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As a filmmaker and as a woman,

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I found myself drowning
in a powerful vortex

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of visual language,

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from which it is very difficult
to escape.

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Yeah, Lara, are you there?

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I'm just sitting here
hoping to hear from you,

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I don't care if it's three
o'clock in the morning

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because, I've been thinking
about all the things

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that could possibly happen
to you because of this,

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and I don't want you to ruin

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your whole acting career
over it.

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You know, all they have to do
is call sag

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and pull your card
and from now on,

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for the rest of your life,

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you'll come up not cleared
for work and that's the end.

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This visual language,
this cinematic visual language,

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dictates to us ways of seeing

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that are so specific,
it almost feels like a law.

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The great writer
James Baldwin once said,

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"not everything can be changed,

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but nothing can be changed
until it is faced."

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What we're gonna do today is
look at a series of film clips

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from a list movies,

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the ones that win cannes
and the academy awards,

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as well as cult classics,
and other notable works.

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And what we're looking at is
how shot design is gendered.

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That means that male lead actors
and female actresses

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are filmed very differently,

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consistently differently and
consistently in a certain way

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that can be labeled
and tracked and named.

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Now, I personally see
a very clear connection

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between this visual language
of cinema,

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employment discrimination
against women,

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particularly
in the film industry,

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and an environment of pervasive
sexual harassment, abuse,

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and assault.

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I had the chance to meet
Laura mulvey last year,

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the "original gangster"
film theorist

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who identified the male gaze
for all of us.

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I only actually used the
male gaze once in the essay,

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I think, but it's become
its dominant memory.

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The essay really came
out of my love of cinema.

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Well, having left university
in 1963,

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I really spent a lot of my time
just going to the movies.

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Only retrospectively realizing
that part of my pleasure

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in this film going was that
I was watching these movies

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as a male spectator.

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Almost all of us are
familiar with the phrase

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the objectification of women,

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but it's worth taking a
moment to break that down.

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What exactly is an object
and what is a subject?

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So let's get back
to basic grammar

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in like an English sentence
for a second.

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The cat eats the mouse.

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The cat is the subject,

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he's eating the mouse,

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the object is acted upon.

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Similarly,
the man sees the woman,

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the man is active doing
the locking

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and the woman is looked at.

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Here she comes.

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We'd like a statement from you...

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This phrase,
to-be-looked-at-ness,

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was made famous by
Laura mulvey back in 1975

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and used to describe
the basic essential position

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of women in cinema.

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That dress will be ahead
of fashion a hundred years

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from today.

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You ain't seen nothing yet.

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The accessories are even cuter.

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J” I can hear the river call j“

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j” no return, no return j“

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Through time, the woman's body

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becomes more and more sexuahzed,

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but the basic structure of
looking remains the same.

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Even though mulvey's
foundational work

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was written in the '705,

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we still totally normalize
the male gaze in cinema.

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You know, I think
the majority of people

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don't ever really question
that form of looking.

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It's so normal it's like
the idea of a fish asking

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if it's wet.

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It's the stuff that
I think you thought,

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and maybe I thought,
well, everybody knows this,

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it's in the ether,
but it's the ether.

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And so to name it and
to show it is, you know,

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something that I believe
can change the world.

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The poet philosopher,
Ralph Waldo Emerson

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once made a beautiful remark
that I feel speaks very well

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to the situation.

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He said, "perception is
not whimsical, but fatal.“

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you know, this is something
that people like to say,

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like they think creative work
and films are whimsical.

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It's just my vision. It's
just my idea. It's whimsical,

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but no, it's really serious.

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It's fatal, and it impacts us
on the deepest possible level.

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As filmmakers
we have to be courageous

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and be willing to be that force.

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Willing to speak our minds,

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willing to say,
"hey, wait a minute,

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what's wrong with this picture?

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What are you telling me?

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What's the visual rhetoric
that we're looking at?

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It doesn't feel good.
It doesn't feel correct.

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Let's rethink this."

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I think sometimes with films
that are considered

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part of the canon,
part of, you know,

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what are the best
quote unquote films,

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there is a reticence to even
question how they were made

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and the stories that they tell.

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And I think that it's okay to
still love and to see a film

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and say it's great,

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but that it has some issues.

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And I think
without questioning it,

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we're doing a disservice
to our own humanity.

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Now most of you guys
are probably aware

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of the idea that there's
a sexist element to script,

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dialogue, and character.

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You know, we know that
we'd prefer not to see women

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always playing a maid
or a sexy babe,

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as opposed to being a ceo
or something like that.

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That's something that
we're well acquainted with.

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What's less well known
is how shot design itself

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is perpetuating these
different positions of power.

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So when we talk about
shot design,

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what exactly does that mean?

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We're talking about
subject, object,

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the visual relationship,

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framing, camera movement,
and lighting,

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and how all of these techniques

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contribute to the narrative
position of the characters.

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So the first thing
is subject, object.

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When we see a shape like this,

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we know it means that
this guy here is looking

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at this person over here,

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who happens to be a woman.

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- Haven't I seen you
somewhere before?

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This pov shot can be done
in one shot, like this.

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It's dropping down.
We need to get that adjusted.

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It's ridiculous.

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I should just drop my brushes,
and just, fuck it. Oh!

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It's amazing what do
you think about that, man?

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Pretty amazing. Jerry! Jerry!

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Or in two separate shots.

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- Hey!

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I think a lot about how
to create points of view.

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It's not just optical,
it's perceptual,

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you know,
we are experiencing the...

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You're putting the audience
in the character's shoes

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so that they aren't
just seeing directly

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what the character sees,

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but they are aligned
with them emotionally

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and in their thought process.

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What's interesting
about Robert Montgomery's,

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"lady in the lake" is that
it's an extreme example

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of what subjectivity is.

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So it becomes
this point of view shot

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throughout the whole film.

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It aligns with my ideas
about a male point of view

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and what is the male gaze.

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And about sort of the image
of a certain kind

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of Hollywood beauty
or Hollywood victim.

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Framing of shots.

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Women actors are often shot
with fragmented body parts.

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And that fragmented body
can be part of, of course,

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a pov situation.

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So you have one shot
somebody is looking,

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second shot, fragmented body.

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- What is that noise?

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What noise?

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Really, sir,
there wasn't any noise.

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Or it can be in one shot.

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And again,
repeating the pov structures.

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Another thing that's very
common is a female body

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on direct display
for the audience

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without a specific person
looking.

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This is just like
general audience display.

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I think we have to consider

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that it is through
the formal visual language

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that we are effectively
communicating meaning.

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And we inherit
so much subliminally

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that comes from this language

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and it has to do with how
shots are composed and framed,

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how they're assembled and
ordered in a sequence of shots.

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All of that becomes
the grammar and syntax

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by which meaning
is conveyed to a viewer.

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So in a visual culture,
such as ours,

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in which there's
a ravenous appetite

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towards the female as object,

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if the camera is predatory

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then the culture
is predatory as well.

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Camera movement.

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A common thing that we've
all seen a million times

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is a pan of a female body.

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00:15:22,964 --> 00:15:26,384
And that can, of course,
be a horizontal pan

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or a vertical pan.

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00:15:34,267 --> 00:15:37,812
Furthermore, what you
very often see is slow-mo,

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00:15:37,895 --> 00:15:40,440
as a way to emphasize.

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00:15:43,443 --> 00:15:45,862
And with men,
when do we get slow-mo?

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Action, military, right?

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00:15:51,033 --> 00:15:52,034
- Heel kick to diaphragm.

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00:15:56,080 --> 00:16:00,460
80 men get slow-mo for action,

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00:16:00,543 --> 00:16:03,379
and women get slow-mo
for sexualization.

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00:16:06,257 --> 00:16:09,135
The dissemination of
these kinds of shots

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00:16:09,218 --> 00:16:14,265
is actually a sort
of global hypnosis

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00:16:14,348 --> 00:16:19,395
around how masculine
power brings satisfaction.

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00:16:19,479 --> 00:16:21,105
Whether it's objectifying women

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00:16:21,189 --> 00:16:23,483
or killing
or pretending to kill.

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00:16:25,526 --> 00:16:27,945
This is propaganda
for patriarchy.

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00:16:33,075 --> 00:16:38,372
Lighting. Lighting
is a bit more subtle.

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00:16:38,456 --> 00:16:43,628
Normally a male lead actor
gets to have 3D lighting

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00:16:43,711 --> 00:16:45,463
with shadow and depth,

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00:16:45,546 --> 00:16:47,507
and he's located somewhere real

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00:16:47,590 --> 00:16:50,510
in a space that we understand,

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00:16:50,593 --> 00:16:52,345
whereas Rita Hayworth here,

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00:16:52,428 --> 00:16:54,055
this is two frames

217
00:16:54,138 --> 00:16:56,474
from Orson welles'
"lady from Shanghai,"

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00:16:56,557 --> 00:16:59,685
Rita Hayworth is shot
in this timeless zone

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00:16:59,769 --> 00:17:00,937
of female beauty.

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00:17:01,020 --> 00:17:03,397
Women are not allowed to age

221
00:17:03,481 --> 00:17:06,734
and they're not really allowed
to have full-on

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00:17:06,817 --> 00:17:08,778
lives as subjects.

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00:17:10,071 --> 00:17:12,281
Myself and other directors,

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00:17:12,365 --> 00:17:17,578
we have been conditioned
to present women, actresses,

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00:17:17,662 --> 00:17:19,455
in the best light possible.

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00:17:19,539 --> 00:17:21,958
So we put nice soft lights up

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00:17:22,041 --> 00:17:24,460
and use a nice long lens
and, you know,

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00:17:24,544 --> 00:17:27,380
set it at a high angle,
not looking up at something.

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00:17:27,463 --> 00:17:30,591
And, you know, all the
different ways to film women.

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00:17:30,675 --> 00:17:33,761
I don't worry
if a guy has wrinkles,

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00:17:33,844 --> 00:17:37,056
because that just makes them
look rugged as they get older,

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00:17:37,139 --> 00:17:39,767
but you don't wanna think
about that for women.

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00:17:41,394 --> 00:17:42,645
Can I kiss you?

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00:17:53,531 --> 00:17:56,617
You know, I got this
great movie recently,

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00:17:56,701 --> 00:17:58,244
it would've moved the needle,

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00:17:58,327 --> 00:17:59,704
it was very great for me,

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00:17:59,787 --> 00:18:01,706
and they decided to go younger.

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00:18:03,457 --> 00:18:09,088
And, what can you say?

239
00:18:11,507 --> 00:18:15,469
So, that happens a lot,
that happens a lot.

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00:18:15,553 --> 00:18:17,179
I have a lot of sadness,

241
00:18:17,263 --> 00:18:18,503
and just even talking about it,

242
00:18:18,556 --> 00:18:20,182
I have a lot of, oh.

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00:18:23,477 --> 00:18:24,729
'Cause I love to work.

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00:18:35,656 --> 00:18:38,451
I think this visual
language really contributes

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00:18:38,534 --> 00:18:41,370
to female self hatred
and insecurity in a way

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00:18:41,454 --> 00:18:43,122
that is not insignificant.

247
00:18:43,205 --> 00:18:46,834
What is normalized as beauty
is really seen specifically

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00:18:46,917 --> 00:18:49,962
and dominantly
through a male gaze.

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00:18:50,046 --> 00:18:51,672
I think that really changes how

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00:18:51,756 --> 00:18:53,424
we relate in the world
in general

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00:18:53,507 --> 00:18:55,593
and not necessarily
in the best way.

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00:18:55,676 --> 00:18:58,262
Shot design is the meta message,
right?

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00:18:58,346 --> 00:19:00,222
It's the aesthetic
that is normalized,

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00:19:00,306 --> 00:19:02,558
and it's very sneaky
kind of in that way.

255
00:19:03,643 --> 00:19:05,311
- Priest, let me in.

256
00:19:07,188 --> 00:19:08,731
Here in "super fly"

257
00:19:08,814 --> 00:19:12,234
the cult classic
by Gordon parks Jr.,

258
00:19:12,318 --> 00:19:14,362
we can see a number
of the techniques

259
00:19:14,445 --> 00:19:16,989
that we've been discussing
so far.

260
00:19:18,532 --> 00:19:22,703
We have the man
in the subject position.

261
00:19:22,787 --> 00:19:29,043
Although, the two heads are
photographed quite the same,

262
00:19:29,126 --> 00:19:35,049
suddenly we get the music,

263
00:19:35,132 --> 00:19:38,302
fuzzy lighting,

264
00:19:38,386 --> 00:19:42,139
slow-mo,

265
00:19:42,223 --> 00:19:44,558
body pan.

266
00:19:50,898 --> 00:19:53,401
One of my students
when she saw this clip,

267
00:19:53,484 --> 00:19:58,406
she said, "the minute
you see the two heads

268
00:19:58,489 --> 00:20:02,576
in the bathtub,
you start waiting for the pan

269
00:20:02,660 --> 00:20:04,578
of the woman's body."

270
00:20:04,662 --> 00:20:06,789
Obviously they're both naked
in the tub.

