Showing posts with label Writing. Show all posts
Showing posts with label Writing. Show all posts

11.09.2013

Women Empowerment in Narrative

I think people mistake women empowerment in narrative with having a ripped, badass stonecold female character.


These female characters are endowed with stereotypical alpha-male traits. The problem with the persistence of this representation of women empowerment is that it implies that for a woman to be empowered she must be, essentially, a man.


It's an erroneous interpretation of what it means to be powerful. From a writer's perspective, it would be ridiculous to say that writing strong characters meant making characters physically strong.

Women empowerment in narrative happens when female characters make choices, when they drive the narrative, and/or when we see through their point of view.

What it means to write a character-driven story is to put your protagonist in situations where she needs to make choices. In this way, an empowering female character might be one who is weak physically or emotionally. The important thing is that she has agency as the audience watches her make her way through various conflicts. An instance where this suddenly fails is in the climactic scene of Disney's The Little Mermaid. The protagonist in The Little Mermaid is, predictably, the little mermaid, Ariel. Through most of the movie, she's making choices. But, in the third act, the climax of the movie, Ariel becomes Ursula's prisoner and is not able to make any choices. King Triton chooses to take Ariel's place. Prince Eric drives a bowsprit into Ursula's heart. All the while, Ariel just watches on. It's weird and poor story telling for an otherwise good movie.

This is a good depiction of how Triton is forced to make a decision while Ariel watches on helplessly. 
A second part of women empowerment in narrative is to have a female character driving the story. This is accomplished through her making choices, like explained earlier. But while side characters can also be allowed to make choices, the character driving the story is the central protagonist. It's her story.

A third way female characters are empowered in narrative is when they have a voice and perspective, when the audience is seeing their world through their point of view. (Again, the Little Mermaid fails this a bit in that for a while, Ariel literally can't speak.)

There is a discrepancy between how frequently consumers of media see things through male and female perspectives. Girls are coached from a young age to see things through a male gaze. They are to evaluate themselves as a man might evaluate them. They are encouraged to appear pretty rather than to see keenly, to be in front of the camera rather than behind it. Because of this practice in "seeing as men see", I think the prospect of getting into the head of a male protagonist feels more natural to men and women. It propagates the idea that men are the norm and women are slightly off-center. Practice seeing a fictional world through a female character's point of view, I think, can help offset this attitude. 

The movie Gravity employs this literally, as the audience is put inside Ryan Stone's (Sandra Bullock's character's) helmet. We see things first-person-shooter style from her perspective. 



Back to the ripped badass female character, they can also be empowering. Characters like Starbuck (Battlestar Galactica) and Buffy (Buffy the Vampire Slayer) are kickass and physically strong while also making choices and driving (at least some) story line. (While the ones pictured up top, not so much.) 


3.10.2011

If Banksy and O'Connor are at the top, Mr. Brainwash and I are at the bottom.

Amy and I decided that one of these days we need to flesh out the purpose of our blog.

In the documentary, Exit Through the Gift Shop, Banksy made a comment towards the end of the film that in the past he believed all people were artists and should create art. After his experience with an extremely interesting character of a person, Thierry Guetta, Banksy completely changed his mind and would no longer offer such encouragement.

My point: My hope is that by the end of my life I could write something that Flannery O'Connor wouldn't despise. She wouldn't have to like it, really, but I wouldn't want her to hate it. For now I'm still at the annoyingly generic "Mr. Brainwash" section of this journey, (or a disorganized version of Radiohead's Pablo Honey stage) so please be patient.

I am going to think about the things I hear and experience in my life and share them with you right now. O'Connor encourages writers of fiction to stare. I'd like to figure out how to write my experience of staring. For now, I'm afraid I'm one of those writers who contemplates ideas and tries to put them into words.

Hopefully I'll become more interesting soon.

9.14.2010

Writing and Living, I guess.

I am now finally settled from the settling. I moved to Seattle. Most people ask me for an explanation, (especially because I don't have a job), and I can't give them one that would satisfy a reasonable, practical response. Sorry.

My unreasonable and impractical response is that I get to live with friends. My dear friend Erin Cooley is going to marry med school next year (she will have a life, but it could be in Seattle, Boston, the Bronx) and I have always wanted to spend a significant amount of time with her.

We eat and sleep and shower in a cave on Ravenna St. Apparently it's in a "yuppie" part of town. I have to rely on map quest to go four feet in any given direction, so I'm just going to trust that that is true.

Die Bierstube is becoming quite the hang out. (I still miss the Bigfoot) Good people and good times to be had for sure. Maybe they are hiring.

I live with another kid named Nick who I met the day I signed the lease. He likes good music, he fixes things like our water purifier, and helped me research my property law rights. I'm a fan. Again, I just trusted that Erin found a stellar third mate. (I was actually the 3rd one to jump on board, but just work with me here.)

Despite the fact that I'm unemployed I always find myself doing things. That is great. I need to be entertained. Just ask Leslie Dugas, Amy Brown or Jon Fox.

I also realized something. A challenge for myself I guess. One of my main goals was, and still is, to find the silliest things to do so I can write about them and share them with you. That will happen simply by default. I can't seem to help getting myself into some sort of trouble. That goal is great, but I think the need to seek silliness derives from some weird fear, I guess. I am afraid that if I'm not doing anything interesting, I have nothing interesting to write about. Fiction is scary to me. I would rather fiddle around with a pre-made template than rely on my own imagination. Maybe I'm not giving myself enough credit. Or maybe I am subconsciously self-aware that my writing skills remain within the delight confinements of non-fiction observation. I guess we'll see.

Or maybe I'll be riding the bus one day and come up with a kick ass wizard who has an owl, an invisible cloak, takes on the most evil character who's name can't even be spoken aloud and become richer than the queen of england.

It could happen.