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…
All his life Loki believed he was Aesir by blood. For years he’s been fed negative messages about Frost Giants – probably that they’re backwards, barbaric and unattractive. For years he’s participated in the Othering of an entire race (species?) and hating them for just being who they are. As the victors of war, Asgard would paint themselves as the noble and courageous warriors in every story and the Frost Giants as untrustworthy, cowardly and sly. Frost Giants are the butt of every joke. It’s clear Loki views them as disposable as everyone else in Asgard when he lets them into Asgard to be killed, just so he can make a point about Thor’s inadequacies.So what does he do when he finds out he’s adopted and biologically Jotun? Naturally, he manipulates events just so that he can commit genocide on his own people.
Maybe this sounds like a long bow to draw for people who haven’t experienced internalised racism, but in my opinion his reaction is a realistic portrayal of what racism can do to people of colour. I’m not saying anyone is going to commit genocide but that’s a lot of hate that’s being directed to people who’ve done nothing to him personally. And because Loki is a Frost Giant that’s also a lot of hate directed inwards AT HIMSELF.
Realistically, those negative messages don’t melt away the instant Loki knows about his heritage. No, what he wants now is to be accepted as Aesir “in spite of” the fact he is Jotun. Because of that he has to be more Asgardian than anyone else in Asgard. He has to hate the Frost Giants more, he has to be tough (not “soft” like Thor at the end) and he has to do something that will prove beyond doubtthat he is Aesir at least at heart.
Imagine if Loki knew he was Jotun from the beginning. His friends and family in Asgard treat him well, but still make remarks about the Frost Giants and how they’re an ugly race of people. They’d try to watch what they said around Loki, but sometimes let a racist joke or remark slip. And they’ll glance at him guiltily and think they’re helping when they clarify: “No you’re good, you’re not like the otherJotun.” Loki will grow up thinking he’s loved as long as he’s a certain “type” of Jotun and one that acts like he’s Aesir and goddamn, why wasn’t he born Aesir?
After he finds out, Loki monitors his behaviour. He makes sure he does everything Aesir, divorces himself from any Jotun-esque traits he might hold. He denounces the Frost Giants more than anyone else, he hates them and their culture and everything they are more than anyone else. He makes derogatory jokes about them, maybe even encourages others to do the same.
I read much of Loki’s pain and loss through the film as an allegory for internalised racism because I experienced it for myself for many years. Internalised racism is growing up with the message that only white people can be complex and successful and happy. Non-white ethnicity and culture is, at best, regulated to a supporting role for the privileged; at worst, it is outright hated, mocked and derided. You want to be happy right? Your brain does a little irrational flip and tells you the only way to be complex, successful and happy is to emulate a privileged person, right down to the racism.
Of course you can never be as good as a white person but you can try**. You can try to be better, and you can try to out-act their privilege. You can proudly distinguish yourself as one of the exceptions to the rule, the “good” type of minority that “acts white”. The price is giving up your heritage, distancing yourself from native cultural practices, from languages, food and clothing.
The emotional toil of loathing yourself stays until you come to terms with your own oppression. But the sense of loss has never left me. When I think back to how I was operating under internalised racism, I remember the positive experiences and opportunities I refused to take because they were too “ethnic”. I remember the deep shame of being non-white, my embarrassment of being seen with other non-white people and especially those who couldn’t “act white” enough for me.
I think about the racist things I did and got away with because of my ethnicity and I’m really glad I’m not that person anymore.
When Loki announces he wants to “destroy that race of monsters” you know, on some level, he’s referring to himself as well. And then my heart breaks into tiny pieces because I remember exactly how it feels to hate who you are.
*I realise that Thor is pretty white-washed in terms of casting and there are only two characters of colour, but nevertheless I found this storyline compelling when analysing it from a racialised point of view.
**People of colour who are able to “pass” as white will have to be a subject of another post.
Disclaimer: I’ve been following the Good Men Project for a few months now, and have really enjoyed the website, agree with its premise, and have been surprised by the number of quality and nuanced articles on there.
BUT. All good allies will sometimes fuck up, and I was completely dismayed by the publication of this article about “feminine power”.
