable objects - men as people with interior lives and women as things to be looked at or interacted with but not related to. this includes sexual objectification and voyeurism, but it doesn't mean 'finding a lady sexy' or 'looking with a sexual lens', it means the ways in which visual languages strip women of interiority and encourage us to understand only men as relatable people. it's important to understand this because not all related gaze theories are sexual in nature and if you can't get a grip on male gaze beyond 'sexual imagery', you're really going to struggle with concepts of white or abled or cis subjectivities.

the love club, lorde | sharp objects, gillian flynn | lady bird dir. greta gerwig | class of 2013, mitski | white oleander, janet french | girl in progress dir. patricia riggen | writer in the dark, lorde | little fires everywhere, celeste ng | electrick children dir. rebecca thomas | mythological beauty, big thief

No two women have the same experience. All feminism is founded not on actual essential unity, but on political coalition and affirmation of shared political needs and goals.

Race, culture, class, birth assignment, religion, and countless other factors mean all women experience womanhood differently. Excluding trans women because we have a different life experience misses the point that all women have different life experiences. This idea isn’t even new, its not even specific to trans women, its literally the point Crenshaw and Collins and Mohanty and countless other woc and third world feminists have been making for decades now.

harry styles for rolling stone magazine / matty healy for dazed magazine 

a short collection on catering to men. Gone Girl by Gillian Flynn (2012) A Doll’s House by Henrik Ibsen (1879) The Robber Bride by Margaret Atwood (1993)