271
00:20:06,872 --> 00:20:09,375
We do not see the male body.

272
00:20:12,128 --> 00:20:14,588
Watching this "superfly"
bathtub scene,

273
00:20:14,672 --> 00:20:19,260
yeah, I mean, that's
an actor's worst fear.

274
00:20:19,343 --> 00:20:22,888
That, you know,
they are given a script

275
00:20:22,972 --> 00:20:27,101
that they've agreed to work on,

276
00:20:27,184 --> 00:20:31,731
and the director
totally objectifies her

277
00:20:31,814 --> 00:20:37,570
by the choice of shots,
the placement of the camera,

278
00:20:37,653 --> 00:20:39,405
and the editing choices.

279
00:20:45,286 --> 00:20:49,206
All of these techniques
that we've just reviewed

280
00:20:49,290 --> 00:20:53,377
contribute to the narrative
position of the characters.

281
00:20:53,461 --> 00:20:58,424
And very often in ways that
seemed strangely irrelevant

282
00:20:58,507 --> 00:21:00,301
to the story.

283
00:21:07,183 --> 00:21:09,602
- More!
- No more.

284
00:21:09,685 --> 00:21:14,315
In an ideal world, we would
be able to see a huge amount,

285
00:21:14,398 --> 00:21:17,568
a huge variety of films
getting kind of equal amount

286
00:21:17,651 --> 00:21:18,903
of play.

287
00:21:18,986 --> 00:21:21,864
You know, so if you are
a heterosexual male,

288
00:21:21,947 --> 00:21:25,075
and you want to photograph
some woman's behind,

289
00:21:25,159 --> 00:21:26,827
I am certainly
not the sex police.

290
00:21:26,911 --> 00:21:29,121
I am not telling you what to do.

291
00:21:29,205 --> 00:21:31,165
I'm not saying do not do that.

292
00:21:31,248 --> 00:21:36,670
I'm just pointing out
the fact that a whole lot

293
00:21:36,754 --> 00:21:40,341
of majorly acclaimed
directors through time

294
00:21:40,424 --> 00:21:42,218
have done just that.

295
00:21:42,301 --> 00:21:45,930
And since 96% of the films
through time

296
00:21:46,013 --> 00:21:47,515
have done just that,

297
00:21:47,598 --> 00:21:49,850
there isn't a whole lot
of wiggle room

298
00:21:49,934 --> 00:21:52,019
for those of us who are
sick of seeing these things

299
00:21:52,102 --> 00:21:58,651
and are sick of the result
of that kind of attack

300
00:21:59,902 --> 00:22:02,071
on our selfhood.

301
00:22:02,154 --> 00:22:05,324
For women, because you're
looking at those films,

302
00:22:05,407 --> 00:22:08,536
for instance, she would
like to shape herself

303
00:22:08,619 --> 00:22:11,664
to be that object of the gaze.

304
00:22:11,747 --> 00:22:15,960
But she thinks,
some part of me, which is me,

305
00:22:16,043 --> 00:22:18,963
is not matching to that,
you know, image.

306
00:22:19,046 --> 00:22:21,507
So I would just,
kind of toss it out.

307
00:22:21,590 --> 00:22:24,969
So, in that case,
she loses her own self,

308
00:22:25,052 --> 00:22:27,429
she feels empty.

309
00:22:27,513 --> 00:22:30,224
All of her, you know,
attention or energy

310
00:22:30,307 --> 00:22:33,227
is spent for the external,
you know,

311
00:22:33,310 --> 00:22:36,063
establishment of her image.

312
00:22:36,146 --> 00:22:40,276
But when she sits down,
she feels empty.

313
00:22:40,359 --> 00:22:41,944
That's the problem.

314
00:22:53,914 --> 00:22:56,500
So here we have very clearly

315
00:22:56,584 --> 00:22:59,295
the narrative position
of the woman

316
00:22:59,378 --> 00:23:03,299
and her to-be-looked-at-ness
place delineated,

317
00:23:03,382 --> 00:23:05,843
while we hear on audio,

318
00:23:05,926 --> 00:23:08,178
the names of all
the male filmmakers,

319
00:23:08,262 --> 00:23:13,434
and we see the male
cinematographer shooting her.

320
00:23:19,189 --> 00:23:23,944
"Our desires," of course,
they're not referring to me.

321
00:23:28,490 --> 00:23:30,993
Traditionally
the audience has been assumed

322
00:23:31,076 --> 00:23:35,414
to be a cis male heterosexual

323
00:23:35,497 --> 00:23:40,044
lined up with the cis male
heterosexual director,

324
00:23:40,127 --> 00:23:43,005
lined up with the director
of photography,

325
00:23:43,088 --> 00:23:45,424
who controls all the shots,

326
00:23:45,507 --> 00:23:48,427
lined up with a male subject
in the frame.

327
00:23:48,510 --> 00:23:53,098
And they are all looking
at the female object.

328
00:23:54,767 --> 00:23:57,686
This is the standard
line of identification.

329
00:23:57,770 --> 00:24:01,607
Now, obviously, if you are
not a male heterosexual,

330
00:24:01,690 --> 00:24:04,860
you're going to inhabit this
process of identification

331
00:24:04,944 --> 00:24:06,403
in somewhat a different way.

332
00:24:06,487 --> 00:24:08,781
And depending on
where you're located,

333
00:24:08,864 --> 00:24:13,160
you know, for example, if you
are a female heterosexual,

334
00:24:13,243 --> 00:24:17,748
which would be me,
how does this play out?

335
00:24:17,831 --> 00:24:19,208
How does this affect us?

336
00:24:20,876 --> 00:24:22,920
When I was a student
at the ucla film school,

337
00:24:23,003 --> 00:24:27,216
I was very completely
obsessed with my work

338
00:24:27,299 --> 00:24:30,678
and I was surrounded by
my films on every level

339
00:24:30,761 --> 00:24:32,137
and I was a complete go-getter.

340
00:24:32,221 --> 00:24:34,056
And if somebody
would get in my way

341
00:24:34,139 --> 00:24:37,351
and I needed to get into
the mix room or something,

342
00:24:37,434 --> 00:24:40,396
I would just be like,
"here's $20 move, go, go.

343
00:24:40,479 --> 00:24:42,231
I need to do my work."

344
00:24:42,314 --> 00:24:43,732
I was a complete subject.

345
00:24:43,816 --> 00:24:46,026
I had no problem with that.

346
00:24:46,110 --> 00:24:48,195
But what happened when
I tried to be romantic

347
00:24:48,278 --> 00:24:49,279
or go on a date,

348
00:24:49,363 --> 00:24:51,490
that's when I got into trouble.

349
00:24:51,573 --> 00:24:54,994
I experienced myself
as to-be-looked-at-ness.

350
00:24:55,077 --> 00:24:56,397
I experienced myself
as an object.

351
00:24:56,453 --> 00:24:57,746
I didn't know how to act.

352
00:24:57,830 --> 00:24:59,248
It was very confusing for me.

353
00:24:59,331 --> 00:25:03,836
And I had a very hard time
integrating those things.

354
00:25:03,919 --> 00:25:06,630
So I sort ofjumped
from object position

355
00:25:06,714 --> 00:25:08,507
to subject position
where I identified

356
00:25:08,590 --> 00:25:12,261
with a male subject
as an active mover.

357
00:25:12,344 --> 00:25:17,641
And I had no idea how to be
a woman as an active mover

358
00:25:17,725 --> 00:25:20,102
and also be sexy.

359
00:25:20,185 --> 00:25:23,814
And this kind of is just
a little tip of the iceberg

360
00:25:23,897 --> 00:25:26,775
about how this stuff
affects us personally.

361
00:25:32,740 --> 00:25:36,326
So here's the next scene
in “contempt."

362
00:25:41,874 --> 00:25:46,211
I'm aware that this scene
is supposedly a comment

363
00:25:46,295 --> 00:25:48,297
on female objectification.

364
00:25:51,717 --> 00:25:54,303
Supposedly the producers
forced godard

365
00:25:54,386 --> 00:25:58,390
to show more of
brigitte bardot's behind,

366
00:25:58,474 --> 00:26:03,103
but whether he had an intention
to be sarcastic or not,

367
00:26:03,187 --> 00:26:07,149
the impact on a gut level
of seeing a film like this,

368
00:26:07,232 --> 00:26:09,651
and being told
that this is a masterpiece

369
00:26:09,735 --> 00:26:12,446
along with all the other films
that we'll be seeing today,

370
00:26:12,529 --> 00:26:14,865
that it's one masterpiece
after another,

371
00:26:14,948 --> 00:26:19,661
think about how that affects us
deeply, internally as women.

372
00:26:19,745 --> 00:26:21,080
It's pretty intense.

373
00:26:35,260 --> 00:26:37,930
You know, this talk is
kind of confrontational

374
00:26:38,013 --> 00:26:39,139
and all this stuff,

375
00:26:39,223 --> 00:26:41,934
but I want people to know,

376
00:26:42,017 --> 00:26:44,144
you know,
it's built on my sadness.

377
00:26:45,104 --> 00:26:47,147
I know.
It's built on my struggle.

378
00:26:47,231 --> 00:26:49,858
It's built on my sadness.

379
00:26:49,942 --> 00:26:56,949
You know,
it's not a beautiful thing

380
00:26:57,032 --> 00:26:58,659
that I'm talking about here.

381
00:26:58,742 --> 00:27:03,330
But Nina, don't you think
all women feel that sadness?

382
00:27:10,546 --> 00:27:13,507
All of my own
narrative fiction films

383
00:27:13,590 --> 00:27:17,719
have been centrally
concerned with expressing

384
00:27:17,803 --> 00:27:21,473
the abject feminine

385
00:27:21,557 --> 00:27:25,853
and the wound
that is carried deep inside.

386
00:27:44,288 --> 00:27:48,333
It's really such a sacred
place to make cinema.

387
00:27:48,417 --> 00:27:50,669
It is a sacred act.

388
00:27:50,752 --> 00:27:55,632
You are really entering
people's imaginations

389
00:27:55,716 --> 00:27:58,302
and their psyches
in such a way that

390
00:27:59,469 --> 00:28:02,097
it should be treated with care.

391
00:28:02,181 --> 00:28:06,560
It's a place of magnification,

392
00:28:06,643 --> 00:28:08,729
it's almost like speaking
on a microphone.

393
00:28:08,812 --> 00:28:11,523
Whatever you say it's amplified,

394
00:28:11,607 --> 00:28:18,113
so just being aware of that,
it's so important.

395
00:28:18,197 --> 00:28:21,366
The researchers green and Brock

396
00:28:21,450 --> 00:28:23,911
coined a term,
which is transportation,

397
00:28:23,994 --> 00:28:28,207
transportation is the effect
of movies and television

398
00:28:28,290 --> 00:28:31,710
on viewers that moves us
from where we are,

399
00:28:31,793 --> 00:28:35,923
when we walk into a theater,
into a new world.

400
00:28:39,760 --> 00:28:43,347
It takes us from the
familiar along a continuum,

401
00:28:43,430 --> 00:28:44,681
into a new place.

402
00:28:46,850 --> 00:28:50,812
And we go into a state of
suspension of disbelief,

403
00:28:50,896 --> 00:28:55,901
and in that state, we have
the highest knowledge gains,

404
00:28:55,984 --> 00:28:58,111
the biggest shifts in attitude,

405
00:28:58,195 --> 00:29:00,614
and the greatest changes
in behavior

406
00:29:00,697 --> 00:29:03,283
or behavioral intention.

407
00:29:03,367 --> 00:29:07,204
This is the power of
storytelling on the screen.

408
00:29:23,762 --> 00:29:25,639
In "lady from Shanghai,"

409
00:29:25,722 --> 00:29:28,725
we can see so many
of the basic gendered

410
00:29:28,809 --> 00:29:30,560
shot design techniques

411
00:29:30,644 --> 00:29:33,689
that continue to inform
filmmaking today.

412
00:29:33,772 --> 00:29:36,900
Lover, this really concerns
you more than anyone else.

413
00:29:36,984 --> 00:29:42,906
J” don't take your arms away j”

414
00:29:42,990 --> 00:29:46,076
so here you can see
the men in 3D lighting

415
00:29:46,159 --> 00:29:49,121
and 3D space controlling
the story,

416
00:29:49,204 --> 00:29:50,706
controlling the narrative.

417
00:29:50,789 --> 00:29:52,708
Did you know about that, lover?

418
00:29:52,791 --> 00:29:54,668
No I didn't.

419
00:29:54,751 --> 00:29:55,752
Shut up, George.

420
00:29:55,836 --> 00:29:58,380
Rita Hayworth, of course,
is in a bikini

421
00:29:58,463 --> 00:30:00,882
while everyone else
is fully clothed.

422
00:30:10,475 --> 00:30:14,313
And of course, we have
the ever present male subject

423
00:30:14,396 --> 00:30:18,066
looking at the female object.

424
00:30:27,909 --> 00:30:32,873
Rita Hayworth is floating in
a strange dislocated space.

