The Oscars? Men (not women)
Oscar is a man. And the Oscars (i.e., the Academy Awards) feature men more (even though a human named Cheryl Boone Isaacs is now the president of the Academy). And for some years now, out of research conducted at San Diego State University, has come the Celluloid Ceiling Report showing men make more films and make more money from them than women have made or can make. The past year is worse than the previous year, the data in the annual reporting by Martha M. Lauzen show.
One film watcher has decided, therefore, that this year (2015) she will watch
52 films, one per week,[per her clarifying comment below] 365 new films, one per day, made not by men but by women. “Initially I was just going to do [my watching of] the films directed by a woman,” she says, “but then I realized the statistics for female screenwriters are abysmal.” In women-directed movies also written by women, there seems to be a difference that Marya E. Gates has begun to notice already when watching the films and noting how men can be presented in them: “men tend to be more intimate in films directed by women.”
What more will be seen in the 2015 movies women have made that this woman is watching?
And don’t we already know what most film viewers otherwise will see? How about this:
With its tendency to follow conventional themes, clichéd metaphors, given genres, and above all stereotypes of the female figure—[movies of 2015 are] hardly a satisfying source for tracing women’s “real” presence (or the presence of “real” women). Rather than evidence to their presence, [the film set of this present year] furnishes manifestations of their absence and erasure. There are ample ways by which women can be made to disappear from the [movies that represent] them. Woman’s absence is represented by procedures of silencing (woman is ideally mute or notoriously garrulous); stereotypization (woman is “good,” “bad,” “ugly,” etc.); abstraction (allegorical woman as concept without body); mythologization and dehumanizing (nymph, Medusa, Amazon, demon, beast); objectification (woman is a reified body without subjectivity or mind; she is matter, commodity, chattel, prize), and the like. It is the task of [2015 film] criticism to follow the varied ways in which women and concepts of gender are manipulated—fictionalized, fantasized, poeticized, metaphorized, narrativized, dramatized—in [the movies this year].
Closely related to the question of women’s presence/absence in [film making] is the issue of female voices. To what extent are those female voices captured within [movies] “authentic” and unmediated? Aren’t they muffled by male transmission? Don’t they serve the [screen writer’s and the director’]’s androcentric position? Female voices seem often to embody patriarchal “truths” about women’s speech (women abuse language by lying, quarreling, complaining, enticing, and so on). However, utterances of female protagonists help to reveal the limits of the androcentric logic that produced them. They indicate points from which the homotextual hegemonic monolith can be dismantled.
Well, the two paragraphs above are not my words. And to be fair, they aren’t about 2015 films, who Oscar is, or the ways women are and fail to be represented in movies this year. That is not an excerpt from “Modern Hollywood Filmmaking: Portrayal of Women.” Rather, it is a quotation of Tova Rosen from her “Medieval Hebrew Literature: Portrayal of Women.” I just wanted to think about how different things might be from one era to another, from one medium to another, from one year to the next. What on this day in 2016 might be different? Who is Oscar’s sister anyway?