Gravity Shows the Limits of the Bechdel Test

Let me start by saying I’m more than a little bit obsessed with the Bechdel Test.  As I wrote back in August when Pacific Rim was released:

You all know the Bechdel Test for the role of women in film, right?  Very simple three part test for the importance of women in a film:

  1. Are there at least two female characters with names
  2. Who talk with each other
  3. About something other than a man?

Problem with it is that virtually no films pass the test.

Among the movies that do not pass are several that have very strong women characters, including Pacific Rim.

This was brought to mind the other day when I went to see the new Sandra Bullock movie Gravity, which I went on about at length yesterday.  Bullock and George Clooney are the only two actors who appear in the film, and there are five more characters (two with names) whose voices are heard but not seen.

So, it is immediately obvious that Gravity can’t pass the Bechdel Test as there is only one named female character in the movie.  That said, Bullock is the only character in much of the movie.  It is 100 percent her story.  And she is an intensely involving character consumed with her own survival.  In many ways, she’s the strongest female character in a science fiction movie (if you can call Gravity that) since Sigourney Weaver played Ellen Ripley in the Alien franchise.

What do you think? As great as the Bechdel Test is as a casual tool for analyzing the role of women in movies, does it miss a lot of movies that have really strong roles for women?

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Why Gravity is Grabbing So Much Attention

The Sandra Bullock 3-D space movie Gravity has opened to spectacular reviews and record-breaking October box office numbers.  And after going to see it last Tuesday in 3-D at my local theater, I have to say that the movie has earned its praise and box office.  Sandra Bullock and her co-star George Clooney make for great totally non-romantic interaction, but the movie is primarily a one-woman show by Bullock.

So before we get into any more analysis here, go see Gravity in 3-D at the best local theater you can find. (My mum-in-law, as a general rule, does not like 3-D or 3-D glasses.  She was enthralled by Gravity and thought the 3-D was absolutely central to the movie.)

So on to the questions of what makes Gravity such an interesting movie:

  • It was conceived and shot as a 3-D movie from the very beginning.Director Alfonso Cuaron (Children of Men, Harry Potter and the Prisoner of Azkaban)  planned Gravity as a 3-D movie from the very start, back in 2010 when Avatar was busy showing the world what could be done with really great 3-D.(I know, I know, many of you absolutely hated the derivative story and rehashing of the human villains from Aliens in Avatar, but that doesn’t change the fact that it had extraordinary visual storytelling.)

    Every shot was planned around how it would look in 3-D. Cinema Blend has a spot-on analysis of why the 3-D in Gravity works so well. And Chris Park, who was the movie’s “stereoscopy supervisor,” has a great discussion over at Stereoscopy Newsof all the techniques he used to make sure that Cuaron’s vision made it to the screen.

    I also find it fascinating that for the most part neither director/co-screenwriter Cuaron nor co-star Clooney generally like 3-D, especially when it is tacked on just to generate higher ticket prices.  Cuaron is quoted at Complex.comas saying:

    “The problem now is that they make all these films that are not designed for 3D and then convert them as a commercially afterthought—and they are crap. They don’t follow the rules of 3D of what does and doesn’t work. There are a handful of films that have used 3D in a proper way so it can be an amazing tool.”

    Here’s a featurette that explains how Cuaron and company used 3-D almost as a characterin the film:

  • The writer/director and studio were brave enough to produce a unique film with a strong voice.

    LA Times
    movie critic Kenneth Turan notes a number of things in his review that make Gravity special, including the fact that the first shot of the film runs 13 minutes without a single cut.  No rapid-fire edits here – just a really long establishing shot putting us into the context of the film.  (And, going back to the first point, rapid-fire edits don’t work well in 3-D.)  That willingness to engage in brave storytelling carries through the entire movie.I would also note that the movie also benefited from having a unified voice.  The screenplay was written by  Alfonso Cuaron and his son Jonas.  This means that the movie did not suffer from endless second-guessing from the studio about the script.  It also means, I strongly suspect, that the director and his son had a really good idea of what they were going to do from the very beginning. My own rule of thumb is that unless it is a major animated movie, and film with more than two screenwriters or screenwriting teams is suspect.  It isn’t a universal rule, but I always get nervous when I see a long list of writers on a project.
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Using narrative and other techniques in depth reporting

I’m posting here the readings that I’m assigning to my Depth Reporting Students.  Why?  So they will be easy for my students to find and because these are great things for anyone interested in journalism to read:

Writing Using Narrative

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Media News Roundup

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Four Rules to Make Star Wars Great Again

An open video letter to J.J. Abrams from Sincerely Truman.

