Unfortunately we’ve just gone through another round of getting hacked by spammers. It should now be cleaned, but if you experience any spam redirects please, please, please let us know.
There will be some announcements and updates from us in the near future as well! SJL are doing well – we’ve just been incredibly busy these past few months.
It’s been quiet around these parts, we know, we know. But look, we’re all really busy and important (at least one of those things anyway). There has been some moving internationally, some uni assignment completion (and procrastination) and some of us, naming no names, have been playing a lot of Glitch.
On Wednesday the members of SJL, still in the same country (*sob*), went to the cinema. We even managed to get our applicable concession tickets and good seats! Just as an aside, can I just talk about going to the movies? Why is so ridiculously complicated? It’s like one of those mini quests in Glitch which involves a lot of jumping between constantly moving levels and makes me feel intensely anxious because everything just won’t line up and I never played Nintendo as a kid and my fine motor skills suffered.
This complaint should probably be accompanied by the world’s tiniest violin because I don’t think they even have concession tickets in the US? (Presumably because it’s socialism). Anyway, SJL are still in the process of completing Uni, doing unpaid internships and being un/under-employed. Basically it’s like Girls but with slightly more POC and better sex. [1. Rest of SJL: not happy with this comparison]. Also we get some money from the government for being students because, socialism. Basically, we aren’t going to pay $5 extra for movie tickets if we don’t have to, so we must all assemble [2. Who is thinking about The Avengers now?] with correct student cards at the allotted time even though we are all, invariably running late or early. But we totally nailed buying the correct tickets to the correct movie because we are motherfucking adults! [3. Eds note: perhaps writing a whole paragraph about this undermines your point?]
And what movie were we going to see? [4. Further eds note: Are you planning to get to the action any time soon? This is a blogpost not a Tolkien novel, no one wants to know the songs you sang on the way to the cinema, OK. ] We were going to see The Sapphires a movie you have probably heard about if you are Australian and almost certainly haven’t if you aren’t.
Things that are almost always true of Australian movies:
1. There are about 100 credits as the movie starts because it takes a lot of people and a lot of effort to get a movie made in Australia. I know this is also true of American indie releases because it’s hard out there for a pimp/movie maker, but for Aussie movies at least a few of the “this is a [BlahBlah Production]” credits are for government government funded bodies (again with the communism!).
2. It is nice to hear Australian accents on film. It just is, OK? We aren’t in many movies and when we are often we are played by English people or, even worse, New Zealanders. There is a joke in the movie where Chris O’Dowd’s character, speaking in his Irish accent, says “As you can probably tell from my accent I’m not from around these parts, I’m from Melbourne!” Which SJL laughed uproariously at, hopefully foreign audiences also get this.
3. It is exciting to see Australian life/places on screen. Maybe it is condescending for me to say this but I really don’t think many Americans get this. Until I went to America I thought the following things only existed in movies: those red plastic cups at parties , yellow school buses [5. I’d like to make it clear that we do have busses in Australia, even school buses, they just don’t look so yellow and story-bookish (I make this point because when I exclaimed about school buses in the US my American friend looked at me with horror and said “You don’t have buses in Australia?” and as much as I tried to reassure her I don’t think she ever really believed me).] , NYPD cars, people calling their friend’s parents by their last names, prom, high school cheerleaders, high school sport being SRS BSNS, college sport being SRS BSNS etc. I also have a completely mangled view of the legal system of my own country because I’ve watched a lot of US court dramas. I am forever this close to thinking 911 is the emergency number I should call, whatever country I am in. Which is not to say that American Cultural Imperialism Is Ruining Everything. Because, I really like a lot of American popular culture, but it’s a nice change to see a movie set in outback Australia and the city in which I live (and also Vietnam, a place I have briefly lived. Basically, they made this movie for me).
