Bechdel Test

Last week, I attended a film festival in Waco, Texas that showed the 2019 documentary This Changes Everything. Spending Friday evening at a film festival seemed like an enjoyable and appropriate way to kick off a weekend that would culminate with the Academy Awards (the Oscars). I had no idea that this film would inform the way I viewed the movie industry and its most celebrated awards show. It did change everything for me.

This Changes Everything is about the representation of women in film, particularly their underrepresentation and misrepresentation on screen and in the film- and television-making process. It is not the first time this theme has been explored in a documentary. What struck me at this viewing, though, was the way the film portrayed patterns that resonated with my experiences in academia and in religious communities. There are parallels between the way sexism manifests in entertainment and I, along with other members in the (predominantly female) audience, couldn’t help but see parallels in Hollywood’s patterns of exclusion and the discriminatory conditions we confront in numerous other industries and professions. What were these patterns?

Continue reading “I Hope “This Changes Everything” by Elise M. Edwards”

Last week Caroline Kline shared the article “Feminist Films” and discussed the Bechdel Test as a way to identify whether or not a film is feminist. It left me wondering – can we identify music as feminist in the same way? Music generally does not offer dialogue between two women. But there are instances where we find two women singing together about feminist issues like the 80’s classic “Sisters are Doin’ it for Themselves.” There are also women singing about or to women, like Juliana Hatfield’s “My Sister.” And there is music that acknowledges women’s struggles as women like Ani Difranco’s “I’m No Heroine,” No Doubt’s “I’m Just a Girl,” and Pink’s “Stupid Girls”. But is this the only way to identify feminist music? Continue reading “Feminist Music By Gina Messina-Dysert”