This is brilliant and correct.  And as one commenter on YouTube put it: “So basically… Make Firefly.” Pretty much.

Shiny!

 

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Link Ch. 4 – Portrait of an Attempt to Ban a Book in Minnesota

Omaha author (and former newspaper columnist) Rainbow Rowell did not grow up well off.  She wrote back in her column back in 1997 that, “We went from desperate to poor.  And poor felt so good.”

Cover of book Eleanor and Park by Rainbow RowellIn Eleanor & Park, her award-winning novel for teens, she writes about a romance between a pair of poor teens who face trouble from the bullies who surround them.

But as Omaha World-Herald columnist Erin Grace notes in her column this week, Eleanor & Park includes a number of offensive words from the bullies (imagine that, bullies who say bad things…) and abuse from those bullies and Eleanor’s stepfather.

Because of these disturbing elements, Rowell was uninvited from doing a reading in Anoka County, Minnesota library and a group called the Parents Action League has asked the school district to remove their 70 copies of the book from their Anoka-Hennepin school libraries.  Even more concerning, Grace reports, “the group also called for the librarians who chose Eleanor & Park for the district’s voluntary summer reading program to be punished.”

So far, all that’s happened is that Rainbow Rowell’s book visit has been cancelled.  The Anoka libraries have no history of removing books from the library and it sounds as though the librarians are not facing any punishment.

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Banned Book Week

It’s the American Library Association’s annual Banned Book Week, which draws attention to books that have been challenged in libraries or classrooms over the last year.

I’ve long had somewhat ambiguous feelings about Banned Book Week.  On the one hand, I hate seeing a small group of people trying to limit what everyone else can read or assign to read.  On the other hand, efforts to suppress books in the United States tend to be spectacularly unsuccessful.  At worst a book gets taken off a classroom reading list or out of a school/community library.  But the attention that that the challenging of the book brings may well bring more readers to the book than would have been there in the first place.

At any rate, librarian Jessamyn West, the “rarin’ librarian,” has a great Banned Books Week post with all the links you could possibly want with a nuanced look at what level of banning actually happens in the US.  (Ms. West has some interesting links about one of the few books that has actually been suppressed in the United States, a sort-of sequel to J.D. Sallinger’s Catcher in the Rye by Fredrik Colting.  The book was kept from being published or sold in the US on copyright grounds.)

For 2012, the most frequently challenged books included:

  1. Captain Underpants (series), by Dav Pilkey.
    Reasons: Offensive language, unsuited for age group
  2. The Absolutely True Diary of a Part-Time Indian, by Sherman Alexie.
    Reasons: Offensive language, racism, sexually explicit, unsuited for age group
  3. Thirteen Reasons Why, by Jay Asher.
    Reasons: Drugs/alcohol/smoking, sexually explicit, suicide, unsuited for age group
  4. Fifty Shades of Grey: Book One of the Fifty Shades Trilogy, by E. L. James.
    Reasons: Offensive language, sexually explicit
  5. And Tango Makes Three, by Peter Parnell and Justin Richardson.
    Reasons: Homosexuality, unsuited for age group
  6. The Kite Runner, by Khaled Hosseini.
    Reasons: Homosexuality, offensive language, religious viewpoint, sexually explicit
  7. Looking for Alaska, by John Green.
    Reasons: Offensive language, sexually explicit, unsuited for age group
  8. Scary Stories (series), by Alvin Schwartz
    Reasons: Unsuited for age group, violence
  9. The Glass Castle, by Jeanette Walls
    Reasons: Offensive language, sexually explicit
  10. Beloved, by Toni Morrison
    Reasons: Sexually explicit, religious viewpoint, violence
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Questions Worth Asking (Maybe)

And finally:

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TV/movie piracy & Hollywood. Who’s to blame? And is it all bad?

A post in honor of International Talk Like a Pirate Day!

