Confused Cats Against Feminism is a project of We Hunted the Mammoth:The New Misogyny, tracked and mocked.
If my cat weren’t so lazy, this would be her argument.
It seems that when you want to make a woman into a hero, you hurt her first. When you want to make a man into a hero, you hurt… also a woman first.
The conflict between humanity and nature is one of the basic plots in movies and elsewhere, and in many science-fiction films, it tends to take the same form: Humanity crosses a line, and in response, nature produces monsters. That was true even before Godzilla trampled Tokyo, but especially true in the years after the big lizard made his first excursion inland. Thanks to the relative ease of suggesting giant animal attacks via miniatures and rear projection—however awkwardly—the 1950s and ’60s saw invasions from grasshoppers (Beginning Of The End), giant gila monsters (The Giant Gila Monster), crab monsters (Attack Of The Crab Monsters), and other such films, many of which made their way to Mystery Science Theater 3000. That dubious tradition persisted in the 1970s via films like Night Of The Lepus (which set loose giant rabbits in Arizona) and The Giant Spider Invasion(which made rural Wisconsin the site of, well, read the title again). The lattermost boasted the tagline “There has never been a film like this before.” In fact, there had been many, and more followed.
Yet a handful of science-fiction films took a different approach to human/animal relations, exploring what it might be like to fulfill the Dolittle-ian dream of talking to the animals—be it in the here and now, a post-apocalyptic future, or on the cusp of some tremendous planet-wide transformation. Perhaps there were stories to tell other than those in which mutated creatures trampled major cities.
"Shades of Cool", Lana Del Rey
Yeah, I don’t think I can ever dislike anything she does.
In fairy tales, monsters exist to be a manifestation of something that we need to understand, not only a problem we need to overcome, but also they need to represent, much like angels represent the beautiful, pure, eternal side of the human spirit, monsters need to represent a more tangible, more mortal side of being human: aging, decay, darkness and so forth. And I believe that monsters originally, when we were cavemen and you know, sitting around a fire, we needed to explain the birth of the sun and the death of the moon and the phases of the moon and rain and thunder. And we invented creatures that made sense of the world: a serpent that ate the sun, a creature that ate the moon, a man in the moon living there, things like that. And as we became more and more sophisticated and created sort of a social structure, the real enigmas started not to be outside. The rain and the thunder were logical now. But the real enigmas became social. All those impulses that we were repressing: cannibalism, murder, these things needed an explanation. The sex drive, the need to hunt, the need to kill, these things then became personified in monsters. Werewolves, vampires, ogres, this and that. I feel that monsters are here in our world to help us understand it. They are an essential part of a fable.
140 Words (or Less) Book Review
Arkady and Boris Strugatsky
Penned by two brothers in Soviet Russia in the 1970’s, it is ostensibly a novel about first contact with aliens, except no contact with aliens is ever made. The Visitors, whom no one in the book ever describe seeing, came, went, and didn’t bother picking up after themselves.
Redrick Shuhart is a prospector who grew up in one of the pre-Visitation Zone and now makes his living by (mostly) illegal salvage of mysterious alien artifacts. Red, as Ursula K LeGuin notes, is an ordinary man. Through him we get to see the grinding tedium of life in an era where human understanding of science is woefully insufficient.
No analysis of Soviet politics here, just a nice clean, bleak look at how little humanity really knows of the universe and itself.
Should You Bother: Yes, and while you’re at it find the 1979 Andrei Tarkovsky filmad aptation Stalker whose screenplay was written by the Strugatsky brothers.
The Women’s Media Center just released its 2014 report on women in media. There are so many great charts in this report, but here are the key ones about race and gender in film entertainment television.
Please note the historical comparison of women behind the scenes in primetime TV shows is only representative of broadcast network, but not cable. The charts about types of black women on screen include TV and music videos, but not film.
140 Words (or Less) Book Review
Outlaws Raule, a doctor, and Gwynn, a mercenary, find themselves wandering through a Western-style landscape in search of a new life. Their journey lands them in a river city where they separate as one finds work in a slum hospital while the other becomes the hired muscle for a powerful slaver’s gang.
Its a great set up.
I found myself fascinated by Raule’s torment over her lack of empathy for the suffering around her as she tries to contribute some good into the world.
Gwynn’s story flounders as he carries on theological debates with a whore-mongering priest and an affair with golden-skinned woman. The heady, unnatural dialogue from these scenes quickly overtake the entire plot.
Just as quickly as I had fallen in love with the book, I fell horrifically out.
Should you bother? Unfortunately, no.