As a queer person who identifies neither as femme or butch, I’m wary of anyone trying to pin down the definitions of what is “feminine” and “masculine” without writing or linking to a ten thousand word thesis about it beforehand. Furthermore, the construction of feminine/masculine will differ according to culture; for example, femme/butch identities were historically developed from Western society and culture, and may have less relevance in non-Western cultures.
Enter white male author, Brandon Ferdig, who I am sure has all the greatest intentions in the world. In fact his post is oozing with good intentions to present “feminine” power equal that of “masculine” power. Sadly he has to resort to racist tropes in order to make his point.
The emasculation of Asian men in Western media is so common and well-documented that Wikipedia even has section about it. In short, the fear of Yellow Peril caused Western men to perceive Asian men as sexual threats to white women (yes, I know how fucked up that sentence is), and over time this has warped from a hypersexualised image of Asian male sexuality to a stereotype devoid of any sexuality. I’ve read and heard a lot of whitesplaining about how Asian men are more “feminine” and “delicate” and the following quote is no exception:
Expectantly, it was the men who stuck out when femininity is stronger—especially when compared with the masculine men of America. In China, many men carry themselves with a more delicate walk, prettied hair, and some sport lengthy, manicured fingernails. Fisherman and other figures of masculinity commonly pull their shirts up over their midriffs.
To add insult to injury, Ferdig captions two photos of Chinese men and women holding hands as “probably not lesbians” and “probably not gay”, completely ignorant of the deep-seated homophobia that exists in mainstream Chinese society.
Let’s break this down:
While I’m currently living in Australia, I come from a Chinese background and have travelled to China at least 8-9 times over the last twenty years. Never have I seen this “delicate walk”, “prettied hair” and “manicured fingernails” phenomenon. What I have seen is an overall trend towards accepting men who care about self-grooming and appearances – but that’s the same walking among the white hipster dudes of Fitzroy in Melbourne as it is in the streets of Shanghai.
I can’t help but feel Ferdig has internalised a lot of Hollywood tropes about Asian people and just experienced confirmation bias while he was in China. He has been brought up in a society where white male faces are the norm, so maybe he’s used to equating prominent brows to masculinity, I don’t know. I don’t see anything particularly feminine about the photo of the young chinese boys he posted. Would he describe Panic! At the Disco as “feminine” for having similar hairstyles and *gasp* wearing eyeliner and makeup? Does that mean that Western society is becoming more accepting of feminine power?
In anything, traditional gender roles and expressions are even more strict in China. I don’t know if this causes the so-called increase in “feminine power” Ferdig describes, but anything outside the heterosexual nuclear family retains a scandal like no other because perspective is not one of the individual making their own choices, but that of letting the whole family unit down. Gay? Childless? Confucius is rolling in his grave right now. If you’re holding hands or touching a member of the same gender it’s probably because most people don’t conceive of queer identities in the open.
After the first beat of the first song, I knew this was far beyond the gender-neutral territory of yoga and over to the land of the Lifetime Channel. The music was slow, light, and passionate; the dance moves were smooth and methodic: light touches, limp wrists, and weightless limbs.
It was so feminine.
Excuse me while I barf. I have a bunch of friends that are femme or that I’d describe as feminine, but “Lifetime Channel” is probably not the phrase I would use for them. Ferdig seems to equate the idea of the feminine with aspects of antiquated “female virtues” of patience and nurturing and I don’t know, raising children or something. Which is not to say that feminine people can’t be those things, but to break traditional gender paradigms we need to start viewing femininity as capable of being “fierce”, “strong” and “active” as well. I’m not 100% sure what sort of “power” he’s talking about in the context of the article (social power? expressive power?) but I’m pretty sure that using a nineteenth century wallflower definition of “feminine” isn’t helping anyone here.
Look, I’m glad this dude seems to really want to appreciate feminine people in his life, I really do, but what was the point of this article except to present China as some sort of haven for femininity. Which it definitely is not. Chinese politics and business is as much dominated by competition and adversary as it is in the West. Sexism still very much exists and therefore the devaluation of “feminine” still exists (although of course woman doesn’t always equal feminine). And most importantly, racism still exists and this article is a prime example of how to fail at intersectionality and ignorantly support some pretty racist Asian stereotyping.
