Feminism in movies: refreshing or overplayed and extreme?

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Well, I've taken forever to respond again. A clear sign I do not have the bandwidth to do this conversation justice right now. Hopefully we're just about wrapping it up anyway. I think we probably (?) are.

It is, and I'm referring to blockbusters when I say that studios can release multiple films at the same time.
The starting point of this line was you saying this:
And even if we suppose that many or even most women don't care for action films or don't particularly care about a female lead in one, there are millions and millions of women in the US alone. If even 10% of women are interested in seeing a female lead, then it's a marketable strategy to make some films this way.
The beginning of this would seem to preclude, by definition, the kinds of action blockbusters we've been talking about. I'm not sure if this line is worth pursuing (feel free to discard it), I'm replying more just to explain where I think things got off track. Obviously the discussion broadened a bit in some places and it might've leaked into others, if I can mix a metaphor.

Because a lot of industries have built-in assumptions about what the consumer wants or what will be marketable, and sometimes they are wrong. There are plenty of stories out there about writers or filmmakers being told that their ideas wouldn't sell. There's a lot of "conventional wisdom" out there that is either outdated or just wrong. And for some groups who are dealing with more serious oppression, spending emotional energy on trying to change movie demographics might not be high on their priority list.
I think that last bit is the real answer, personally: it's not a priority, which is another way of saying they don't really care enough to demand it.

Obviously there's structural inertia in all industries, but the compulsive force of unclaimed profits is incredibly powerful. We need a really, really good reason to posit that billions of dollars are being left unclaimed out of careless adherence to old ways of doing things, particularly in an industry that isn't rife with state intervention.

The part I'm saying is dangerous is defaulting to assuming that inequality must be the fault of the people who are unequal and not on the system that perpetuates the inequality. In this case the equality is the direct offense. I'm not closed to the possibility that there's a lack of interest/investment from certain groups in seeing themselves represented in film--maybe most women genuinely don't care about the gender of the lead. It's certainly the case that people who are gay or transgender are very vocal about enjoying films in which they are represented--and will support such art--yet it has taken a long time for positive or nuanced depictions of gay people to be something you see in mainstream media.

It's just something I personally feel pretty strongly about.
I can see that. Unfortunately we might be stuck, because I feel pretty strongly as well. Lots of things are potentially dangerous, and everything is the first step towards some unacceptable extreme if you just keep on going. All trajectories eventually crash into something.

That said, I disagree that it's even bad, let alone dangerous, to expect people in an ostensibly free society to assert their desires. Long-term, I think this expectation is the most empowering one, particularly when you consider that the alternative is agitating on their behalf and/or just trying to persuade the people in power to accommodate them, which implies that any underrepresented group can only rely on the beneficence of the same system that we're saying ignored them in the first place.

I think there's some subtle things here about desiring imprimaturs and cultural proxies for acceptance that are creeping into what otherwise would be a straightforward economic question, too. This disagreement obviously has lots of cultural and political implications so I'm not sure we can really see it through here and now, though.

Because we're switching back and forth between talking about movies as a whole group and movies with leading women, it's hard to keep track. I thought that you were speaking specifically about female-led films. But if you're speaking generically about movies then we are in agreement. If you look back at what I originally wrote, I was saying it would be silly to decry a woman punching a man as "unrealistic" and then turn around and be cool with some guy out-swimming an explosion or something. I often hear this angry critique that "girls can't really do that", but it comes from the same people who have no problem with incredibly unrealistic feats from male leads. As long as you take the same attitude toward unrealism in both, we're on the same page.
Yeah, I think we mostly are. This clarification helps, thanks.

I'll go ahead and risk that agreement by making a distinction about the above, though, in that there's also a difference between a movie exaggerating sex-specific traits and just flipping them entirely. Being unrealistic isn't a zero-or-one thing for most people: I think they expect their fiction (especially their actiony, blockbustery fiction) to stretch reality, but maybe not subvert it outright. A guy jumping 30 feet it in the air is unrealistic, and so up being down and down being up, but they're not the same kind of unrealistic. I think this probably explains some (though certainly not all) of the seemingly contradictory reactions.