4. You recognise most of the actors from a combination of the following: being in every other Australian movie you’ve ever watched, being the Australian actor who made it big overseas and is now back to prove their Aussie-ness and “give back”, your twitter feed and that time you once saw them at the shops and thought you recognised them but weren’t sure.
5. They are not very good. I know, I am bringing dishonour to my country but it’s true! Usually Australian movies are cheap and either:
a) so incredibly arty that you know you should be appreciating the art but you find yourself thinking in deep shame about how much fun Magic Mike was,
b) so incredibly broad you feel yourself at once wanting to dive under the cinema seat and suffering deep shame at your cultural cringe or,
c) Animal Kingdom, which I hear is great and all the nerdy movie podcasters/bloggers I follow really liked it but I’m kind of a wimp about violence so I haven’t seen it but I totally pretend to have at parties.
The Sapphires, though, is actually totally great! It’s the story inspired by real life of four Aboriginal women who go to Vietnam in the 60s to sing for the American forces there. It explores issues of race and gender, and there is singing and dancing. I laughed, I cried! (I actually cried a lot, so much so that it caused SJL to rummage through their bags for a napkin).
But I hear this blog is supposed to be a Social Justice blog so let’s try that. I am not going to “spoil” the movie in this section but I will reveal some background information and some plot developments so if you prefer to go into your movies with as little knowledge as possible, stop reading now!
- Race. Clearly I am no expert on this and I welcome POC to pull me up if I am missing nuance. The film addresses the level of racism in Australia during this time, and the limitations this placed upon what aboriginal people could do and the places they could go. There are a lot of jokes about race in this movie, but none of them are made at the expense of the POC. They are jokes about stereotypes and about the horror and stupidity of racism. I was particularly impressed with the way that the film dealt with the idea of “passing” as white and the complications that causes. This is an issue regularly brought up by unenlightened “commentators” in Australia . Kay, one of the singers is pale enough to be perceived as white. The film at once acknowledges the privilege this confers upon her while also exploring the pain and confusion this causes.
- Holy female gaze batman. The film delights in treating male, (often) black bodies in the way that movie-makers usually treat (generally) white, female bodies. So when you see that slow upward pan of Kay’s love interest’s rippling abs remember you are doing it for feminism (feminism is a lot of fun guys, lets be honest). Also, I can’t lie, I do enjoy the reverse-Bella they pull on that guy by making his main, characteristic the fact that he is clumsy. While the love interest we learn the most about is white, the black male characters are shown to be at times desirable, funny, clever, enterprising and nuanced.
- The feisty female character doesn’t have to submit to the male love interest. You know fairly early on, if you’ve ever seen a movie before, who’s going to end up together and from that point I was concerned that the female character was going to have to give in, to tone down her opinions. She never does. Also the way that he asks her to marry him is probably one of the sweetest and most egalitarian proposals of all time (I welcome alternatives in the comments).
- Body diversity. At SJL we reject the assertion that some women’s bodies are better, or more womanly than others, while at the same time acknowledging problems of representation and the overall thinness of womens bodies in the media. (This is high level feminism folks, and please do try it at home, on the bus and at parties etc). So, it’s really nice to see a movie where the main female lead and part of a romantic pairing is not thin and her weight is never mentioned. Of course it shouldn’t be an issue because women Deborah Mailman’s size are not some kind of niche minority, they are us, our friends, our mothers and our co workers but they are weirdly absent from the screen.
The movie, unsurprisingly for a feel-good movie featuring musical numbers, is schmaltzy at times. Often these moments are cut through with jokes (because Australians think feelings are gross [6. A massive generalization! Also many English people think feelings are gross.] ). There is a scene where Kay secures them passage through land held by the Vietcong by giving a speech in an Aboriginal dialect. It’s also worth making the point that it is somewhat reductive to view the Vietnam War along entirely racial lines as this scene appears to. If nothing else the (North) Vietnamese wanted freedom from anyone who tried to deny it of them, including the Chinese, the Japanese, the French and the Americans (and not all the American soldiers were white, as the film itself makes clear) and they would fight them all. As guests of the US Army The Sapphires would surely be viewed as the enemy. The Vietcong were pretty hardcore (understatement) and I’m fairly certain that speaking to them in the Yorta Yorta language would not have worked, but I was crying a lot at that point, and narratively it worked so you know, whatevs.