From the same website, compare with Tom Hargrave’s post on masculinity which is one of the most nuanced explorations of masculinity in the patriarchy I’ve ever read.
I like things, and some of those things are problematic. I like Lord of the Rings even though it’s pretty fucked up with regard to women and race (any narrative that says “this whole race is evil” is fucked up, okay). I like A Song of Ice and Fire even though its portrayal of people of colour is problematic, and often I find that its in-text condemnation of patriarchy isn’t obvious enough to justify the sexism displayed. I like the movie Scott Pilgrim vs The World even though it is racist in its portrayal of Matthew Patel, panders to stereotypes in its portrayal of Wallace, and trivialises queer female sexuality in its portrayal of Ramona and Roxy’s relationship. For fuck’s sake, Ramona even says “It was a phase”! How much more cliche and offensive could this movie be? Oh wait, remember how Scott defeats Roxy, his only female adversary, by making her orgasm? Excuse me while I vomit…and then keep watching because I still like the rest of the movie.
Liking problematic things doesn’t make you an asshole. In fact, you can like really problematic things and still be not only a good person, but a good social justice activist (TM)! After all, most texts have some problematic elements in them, because they’re produced by humans, who are well-known to be imperfect. But it can be surprisingly difficult to own up to the problematic things in the media you like, particularly when you feel strongly about it, as many fans do. We need to find a way to enjoy the media we like without hurting other people and marginalised groups. So with that in mind, here are my suggestions for things we should try our darnedest to do as self-confessed fans of problematic stuff.
Firstly, acknowledge that the thing you like is problematic and do not attempt to make excuses for it. It is a unique irritation to encounter a person who point blank refuses to admit that something they like is problematic. Infuriatingly, people will often actually articulate some version of the argument “It can’t be problematic because I like it, and I’m nice”. Alternatively, some fans may find it tempting to argue “Well this media is a realistic portrayal of societies like X, Y, Z”. But when you say that sexism and racism and heterosexism and cissexism have to be in the narrative or the story won’t be realistic, what you are saying is that we humans literally cannot recognise ourselves without systemic prejudice, nor can we connect to characters who are not unrepentant bigots. Um, yikes. YIKES, you guys.
And even if you think that’s true (which scares the hell out of me), I don’t see you arguing for an accurate portrayal of everything in your fiction all the time. For example, most people seem fine without accurate portrayal of what personal hygiene was really like in 1300 CE in their medieval fantasy media. (Newsflash: realistically, Robb Stark and Jon Snow rarely bathed or brushed their teeth or hair). In real life, people have to go to the bathroom. In movies and books, they don’t show that very much, because it’s boring and gross. Well, guess what: bigotry is also boring and gross. But everyone is just dying to keep that in the script.
Especially do not ever suggest that people not take media “so seriously”, or argue that it’s “just” a tv show. The narratives that we surround ourselves with can subtly, subconsciously influence how we think about ourselves and others. That’s why creating imaginary fantasy and sci fi worlds that have more equal societies can be a powerful thing for marginalised people, who mainstream media rarely acknowledges as heroes. But even if you don’t think that media matters, there is still no reason to focus exclusively on unequal or problematic fictional worlds and narratives. If it doesn’t matter, why don’t YOU stop taking your media so seriously and stop fighting us on this? You with your constant demands for your narrow idea of “realism” (which by the way often sounds a lot like “show me naked skinny ciswomen, and gore”). If in your framework tv shows aren’t serious business, why does realism matter? Why can’t you accept that it would be totally cool to have AT LEAST ONE BIG MEDIEVAL FANTASY EPIC WHERE WOMEN AND POC WERE LIKE, EQUAL TO WHITE MEN AND STUFF. STOP TAKING IT SO SERIOUSLY.