Are improper movie downloads Hollywood’s own fault? Kinda looks like it.  When you give people easy, reasonably priced ways to download movies, they prefer them over “pirated” downloads.

And as a sidenote, Netflix has found that pirate download stats are a  great way to decide what movies and shows they should bid on for their streaming service. Apparently, if people want pirate downloads, they also want legal downloads of it.

(BTW, given that today is TLAPD, if you talk like a pirate at Long John Silver’s today, they will give you a free piece of fried fish if you ask for it.)

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A Motorcycle Ride to the United 93 Memorial on a Rainy Summer Day

This has nothing to do with the media. It’s a brief story about a ride I took on my motorcycle to the United 93 Memorial on a rainy June day back in 2004. It was written shortly after I had recovered from a fairly serious illness, and I was happy just to be back on the road. I’ve taken to posting on 9/11.


Took a short ride last Saturday. The distance wasn’t much, under 200 miles, but I went through two centuries of time, ideas, and food. Which felt really good after having been ill for the last month-and-a-half.

Headed out of Morgantown about 7:30 a.m. on I68. Stopped at Penn Alps for breakfast. Nice thing about being on insulin is that I can include a few more carbs in my diet these days. Pancakes, yum! (Penn Alps, if you don’t know, runs a great Pennsylvania Dutch breakfast buffet on weekends that is well worth riding to. Just outside of Grantsville, MD.)

Then off on the real purpose of the trip. Up US 219 toward the Flight 93 Sept. 11 memorial. The ride up north on 219 is beautiful; I’ve ridden it before. I always like when you come around the bend and see the turbines for the wind farm. Some people see them as an eye sore; for me they’re a potential energy solution and a dramatic sight. Chalk one up for industrial can be beautiful.

Continue on up to Berlin, PA, where I take off on PA 160 into Pennsylvania Dutch country. I start seeing hex signs painted on bright red barns, or even hung as a wooden sign. Not quite cool enough to put on my electric vest, but certainly not warm. Then it’s heading back west on a county/state road of indeterminate designation.

Now I’m into even more “old country” country. There’s a horse-and-buggy caution sign. Off to the left there’s a big farmstead with long dark-colored dresses hanging from the line, drying in the air. They may not stay dry, based on what the clouds look like.

The irony of this ride hits pretty hard. I’m on my way to a memorial of the violence and hatred of the first shot of the 21st century world war, and I’m traveling through country that is taking me further and further back into the pacifist world of the 19th century Amish and Mennonites.

A turn or two more, following the map from the National Parks web site, and I’m on a badly scared, narrow road that is no wider and not in as good of shape as the local rail trail. (Reminds me why I like my KLR!)

It’s only here that I see the first sign for the memorial. No one can accuse the locals of playing up the nearby memorial. Perhaps more flags and patriotic lawn ornaments than usual, but no strident statements. And then the memorial is off a half-mile ahead.

The crash site is to the south, surrounded by chain-link fencing. No one but families of the victims are allowed in that area. Off a small parking area is the temporary memorial, in place until the National Park Service can build the permanent site. There’s a 40-foot long chain-link wall where people have posted remembrences, plaques on the ground ranging from hand-painted signs on sandstone, to an elaborately etched sign on granite from a motorcycle group. The granite memorial is surrounded by motorcycle images.

The messages are mostly lonely or affirming. Statements of loss, statements of praise for the heroism of the passengers and crew. But not statements of hatred. It reminds me in many ways of the Storm King Mountain firefighter memorial. Not the formal one in Glenwood Springs, but the individual ones out on the mountain where more than a dozen wildland firefighters died several years ago.

It’s time to head home. When I go to join up with US 30, it’s starting to spit rain, so I pull out the rain gloves, button down the jacket, and prepare for heading home. It rains almost the whole way back PA 281, but I stay mostly dry in my Darien. The only problem is the collar of my too-big jacket won’t close far enough, and water dribbles down inside. It reminds me that riding in the rain, if it isn’t coming down too hard, can be almost pleasant, isolated away inside a nylon and fiberglass cocoon.

I’m home before 1 p.m.. I’ve ridden less than 200 miles. But I’ve ridden through a couple of centuries of people’s thoughts, actions, and food. And I’m finally back on the bike.

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