425
00:30:32,956 --> 00:30:36,960
Maybe we'll call it
male fantasy space.

426
00:30:43,550 --> 00:30:47,137
In this clip
and in subsequent clips,

427
00:30:47,220 --> 00:30:49,348
the beauty of the woman
can be seen

428
00:30:49,431 --> 00:30:51,516
as having a certain power,

429
00:30:51,600 --> 00:30:53,560
you know, the power
to attract the gaze.

430
00:30:53,643 --> 00:30:54,829
This is what we're always told,

431
00:30:54,853 --> 00:30:58,815
like the way to be powerful
as a woman is to be beautiful.

432
00:30:58,899 --> 00:31:02,694
But to answer that
and to respond to that,

433
00:31:02,778 --> 00:31:05,280
I would like
to quote Angela Carter,

434
00:31:05,364 --> 00:31:10,452
who says that women have to
be seduced into femininity.

435
00:31:10,535 --> 00:31:12,996
And what does she mean by
seduced into femininity?

436
00:31:13,080 --> 00:31:16,792
She really means seduced
into powerlessness.

437
00:31:16,875 --> 00:31:19,044
And how are we seduced
into powerlessness?

438
00:31:23,799 --> 00:31:24,883
By glamor.

439
00:31:26,968 --> 00:31:28,387
That's it, keep it up.

440
00:31:28,470 --> 00:31:29,679
Lovely.

441
00:31:32,682 --> 00:31:33,975
Love, love, head up. Head up.

442
00:31:37,729 --> 00:31:40,565
Yes. Yes. Yes.

443
00:31:57,791 --> 00:32:00,919
So glamor, in my opinion,
is a coverup,

444
00:32:01,002 --> 00:32:05,006
is a veil and is a sort of bait

445
00:32:05,090 --> 00:32:09,010
and switch for powerlessness.

446
00:32:09,094 --> 00:32:11,430
A woman's agency
is always interrupted

447
00:32:11,513 --> 00:32:15,725
by the way that we
frame her as a spectacle

448
00:32:15,809 --> 00:32:17,060
at the same time.

449
00:32:17,144 --> 00:32:20,105
Whatever action she's doing
it's super important

450
00:32:20,188 --> 00:32:25,277
to make sure that she
has a certain aesthetic

451
00:32:25,360 --> 00:32:30,949
and a certain look that is
specifically sexually attractive

452
00:32:31,032 --> 00:32:33,118
for a heterosexual male gaze.

453
00:32:35,412 --> 00:32:36,413
Who's that girl?

454
00:32:36,496 --> 00:32:37,807
Which one?
The one I was talking about?

455
00:32:37,831 --> 00:32:39,416
- Yeah.
- The blond? Yeah.

456
00:32:39,499 --> 00:32:41,376
You went with her?
You didn't try to fuck her?

457
00:32:41,460 --> 00:32:43,503
I try to fuck anything,
you know that.

458
00:32:43,587 --> 00:32:44,588
She didn't go with it?

459
00:32:44,671 --> 00:32:45,839
No, she didn't go for it.

460
00:32:45,922 --> 00:32:48,925
Naturally, she knew better.

461
00:32:49,009 --> 00:32:51,094
What do you mean
she knew better?

462
00:32:51,178 --> 00:32:52,298
She knew you were an animal.

463
00:32:52,345 --> 00:32:54,222
She knew it was no good
if you go with her.

464
00:32:54,306 --> 00:32:55,682
Her reputation will be ruined.

465
00:32:57,100 --> 00:32:59,478
I thought he was talking to you,
Vicky.

466
00:32:59,561 --> 00:33:01,855
- That's the same guy?
- Yes, it's the same guy.

467
00:33:01,938 --> 00:33:03,624
- I gotta break his neck.
- He was over here yesterday.

468
00:33:03,648 --> 00:33:05,358
- He was here yesterday?
- You missed him.

469
00:33:05,442 --> 00:33:06,502
I was at the house yesterday

470
00:33:06,526 --> 00:33:07,611
and he was over here.

471
00:33:28,131 --> 00:33:32,219
So as usual,
we have the men in 3D space.

472
00:33:32,302 --> 00:33:36,598
We have the men talking to
each other about a woman.

473
00:33:36,681 --> 00:33:38,517
We have her legs fragmented.

474
00:33:38,600 --> 00:33:40,310
We have her legs in slow-mo.

475
00:33:40,393 --> 00:33:42,437
Same old, same old.

476
00:33:42,521 --> 00:33:45,565
There is one interesting
thing though about this scene

477
00:33:45,649 --> 00:33:48,693
that I want to dissect.

478
00:33:48,777 --> 00:33:52,280
And that is the way
that audio is handled.

479
00:33:52,364 --> 00:33:54,658
When you look at the scene,
you notice that,

480
00:33:54,741 --> 00:33:56,952
Robert De Niro
is looking at Vicky

481
00:33:57,035 --> 00:33:59,204
and she's far away from him.

482
00:33:59,287 --> 00:34:01,623
So you think that it makes sense

483
00:34:01,706 --> 00:34:06,628
that we hear Robert De Niro
and his friend talk,

484
00:34:06,711 --> 00:34:11,383
but you don't hear Vicky talk
because she's far away,

485
00:34:11,466 --> 00:34:13,343
but maybe not, okay?

486
00:34:13,426 --> 00:34:15,804
We actually did
some research on exactly

487
00:34:15,887 --> 00:34:19,015
how the scene was shot
and laid out the dimensions.

488
00:34:21,434 --> 00:34:24,271
Here's Robert De Niro,
he's with his friend

489
00:34:24,354 --> 00:34:28,441
on one side of the pool,

490
00:34:28,525 --> 00:34:31,194
and here's Vicky way far away.

491
00:34:31,278 --> 00:34:34,739
That's why we can't
hear her talking, right?

492
00:34:36,700 --> 00:34:41,079
But maybe not, because how
come the other two guys

493
00:34:41,162 --> 00:34:44,416
who are sitting exactly
right near Vicky,

494
00:34:44,499 --> 00:34:47,419
we can hear them perfectly well.

495
00:34:47,502 --> 00:34:51,298
And they are equidistant
from Robert De Niro.

496
00:34:53,550 --> 00:34:56,678
So basically what we
have here is something

497
00:34:56,761 --> 00:34:58,513
that when we watch the movie,

498
00:34:58,597 --> 00:35:01,182
we would have absolutely
no awareness of this.

499
00:35:01,266 --> 00:35:06,938
It infiltrates our consciousness
in a subconscious way.

500
00:35:07,022 --> 00:35:11,192
And maybe that's why when
a young woman shows up

501
00:35:11,276 --> 00:35:15,405
to pitch a film
to a male executive,

502
00:35:15,488 --> 00:35:17,824
he just sees her mouth moving,

503
00:35:17,907 --> 00:35:20,744
but he doesn't hear
a single word that she says.

504
00:35:30,962 --> 00:35:32,672
Absolutely objectification
of women

505
00:35:32,756 --> 00:35:34,633
impacts hiring practices.

506
00:35:34,716 --> 00:35:36,760
I think for all of us
who were exposed

507
00:35:36,843 --> 00:35:39,095
to sexually objectifying media,

508
00:35:39,179 --> 00:35:42,307
we all be embed it a bit
in our perception

509
00:35:42,390 --> 00:35:43,767
of how women should be.

510
00:35:43,850 --> 00:35:47,020
It becomes this way
of dealing with women

511
00:35:47,103 --> 00:35:51,524
that is primarily around
their sexual value,

512
00:35:51,608 --> 00:35:53,610
that if they're attractive
to you.

513
00:35:53,693 --> 00:35:55,320
And so absolutely has everything

514
00:35:55,403 --> 00:35:57,405
to do with certainly how
you're treated on the job.

515
00:35:57,489 --> 00:36:00,617
The challenge is that employment
discrimination in general

516
00:36:00,700 --> 00:36:03,578
in the entertainment industry
is not enforced.

517
00:36:05,747 --> 00:36:08,625
Coming out of film school,
we have 50/50 gender parity

518
00:36:08,708 --> 00:36:12,253
and we've had that for a while
in the top us film schools,

519
00:36:12,337 --> 00:36:15,382
and yet the top 250
films directed by women

520
00:36:15,465 --> 00:36:18,301
back in 1998 was 9%.

521
00:36:18,385 --> 00:36:22,097
And moving up to 2018,
we're down to 8%.

522
00:36:22,180 --> 00:36:23,807
People are really happy
for women

523
00:36:23,890 --> 00:36:27,102
to be attending film schools
50/50 at parity with men,

524
00:36:27,185 --> 00:36:29,896
as long as they're paying
money into the system.

525
00:36:29,979 --> 00:36:33,566
But when we move into
the professional playing field,

526
00:36:33,650 --> 00:36:37,654
and we're asking the industry
to pay money out to women,

527
00:36:37,737 --> 00:36:39,906
well, that's where
the doors get closed.

528
00:36:39,989 --> 00:36:42,158
At the very heart of the issue

529
00:36:42,242 --> 00:36:45,078
and the work that I've
been doing is title vii,

530
00:36:45,161 --> 00:36:47,288
which is equal employment
opportunity law.

531
00:36:50,875 --> 00:36:55,088
Hollywood has been
the worst violator of title vii

532
00:36:55,171 --> 00:36:58,133
of any industry in
the United States of America.

533
00:36:58,216 --> 00:37:00,218
Even worse than coal mining.

534
00:37:02,595 --> 00:37:05,223
It wasn't always this way,

535
00:37:05,306 --> 00:37:08,393
in fact, the very first
narrative film,

536
00:37:08,476 --> 00:37:11,229
the very first use of film
to tell a story

537
00:37:11,312 --> 00:37:14,274
versus just documenting
an existing event,

538
00:37:14,357 --> 00:37:18,653
features a woman subject,
a woman protagonist

539
00:37:18,737 --> 00:37:23,491
and was created by a woman
producer, writer, director,

540
00:37:23,575 --> 00:37:29,706
Alice guy blaché, in 1896.

541
00:37:29,789 --> 00:37:32,751
During early Hollywood,
during the silent era,

542
00:37:32,834 --> 00:37:35,378
there was a significant amount
of women

543
00:37:35,462 --> 00:37:37,964
working in the new industry

544
00:37:38,047 --> 00:37:41,968
that had a significant amount
of power, of artistic agency.

545
00:37:42,051 --> 00:37:47,223
This is a really special
moment for women directors.

546
00:37:51,478 --> 00:37:54,939
“The red kimono"
by Dorothy Davenport

547
00:37:55,023 --> 00:37:57,942
expresses the inner
subjective experience

548
00:37:58,026 --> 00:37:59,736
of the main character,

549
00:37:59,819 --> 00:38:02,530
who was forced into
prostitution.

550
00:38:10,872 --> 00:38:14,501
Once the transition
to sound takes place,

551
00:38:14,584 --> 00:38:16,795
wall street is brought in
because the transition

552
00:38:16,878 --> 00:38:20,340
to sound has significant
financial demands

553
00:38:20,423 --> 00:38:24,677
and so the masculinized culture
of wall street then begins

554
00:38:24,761 --> 00:38:26,304
to structure Hollywood.

555
00:38:27,514 --> 00:38:29,516
The most pressing need today

556
00:38:29,599 --> 00:38:31,267
is to start the flow of capital

557
00:38:31,351 --> 00:38:33,269
which turns the wheels
of industry.

558
00:38:33,353 --> 00:38:37,857
Women are maneuvered
out of these positions

559
00:38:37,941 --> 00:38:43,279
of artistic, creative power,
and then for 40 years

560
00:38:43,363 --> 00:38:46,115
there were only two women making
feature films in Hollywood,

561
00:38:46,199 --> 00:38:48,284
Dorothy arzner and ida lupino.

562
00:39:02,632 --> 00:39:05,218
Go ahead and stare,
I'm not ashamed.

563
00:39:05,301 --> 00:39:06,970
Go on, laugh,
get your money's worth.

564
00:39:07,053 --> 00:39:09,556
Nobody is going to hurt you.

565
00:39:09,639 --> 00:39:11,200
I know you want me
to tear my clothes off

566
00:39:11,224 --> 00:39:13,434
so that you can look
your 50 cents worth.

567
00:39:13,518 --> 00:39:15,186
50 cents for the privilege
of staring

568
00:39:15,270 --> 00:39:18,147
at a girl the way your wives
won't let you.

569
00:39:18,231 --> 00:39:19,991
So that you can go home
when the show is over

570
00:39:20,024 --> 00:39:22,026
and strut before your
wives and sweethearts

571
00:39:22,110 --> 00:39:24,487
and play at being the
stronger sex for a minute?

572
00:39:29,200 --> 00:39:31,870
I'm sure they see through you
just like we do.

573
00:39:35,874 --> 00:39:39,502
Dorothy arzner's
women defined themselves

574
00:39:39,586 --> 00:39:41,796
and very beautifully so.

