Last Friday I asked you all to watch a short video on the concept of intertextuality, which provides the basis for this week’s post.
While Nerdwriter1, the YouTuber responsible, initially describes the device as “something in a text, in this case a movie, that is shaped by another text” he later goes a step further in making the term distinct from mere allusion. Contemporary intertextuality, which he refers to as being “weaponized”, is defined as:
“objects, people or situations explicitly meant to trigger an emotional response”
To use my own visual example, successful intertextuality results in a combination of:
Being able to recognize and understand the reference is important, but equally essential is having that recognization elicit feelings, whether they be of awe, or joy, or pleasant surprise. Simply identifying a shot in a film as the replication of a comic book panel matters most if you care[d] about that original work. Continue reading
Posted in film, gender, race, Uncategorized, writing
Tagged allusion, different, female, film, fresh, Ghostbusters, intertextuality, Nerdwriter1, new, Ocean's Eleven, old, race, reboot, reference, remake, repetition, same, sequel, silver lining, Star Wars, The Force Awakens, The Magnificent Seven, weaponized intertextuality
I loved Star Wars: The Force Awakens. I loved it so much that the first thing I thought about doing when I walked out of the theatre was hash out everything that this Star Wars reboot had done right.
Like including legitimately humorous dialogue rather than slapstick CGI sidekicks.
Unfortunately, everyone on the blogosphere had already come to the same conclusion long before I was back from my Christmas break. Still, I couldn’t stop thinking about the film, or reading articles about it. So I’ve decided to write about one of the few things that bothered me about the film, rather than many aspects of the film that I loved.
If you’ve been reading this blog for some time, you probably already know that we at CWR were excited to hear about the diversity of casting in The Force Awakens.
I was especially excited when I heard that Lupita Nyong’o had been cast. Ever since she won best supporting actress for 12 Years a Slave and was declared the most beautiful person of 2014 by People magazine, I’ve been keeping my eyes peeled for Nyong’o. After witnessing her sudden rise to fame, I was curious to see if she would continue to find roles in major films, or if she would slowly be pushed out of Hollywood because of her dark skin. As Gregg Kilday explains in his article about Nyong’o, few black actresses have ever managed to secure a spot as a permanent Hollywood heavyweight:
While the stage would appear to be set for [Nyong’o] to ascend to the A-list — just as Jennifer Lawrence did after her best actress win for Silver Linings Playbook last year — it’s not that simple. For while there have been a handful of African-American actors, from Sidney Poitier to Eddie Murphy, Denzel Washington and Will Smith, who have reached that status, there’s never been a black actress who has become the equivalent of a Julia Roberts or Angelina Jolie. Whoopi Goldberg came closest, following her best actress Oscar nomination for 1985’s The Color Purple and supporting actress win for 1990’s Ghost, but despite an occasional hit like 1992’s Sister Act, she didn’t maintain that momentum. Hollywood also flirted with Angela Bassett, Thandie Newton, Halle Berry and, most recently, Mandela‘s Naomie Harris, without ushering any of them into its very top tier.
It seems like a habit for major blockbuster films to tick off their diversity checklist by casting a white woman and/or a black man. Meanwhile, actors from other minority groups, especially women of colour, get overlooked because all the non-white, male roles have already been taken. As Evan pointed out in his post about the Martian and racebending, this seems to be the impulse, even when it means casting a white women to play a Korean- American character and a black man to play an Asian- Indian character. Continue reading
Posted in feminism, film, gender, race
Tagged #SolidarityIsForWhiteWomen, 12 years a slave, alien, Angelina Jolie, angry white people, Asian-Indian, avatar, black, black and a woman, black and female, black female lead, blockbuster, casting, CG, CGI, Daisy Ridley, diversity, fan-boys, film, franchise, Gregg Kilday, Guardians of the Galaxy, Hollywood, Jennifer Lawrence, John Boyega, Julia Roberts, Korean-American, lightsaber, Lupita Nyong'o, Maz Kanata, minority, most beautiful person, Oscar Isaac, people magazine, protagonist, role model, Star Trek, Star Wars, successful, talent, The Force Awakens, The Martian, Uhura, white, Whoopie Goldberg, women of colour, Zoe Saldana