And finally, I’m pretty sure that “bag of dicks” was not a thing that people said in 1960s Australia, but prove me wrong. OK, now let’s chair dance it out…
I wrote a post on Tumblr about the Salvos a few months back, but the issue of homophobia in the Salvation Army has recently become headline-worthy in Australia since singer Darren Hayes’ called to boycott the organisation.
I’m the last person who is going to defend rampant homophobia, and let’s be clear, that’s certainly the institutionalised belief system within that organisation. All of us on SJL are strong proponents of secularism and exist somewhere on the agnostic to atheist scale (okay, I’m probably the only person closer to that agnostic point). The problem is that no one else is really providing the same services as the Salvation Army – at least not where I live.
In my work I am regularly in contact with people from low socioeconomic backgrounds, newly-arrived migrants with little or no English, women in or who have come from violent relationships, people with severe mental illnesses, people who are homeless, people who are barely getting by financially. And when those clients need access to free financial counselling, food vouchers, public transport tickets and general community support I usually refer them to the Salvation Army or another religious-based organisation that probably doesn’t have more progressive views on being queer.
There’s a couple of reasons why this is the case. First, these organisations need to be based in the local area where the clients are living. Yes, there may be a secular organisation doing the same work in the city, but considering clients may need to be regular contact with caseworkers, it’s not practical to be making referrals to places with more than 30 minutes travel time one-way. The additional issue is that clients may not have access to a car, live near public transport, or even necessarily have the money to access public transport.
Second, these non-secular organisations are often a one-stop shop for a disadvantaged person. If someone can pick up food vouchers and book an appointment with a caseworker to find emergency housing, have another appointment with a financial counsellor about their managing their finances all at the same place then that’s going to be the easiest and most convenient way for them to seek help.
Third, while I don’t have too much experience in this, my understanding is that those organisations will provide support to queer people if they meet their merits criteria (which will be an assessment of assets and income) despite their homophobic doctrine. I have heard stories about queer people being turned away from the Salvation Army in the USA, but so far I’ve not heard any similar stories about the organisation in Australia. And while it would be best if queer people were not being provided support by a homophobic organisation, if someone is severely marginalised then the important thing is that they are getting that support in the first place. Unfortunately neither I, nor my clients can be particular about my referrals because simply, there’s often no choice to be had.
From an activism point of view, what would be far more helpful is supporting and establishing secular charities that provide the same services without the homophobia. Unfortunately it’s not as simple as it may seem. One practical obstacle is that where service-provider already exist in a region, it’s often difficult to find money or funding to set up a service that would do substantially the same thing – even if the existing service is non-secular and discriminatory. There’s the additional self-sustaining cycle of such organisations from being the sole provider of aid in area. Because people come to know and rely on a particular organisation, that group gains more social capital. Any new service would need to forge new ties and take the time to establish themselves in the area, and it’s far from guaranteed that people would flock to an alternative.
Am I saying you should donate to the Salvation Army? Honestly, that’s entirely your own choice, as is the choice to boycott the organisation. But let’s be clear that boycotting an organisation is a privilege not everyone has. People in need of emergency aid and community support often aren’t able to choose which organisations they approach, even if they are aware of the homophobia in an institution. And while it often irks me to make a referral, it would be worse if I denied marginalised and disadvantaged people access to the help they need.
Hopefully I am not the only one who still remembers/watches weekly 10 Things I Hate About You. It is the the story of Kat Stratford, and her younger, more popular sister, Bianca. They are at high school and there are boys and bets and Important Dances. It is, ostensibly, a remake of The Taming of the Shrew (?). Mostly it is important to remember that there are a lot of great lines and a bit where Heath Ledger sings a song and that Kat Stratford Is Really Awesome OMG.