575
00:39:41,880 --> 00:39:45,133
Sadly, she was a rare exception

576
00:39:45,216 --> 00:39:48,761
and a male perspective
continued to control cinema

577
00:39:48,845 --> 00:39:51,347
for decades.

578
00:39:51,431 --> 00:39:55,143
I think the history of
Hollywood often times, you know,

579
00:39:55,226 --> 00:39:59,355
has made it so that the word
director is synonymous

580
00:39:59,439 --> 00:40:02,358
with a male director.

581
00:40:02,442 --> 00:40:05,153
You know, that's what it
has been for many years

582
00:40:05,236 --> 00:40:07,614
and still is, I think,
to this day.

583
00:40:07,697 --> 00:40:11,075
I, you know, I never thought,

584
00:40:11,159 --> 00:40:15,246
oh, I'm going to go to school
and be a film director.

585
00:40:15,330 --> 00:40:17,081
You didn't say that back then.

586
00:40:17,165 --> 00:40:21,210
Maybe I could be an editor
or a script supervisor

587
00:40:21,294 --> 00:40:25,757
or some other job that
girls could do on a movie.

588
00:40:25,840 --> 00:40:28,509
Never occurred to me
when I was in school,

589
00:40:28,593 --> 00:40:30,637
went all the way through
and got a master's degree,

590
00:40:30,720 --> 00:40:33,389
never occurred to me that
I could be a director.

591
00:40:34,724 --> 00:40:36,851
No, actually I wanted
to talk to you

592
00:40:36,935 --> 00:40:39,228
about dawn's project,
"real life"

593
00:40:39,312 --> 00:40:41,189
it could be exactly what
Cyrus is looking for

594
00:40:41,272 --> 00:40:43,566
and I was thinking we get
somebody really big to direct,

595
00:40:43,650 --> 00:40:46,069
maybe penny Marshall?

596
00:40:46,152 --> 00:40:48,571
What? Shut up, listen,
and learn.

597
00:40:48,655 --> 00:40:51,741
Avoid women directors,
they ovulate.

598
00:40:53,451 --> 00:40:58,039
By the time I started prepping
to make "daughters of the dust"

599
00:40:58,122 --> 00:41:01,918
I was very much aware I was,
you know, a graduate of afi,

600
00:41:02,001 --> 00:41:04,087
a graduate of ucla,

601
00:41:04,170 --> 00:41:11,177
and I was very much aware of
point of view camera placement.

602
00:41:11,803 --> 00:41:17,892
So I very much placed my
camera within the circle,

603
00:41:17,976 --> 00:41:19,644
within the culture of women.

604
00:41:19,727 --> 00:41:21,813
I wanted to depict something

605
00:41:21,896 --> 00:41:25,149
that had never been seen before.

606
00:41:25,233 --> 00:41:32,240
Once I saw a pink satin case
for jewelry for each woman

607
00:41:32,323 --> 00:41:34,659
in a shop window.

608
00:41:34,742 --> 00:41:38,705
I couldn't afford
that case for myself.

609
00:41:38,788 --> 00:41:41,165
And I didn't ask nobody
to buy it for me, you know.

610
00:41:44,585 --> 00:41:48,256
But in my mind I put
all those bad memories

611
00:41:48,339 --> 00:41:50,591
in that case
and I locked them there.

612
00:41:53,594 --> 00:41:57,306
I don't let nothing in that case

613
00:41:57,390 --> 00:42:00,935
or nobody outside the case
tell me who I am

614
00:42:01,019 --> 00:42:02,395
and how I should feel about me.

615
00:42:06,315 --> 00:42:10,403
Yeah, in 1991, when we did,
when we were at Sundance

616
00:42:10,486 --> 00:42:12,030
and I had
"daughters of the dust"

617
00:42:12,113 --> 00:42:15,575
and you had "queen of diamonds,"

618
00:42:15,658 --> 00:42:18,828
we were kind of like
pushed to the background,

619
00:42:18,911 --> 00:42:23,833
it was like "nice job, girls.
See you later."

620
00:42:23,916 --> 00:42:25,716
And all of the other
filmmakers who were there

621
00:42:25,793 --> 00:42:28,921
who were male did go on
to make, you know,

622
00:42:29,005 --> 00:42:32,508
many, many films after that.

623
00:42:32,592 --> 00:42:36,804
I would've sworn that
by the turn of the century

624
00:42:36,888 --> 00:42:39,807
that there will be 50%
of people making films

625
00:42:39,891 --> 00:42:41,559
would've been women.

626
00:42:41,642 --> 00:42:45,480
And due to that,
the whole way of thinking

627
00:42:45,563 --> 00:42:47,523
about the image and about gender

628
00:42:47,607 --> 00:42:50,026
would've been
completely transformed.

629
00:42:50,109 --> 00:42:52,862
And it just seems
extraordinary thinking back,

630
00:42:52,945 --> 00:42:56,449
how little progress
has actually been made.

631
00:42:56,532 --> 00:43:00,244
You know, when I went to
Sundance with my first feature,

632
00:43:00,328 --> 00:43:06,000
I couldn't get an agent and
I couldn't get a distributor.

633
00:43:06,084 --> 00:43:09,212
You know, and I would
have male agents write me

634
00:43:09,295 --> 00:43:13,841
to see the film and then they
would say, "it's not for me

635
00:43:13,925 --> 00:43:15,968
or it's not what
I'm looking for."

636
00:43:16,052 --> 00:43:17,887
And then you would look
at their rosters,

637
00:43:17,970 --> 00:43:19,931
like this was just 2013,

638
00:43:20,014 --> 00:43:21,849
you know, I would look
at their rosters

639
00:43:21,933 --> 00:43:24,769
and their rosters were all male.

640
00:43:24,852 --> 00:43:28,481
Then it's like "okay, well, I
know what you're looking for."

641
00:43:28,564 --> 00:43:31,943
You know, what kind of
coded language is that?

642
00:43:33,569 --> 00:43:34,849
There's still only 3 women

643
00:43:34,904 --> 00:43:38,991
in competition out of 21 films.

644
00:43:39,075 --> 00:43:42,161
And that's because the director
of the film festival said,

645
00:43:42,245 --> 00:43:44,664
"we just look
for the best films.

646
00:43:44,747 --> 00:43:46,249
It has nothing to do
with gender,

647
00:43:46,332 --> 00:43:49,210
we just look for
the best films."

648
00:43:49,293 --> 00:43:50,920
With all due respect,

649
00:43:51,003 --> 00:43:55,508
this comment does not reflect
very much understanding

650
00:43:55,591 --> 00:43:57,635
of the concept of diversity

651
00:43:57,718 --> 00:44:02,098
and the way that the idea
of good film is created

652
00:44:02,181 --> 00:44:05,685
through identification
with what is being shown,

653
00:44:05,768 --> 00:44:06,811
that's how we...

654
00:44:06,894 --> 00:44:09,438
I love this film,
I relate to this film

655
00:44:09,522 --> 00:44:11,941
because,
because it talks to me, right?

656
00:44:12,024 --> 00:44:13,860
That's how we define
what a good film is.

657
00:44:15,695 --> 00:44:16,821
Burn 'em!

658
00:44:16,904 --> 00:44:17,905
Put down the cellphone.

659
00:44:19,282 --> 00:44:21,492
Get out of the way.

660
00:44:21,576 --> 00:44:22,577
I can't get a shot!

661
00:44:37,717 --> 00:44:40,052
So Kathryn Bigelow's film
"hurt locker,"

662
00:44:40,136 --> 00:44:42,471
which was the first film
where a female ever won

663
00:44:42,555 --> 00:44:46,475
best director, was a film
about men, featuring men,

664
00:44:46,559 --> 00:44:50,730
watching men in action blowing
things up in slow motion.

665
00:44:53,191 --> 00:44:56,736
It's also quite interesting that
every single department head

666
00:44:56,819 --> 00:44:59,322
in this movie was male.

667
00:45:11,334 --> 00:45:15,004
Gender is a huge factor
when you look around the sets.

668
00:45:15,087 --> 00:45:16,672
Things haven't changed
that much,

669
00:45:16,756 --> 00:45:21,010
I feel like
it is mostly white men

670
00:45:21,093 --> 00:45:24,347
and even in my own productions
where I've funded myself,

671
00:45:24,430 --> 00:45:28,059
I'd hire a white man
and he hires all white men

672
00:45:28,142 --> 00:45:30,686
and I was like, "oh, did I
have to communicate with you,

673
00:45:30,770 --> 00:45:32,688
like, to make it inclusive?"

674
00:45:32,772 --> 00:45:34,649
There's no question that,

675
00:45:34,732 --> 00:45:41,030
because so many men are
directors of photography, 95%,

676
00:45:41,113 --> 00:45:45,284
the male gaze is definitely
normalized in our society.

677
00:45:45,368 --> 00:45:51,499
Even when a woman is the
protagonist of a film,

678
00:45:51,582 --> 00:45:56,170
she is still often
objectified and exploited.

679
00:45:59,548 --> 00:46:02,134
Here's the opening scene
when we are introduced

680
00:46:02,218 --> 00:46:05,263
to Carrie, who's the
protagonist of this film.

681
00:46:07,723 --> 00:46:09,850
We're learning about her
as a person,

682
00:46:09,934 --> 00:46:12,478
she's klutzy at sports,

683
00:46:12,561 --> 00:46:14,981
you can't win a game
with her on the team.

684
00:46:15,064 --> 00:46:16,274
She's bullied a bit.

685
00:46:17,858 --> 00:46:20,069
You eat shit.

686
00:46:20,152 --> 00:46:23,531
Then suddenly,
we cut to the interior

687
00:46:23,614 --> 00:46:25,866
of the girls' locker room.

688
00:46:28,494 --> 00:46:34,667
Slow-mo, fuzzy lighting,

689
00:46:34,750 --> 00:46:35,793
naked women.

690
00:46:41,173 --> 00:46:44,969
All while we have the names
of the male filmmakers

691
00:46:45,052 --> 00:46:47,888
superimposed over the scene.

692
00:46:50,933 --> 00:46:53,394
You have to wonder,
I mean, the last time

693
00:46:53,477 --> 00:46:58,399
I was in a woman's locker room
I wasn't prancing around.

694
00:47:03,070 --> 00:47:06,449
- When you see what's happening
is completely predatory.

695
00:47:06,532 --> 00:47:09,660
It takes the development of
that, as bell hooks says,

696
00:47:09,744 --> 00:47:12,663
oppositional gaze
to really kind of like,

697
00:47:12,747 --> 00:47:15,583
not just take things
at face value

698
00:47:15,666 --> 00:47:20,129
and to investigate a little
further and ask, like,

699
00:47:20,212 --> 00:47:22,340
what is this communicating?

700
00:47:27,928 --> 00:47:31,390
So here we get the girl
who was being bullied,

701
00:47:31,474 --> 00:47:33,642
who was the subject of the story

702
00:47:33,726 --> 00:47:37,271
in a completely
non-sequitur scene.

703
00:47:39,774 --> 00:47:40,858
This one student told me,

704
00:47:40,941 --> 00:47:42,151
"when I'm in the shower,

705
00:47:42,234 --> 00:47:44,445
I'm imagining how I look.

706
00:47:44,528 --> 00:47:46,322
When I'm alone in the shower."

707
00:47:46,405 --> 00:47:49,825
You can't even have
an experience of your own body

708
00:47:49,909 --> 00:47:51,744
without seeing your own body

709
00:47:51,827 --> 00:47:57,124
from this like weird
perspective of, you know, that.

710
00:47:57,208 --> 00:48:00,795
So many of the examples, I
wanted to watch and just enjoy,

711
00:48:00,878 --> 00:48:02,713
the way that
they are supposed to be,

712
00:48:02,797 --> 00:48:04,673
the way that they
are supposed to be fun,

713
00:48:04,757 --> 00:48:08,010
the way that they are supposed
to be tantalizing or sexy.

714
00:48:08,094 --> 00:48:12,181
My first reaction was to
just ingest it that way,

715
00:48:12,264 --> 00:48:14,392
because that
was the easiest thing

716
00:48:14,475 --> 00:48:17,728
and I had to consciously
decide to lift the veil

717
00:48:17,812 --> 00:48:21,899
of my perception
and it brought up anger

718
00:48:21,982 --> 00:48:25,111
and it brought up the way
my own mother taught me

719
00:48:25,194 --> 00:48:27,029
to think about my body
and the way she thought

720
00:48:27,113 --> 00:48:29,365
about her body.

721
00:48:29,448 --> 00:48:32,785
And I'm thinking about
the way I'm being taught

722
00:48:32,868 --> 00:48:37,123
to think about my body on
a minute by minute basis.

723
00:48:40,751 --> 00:48:41,812
We've secured the perimeter

724
00:48:41,836 --> 00:48:44,036
but I don't think we should
hold it for too much longer.

725
00:48:47,633 --> 00:48:49,111
Well, in watching
the avengers movies,

726
00:48:49,135 --> 00:48:52,012
even when I'm watching Scarlet
Johansson play "black widow"

727
00:48:52,096 --> 00:48:54,014
and she's taking a very
active role, right?

