Last week, Swedish movie theaters created a media foofaraw when they announced that they would begin providing a rating based on the Bechdel test for the films they screen. The test, created by comic artist Alison Bechdel in 1985, asks whether a film has at least two female characters and at least one scene in which they talk to one another about something other than a man—if it satisfies these criteria, Swedish theaters give it an A. The goal, according to Ellen Tejle, the director of an art-house cinema in Stockholm that is implementing the rating, is to draw attention to how few films pass the test and encourage filmmakers to make more movies with three-dimensional women characters in them.
When the news broke, writers immediately began questioning whether the test is an effective way to judge whether a film is feminist. The answer to that is no—but it’s important to note that that’s not actually something the test was intended to do. The illustrated character in Bechdel’s comic strip Dykes to Watch Out For who first espouses the idea says she uses it to determine not whether the movies are feminist but simply which movies to spend her money on. For those of us with a limited movie budget and a desire to see representation by and of women improve, choosing which films to support can be a political act; I like to spend my dollars on films directed by and/or written by women—and, not surprisingly, those films also usually pass the Bechdel test.
Read more. [Image: AP/Ami Bramme]
|—||Kathleen Hanna (via joycenancy)|
The band resurfaces with ‘Magic Hour,’ their first album in over 14 years. The band debuted with the smoking “In Search of Manny” EP on the Beastie Boys’ Grand Royal label in 1993, Schellenbach was the Beasties’ original drummer in the early ‘80s hardcore days. 1996’s “Fever In Fever Out” album went gold, but they broke up in 2000 when Capitol Records was disappointed with the performance of the followup, “Electric Honey.” Magic Hour, out November 5th, is a hip-shaking delight. Cunniff learned ProTools and acted as producer; she and Glaser worked together in Brooklyn, while drummer Kate Schellenbach recorded her drum parts in Los Angeles. While the band wrote most of the music themselves, “So Rock On” is based on a musical bed by Adam Horovitz.
Polly Blog Stew’s insight:
you can check out a short snippet of “So Rock On” here: http://ift.tt/1hIzd6F
YEAH!!! Last night, Janine Brito and I got to meet the great Kathleen Hanna when she was a guest on “Totally Biased with W. Kamau Bell.” (Interview HERE)