I was going to come up with some tenuous tie in for this post eg. “isn’t it still sad that Heath Ledger is dead?”, it is [some random year] since this movie came out, “isn’t Joseph Gordon Levitt cute?” etc. However, I have decided to eschew such fakery in pursuance of my art. My art called for me to write a list of things.
A (not entirely) random number of things I love about Kat Stratford, in a mostly random order.
- “I suppose in our society being male and an arsehole makes you worthy of our time.” When I watched this movie I was in early high school and critical and/or feminist approaches to texts were not something with which I was familiar. The scene in English class near the beginning of the film is so perfect. This scene includes Kat informing Heath Ledger’s character (Patrick) that all he has missed is “The oppressive patriarchal values that dictate our education.” I didn’t know what patriarchal values were but gee they sounded bad and I wanted to know more.
- Kat is angry about things which are angry-making. So maybe injuring someone to extent that they need a testical retrieval operation because they groped you in the lunchline is somewhat disproportionate but also it’s awesome… Oups?
- Banter! So much beautiful banter. When I watched Ten Things the first time my “moves” around boys I liked were mostly a mixture of blushing, sweating and mumbling, sometimes I managed all three moves at once! So that exchange where Heath Ledger’s character says “I know a lot more than you think!” and Kat whips back with “Doubtful, very doubtful” and others like that, were very aspirational. Would I ever be so cool?
- According to (unethical!) sleuthing it is found that Kat likes “Thai food, feminist prose and angry girl music of the indie rock persuasion.” Would I still like Pad Thai and The Handmaid’s Tale and Bikini Kill if I hadn’t met Kat Stratford at such a crucial time? A controlled trial is not forthcoming. I do know that I lived pretty far from a shop that sold Riot Grrl, so it certainly helped. (Shortly after watching the movie I used my parents newly acquired dial up internet to download Rebel Girl and it made my life better).
- Aside from Bikini Kill, Kat references some other pretty great stuff: Sylvia Plath, Simone de Beauvoir, Charlotte Bronte and the Feminine Mystique for example. Women make great and important cultural works!
- The conversation between Kat and Bianca at the party. I was long from attending such events, and of course such events don’t really exist because yay, Hollywood movies! But that scene where Bianca refuses to talk to her because she’s not cool enough and Kat looks genuinely hurt? Oh my heart. She’s fierce and badass and has all the best comebacks but she is still a teenager girl capable of feeling hurt in the way that teenage girls are so very skilled at inflicting it.
- “You don’t always have to be what they want you to be, you know?” Which is just the best advice and an excellent tattoo idea and great words of wisdom I hope to impart on my future hypothetical sons and daughters. ( Of course my hypothetical future children will also no doubt fail to listen to me, just like Bianca).
- That bit where she makes out with Heath Ledger while rolling in the hay, covered in paint.
- So Kat isn’t great at communicating all the time, but eventually she brings Bianca ‘round and then Bianca hits The Douchebag in the face. Who wouldn’t want to be that much of a positive inspiration in someone’s life???
- That she takes him back. So maybe this is counter-intuitive but stay with me OK? You really like this hot guy and he seems to like you but then it turns out it was a bet. So you think a) can I trust this guy again? b) does he even really like me? And then it turns out that yes you can and he does (as far as you can tell) actually like you. Choosing not to be in a relationship with someone should not be about denying someone the gift of your presence/vagina in payback. If you still really want to be with someone and have assessed things as levelly as you can, I say go for it! (Shockingly I may have over-thought this). Also, he bought her an awesome-looking guitar!!!
An aside: Black “panties” don’t mean you want to have sex some day. Those underpants don’t even fit the stereotype given they look like the type of cotton hipster bikinis you get in a ten pack at Target. That bit is so weird and I am impressed with Patrick Verona’s skeptical face when delivered with this as evidence that Kat is worth pursuing.
