Is historic Oscar win a sign of change in film?
By: Manohla Dargis New York Times
Issue date: 3/11/10 Section: Entertainment
Kathryn Bigelow's two-fisted win at the Academy Awards for best director and best film for The Hurt Locker didn't just punch through the American movie industry's seemingly shatterproof glass ceiling; it has also helped dismantle stereotypes about what types of films women can and should direct. It was historic, exhilarating, especially for women who make movies and women who watch movies, two groups that have been routinely ignored and underserved by an industry in which most films star men and are made for and by men. It's too early to know if this moment will be transformative - but damn, it feels so good.
No matter if they're a source of loathing and laughter, the Oscars matter as a cultural flashpoint, perhaps now more than ever. All those Oscar viewers might not be ticket buyers, but when they watched the show this year they would have heard, perhaps even for the first time, the startling, shocking, infuriating or uninteresting news - pick your degree of engagement - that Ms. Bigelow was the first woman in Oscar's 82 years to win for best directing. Real discussions about sexual politics don't usually enter the equation during the interminable Oscar "season," which is why her nomination was almost as important as her double win.
Even before the nominations were announced, people who don't usually talk about women and the movies were talking about this woman and the movies. Uncharacteristically, the issue of female directors working - though all too often not working - was being discussed in print and online, and without the usual accusations of political correctness, a phrase that's routinely deployed to silence those with legitimate complaints. I don't think I've read the words women and film and feminism in the same sentence as much in the last few months since Thelma & Louise rocked the culture nearly two decades ago.
A recent failed takedown of Ms. Bigelow in Salon titled "Kathryn Bigelow: Feminist Pioneer or Tough Guy in Drag?" and written by Martha P. Nochimson exposes some of the issues at stake. The heart of Ms. Nochimson's critique is the charge that Ms. Bigelow and her "masterly" technique have been lauded while Nancy Meyers and Nora Ephron have endured "summary dismissal." The differences between how they have been received, Ms. Nochimson wrote, "reveal an untenable assumption that the muscular filmmaking appropriate for the fragmented, death-saturated situations of war films is innately superior to the technique appropriate to the organic, life-affirming situations of romantic comedy."
No matter if they're a source of loathing and laughter, the Oscars matter as a cultural flashpoint, perhaps now more than ever. All those Oscar viewers might not be ticket buyers, but when they watched the show this year they would have heard, perhaps even for the first time, the startling, shocking, infuriating or uninteresting news - pick your degree of engagement - that Ms. Bigelow was the first woman in Oscar's 82 years to win for best directing. Real discussions about sexual politics don't usually enter the equation during the interminable Oscar "season," which is why her nomination was almost as important as her double win.
Even before the nominations were announced, people who don't usually talk about women and the movies were talking about this woman and the movies. Uncharacteristically, the issue of female directors working - though all too often not working - was being discussed in print and online, and without the usual accusations of political correctness, a phrase that's routinely deployed to silence those with legitimate complaints. I don't think I've read the words women and film and feminism in the same sentence as much in the last few months since Thelma & Louise rocked the culture nearly two decades ago.
A recent failed takedown of Ms. Bigelow in Salon titled "Kathryn Bigelow: Feminist Pioneer or Tough Guy in Drag?" and written by Martha P. Nochimson exposes some of the issues at stake. The heart of Ms. Nochimson's critique is the charge that Ms. Bigelow and her "masterly" technique have been lauded while Nancy Meyers and Nora Ephron have endured "summary dismissal." The differences between how they have been received, Ms. Nochimson wrote, "reveal an untenable assumption that the muscular filmmaking appropriate for the fragmented, death-saturated situations of war films is innately superior to the technique appropriate to the organic, life-affirming situations of romantic comedy."
Be the first to comment on this story