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Fucking the Patriarch | Jennifer Schaffer
Every genuinely erotic experience in my life has involved thousands of minute, ever-shifting imbalances of power. Every harmful one has been the result of men too cowardly to engage in those shifts, gunning instead for some definitive, final affirmation of a power they were never certain of, but felt divinely entitled to nonetheless.
sex  power  misogyny  gender 
2 days ago by max_read
Molly Ringwald Revisits “The Breakfast Club” in the Age of #MeToo | The New Yorker
"John’s movies convey the anger and fear of isolation that adolescents feel, and seeing that others might feel the same way is a balm for the trauma that teen-agers experience. Whether that’s enough to make up for the impropriety of the films is hard to say—even criticizing them makes me feel like I’m divesting a generation of some of its fondest memories, or being ungrateful since they helped to establish my career. And yet embracing them entirely feels hypocritical. And yet, and yet. . . . 

How are we meant to feel about art that we both love and oppose? What if we are in the unusual position of having helped create it? Erasing history is a dangerous road when it comes to art—change is essential, but so, too, is remembering the past, in all of its transgression and barbarism, so that we may properly gauge how far we have come, and also how far we still need to go.

While researching this piece, I came across an article that was published in Seventeen magazine, in 1986, for which I interviewed John. (It was the only time I did so.) He talked about the artists who inspired him when he was younger—Bob Dylan, John Lennon—and how, as soon as they “got comfortable” in their art, they moved on. I pointed out that he had already done a lot of movies about suburbia, and asked him whether he felt that he should move on as his idols had. “I think it’s wise for people to concern themselves with the things they know about,” he said. He added, “I’d feel extremely self-conscious writing about something I don’t know.”

I’m not sure that John was ever really comfortable or satisfied. He often told me that he didn’t think he was a good enough writer for prose, and although he loved to write, he notoriously hated to revise. I was set to make one more Hughes film, when I was twenty, but felt that it needed rewriting. Hughes refused, and the film was never made, though there could have been other circumstances I was not aware of.

In the interview, I asked him if he thought teen-agers were looked at differently than when he was that age. “Definitely,” he said. “My generation had to be taken seriously because we were stopping things and burning things. We were able to initiate change, because we had such vast numbers. We were part of the Baby Boom, and when we moved, everything moved with us. But now, there are fewer teens, and they aren’t taken as seriously as we were. You make a teen-age movie, and critics say, ‘How dare you?’ There’s just a general lack of respect for young people now.”

John wanted people to take teens seriously, and people did. The films are still taught in schools because good teachers want their students to know that what they feel and say is important; that if they talk, adults and peers will listen. I think that it’s ultimately the greatest value of the films, and why I hope they will endure. The conversations about them will change, and they should. It’s up to the following generations to figure out how to continue those conversations and make them their own—to keep talking, in schools, in activism and art—and trust that we care."
mollyringwald  thebreakfastclub  #MeToo  2018  film  1980s  teens  youth  identity  sexism  harassment  johnhughes  chauvinism  nationallampoon  writing  homophobia  tedmann  sexuality  sixteencandles  prettyinpink  change  harveyweinstein  adolescence  havilandmorris  insecurity  sexualharassment  misogyny  racism  stereotypes  outsiders  invisibility 
12 days ago by robertogreco
Creator Of “Ren & Stimpy” Accused Of Preying On Underage Girls Who Wanted Animation Careers
'Rice, too, is unequivocal about Kricfalusi: “I became a better artist by working for him,” she said. “I’m not grateful for it. I wish I hadn’t. I wish I were a worse artist now and I didn’t have all this bullshit to deal with.”'
art  sexualharassment  metoo  animation  misogyny  renandstimpy  johnkricfalusi 
20 days ago by Nachimir
Domestic Violence, a new short story from Madeline Ashby.
I spent the past year reading stories told by women in tech.

Then I started thinking about revenge.
madeline-ashby  sf  short-story  violence  misogyny  from twitter_favs
23 days ago by sky
Kate Manne: The Shock Collar That Is Misogyny - Guernica
There’s a general myth about prejudice, that it’s going to be leveled toward any and every member of a certain historically subordinate class, rather than that it’s something that comes out as a method for enforcing and policing social hierarchies.

So, the first move that I make in defining misogyny is to make it something that needn’t target any and every woman. I understand it not as this psychological property of individuals, but as something that women and girls face, not because they’re women in a man’s mind, but because they’re women in a man’s world. And they’re either represented as, or actually seen as, the epitome of girls and women who are transgressing the norms and expectations of the patriarchy that misogyny polices, enforces, and keeps in place.

Guernica: What are the different ways that misogyny discourages women from challenging the patriarchy?

Kate Manne: I think silencing is a big part of it. And silencing can mean replacing anything unpleasant to the patriarchal collective consciousness with pleasantries—like saying, “He’s a good guy.” And it can mean not speaking out, or defending him, as well as not testifying to his misdeeds.
****  misogyny  kyriarchy  patriarchy  politics  feminism  philosophy 
26 days ago by Quercki
Revenge porn on Slack
I feel the company is not equipped to deal with this kind of trust and safety issue
slack  moderation  discord  policy  porn  misogyny  anonib 
4 weeks ago by nelson
The Social Network | Millicent and Carla Fran
What the movie suggests (still, in 2010, because we’re talking now not about the events of the plot but about that plot’s construction), is that boys’ clubs persist not because of something as overt and ugly as woman-hating, but simply because for many men, a Venn diagram of their social and professional networks reveals an intersection populated exclusively—and without malice aforethought—by men.
tech  movies  misogyny 
4 weeks ago by evilsofa
Amia Srinivasan · Does anyone have the right to sex? · LRB 22 March 2018
The question, then, is how to dwell in the ambivalent place where we acknowledge that no one is obligated to desire anyone else, that no one has a right to be desired, but also that who is desired and who isn’t is a political question, a question usually answered by more general patterns of domination and exclusion.
feminism  sex  misogyny 
5 weeks ago by isaacsmith
The Male Glance | VQR Online
Madrigal describes a corollary to how directions determine what you see: Say I present you with an image of some blotches but withhold the outlines your visual habits rely on. In the absence of an interpretive direction, you’re unlikely to see anything at all. But if I tell you, “That’s a picture of a Dalmatian,” you’ll see the dog with its head down, sniffing. The blotches will snap into focus.

There are lurking Dalmatians and dancing gorillas lurking all over the landscape of female art.

We don’t have a robust tradition of pointing them out—or recognizing their outlines, or even knowing they’re there. So we miss them, and they drop out of the canon. Meanwhile we persist in misreading the female-driven text as either an artless, unstructured collection of dots, or as an overdetermined and plastered-on false and foolish face.

We are capable of more.
feminism  misogyny  culture 
6 weeks ago by Quercki

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