728
00:48:54,098 --> 00:48:56,976
It still makes me
feel like women,

729
00:48:57,059 --> 00:48:59,562
even at their most empowered
in culture right now

730
00:48:59,645 --> 00:49:03,023
are still subject to this
predatory way of looking.

731
00:49:13,451 --> 00:49:15,995
We're seeing this woman
maybe as a boss,

732
00:49:16,078 --> 00:49:18,330
but we are seeing, you know,

733
00:49:18,414 --> 00:49:21,709
yes, details of her chest
or, you know, boobs, or butt,

734
00:49:21,792 --> 00:49:22,835
or whatever.

735
00:49:22,918 --> 00:49:26,505
So it is working on your
brain in a subliminal way,

736
00:49:26,589 --> 00:49:28,424
like, in a subtext.

737
00:49:28,507 --> 00:49:30,259
I think it does have an effect

738
00:49:30,342 --> 00:49:32,470
and we all are susceptible
to this.

739
00:49:44,773 --> 00:49:46,484
Communists claim to leadership

740
00:49:46,567 --> 00:49:48,235
can't be upheld much longer

741
00:49:48,319 --> 00:49:50,654
and if rapid change
is not forthcoming,

742
00:49:50,738 --> 00:49:52,698
today's relatively calm protests

743
00:49:52,781 --> 00:49:55,409
could be seen as the calm
before the storm.

744
00:50:00,456 --> 00:50:02,208
I've had a pretty shitty day
so far

745
00:50:02,291 --> 00:50:04,335
but it looks like
it just got worse.

746
00:50:11,383 --> 00:50:14,345
Even in Patty Jenkins'
"wonder woman"

747
00:50:14,428 --> 00:50:17,264
the actress almost looks
like she's walking down

748
00:50:17,348 --> 00:50:18,807
a model's runaway.

749
00:50:21,560 --> 00:50:24,396
It's ridiculous when you
have these wonder women,

750
00:50:24,480 --> 00:50:26,941
power women,
and yet they are shot

751
00:50:27,024 --> 00:50:33,405
and they're stylized, and
they're costumed to look like,

752
00:50:33,489 --> 00:50:36,784
you know,
another post modern Barbie.

753
00:50:38,202 --> 00:50:41,413
If that's all we're seeing,

754
00:50:41,497 --> 00:50:44,750
it's invisible, it's the air,
you don't notice the air.

755
00:50:44,833 --> 00:50:48,504
So that, it's just as likely
for a woman to reproduce

756
00:50:48,587 --> 00:50:50,756
those tropes as it is for a man.

757
00:51:23,455 --> 00:51:26,083
Notice bill Murray,
we get his face,

758
00:51:26,166 --> 00:51:27,626
we get his feelings.

759
00:51:27,710 --> 00:51:31,088
He's in 3D light.

760
00:51:31,171 --> 00:51:37,469
He's having an experience,
a human experience of his own,

761
00:51:37,553 --> 00:51:41,807
whereas the lead actress
is introduced

762
00:51:41,890 --> 00:51:47,229
via see-through underwear,
fuzzy lighting,

763
00:51:47,313 --> 00:51:49,440
fragmented body.

764
00:51:49,523 --> 00:51:53,986
And one might wonder if this
is supposed to be her face.

765
00:51:56,614 --> 00:52:01,285
"Bombshell" is interesting
because the content of the film

766
00:52:01,368 --> 00:52:03,078
is ostensibly feminist.

767
00:52:03,162 --> 00:52:06,665
It's about women who were
sexually harassed on the job.

768
00:52:06,749 --> 00:52:10,919
Then they went into a
lawsuit against Roger ailes

769
00:52:11,003 --> 00:52:12,379
and they actually won.

770
00:52:14,048 --> 00:52:18,677
There's only one scene
where we see

771
00:52:18,761 --> 00:52:22,931
sexual harassment happening
in front of the camera.

772
00:52:23,015 --> 00:52:24,350
- Let me see your legs.

773
00:52:30,272 --> 00:52:33,817
So let's watch how that
scene was constructed.

774
00:52:37,529 --> 00:52:39,531
- It's a visual medium, Kayla.

775
00:52:41,784 --> 00:52:42,910
Come on.

776
00:52:50,209 --> 00:52:51,543
Higher.

777
00:53:07,142 --> 00:53:08,811
Come on, higher.

778
00:53:30,374 --> 00:53:31,959
That's fine, Kayla.

779
00:53:32,042 --> 00:53:36,130
Needless to say this shot
is not from Kayla's point

780
00:53:36,213 --> 00:53:41,093
of view, right?

781
00:53:43,303 --> 00:53:46,181
How would you shoot that
scene where you really felt

782
00:53:46,265 --> 00:53:50,644
like we're feeling
what margot is feeling,

783
00:53:50,728 --> 00:53:55,607
but not being exploitative
about it or objectifying her?

784
00:53:55,691 --> 00:53:58,652
Could it have been better
if we just implied it

785
00:53:58,736 --> 00:53:59,862
and stayed on her face?

786
00:53:59,945 --> 00:54:01,822
I mean, that would've been
another choice

787
00:54:01,905 --> 00:54:05,993
or if we showed her gaze
on the guy

788
00:54:06,076 --> 00:54:10,330
and just watch her watching
him more, you know.

789
00:54:10,414 --> 00:54:12,124
There could've been
other ways to do it.

790
00:54:12,207 --> 00:54:13,792
As audre lord said,

791
00:54:13,876 --> 00:54:15,919
"the master's tools
will never dismantle

792
00:54:16,003 --> 00:54:18,005
the master's house."

793
00:54:18,088 --> 00:54:22,885
We could apply that quote to
the male gaze way of filming.

794
00:54:22,968 --> 00:54:29,975
When you use those tools to
reinforce, reenact, rekindle

795
00:54:32,519 --> 00:54:36,565
objectifying women,
then there's a problem.

796
00:54:43,405 --> 00:54:44,782
Here's another film,

797
00:54:44,865 --> 00:54:47,242
in this case directed by a woman

798
00:54:47,326 --> 00:54:51,330
that has been described
as feminist.

799
00:54:51,413 --> 00:54:55,083
It features the objectification
of very young girls.

800
00:55:00,005 --> 00:55:02,216
And while your topic
such as in "cuties"

801
00:55:02,299 --> 00:55:05,969
can be about the objectification
of women and girls,

802
00:55:06,053 --> 00:55:07,429
in the case of "cuties,"

803
00:55:07,513 --> 00:55:10,307
you can still perpetuate
a way of shot design

804
00:55:10,390 --> 00:55:12,810
that really appropriates
the male way of looking

805
00:55:12,893 --> 00:55:15,771
and really just
regurgitates that male gaze,

806
00:55:15,854 --> 00:55:18,273
even though you're a female
director.

807
00:55:25,739 --> 00:55:28,784
It's important to
remember that the male gaze

808
00:55:28,867 --> 00:55:32,663
onto young girls
is not a new phenomenon.

809
00:55:37,584 --> 00:55:40,921
Pretty baby was nominated
for the palm d'or

810
00:55:41,004 --> 00:55:42,840
at the cannes film festival.

811
00:55:47,678 --> 00:55:51,640
Leon, I think I'm kind of
falling in love with you.

812
00:55:55,018 --> 00:55:56,770
It's the first time
for me, you know.

813
00:55:57,980 --> 00:55:59,189
How do you know it's love

814
00:55:59,273 --> 00:56:01,692
if you've never been in
love before?

815
00:56:01,775 --> 00:56:02,818
'Cause I feel it.

816
00:56:05,028 --> 00:56:06,113
Where?

817
00:56:09,533 --> 00:56:11,618
In my stomach.

818
00:56:11,702 --> 00:56:14,705
The reversal of desire
with younger women

819
00:56:14,788 --> 00:56:17,749
is completely...

820
00:56:20,627 --> 00:56:23,922
It's ubiquitous, it's
pervasive and it's so erroneous

821
00:56:24,006 --> 00:56:25,757
and it's so harmful.

822
00:56:37,853 --> 00:56:39,133
I mean, you see it
time and again

823
00:56:39,187 --> 00:56:40,999
in the way that, like,
courts will rule in favor

824
00:56:41,023 --> 00:56:42,900
of the predator because
they'll say, you know,

825
00:56:42,983 --> 00:56:44,109
"it was consensual."

826
00:56:44,192 --> 00:56:45,986
This whole consensual thing,
right?

827
00:56:47,654 --> 00:56:48,822
I don't know.

828
00:56:48,906 --> 00:56:51,783
I don't think the 13 year-old
even knew what to consent to.

829
00:57:11,887 --> 00:57:15,057
It's difficult to
think of any examples

830
00:57:15,140 --> 00:57:19,186
where boys are shot like this.

831
00:57:19,269 --> 00:57:23,440
In fact, boys are recruited
into the male gaze

832
00:57:23,523 --> 00:57:25,400
at a very young age.

833
00:57:29,571 --> 00:57:31,114
Hoochie mama.

834
00:57:32,449 --> 00:57:34,409
What does that mean?

835
00:57:34,493 --> 00:57:36,954
I don't know but it feels right.

836
00:57:42,751 --> 00:57:43,752
Nice.

837
00:57:46,463 --> 00:57:49,675
This right here
is a long standing

838
00:57:49,758 --> 00:57:54,054
and very popular shot design
angle on a woman's body.

839
00:58:06,358 --> 00:58:10,404
Of course, we have many
sexy male stars.

840
00:58:10,487 --> 00:58:12,239
How are they shot?

841
00:58:17,411 --> 00:58:22,833
Almost always full body and
involved in some sort of action.

842
00:58:34,553 --> 00:58:37,973
In "crazy rich asians"
there's a scene

843
00:58:38,056 --> 00:58:40,392
where the woman character
looks with desire

844
00:58:40,475 --> 00:58:42,686
on her boyfriend.

845
00:58:42,769 --> 00:58:44,021
- Hubba, hubba!

846
00:58:44,104 --> 00:58:49,443
Notably, his body is full frame
and he moves into action.

847
00:58:53,321 --> 00:58:55,699
Her ' e m cuarén's " roma"

848
00:58:55,782 --> 00:58:59,036
there's an unusual case
of full frontal nudity

849
00:58:59,119 --> 00:59:00,787
for a male actor.

850
00:59:00,871 --> 00:59:05,000
And yet consistently
it's full frame on his body

851
00:59:05,083 --> 00:59:08,920
and he's involved in
a military style action.

852
00:59:27,022 --> 00:59:29,024
Here's even a further example

853
00:59:29,107 --> 00:59:32,527
where we have an overt
sexualized object of the gaze,

854
00:59:32,611 --> 00:59:34,821
men performing
in a club for women.

855
00:59:34,905 --> 00:59:38,492
And yet amazingly their
bodies are not fragmented

856
00:59:38,575 --> 00:59:41,369
for an extended sequence.

857
00:59:41,453 --> 00:59:43,371
I do know and I've been told!

858
00:59:43,455 --> 00:59:45,266
Big dick
ritchie got a cock of gold.

859
00:59:45,290 --> 00:59:46,958
- Big dick ritchie
got a cock of gold.

860
00:59:47,042 --> 00:59:49,127
- Now, let's give it
up for the virgin king.

861
00:59:49,211 --> 00:59:50,962
- Let's give it up
for the virgin king!

862
00:59:56,510 --> 01:00:00,097
- There's a kind of taboo
on the male body

863
01:00:00,180 --> 01:00:04,518
being exposed
as the object of the look.

864
01:00:04,601 --> 01:00:11,024
So he has to be protected by
having this energetic drive.

865
01:00:11,108 --> 01:00:13,443
Ho, ho, ho, ho!

866
01:00:13,527 --> 01:00:18,448
On the other hand,
the female protagonist

867
01:00:18,532 --> 01:00:21,243
takes on this role of spectacle.

868
01:00:21,326 --> 01:00:23,203
General anesthetic?

869
01:00:23,286 --> 01:00:24,412
General anesthetic.

870
01:00:31,503 --> 01:00:36,299
And the male protagonist is
often controlling the movement

871
01:00:36,383 --> 01:00:39,636
of the story forward,
controlling people,

872
01:00:39,719 --> 01:00:43,223
controlling the woman
and subordinating her

873
01:00:43,306 --> 01:00:46,935
to his will and determination.

874
01:00:52,774 --> 01:00:53,775
How's that?

875
01:00:54,818 --> 01:00:56,027
Perfect.

876
01:01:01,658 --> 01:01:05,287
You know, I always think
of the sleeping beauty story

877
01:01:05,370 --> 01:01:08,165
where you have, you know,
the fairy tale

878
01:01:08,248 --> 01:01:10,959
that we read as children.

879
01:01:11,042 --> 01:01:14,504
The prince is galloping
along and he chops down

880
01:01:14,588 --> 01:01:18,049
all the thorns and he
reaches the sleeping beauty.