The big glaring thing that seems to attract the trolls, though, is if they perceive an agenda behind the unrealism. And the pounce that happens when they see it is so angry and reflexive that I roll my eyes even when I agree with them. The debate has reached a very bad place where people are on high alert for this stuff. But I still think there's productive time to be spent in unpacking what the most reasonable version of it looks like, and I think it's something like the paragraph before this one: people are happy to suspend their disbelief for sheer entertainment or in a way that exaggerates reality, but less so for someone trying to convince them of something and/or subvert aggregate tendencies.

I find the reporting a little odd in that article, and especially the way that the researchers themselves qualify their own findings: "While these findings were statistically significant, Hermle cautions that the size of the effect is not that large" and "For each of these preferences, “there is a huge variation within genders,” he said. “If you randomly take a woman or man from the U.S. or some other country, knowing this person’s gender would tell you very little about their preferences.”"
I think that's pretty easily explained by the fact that a) the finding might be politically controversial and they'd like to downplay that aspect, and more importantly b) they're probably proper scientists doing actual work and not trying to grab headlines, which means appropriate humility about the thing being measured. This is unfortunately rare, to the point where appropriate skepticism and hedging about a finding reads as backpedaling compared to all the confident declarations we're used to seeing in our clickbait summaries.

Anyway, I don't think the quote contradicts the underlying idea. We should expect to see huge variation within genders, that's what happens when you're measuring aggregate differences across large groups of people. Up close it's basically nothing, but altogether it's clear.

I completely agree that in an equal society you will still see gender variation (at a statistically significant rate) in certain traits or behaviors. But even the authors of the study say that the effect size is not that big and that there is so much variation that it's not strong enough to make decent predictions.
Not about individuals, but for these purposes that's okay. And obviously "not that big" is the statement that needs parsing. But really, the only thing I'm establishing is that it's to some degree expected and therefore not ipso facto evidence of bias (and, in fact, might actually be evidence of a lack of it). I have very modest goals: I'm really just trying to get people to stop comparing demographics to representation and acting as if they've made their point. I don't dare hope I'm going to get much further than that. If the next generation is having cultural arguments about people's choices instead of just running down checklists I'll consider it a win for the discourse.

I think you misunderstood my meaning. I was merely asking how one might quantify a disparity as being "huge." I agree that you'll probably never see a career that is exactly 50-50, and my question was just what you think of as a "huge" disparity. Even the research article you cite notes that there is a lot of variation with each gender.
I don't know, to be perfectly honest. But I think that's the problem with either side of the issue: what is an appropriate number to satiate people criticizing the industry? I can't imagine they really know, either. I'm not saying that invalidates their opinion. I don't think you need to be able to answer these questions: I'm saying neither of us can, and that's why we should mostly defer to people's actual, verifiable choices.

Basically, I think in an ostensibly free society, where clear incentives exist through profit motive to provide people with what they want, we should be very hesitant to assume that those people are being tricked or blocked or thwarted without really really good reasons to think so.

I think that stereotypical depictions are only harmful if they are the only (or virtually) the only ones. The irony is that when you have more varied representation of any group, a single representation becomes less loaded because it's not part of a large generalization of a group. Depictions of chipper, stay-at-home moms lose
their sting if they are just part of a spectrum of women being presented.
That makes a lot of sense.



Obviously there's structural inertia in all industries, but the compulsive force of unclaimed profits is incredibly powerful. We need a really, really good reason to posit that billions of dollars are being left unclaimed out of careless adherence to old ways of doing things, particularly in an industry that isn't rife with state intervention.
Several studies have shown that films with diverse casts tend to do really good money, both domestically and internationally.

People not expending energy to demand diversity in their art doesn't mean that they wouldn't show up for more diverse art. But I will concede that figuring out how much money is currently "untapped" is tricky.

Going anecdotal again (which . . . I know, not scientific): I knew several women who went to see Wonder Woman in the theater who had previously shown little or no interest in the superhero genre (or would wait to see them on Netflix). I don't think that any of them had spent time writing letters to the big studios, but they turned up and spent money when they were given something that appealed to them.

