“This Changes Everything” is a documentary film that examines sexism in the entertainment industry, led by Geena Davis’ groundbreaking research on Hollywood’s portrayal of women. Popular culture plays a critical role in shaping society’s views of gender roles and while strides have been made, the fact still remains that top decision makers are leaving out a diversity of voices that can change views of gender roles.
The film premiered at the Toronto International Film Festival and has a wider release on July 28, 2019.
I’m hopeful that the film will not only point out the bias but also inspire and motivate the change that is necessary. See the brief interview below of executive producer Geena Davis and director Tom Donahue.
“You’ll never be ready to film, you’ll never be ready to edit, you’ll never be ready for success. At least not as much as you’d like to be ready. But if you can break away from the idea that you need to be something before you can be successful or truly creative, you’ll never free yourself to be yourself. And that’s true for life as much as it is for art.”—Jordan Aldredge
No Film School is an online community of filmmakers, video producers, and independent creatives that come together to teach tips and tricks. It’s great for getting up to speed on the language of filmmaking, analysis on favorite films, and easy tricks to make videos look great. What I especially appreciate are the alternatives for films on a budget.
Stella Donnelly’s “Boys Will Be Boys” is a stunning anthem relatable to anyone who has experienced sexual assault. The song was written in response to a friend of hers being assaulted years prior to #metoo. The song’s re-release this year on her new album “Beware of Dogs” hardly seems coincidental. Donnelly tackles rape culture head on with uncompromising force, proclaiming her rightful upset through reclaiming a chorus we’ve all heard many times before: “Why was she all alone/ wearing her shirt that low?/ They said ‘Boys will be boys’/ Deaf to the word ‘no’.”
Stella Donnelly comes to Deluxx Fluxx in Detroit on March 25. Tickets here.
For the love of walking, check out my new Etsy shop featuring hand-made walking guides and nature photography!
Photographs are available for digital download and booklets ship for free!
“The point about art is it’s all in its interpretation. Art is something that you encounter and you know it’s in a different kind of space from the rest of your life, but is directly connected to it. … It’s a great privilege to be near art because when you’re near art, you can be another kind of person, and it allows you to think differently about things that you have never done.” — Richard Wentworth
You do not have to be good.
You do not have to walk on your knees
for a hundred miles through the desert repenting.
You only have to let the soft animal of your body
love what it loves.
Tell me about despair, yours, and I will tell you mine.
Meanwhile the world goes on.
Meanwhile the sun and the clear pebbles of the rain
are moving across the landscapes,
over the prairies and the deep trees,
the mountains and the rivers.
Meanwhile the wild geese, high in the clean blue air,
are heading home again.
Whoever you are, no matter how lonely,
the world offers itself to your imagination,
calls to you like the wild geese, harsh and exciting –
over and over announcing your place
in the family of things.
I have been working with squares, specifically taped squares, since this summer and recently happened upon Declared Void (2005) by Carey Young, showing once again the extraordinary possibility in the form. Here, Young creates spatial divisions to arrive at the complexities of positioning in public space. The instructions transform the sectioned off space from anyplace, anywhere gallery to political zone (almost using the idea of the “white cube” against the gallery itself). It also provides a decision point of interaction for the viewer.
A large group of people (thirty to eighty-four) walk from stage right to stage left, stopping to stand or sit according to a written score, demonstrating another way to think about walking and celebration of pedestrian movement. Jill Johnston wrote of the 1968 version of the piece that she was impressed with the assortment of bodies. “The fat, the skinny, the medium, the slouched and slumped, the straight and tall, the bowlegged and knock-kneed, the awkward, the elegant, the coarse, the delicate, the pregnant, the virginal, the you name it, by implication every postural possibility in the postural spectrum, that’s you and me in all our ordinary everyday who cares postural splendor.”