881
01:01:49,831 --> 01:01:52,292
You look back on a movie now,
like "sixteen candles"

882
01:01:52,375 --> 01:01:54,544
"oh my god, that was
like a date rape drug."

883
01:01:54,628 --> 01:01:56,087
I mean, trying
to get people drunk,

884
01:01:56,171 --> 01:02:00,133
I mean, stuff that we've been
programmed to just accept

885
01:02:00,217 --> 01:02:04,346
and actually not accept,
embrace, you know, emulate.

886
01:02:32,123 --> 01:02:36,253
In fact, the position
of the passive object

887
01:02:36,336 --> 01:02:40,257
is so deeply coded as feminine

888
01:02:40,340 --> 01:02:42,926
and the passivity
of that feminine object

889
01:02:43,009 --> 01:02:46,096
is seen as highly sexual,

890
01:02:46,179 --> 01:02:49,057
to a point where, for
example, in this scene

891
01:02:49,140 --> 01:02:51,268
from "after hours"

892
01:02:51,351 --> 01:02:56,690
the sexy passive object is so
passive, she's actually dead.

893
01:03:07,492 --> 01:03:12,664
I'm dead, in bed, and the
camera does go slowly down

894
01:03:12,747 --> 01:03:14,499
the stream of my body.

895
01:03:14,582 --> 01:03:16,422
Yeah, and I look back at
that now and just like

896
01:03:16,459 --> 01:03:18,044
"wow, what was I...

897
01:03:18,128 --> 01:03:21,423
It was just part of
what you did, you know?

898
01:03:21,506 --> 01:03:22,882
It was part of the storytelling.

899
01:03:26,970 --> 01:03:31,099
Stories about very
beautiful, unconscious women

900
01:03:31,182 --> 01:03:34,811
continue to exert
a certain fascination.

901
01:03:39,774 --> 01:03:41,401
I didn't realize that
as a young man,

902
01:03:41,484 --> 01:03:44,988
I was, in a way, trained
to objectify women.

903
01:03:45,071 --> 01:03:47,324
What I found in watching
this talk was,

904
01:03:47,407 --> 01:03:51,328
if this woman is the object
and we're looking at this woman

905
01:03:51,411 --> 01:03:52,787
from this lens,

906
01:03:52,871 --> 01:03:55,040
we will see so many women
from that lens,

907
01:03:55,123 --> 01:03:56,434
which makes us think
we can just have

908
01:03:56,458 --> 01:03:58,335
whichever one we want, right?

909
01:03:58,418 --> 01:04:01,504
And when that woman doesn't
have the speaking roles,

910
01:04:01,588 --> 01:04:04,924
we see her, like in "raging
bull" we can't hear her talk.

911
01:04:05,008 --> 01:04:07,302
So we have no idea
of her emotion.

912
01:04:07,385 --> 01:04:09,179
You have no idea of
who she is as a person,

913
01:04:09,262 --> 01:04:10,305
to what you were saying.

914
01:04:10,388 --> 01:04:12,682
So it's like, of course I can
just objectify these women

915
01:04:12,766 --> 01:04:14,366
and just use them
and do whatever I want.

916
01:04:14,392 --> 01:04:16,519
Because even in the
imagery that I've seen,

917
01:04:16,603 --> 01:04:19,314
I've never had to think
about how she feels

918
01:04:19,397 --> 01:04:20,398
about my actions.

919
01:04:24,486 --> 01:04:28,239
Harry Dean Stanton in
complete 3D lighting.

920
01:04:29,449 --> 01:04:30,742
His eyes are closed.

921
01:04:33,703 --> 01:04:35,955
We can hear
Natasha kinsky's voice

922
01:04:36,039 --> 01:04:38,333
but we can't see her
because we're completely

923
01:04:38,416 --> 01:04:40,210
in his point of view.

924
01:04:40,293 --> 01:04:45,382
When he looks up, we
get to see the 2d vision

925
01:04:45,465 --> 01:04:46,466
of the young woman.

926
01:04:49,677 --> 01:04:54,557
If there's anything
you want to talk about,

927
01:04:54,641 --> 01:04:56,893
I'll just listen, all right?

928
01:04:58,520 --> 01:05:01,064
I'm a real good listener.

929
01:05:07,570 --> 01:05:09,614
The way we look at films
will always change

930
01:05:09,697 --> 01:05:11,825
and there will always
be a cultural moment

931
01:05:11,908 --> 01:05:15,161
that may allow us to
reflect on a film's impact

932
01:05:15,245 --> 01:05:16,329
in different ways.

933
01:05:16,413 --> 01:05:20,417
There's a nostalgia
that is dangerous.

934
01:05:20,500 --> 01:05:23,628
That when you're putting a
film in a moment of nostalgia

935
01:05:23,711 --> 01:05:27,298
you are saying that
everything it says is perfect

936
01:05:27,382 --> 01:05:31,261
and I think that's where
we get into trouble.

937
01:05:31,344 --> 01:05:33,346
Take your clothes off.

938
01:05:33,430 --> 01:05:35,473
Mooki, I already told you
it's too fucking hot

939
01:05:35,557 --> 01:05:37,100
to make love.

940
01:05:37,183 --> 01:05:38,351
It's too fucking hot? Yeah.

941
01:05:38,435 --> 01:05:39,769
Why are you always cursing?

942
01:05:39,853 --> 01:05:41,122
I don't fucking curse that much.

943
01:05:41,146 --> 01:05:42,415
Of course you fucking
curse that much.

944
01:05:42,439 --> 01:05:43,958
What the hell are you
talking about, mooki?

945
01:05:43,982 --> 01:05:45,650
- All you do is curse.
- I do not.

946
01:05:45,733 --> 01:05:48,987
Anyway, no rawness is jumping
off tonight, all right?

947
01:05:49,070 --> 01:05:50,697
And that's it.

948
01:05:50,780 --> 01:05:51,781
No rawness?

949
01:05:53,158 --> 01:05:55,410
Mooki, come on.

950
01:05:56,536 --> 01:05:58,663
I mean it. I'm not playing.

951
01:05:58,746 --> 01:06:00,165
I'm not playing.

952
01:06:00,248 --> 01:06:03,209
Spike Lee is, of course,
the director of this film,

953
01:06:03,293 --> 01:06:06,504
as well as being the main
character and the subject.

954
01:06:06,588 --> 01:06:10,884
So, controlling the
story on multiple levels.

955
01:06:16,556 --> 01:06:19,809
Look, freeze, don't move,
I'll be right back, okay?

956
01:06:19,893 --> 01:06:21,769
Just stay there.

957
01:06:21,853 --> 01:06:24,147
Just stay there.
Freeze. Don't move.

958
01:06:24,230 --> 01:06:25,231
I'll be right back.

959
01:06:25,315 --> 01:06:27,235
What the hell you got me
standing on the bed for?

960
01:06:27,317 --> 01:06:28,985
Where the hell are you going?

961
01:06:29,068 --> 01:06:30,236
Thank god for the neck.

962
01:06:33,281 --> 01:06:35,492
Thank god for the knee caps.

963
01:06:38,328 --> 01:06:40,121
Thank god for elbows.

964
01:06:41,789 --> 01:06:43,666
Thank god for thighs.

965
01:06:46,294 --> 01:06:47,795
Thank god for the right nipple

966
01:06:50,173 --> 01:06:51,716
thank god for the left nipple.

967
01:06:52,800 --> 01:06:54,260
It feels good.

968
01:06:54,344 --> 01:06:57,055
Ah, you likes
you likes you likes.

969
01:06:57,138 --> 01:06:59,682
In this clip, first
of all, you, of course,

970
01:06:59,766 --> 01:07:02,268
have the male voice
describing the female body

971
01:07:02,352 --> 01:07:03,978
while she's silent.

972
01:07:04,062 --> 01:07:06,814
But there's another interesting
aspect to this clip.

973
01:07:09,734 --> 01:07:11,402
The beginning of the scene,

974
01:07:11,486 --> 01:07:15,740
spike Lee is trying
to convince this woman

975
01:07:15,823 --> 01:07:19,744
to have sex with him and she's
pretty strong in saying no,

976
01:07:19,827 --> 01:07:22,121
but by the time we get
to the end of the scene,

977
01:07:22,205 --> 01:07:24,082
she's decided to agree.

978
01:07:24,165 --> 01:07:26,584
And she appears
at the end of the scene

979
01:07:26,668 --> 01:07:30,296
to be actually very happy
that she said, yes.

980
01:07:33,132 --> 01:07:36,302
This kind of scene
where a woman says no,

981
01:07:36,386 --> 01:07:39,013
and the man insists and
then in the end she's happy,

982
01:07:39,097 --> 01:07:42,392
this kind of scene we could
make a 10 hour lecture,

983
01:07:42,475 --> 01:07:45,770
just going from one example
to another,

984
01:07:45,853 --> 01:07:50,275
showing kazillion examples of
where that kind of behavior

985
01:07:50,358 --> 01:07:53,444
is normalized
and even celebrated.

986
01:07:53,528 --> 01:07:56,489
And this too
is a very important reason

987
01:07:56,573 --> 01:08:01,119
why we have an epidemic of
sexual abuse and sexual assault.

988
01:08:13,464 --> 01:08:16,134
The sudden change in
music tells us exactly

989
01:08:16,217 --> 01:08:18,886
how we're supposed to
feel about this scene.

990
01:08:21,723 --> 01:08:25,476
Music is a super important
element of every film,

991
01:08:25,560 --> 01:08:30,023
but only 5% of film composers
are women.

992
01:08:30,106 --> 01:08:31,774
Will you kiss me?

993
01:08:39,115 --> 01:08:41,159
Did you hear me?

994
01:09:20,198 --> 01:09:24,911
"365 days" was one of
the top watched films

995
01:09:24,994 --> 01:09:31,125
in 2020 on Netflix and they
are now making 2 sequels.

996
01:09:45,348 --> 01:09:46,516
Excuse me, miss.

997
01:09:53,481 --> 01:09:56,984
Shut up. Shut up.
Shut up. Shut up.

998
01:10:01,614 --> 01:10:02,699
Shut up!

999
01:10:04,242 --> 01:10:05,493
You're hurting me.

1000
01:10:05,576 --> 01:10:07,995
Shut your mouth
or I'll really hurt you.

1001
01:10:16,129 --> 01:10:18,464
Remember you promised me
you'd come back.

1002
01:10:22,260 --> 01:10:23,553
I promise.

1003
01:10:23,636 --> 01:10:26,055
I just want you to know

1004
01:10:26,139 --> 01:10:28,558
I think

1005
01:10:28,641 --> 01:10:33,187
you're the sweetest guy
in the world

1006
01:10:33,271 --> 01:10:34,814
and the most handsome.

1007
01:10:37,358 --> 01:10:40,069
This kind of scene
certainly contributed

1008
01:10:40,153 --> 01:10:42,655
to Yale fraternity men shouting

1009
01:10:42,739 --> 01:10:45,116
this in front of a woman's dorm.

1010
01:11:05,136 --> 01:11:09,056
The challenge with media
images around sexual assault

1011
01:11:09,140 --> 01:11:12,518
and around rape culture and
around how women are portrayed,

1012
01:11:12,602 --> 01:11:15,396
is that it normalizes
those types of behaviors

1013
01:11:15,480 --> 01:11:19,484
and so what people absorb
is through those images,

1014
01:11:19,567 --> 01:11:21,736
then they absorb those
behaviors as normal,

1015
01:11:21,819 --> 01:11:23,988
which then translates
to how they treat people

1016
01:11:24,071 --> 01:11:25,948
in the actual world.

1017
01:11:27,325 --> 01:11:31,204
Extensive research
over decades has shown

1018
01:11:31,287 --> 01:11:34,749
that after watching
sexually objectifying media,

1019
01:11:34,832 --> 01:11:38,836
men are more likely to
engage in sexual harassment

1020
01:11:38,920 --> 01:11:40,922
and abuse.

1021
01:11:41,005 --> 01:11:44,175
If you have systems
of representation

1022
01:11:44,258 --> 01:11:49,222
that always subjugate
certain people and frame them

1023
01:11:49,305 --> 01:11:53,059
and shoot them and always
makes them the objects

1024
01:11:53,142 --> 01:11:55,728
of the gaze rather than
self acting agents,

1025
01:11:55,812 --> 01:11:58,940
you're more likely to have
a culture that is susceptible

1026
01:11:59,023 --> 01:12:00,441
to rape myths.

1027
01:12:00,525 --> 01:12:04,821
The male protagonist is the
subject, he is not the object,

1028
01:12:04,904 --> 01:12:07,824
he's the hero,
he's who we revere.

1029
01:12:07,907 --> 01:12:10,201
That's very hard
to dislodge then,

1030
01:12:10,284 --> 01:12:14,163
when you're faced with a
woman telling her truth

1031
01:12:14,247 --> 01:12:15,248
and her story.

1032
01:12:23,297 --> 01:12:26,259
80% of the entertainment
media content

1033
01:12:26,342 --> 01:12:30,513
that is distributed around the
world is made in Hollywood.