I disagree that it's even bad, let alone dangerous, to expect people in an ostensibly free society to assert their desires.
But this expectation comes with the assumption that (1) there will not be negative repercussions for that self-advocacy and (2) anyone in power will pay attention.

Going back to what I originally responded to, I said that it was dangerous to assume that a lack of change meant people weren't being vocal enough or that they were to blame for not using their economic power. We can expect people to assert their desires, but we can also concede that not every voice is heard equally and that industries sometimes operate with outdated notions of what is successful and/or marketable.

The big glaring thing that seems to attract the trolls, though, is if they perceive an agenda behind the unrealism.
The word "agenda" is thrown around a lot when it comes to movies featuring women. But I'd argue that portrayals of men in action movies have just as much of an agenda: namely affirming certain notions of masculinity, confirming the male role as protector, etc. It's just that we are so saturated in this agenda that we barely notice it.

When people say "agenda", I kind of wonder what they imagine the end-game is of this mysterious agenda. 1. People think women are perfect and strong, 2. ???? 3. Profit

Basically, I think in an ostensibly free society, where clear incentives exist through profit motive to provide people with what they want, we should be very hesitant to assume that those people are being tricked or blocked or thwarted without really really good reasons to think so.
If you consider our current society to be what you describe, at what historical point would you say we reached that? Because, for example, how long did it take to get an overt gay love story into the theater? How long did it take to get big-budget films starring non-white leads? How long did it take to get female action leads at a rate of more than 1 or 2 per year? The audiences for these types of films clearly existed, and yet they were severely underserved. "Agenda" cuts both ways. Heck, think about how long it took for it to be legal for women to wear a pair of pants in public.



Partially out of pragmatism and in the interest of freeing you up to post insightful things elsewhere, I'm okay with letting you have the last word on most of this: I feel the arguments I've made have had a fair hearing and we're mostly left with axiomatic differences about things we can't very well quantify.

If there's a particular point above you'd like a response on anyway just single it out and I'll gladly reply, since my intention isn't to duck anything. Just say the word.



Definitely overdone. No one needs to see yet another muscular tomboy. Men like femininity.



does the C. stand for Clown
How intelligent of you. By the way, questions end with question marks.

I'm sorry for simply stating what's on everyone's minds.



Welcome to the human race...
Compared to passing off your own assertions as being "what's on everyone's minds" as if that automatically grants them more legitimacy than anyone else's opinions? Yeah, it's pretty intelligent.



Much of the feminist protagonists are created out of hatred for men. That's why they are made "invincible" as someone else mentioned. Instead of having strength in character, they are often unattractive, tattooed, blue-haired, testosterone-fueled women who beat the crap out of men.



My Darth Star is in for a service
Much of the feminist protagonists are created out of hatred for men.
It isn't hatred for men it is hatred of men who think a woman should be at home wearing an apron doing housework and who think they are superior to women.



Welcome to the human race...
If strength of character is what's really important, why go after their looks at all? If I argued that straight men should hate all male protagonists just because they are inherently unattractive to men who prefer women, then that would be stupid. That's the issue with trying to simplify the whole concept of female characters into a binary between acceptably non-threatening emblems of femininity and unstoppable man-hating tomboys - it doesn't seem like it's giving due consideration to anyone.



I would prefer just to have stories told well without putting a premium of politicized demographics. A good story told well, regardless of having ovaries.



The problem is when politics come before story telling and creators start checking boxes. Characters get painted into corners and plot lines get forced.



If strength of character is what's really important, why go after their looks at all? If I argued that straight men should hate all male protagonists just because they are inherently unattractive to men who prefer women, then that would be stupid. That's the issue with trying to simplify the whole concept of female characters into a binary between acceptably non-threatening emblems of femininity and unstoppable man-hating tomboys - it doesn't seem like it's giving due consideration to anyone.
I don't mean that the women included in the stereotype I mentioned are necessarily ugly, but often deliberately made up in a way that diminishes their femininity. A woman can still be feminine and at the same time strong, which filmmakers today don't seem to realize. Like Julie Christie in Heaven Can Wait and Demon Seed. Like Katherine Ross in The Stepford Wives. Of course, if someone prefers the typical modern-day feminist character I ridiculed in my previous post, then so be it. I just think the types of female characters in the movies I just named go down smoother, and are more realistic. They are what scriptwriters should be inspired by.