Well, that title is a lie: we don’t have a posting schedule. Shocking! Yes, yes, we confess to everything. We just post things as we write them, and our blog is more like a collection of essays than an online magazine or whatever the cool kids call their cool blogs. We want to put up posts that we think are useful and well reasoned (stop laughing!) and so if we don’t have anything, we don’t post anything.
At the moment things are especially quiet around here. That’s because I’m in the process of relocating from Australia to the US for my PhD (or “grad school” as I now call it in a desperate bid to fit in with the Americans). The other members of SJL have busy lives as well! Also Connie broke her toe recently. Okay I’m just making excuses now.
We have posts in the pipeline, but right now other things are taking precedence. And although we can’t promise regular updates, we can promise that we are not going away anytime soon.
Spoilers for The Girl with the Dragon Tattoo book and major trigger warnings for rape, both in the review and in the book. I am not a survivor of rape or sexual assault so I would happy to receive any criticism or comments of this post by survivors, either through the comments below or through our contact form.
The two reasons why I wanted to read Girl with the Dragon Tattoo were because of the original title, The Men Who Hate Women, and also because I’d heard that Larsson wrote the book in response to witnessing a rape. I’d been told from a number of (not explicitly feminist, but usually somewhat reliable) sources that the main character, Lisbeth Salander, was one of those Strong Female Characters who was emotionally detached and exhibited sexual desire and agency that was uncommon for female protagonists.
On the other hand I’d also heard the book was a rape victim’s revenge fantasy – and that was something we should be critical about, and I wasn’t sure what to think of that. So curiosity overcame my natural suspicion of popular books dealing with complex feminist issues.
After slogging my way to the final page, I closed the book and immediately thought of Kate Beaton’s comic (again). At best, the book is unspectacular and deals clumsily with the issues of rape, misogyny and abuse of power. Here is a man who witnessed a rape take place, felt shaken enough to write a book about it, yet still did the most superficial and cursory research into the subject. At worst, the book is downright offensive.
While Salander’s general detachment is refreshing – it is implied she is aneurotypical and that she’s probably autistic, perhaps the lone point of feminist interest – the book merely ends up retreading age-old hero and damsel in distress tropes. Contrary to my impressions before reading, the male journalist, Mikael Blomkist, is actually the protagonist who gets the most page-time and his character is significantly more developed than Lisbeth. Lisbeth really acts as a sidekick to his detective work and like many Strong Female Characters (TM), while she is smart and resourceful, her internal motivations for helping Blomkist are unclear and difficult to believe.
What’s more is that Salander falls in the love with the protagonist for no particular reason at all. The passages from her point of view are all tell, no show, and reading Salander wax poetic about how Blomkist doesn’t interfere with her life is utterly perplexing because this is apparently the reason why she falls for him. A man who doesn’t interfere with a woman’s life and her choices is, at most, neutral, since men don’t get cookies for meeting the basic standards of morality, even if those men are few and far between. There is absolutely no reason for her to show such an interest in him at all.
What’s made even more disturbing is that Salander is named after the victim whose rape he witnessed. And considering that Larsson and Blomkist share the same occupation, that Blomkist is the fictional representation of Larsson seems extremely likely, and then it becomes extremely disturbing that Larsson has written a fantasy where the representation of a real victim of rape falls in love with him.
As for the rape victim revenge fantasy, I’m going to completely blunt: Salander rapes her rapist to punish him. Yeah. Like, I don’t even know where to go with that. Rape culture is not solved with more rape culture. Just like sexual assault in prisons is not justice and merely contributes to rape culture, this fantasy also contributes to rape culture. Even if this were a frequent desire or reaction of rape survivors, Larsson himself was not a rape survivor (that we know of) or even someone who frequently worked with survivors of sexual assault and rape. While I can appreciate that witnessing a rape would have a deep impact on a person, to forward the narrative of a survivor raping their attacking seems pretty fucking appropriative of survivor experiences and feelings.