1034
01:12:53,411 --> 01:12:56,581
These images are coming
from an industry

1035
01:12:56,664 --> 01:12:58,958
that is built
on power imbalances,

1036
01:12:59,041 --> 01:13:01,752
which results in sexual
harassment and abuse

1037
01:13:01,836 --> 01:13:03,379
in the work place.

1038
01:13:03,462 --> 01:13:05,590
And the cycle
goes round and round.

1039
01:13:13,347 --> 01:13:14,616
One of the people

1040
01:13:14,640 --> 01:13:16,309
who was involved with the studio

1041
01:13:16,392 --> 01:13:18,102
asked to meet me for dinner.

1042
01:13:20,438 --> 01:13:21,958
He was like,
"you could play her roles,

1043
01:13:22,023 --> 01:13:23,441
you'll be like the next one."

1044
01:13:23,524 --> 01:13:26,694
And I'm thinking, yeah, he's
right. I could be like that.

1045
01:13:26,777 --> 01:13:28,362
And I do, I love her.
She's great.

1046
01:13:28,446 --> 01:13:31,574
But you know, he was like,
but you have to do this.

1047
01:13:34,493 --> 01:13:37,246
I was just thinking like,
"oh, I can't wait to get home.

1048
01:13:37,330 --> 01:13:39,749
I wish I hadn't had talked
to this guy tonight"

1049
01:13:39,832 --> 01:13:41,626
because I couldn't
see it ending well.

1050
01:13:41,709 --> 01:13:44,587
He was still talking
the whole way

1051
01:13:44,670 --> 01:13:47,381
and he was getting more and
more agitated as we drove

1052
01:13:47,465 --> 01:13:51,844
because I was still just
politely declining his offer.

1053
01:13:51,928 --> 01:13:55,097
And he said, "I want you to
take a nude jacuzzi with me.

1054
01:13:55,181 --> 01:13:57,308
Can you just come right
now and take this?"

1055
01:13:57,391 --> 01:13:58,643
This is ridiculous.

1056
01:13:59,769 --> 01:14:02,063
I started to get out of the car

1057
01:14:02,146 --> 01:14:08,152
and he reached across me

1058
01:14:08,235 --> 01:14:10,988
and palmed the window

1059
01:14:11,072 --> 01:14:14,241
on my side and put it,
and blocked me with his arm.

1060
01:14:14,325 --> 01:14:20,164
And he said, "look, I can help
you or I can fuck you up!"

1061
01:14:24,752 --> 01:14:28,923
Through the me too movement,
we know that 94%

1062
01:14:29,006 --> 01:14:31,801
think about it,
94% of women in Hollywood,

1063
01:14:31,884 --> 01:14:34,095
whether they're actresses
or behind the camera

1064
01:14:34,178 --> 01:14:36,806
experienced sexual harassment
or assault.

1065
01:14:36,889 --> 01:14:38,659
Because people think
the entertainment industry

1066
01:14:38,683 --> 01:14:39,684
is magical,

1067
01:14:39,767 --> 01:14:41,894
they don't remember
that these are workers,

1068
01:14:41,978 --> 01:14:45,189
that these are actual human
beings who are on your screen.

1069
01:14:45,272 --> 01:14:48,693
The thought pattern
or the assumption

1070
01:14:48,776 --> 01:14:51,612
that the actor's body
is fair play,

1071
01:14:51,696 --> 01:14:54,365
both within the role
and outside of the role,

1072
01:14:54,448 --> 01:14:57,451
has been part of, you know,

1073
01:14:57,535 --> 01:14:59,662
sort of the industry's mindset.

1074
01:14:59,745 --> 01:15:03,374
It absolutely was that
if an actor said no,

1075
01:15:03,457 --> 01:15:05,584
in any way shape or form,

1076
01:15:05,668 --> 01:15:09,213
they were absolutely considered
a troublemaker, certainly,

1077
01:15:09,296 --> 01:15:12,174
and they would absolutely
be in fear of their job.

1078
01:15:12,258 --> 01:15:13,300
They were disposable.

1079
01:15:25,396 --> 01:15:27,857
Yeah, Lara are you there?

1080
01:15:27,940 --> 01:15:30,693
I'm just sitting here,
hoping to hear from you.

1081
01:15:30,776 --> 01:15:33,029
I don't care if it's three
o'clock in the morning.

1082
01:15:33,112 --> 01:15:35,448
I can't imagine
what would be so important

1083
01:15:35,531 --> 01:15:37,700
to cause you
to do that to yourself.

1084
01:15:39,452 --> 01:15:42,163
Please think very seriously
and call me tonight

1085
01:15:42,246 --> 01:15:45,374
because I think we can fix this.

1086
01:15:45,458 --> 01:15:47,793
If we can get you back
to work in time

1087
01:15:47,877 --> 01:15:51,297
to not have it destroy
your life.

1088
01:15:56,969 --> 01:16:03,059
So that is the message I
came home to back in 1989

1089
01:16:03,142 --> 01:16:08,022
after refusing to do a sex
scene that was not in my script.

1090
01:16:08,105 --> 01:16:11,067
And it basically, effectively,
ended my acting career.

1091
01:16:11,150 --> 01:16:13,360
Exactly what she said.

1092
01:16:13,444 --> 01:16:15,529
I think there's always
gonna be a power dynamic

1093
01:16:15,613 --> 01:16:18,491
with people on set
unconsciously,

1094
01:16:18,574 --> 01:16:21,202
whether they wanna verbalize
it or not, intellectually

1095
01:16:21,285 --> 01:16:24,580
and I feel it
and I've experienced it.

1096
01:16:24,663 --> 01:16:26,540
I've been in a couple
of situations

1097
01:16:26,624 --> 01:16:29,251
where I'm like trying
to improvise

1098
01:16:29,335 --> 01:16:32,171
and someone, the director,
chimes in and says,

1099
01:16:32,254 --> 01:16:33,547
"okay, now get down
on your knees

1100
01:16:33,631 --> 01:16:35,674
and give this man a blowjob."

1101
01:16:35,758 --> 01:16:37,635
Which is like non-consensual,

1102
01:16:37,718 --> 01:16:39,303
they didn't talk
to my representatives,

1103
01:16:39,386 --> 01:16:40,513
they didn't talk to me

1104
01:16:40,596 --> 01:16:42,723
and so I'm like a deer
in the headlights,

1105
01:16:42,807 --> 01:16:44,141
that's like pressure,

1106
01:16:44,225 --> 01:16:46,352
that's like,
the crew is watching,

1107
01:16:46,435 --> 01:16:47,478
what are you gonna say?

1108
01:16:47,561 --> 01:16:49,563
Cry and go like,
"please don't make me do this?"

1109
01:16:54,693 --> 01:16:58,823
This problem is not
limited to Hollywood.

1110
01:16:58,906 --> 01:17:02,284
Léa seydoux, star of
"blue is the warmest color"

1111
01:17:02,368 --> 01:17:06,455
said that the excessive hours
spent naked filming sex scenes

1112
01:17:06,539 --> 01:17:10,918
was humiliating and left her
feeling like a prostitute.

1113
01:17:12,419 --> 01:17:15,214
The film won
the top prize at cannes.

1114
01:17:18,467 --> 01:17:22,096
Maybe that's why
in his next films,

1115
01:17:22,179 --> 01:17:24,640
the "mektoub, my love" series,

1116
01:17:24,723 --> 01:17:26,350
which premiered
at the prestigious

1117
01:17:26,433 --> 01:17:28,686
venice international
film festival,

1118
01:17:28,769 --> 01:17:31,814
director kechiche
felt empowered to use

1119
01:17:31,897 --> 01:17:35,317
even more coercive methods
on set.

1120
01:17:35,401 --> 01:17:39,029
Reportedly including the
very heavy use of alcohol

1121
01:17:39,113 --> 01:17:44,869
in order to obtain his
unsimulated sex scenes.

1122
01:17:44,952 --> 01:17:46,388
And then the statements
from directors

1123
01:17:46,412 --> 01:17:49,123
saying "oh, I wanted to
get an authentic reaction

1124
01:17:49,206 --> 01:17:50,249
from somebody."

1125
01:17:50,332 --> 01:17:52,710
Well, that's not the
realm of make believe,

1126
01:17:52,793 --> 01:17:54,587
that isn't the realm of drama.

1127
01:17:54,670 --> 01:17:58,465
That's the realm of actually
choosing to assault somebody

1128
01:17:58,549 --> 01:18:01,051
for the sake of art,
or in the name of art.

1129
01:18:01,135 --> 01:18:04,388
How is rape culture normalized?

1130
01:18:04,471 --> 01:18:07,683
- Its ok, don't mind me,
keep on going.

1131
01:18:07,766 --> 01:18:09,560
There are really
three key elements

1132
01:18:09,643 --> 01:18:13,022
that we see on the
screen and in real life.

1133
01:18:13,105 --> 01:18:17,610
One is the objectification
of women's bodies,

1134
01:18:17,693 --> 01:18:21,530
another is the glamorization
of sexual assault,

1135
01:18:21,614 --> 01:18:22,990
especially on the screen.

1136
01:18:29,371 --> 01:18:33,542
And the third is disregard
for women's rights and safety.

1137
01:18:33,626 --> 01:18:37,838
Even if a hand is not
laid on another person,

1138
01:18:37,922 --> 01:18:41,550
these are all of the elements
that create an environment

1139
01:18:41,634 --> 01:18:46,180
that allows one group to
gain and maintain power

1140
01:18:46,263 --> 01:18:47,348
over another.

1141
01:19:09,286 --> 01:19:14,291
I look back at my encounter
with Harvey weinstein

1142
01:19:14,375 --> 01:19:16,585
at the Beverly Hills hotel.

1143
01:19:27,388 --> 01:19:30,891
He was in his white bath robe

1144
01:19:30,975 --> 01:19:33,102
and he wanted me to...

1145
01:19:33,185 --> 01:19:35,187
His penis was coming out
of his robe

1146
01:19:35,271 --> 01:19:37,731
and he wanted a massage.

1147
01:19:37,815 --> 01:19:41,527
I was like no,
but I'll get you a masseuse

1148
01:19:41,610 --> 01:19:44,989
and heart racing,
how do I get out of here?

1149
01:19:45,072 --> 01:19:47,283
And he says I'm making
a very big mistake,

1150
01:19:47,366 --> 01:19:49,743
"you're making
a very big mistake."

1151
01:19:49,827 --> 01:19:51,495
And I said
"I'll never be that girl."

1152
01:20:06,844 --> 01:20:09,471
The me too movement
spoke out loud about

1153
01:20:09,555 --> 01:20:13,475
what so many of us
had experienced privately.

1154
01:20:16,979 --> 01:20:22,234
In my own fiction films I often
tried to express cinematically

1155
01:20:22,318 --> 01:20:26,196
how it really feels
to be a sexualized object.

1156
01:20:47,509 --> 01:20:51,138
"Magdalena viraga"
was my first feature film,

1157
01:20:51,221 --> 01:20:53,599
which I made
at the ucla film school.

1158
01:21:01,815 --> 01:21:04,485
It stars my own sister, actress,

1159
01:21:04,568 --> 01:21:08,530
and long time collaborator,
tinka menkes.

1160
01:21:14,036 --> 01:21:18,791
This is one of 5 films
we made together.

1161
01:21:21,418 --> 01:21:26,757
Here, she's playing a
highly alienated prostitute.

1162
01:21:42,815 --> 01:21:45,526
The issues that
we are talking about,

1163
01:21:45,609 --> 01:21:50,531
they are not just, you know,
the images that we see

1164
01:21:50,614 --> 01:21:51,782
in films,

1165
01:21:51,865 --> 01:21:54,535
you know, they are not just
who's behind the camera.

1166
01:21:54,618 --> 01:21:59,456
The issue is also
in this larger context

1167
01:22:01,083 --> 01:22:03,544
of who decides what gets seen.

1168
01:22:05,087 --> 01:22:10,801
You know, we have mostly
men making decisions

1169
01:22:10,884 --> 01:22:13,178
around what gets distributed.

1170
01:22:13,262 --> 01:22:19,435
It's what gets out into the
world is curated by a male gaze.

1171
01:22:22,104 --> 01:22:23,188
- Hello, handsome.

1172
01:22:26,942 --> 01:22:30,654
Even in this Sci-Fi
vision of the future,

1173
01:22:30,737 --> 01:22:33,574
we get the same old
male subject,

1174
01:22:33,657 --> 01:22:36,743
sexualized female object
once again.

1175
01:22:36,827 --> 01:22:37,828
- You look lonely.

1176
01:22:39,746 --> 01:22:41,248
I can fix that.

1177
01:22:41,331 --> 01:22:43,917
This cinematic visual language

1178
01:22:44,001 --> 01:22:46,503
which surrounds us on all sides

1179
01:22:46,587 --> 01:22:51,925
can really feel like the bedrock
language of rape culture.

1180
01:22:59,391 --> 01:23:04,021
In fact, the name of the female
lead character in this film,

1181
01:23:04,104 --> 01:23:07,608
played by Ana de armas, is joy.