I don't mean that the women included in the stereotype I mentioned are necessarily ugly, but often deliberately made up in a way that diminishes their femininity. A woman can still be feminine and at the same time strong, which filmmakers today don't seem to realize. Like Julie Christie in Heaven Can Wait and Demon Seed. Like Katherine Ross in The Stepford Wives. Of course, if someone prefers the typical modern-day feminist character I ridiculed in my previous post, then so be it. I just think the types of female characters in the movies I just named go down smoother, and are more realistic. They are what scriptwriters should be inspired by.
Have you seen 'Fat Girl' (2001) ?



Welcome to the human race...
I don't mean that the women included in the stereotype I mentioned are necessarily ugly, but often deliberately made up in a way that diminishes their femininity. A woman can still be feminine and at the same time strong, which filmmakers today don't seem to realize. Like Julie Christie in Heaven Can Wait and Demon Seed. Like Katherine Ross in The Stepford Wives. Of course, if someone prefers the typical modern-day feminist character I ridiculed in my previous post, then so be it. I just think the types of female characters in the movies I just named go down smoother, and are more realistic. They are what scriptwriters should be inspired by.
This is the same The Stepford Wives where expecting women to conform to some narrow and outdated feminine ideal is depicted as being literally dehumanising and dangerous to them - that and the fact that it's almost fifty years old at this point would suggest that there's room to expand the definition of what constitutes strong female characterisation and what passed for progressive back then does not have to be the be-all and end-all of the conversation (to say nothing of whether "realistic" is all that relevant when we're talking movies about killer robots and space wizards and superheroes).



Movie Forums Squirrel Jumper
I watched The Thing (2011) recently, but would a woman in charge of certain back then feel forced, since I don't know if they would send a woman scientist to Antarctica back then, but maybe?



I watched The Thing (2011) recently, but would a woman in charge of certain back then feel forced, since I don't know if they would send a woman scientist to Antarctica back then, but maybe?

One thing that was cool about the original The Thing was the all-male cast. There are masculine dynamics that that film explores that you would not have with a mixed gender cast. Some of the actors talk about it in the commentary to the film, how it gave the film a unique vibe.



The problem with the sequel was not MEW, per se, (although she does kinda fall into the trope of the "hot scientist woman"), but that the film did not really need to be made at all. The sequel doesn't really open questions or close questions, complicate or simplify the original in a way that justifies they retelling in prequel form.



I am all for movies that are all male (or largely male) or all female (or largely so) so as to offer the angle of in-group gender dynamics. Ditto for all white, all black, all trans, etc. Not every story has to be the United Colors of Benetton. Unfortunately, only foreign movies get away with being non-diverse (e.g., a South Korean film that has an all Korean cast), where American films self-consciously shoe-horn in demographics to meet a rule of expectation.



With historical pieces set in the west, this would seem to suggest that it's white males all the way down, but I don't agree. Jane Austen, for example, opened a space for a female point of view in 19th century England. Not every story has to be a "general staff history" of the official leaders (i.e., white males). There are many stories of authentic African American and first nations people and their experience to be told before our modern age of inclusion. Most cowboys on the frontier, for example, we not white.



Welcome to the human race...
As I recall, with The Thing (2011) MEW's character doesn't really end up in charge - she's a subordinate to Ulrich Thomsen's character from the beginning and he still treats her as such throughout the film (even managing to condescend to her over her idea to check everyone's fillings as a means of identifying who's a Thing). The idea that a scientist would recruit a junior associate who could do the work but still be easily bossed around makes sense even without the addition of gendered power dynamics, especially if it's a sudden trip to investigate a brand-new alien discovery before anyone else does.