Secondly, do not gloss over the issues or derail conversations about the problematic elements. Okay, so you can admit that Dune is problematic. But wait, you’re not done! You need to be willing to engage with people about it! It’s not enough to be like “Ok, I admit that it’s problematic that the major villain is a fat homosexual rapist, but come on, let’s focus on the giant sandworms!”. Shutting people down, ignoring or giving minimal treatment to their concerns, and refusing to fully engage with their issues is a form of oppression. Implicitly, you’re giving the message that this person’s feelings are less important than your own. In fact, in this case you’re saying that their pain is less important than your enjoyment of a book, movie or tv show. So when people raise these concerns, listen respectfully and try to understand the views. Do not change the topic.
Thirdly you must acknowledge other, even less favourable, interpretations of the media you like. Sometimes you still enjoy a movie or book because you read a certain, potentially problematic scene in a certain way – but others read it entirely differently, and found it more problematic. For example, consider the scene in Game of Thrones where Drogo rapes Dany (which he does not do in the books). One of my friends feels that it was portrayed like rape fetish porn, sexualising the act and Dany’s pain. But I feel that the scene focuses on Dany’s pain and tears in a manner that is not fetishising them (though even so the narrative is still totally fucked up because Dany and her rapist then go on to have a good, sexyfuntimes relationship…uh, no, HBO). I don’t agree with my friend’s interpretation but I recognise it as a totally valid reading of the scene.
Also, as a fan of problematic media, you need to respect the fact that others may be so upset or angered by media you love that they don’t want to engage with it at all. In fact, one of my best friends won’t watch HBO’s Game of Thrones because of the racism and misogyny. That’s a completely legitimate and valid response to that tv show, and me trying to convince her to give it another shot would be disrespectful and hurtful. If you badger others to see what you see in something when they are telling you it’s not enjoyable for them, you’re being an entitled jerk. You’re showing yourself to be willing to hurt a real person over a television show. That really is a sign you’re taking things too seriously.
As fans, sometimes we need to remember that the things we like don’t define our worth as people. So there’s no need to defend them from every single criticism or pretend they are perfect. Really loving something means seeing it as it really is, not as you wish it were. You can still be a good fan while acknowledging the problematic elements of the things you love. In fact, that’s the only way to be a good fan of problematic things.
Firstly, it seems to me that because I am white, I am considered to hold an amount of authority disproportionate to my actual expertise. I am a black belt, but only a first Dan, which is a much lower ranking than the third and fourth Dans who run the class. Yet when I voice an opinion about an activity or training exercise, my views are taken very seriously. Because white people are so overwhelmingly represented in positions of competence and power, both in western media and in global media, my whiteness provides me with extra authority in the eyes of my Korean instructors and classmates. Authority that I have not earned and do not deserve. Now that I realise that, I try not to interject simply to voice my preferences. I try to stay silent when we are discussing training activities, unless I feel that there is a substantive, important point I can make that others have overlooked.
Secondly, when everyone else is speaking Korean, I feel subconsciously entitled to ask what is being said. I only understand very simple Korean terms and phrases that relate to taekwondo. Most of the other students are either first or second generation immigrants, and some of our instructors are Korean nationals visiting Australia on student visas to learn English. They all speak Korean fluently. Naturally, they mainly speak Korean to one another. When they do, it simply does not occur to me not to ask what they are saying, because I can’t understand and I want to know.
This is a form of white entitlement. A lone non-white non-English speaker would be unlikely to feel so entitled to ask what a large group of white English-speakers were talking about. POC receive subtle messages that they ought to speak english well enough to understand. White people are socialised to believe that communication is the burden of POC. Because of this, I subconsciously feel I am entitled to understand everything around me and that if I do not then I am entitled to ask POC to explain it to me. That is fucked up. Now that I realise this, I do not ask what is being said unless it seems that something really dramatic or scandalous has occurred, or that it might have something to do with me.
Thirdly, the Korean students use their english names with me and sometimes even with each other. I am never expected to master the correct pronounciation of their birth names, and in some cases I am never even told their birth names. On some level, I think they feel that they should change the name they answer to in order to save me and other white people the possible embarrassment and discomfort of trying and failing to pronounce their Korean names.