Valentina Aparicio | January 22, 2018
Nowadays, for the sake of good PR, supporting diversity is a must for any company. At least on paper. However, while identity politics has fully entered the mainstream political discourse, attention to material inequality continues to be overlooked. Last week, Anahit Behrooz’s article criticised the way in which Hollywood stars have come out to support victims of sexual harassment in problematic ways, such as Connie Britton’s $380 sweater that read ‘poverty is sexist’. The truth is that in fact most of the fights of identity politics have been now co-opted by the immensely wealthy. Media corporations and tech giants continue to portray the rich as messiahs of social change, turning the economic success of one (coloured, female, LGBT) individual into proof of equality for the many, through a discourse Naomi Klein has termed ‘trickle down identity politics’. And while criticism against ‘white feminism’ proliferates in the humanities, much work is yet to be done regarding neoliberal pro-diversity feminisms.
Valentina Aparicio | January 22, 2018
Christa M. Burgin | January 15, 2018
Empowerment can be conveyed in several forms. For many individuals, it thrusts and swings in the dance of music. For others, it cuts across paper in the rhythm of words. And for some, it ripples, and builds, and shakes through laughter. That is the calling of our comedians, for they have the ability to influence a vast number of people through media outlets, including Netflix specials, late-night television, and YouTube.
Anahit Behrouz | January 10, 2018
In an article for The Pool published the week before the 2018 Golden Globes ceremony, film critic Helen O’Hara questioned what a Hollywood awards ceremony would look like in a post-Weinstein world. O’Hara argued that although women only get 27% of the lines in the average Oscar-winning film, this year’s Golden Globes nominee list showed a progression towards a more equal awards ceremony, with numerous women and female-focused films up for consideration. As heartening as this may be, O’Hara did not delve into the question of how the mechanics of an awards ceremony in a post-Weinstein world would work, and what the optics would look like in an industry spending millions of dollars in self-congratulation during the same year that its ugly underbelly has been exposed.
Mary A. Pura | November 22, 2017
In a speech given in 2004 at The University of Massachusetts Boston, the late Dr. Andrew Lazare, a leading authority on the psychology of shame, humiliation and apology, had this to say about the nature of apology:
“Apology is more than an acknowledgment of an offense together with an expression of remorse. It is an ongoing commitment by the offending party to change his or her behavior. It is a particular way of resolving conflicts other than by arguing over who is bigger and better.”
Unfortunately there has been a failure in our society to adopt this important formula, especially in the context of sexual harassment.
Maria Elena Torres-Quevedo | November 20, 2017
Netflix’s Alias Grace (2017) is the second series to be released this year based on one of Margaret Atwood’s novels. The six-part series is, like Hulu’s The Handmaid’s Tale (2017) before it, an unflinching depiction of women’s precarious position in society, through a defamiliarised, yet uncomfortably familiar, setting.
Harriet MacMillan | November 6, 2017
I first identified as a feminist in the playground at the age of 10. “I bet you’re a ‘feminist’,” sneered a male pursuer, his insult not quite hitting the mark as I replied “Yeah, so what?”. It made utter sense to me – from an early fascination with the Suffragettes to saving up tokens to buy my Usborne Book of Famous Women at the Scholastic Book Fair. Of course I was a feminist. My confidence in that identification only grew as my understanding of what feminism meant developed.
Madison Pollack | November 6, 2017
The cartoonist Liana Finck recently published an article online called “Love Song,” where she worked through the issue of whether or not to post sketches about her relationship publically. A frequent contributor to The New Yorker, Finck has garnered a following on Instagram by posting autobiographical cartoons of her interpretations of moments on the subway, in coffee shops, and, often, in love. In “Love Song,” Finck writes that her cartoons are her “way of taking my story back from strangers on the street—and men I’d met on dating apps—who saw me as a minor character, if they saw me at all.” Finck’s Instagram is not merely a view into the artist’s inner life: it is her desperate and universal plea to be recognized as having one at all. By giving her inner workings a public platform, Finck enables herself to reclaim subjecthood in a world that is constantly taking it away from her.
Charlotte Kessler | 26 June 2017.
Chimamanda Ngozi Adichie is one of the best known contemporary feminists; she is a Nigerian writer of novels, short stories and feminist theory. In 2014, she published her essay We Should All Be Feminists after giving a Tedx talk on her approach to feminism and followed it up with her feminist manifesto Dear Ijeawele, or A Feminist Manifesto in Fifteen Suggestions in March 2017. Written as a letter to a friend, and recommending how to raise her newborn girl, Dear Ijeawele makes powerful statements about feminism today. Issues addressed in Dear Ijeawele resemble those raised in Simone de Beauvoir’s feminist classic The Second Sex, published in 1948. I will examine how Adichie has furthered de Beauvoir’s feminist thought and made it more inclusive and therefore better suited to contemporary feminism. Adichie echoes, whether consciously or unconsciously, arguments made by de Beauvoir in The Second Sex about childhood, the mother and marriage.
Scheherazade Khan | 13 June 2017
Warning : Spoilers ahead for Wonder Woman (2017)
Though box office ratings and some critiques seem to suggest that Wonder Woman is finally giving a female role the appropriate attention, I join with other critics who argue that the movie itself failed to deliver on the hope that it would be a feminist dream. For me, Wonder Woman suggests that the only way for female superheroes to be successful is to mimic traditionally male roles. That is, having adventures, engaging in physical violence while proclaiming superior – if not slightly naïve – moral standards, all while wearing absurdly tight clothing that seems like it would be a hindrance when fighting for one’s life. In comparison, the working women in the movie (of which there are a grand total of two) are used either as comic relief or for nefarious purposes.
Ellen Davis-Walker | 25 April 2017
Mathieu Kassovitz’s 1995 box office sensation La Haine has long been credited with propelling French hip hop on to the global stage. Drawing on original material by Ministère AMER, NTM and MC Solaar, the film’s soundtrack managed to capture the sonic traces of social unrest on the fringes of French society. Whilst France’s victory in the 1997 FIFA World Cup seemed to mark a momentary coming- together around the inclusive slogan ‘Black-Blanc-Beur’ (Black, White, Arab), the contentious and fractured question of national identity has continued to dominate the country’s musical and political landscape ever since.
The emergence of rap au féminin (female rap) over the past decade marked a significant step in the development of multi-faceted ‘French’ identity. While anglophone female artists of the early 2000s were predominantly focused on debunking “the sexual and material objectification faced by women in the industry,” this article will ask how rap au féminin has offered artists the possibility to explore both what it meant to be a woman in this period, and what it meant (and still means) to be French.