And if Larsson were considered a survivor, the narrative in the book is still highly irresponsible because it condones Salander’s actions as justifiable because society’s systems have failed her. Yes, it is disgusting and awful for society’s to regularly fail to protect women, but presenting society as having forced Salander’s actions as justified vigilantism ignores the organisations and activism that do exist to help women who have been victims of violence. Maybe witnessing a rape opened Larsson’s eyes to the systematic victimisation of women, but many of us have had our eyes open for years and some of us have done something about it. Rape aside, not every woman is able to physically fight their attackers like Salander or extract themselves from financially-dependent relationships. Once again, Strong Female Character is being interpreted as physical “strength” without much regard to the mental or emotional resilience that I would characterise of many survivors of sexual assault. (Of course, I definitely do not consider “strength” or lack of it to be a moral judgement.)
The book also engages in victim-blaming and fails in any complex consideration of the psychology of rapists. On one level I understand this is meant to be a crime/thriller novel where the crime needs to be sensational in some way, but I am so sick of rapists being painted as psychopaths who kidnap women and set up basement torture chambers. That happens in a tiny minority of cases and then it becomes easy to dismiss rapists as “monsters” without humanity, and also for Salander’s acts of vigilantism to be more easily accepted (ie. it is acceptable to rape “monsters” if they have no humanity left). Furthermore, Salander is shown having no compassion for her fellow female survivors (I think it would be far more realistic for her to experience strong feelings here than with Blomkist) and in fact blames one of the victims for not speaking up earlier. Blomkist is then the one who mansplains a rape survivor’s psychology to her, another rape survivor, and at this point I decided that someone should give me an award for continuing to turn the pages of this book.
What’s also disturbing is how the acts of rape are described in detail and in a way that made the scenes feel like spectacles rather than crimes that are deeply scarring and emotionally damaging. The women who are the victims of the crimes are, on the whole, faceless, and described as prostitutes, immigrants and generally marginalised people in society whose bodies have been tossed into the oceans. We have no emotional connection with them. Salander is an emotionally detached character and remains so regarding her rape, and another character’s rapes occurred 30 years ago so she’s not about to recount it all. Because there’s no real focus on the impact on victims/survivors the focus becomes the acts of the violence, the rapes themselves. When Salander gets her revenge on her rapist, I have the feeling that this is the end of the matter for Larsson because justice has been served. Even if her actions constituted justice, the reason why rape is such a heinous crime is because the psychological and emotion scars it leaves on its victims. It’s very convenient that Larsson wrote a protagonist who just so happens to be completely detached from the world.
I can imagine that this would have been a very cathartic novel for Larsson to write, and obviously because it was published posthumously he had no say in the matter of its publication. But honestly, this should have never been published. We really did not need another white dude’s account of horrible things done to women, even if his heart was in the right place. None of the narrative, characters, mystery, ANYTHING provided anything that was particularly helpful in forwarding the feminist message. The fact this was labelled feminist in the first place has me worried. The most “feminist” part the novel I could find is how each part opens with a statistic about violence against women in Sweden. Old hat to hardened feminists, but might be why the mainstream seems to think it’s so revolutionary.
In a completely unrelated area of criticism, I found the writing quality to be abysmal and almost unreadable. I’ve been told that the writing is equally pretty bad in Swedish and it wasn’t just the translation that made everything painful to read. For the first few hundred pages I was so distracted by the writing that I couldn’t stop myself from mentally editing everything and the last time I did that was with a Laurell K. Hamilton book.
I would not recommend this book to anyone. It is a bit of a page-turner in the sense that I wanted to know what happened next when I didn’t want to throw it across the room, but that’s about it. Unfortunately I’ve bought the whole series already so I suppose you’ll have to look forward to more long ranting book reviews from me.