1182
01:23:07,691 --> 01:23:12,404
But they spelled it
interestingly, j-o-i.

1183
01:23:12,488 --> 01:23:19,077
In porn culture, j-o-i stands
for jerk off instructions.

1184
01:23:21,663 --> 01:23:25,584
So just think how women feel
when they go see this film,

1185
01:23:25,667 --> 01:23:28,295
then they hear about all
the academy award nominations

1186
01:23:28,378 --> 01:23:29,963
that it's getting or got.

1187
01:23:33,050 --> 01:23:36,094
- It's this horrible cycle
that Hollywood has,

1188
01:23:36,178 --> 01:23:40,140
because it takes in what the
population has that's toxic

1189
01:23:40,224 --> 01:23:42,184
and then it feeds it right back,

1190
01:23:42,267 --> 01:23:44,561
which then energizes it
and brings it right back.

1191
01:23:44,645 --> 01:23:46,939
So there is this
circle of violence.

1192
01:23:49,566 --> 01:23:53,028
This is all connected,
it's all connected.

1193
01:23:59,660 --> 01:24:03,956
- One key principle of feminism
was that the female body

1194
01:24:04,039 --> 01:24:05,749
was a sight of struggle.

1195
01:24:05,832 --> 01:24:12,839
But, it shifted to
realizing that the image

1196
01:24:13,465 --> 01:24:17,427
of the female body was
also a sight of struggle.

1197
01:24:17,511 --> 01:24:20,889
The image does not
refer to women.

1198
01:24:20,973 --> 01:24:25,060
This image is being
appropriated and produced

1199
01:24:25,143 --> 01:24:27,020
by male consciousness.

1200
01:24:34,528 --> 01:24:36,822
All of these techniques,

1201
01:24:36,905 --> 01:24:38,105
they're definitely deliberate.

1202
01:24:38,156 --> 01:24:41,535
We don't know if they're
conscious or unconscious,

1203
01:24:41,618 --> 01:24:42,786
but they're deliberate.

1204
01:24:44,162 --> 01:24:45,330
Deliberate decisions.

1205
01:24:45,414 --> 01:24:48,208
Someone made a decision
how to shoot that person.

1206
01:24:52,838 --> 01:24:55,799
It's worth taking a moment
to consider

1207
01:24:55,882 --> 01:24:58,218
that the objectifying
camera techniques

1208
01:24:58,302 --> 01:25:02,264
we've been discussing
can also sometimes be seen

1209
01:25:02,347 --> 01:25:06,768
in other types
of very telling contexts.

1210
01:25:08,395 --> 01:25:11,398
For example,
in "silence of the lambs"

1211
01:25:11,481 --> 01:25:15,068
the character buffalo bill
is in the masculine zone

1212
01:25:15,152 --> 01:25:17,904
with the goggles as the murderer

1213
01:25:17,988 --> 01:25:21,992
with Jodie foster as
the object of his gaze.

1214
01:25:25,579 --> 01:25:28,832
But, when he is
feminizing himself,

1215
01:25:28,915 --> 01:25:32,377
when he's in the
so called feminine position,

1216
01:25:32,461 --> 01:25:35,255
he is shot just like a woman.

1217
01:25:38,759 --> 01:25:40,594
- Watching the scene
with buffalo bill

1218
01:25:40,677 --> 01:25:43,263
when you have this almost
deformation of self

1219
01:25:43,347 --> 01:25:47,601
to uphold this white male
gaze behind the camera,

1220
01:25:47,684 --> 01:25:50,562
it was the internalized sexism
and internalized misogyny

1221
01:25:50,646 --> 01:25:52,773
that was showing up in that
space for that character.

1222
01:25:52,856 --> 01:25:54,191
It's not only for cis women,

1223
01:25:54,274 --> 01:25:56,526
but also trans folks
and other folks

1224
01:25:56,610 --> 01:25:59,404
who don't fit the boundaries.

1225
01:25:59,488 --> 01:26:02,032
As I was re-watching the scene
and just remembering

1226
01:26:02,115 --> 01:26:05,243
how much trauma has been
caused by a scene like that.

1227
01:26:10,957 --> 01:26:13,168
So I'm gonna show you a film now

1228
01:26:13,251 --> 01:26:15,921
that is not an a list movie.

1229
01:26:16,004 --> 01:26:18,256
In fact, it's probably an f.

1230
01:26:18,340 --> 01:26:23,053
It's been called racist trash
by Roger ebert.

1231
01:26:23,136 --> 01:26:24,429
And I would agree with that.

1232
01:26:24,513 --> 01:26:27,349
But I'd like to take a look
at the scene today,

1233
01:26:27,432 --> 01:26:30,227
as it's quite relevant
for our analysis.

1234
01:26:32,854 --> 01:26:38,068
We have a white plantation owner
who calls a black slave

1235
01:26:38,151 --> 01:26:39,403
to come to her room.

1236
01:26:43,699 --> 01:26:48,245
She informs him that if
he doesn't have sex with her,

1237
01:26:48,328 --> 01:26:50,163
that she will report him
as a rapist,

1238
01:26:50,247 --> 01:26:52,499
which would be
a death sentence for him.

1239
01:26:52,582 --> 01:26:54,960
So basically she's raping him.

1240
01:26:58,380 --> 01:27:02,134
The camera pans up
from a fragmented body part.

1241
01:27:07,222 --> 01:27:12,561
Notice who's wearing the clothes
and who is being undressed.

1242
01:27:38,420 --> 01:27:43,633
The woman is in control of
the scene on many levels.

1243
01:27:52,434 --> 01:27:54,561
-Ah, ah!

1244
01:27:54,644 --> 01:27:59,149
And finally we get
a long sexy body pan.

1245
01:28:05,197 --> 01:28:08,241
The reason I've included
this clip as cringe worthy

1246
01:28:08,325 --> 01:28:09,367
as it is,

1247
01:28:09,451 --> 01:28:12,829
is I feel it's the exception
that proves the rule.

1248
01:28:12,913 --> 01:28:15,624
And when we're talking
about these scenes,

1249
01:28:15,707 --> 01:28:19,711
they're not really about sex.

1250
01:28:19,795 --> 01:28:25,967
They're about power and the
person who is shot like this

1251
01:28:26,051 --> 01:28:27,385
is not empowered.

1252
01:28:28,762 --> 01:28:32,724
So the example
of "mandingo" shows that

1253
01:28:32,808 --> 01:28:35,602
shot design
systematically perpetuates

1254
01:28:35,685 --> 01:28:41,233
these power dynamics that
exist within our society.

1255
01:28:41,316 --> 01:28:45,237
So in that film you see
the same like sweeping pans

1256
01:28:45,320 --> 01:28:47,739
of his body,
the fragments of him.

1257
01:28:47,823 --> 01:28:50,659
The true essence of like
what we're talking about here

1258
01:28:50,742 --> 01:28:52,327
has to do with power.

1259
01:28:52,410 --> 01:28:58,583
And commodification of bodies
and how bodies relate

1260
01:28:58,667 --> 01:29:01,127
to each other in terms of power.

1261
01:29:04,256 --> 01:29:07,175
When you have,
as foucault says, webs,

1262
01:29:07,259 --> 01:29:08,677
webs of ideology

1263
01:29:08,760 --> 01:29:10,512
and they are all interlocking

1264
01:29:10,595 --> 01:29:13,139
and they're all reinforcing
a certain way of looking

1265
01:29:13,223 --> 01:29:16,434
and a certain way of experience
that you're locked out of,

1266
01:29:16,518 --> 01:29:20,272
it takes a lot of strength
to say,

1267
01:29:20,355 --> 01:29:21,690
"I don't see things this way

1268
01:29:21,773 --> 01:29:26,820
and I'm going to create
something that is different."

1269
01:29:36,413 --> 01:29:40,458
The sexual predators
in amirpour's film

1270
01:29:40,542 --> 01:29:44,212
meet a very unexpected avenger.

1271
01:30:01,938 --> 01:30:04,149
There's a saying that
people say that if people

1272
01:30:04,232 --> 01:30:06,610
were to get rid of all
the sexual predators

1273
01:30:06,693 --> 01:30:08,987
that there would be
no film industry.

1274
01:30:09,070 --> 01:30:10,756
And they would have to
start from the ground up

1275
01:30:10,780 --> 01:30:12,741
and they laugh about it.

1276
01:30:12,824 --> 01:30:14,534
They're like,
"haha you know, we would have

1277
01:30:14,618 --> 01:30:15,761
to start from scratch."
And I'm like,

1278
01:30:15,785 --> 01:30:18,288
then let's fucking start
from scratch.

1279
01:30:18,371 --> 01:30:19,789
You have to build your own house

1280
01:30:19,873 --> 01:30:22,876
and you need your own
tools to build your house,

1281
01:30:22,959 --> 01:30:28,840
and your tools are your
creativity, your work,

1282
01:30:28,924 --> 01:30:34,763
your work ethic and your ability
to produce above and beyond

1283
01:30:34,846 --> 01:30:39,809
what someone else is
clamoring for, let's say.

1284
01:30:45,190 --> 01:30:48,860
Women directors often
depict their characters

1285
01:30:48,944 --> 01:30:54,032
as full on subjects with
their own intense desires.

1286
01:30:56,284 --> 01:30:58,995
Nature, nature, I am your bride.

1287
01:30:59,955 --> 01:31:01,122
Take me.

1288
01:31:12,884 --> 01:31:17,347
Dunye's "watermelon woman"
makes the close ups so close

1289
01:31:17,430 --> 01:31:21,393
that we feel the
sensation of the experience

1290
01:31:21,476 --> 01:31:25,730
and we are blocked from
gazing in the traditional way.

1291
01:31:35,323 --> 01:31:39,703
Without question, throughout
the history of cinema,

1292
01:31:39,786 --> 01:31:45,000
sex scenes have been shot with
the male gaze appropriating

1293
01:31:45,083 --> 01:31:46,918
and objectifying women's bodies.

1294
01:31:47,002 --> 01:31:50,755
If that's what we do

1295
01:31:50,839 --> 01:31:55,135
then there's a lack
of imagination

1296
01:31:55,218 --> 01:31:57,220
that we'll have to make up
for ourselves.

1297
01:32:00,098 --> 01:32:02,642
In this scene, Gus Van sant

1298
01:32:02,726 --> 01:32:05,145
shoots male and female bodies

1299
01:32:05,228 --> 01:32:06,396
very equally.

1300
01:32:09,691 --> 01:32:11,651
Van sant may have been
influenced

1301
01:32:11,735 --> 01:32:13,903
by Agnes varda's film,

1302
01:32:13,987 --> 01:32:15,530
"happiness."

1303
01:32:40,638 --> 01:32:43,475
In my own film, "phantom love"

1304
01:32:43,558 --> 01:32:47,687
the sex scene tries to
focus on the woman's psychic

1305
01:32:47,771 --> 01:32:50,315
internal experience.

1306
01:33:06,206 --> 01:33:09,167
For tarkovsky lovers,
you'll notice my homage.

1307
01:33:24,933 --> 01:33:28,770
I think of this poem
by Gwendolyn Brooks that,

1308
01:33:28,853 --> 01:33:31,231
it's "still do I keep
my look, my identity."

1309
01:33:31,314 --> 01:33:34,359
And she talks about how
each body has its art

1310
01:33:34,442 --> 01:33:39,823
and how they're like, whether
they're in a state of abject

1311
01:33:39,906 --> 01:33:42,700
whatever, or they're
in an exalted state,

1312
01:33:42,784 --> 01:33:46,037
they still maintain this
intrinsic human quality

1313
01:33:46,121 --> 01:33:47,664
within them.

1314
01:33:51,042 --> 01:33:54,546
In "Juniper tree"
nietzchka keene focuses on

1315
01:33:54,629 --> 01:33:57,841
the inner life
of her characters.

1316
01:34:11,187 --> 01:34:14,023
People often feel, you know,
I should be freed

1317
01:34:14,107 --> 01:34:16,860
from all those things that
are unconsciously soaked

1318
01:34:16,943 --> 01:34:18,736
into our own mind.

1319
01:34:18,820 --> 01:34:23,158
Those emotions are always
accumulated somewhere hidden,

1320
01:34:23,241 --> 01:34:26,828
so that's the part which
is anger or, you know,

1321
01:34:26,911 --> 01:34:30,165
the sadness or dissatisfaction,

1322
01:34:30,248 --> 01:34:33,418
all these emotions are,
I imagine, like cooking,

1323
01:34:33,501 --> 01:34:38,256
these things are ingredients
of your meal.

1324
01:34:38,339 --> 01:34:41,551
So you chop, you know, you cook,

1325
01:34:41,634 --> 01:34:43,303
you do all these things,

1326
01:34:43,386 --> 01:34:48,516
but, by the end, you'd like
to get some nice dish.

1327
01:34:48,600 --> 01:34:51,853
So it's a transformation
of this raw material.

1328
01:34:51,936 --> 01:34:54,981
Which has lots of
creative energy in there.

1329
01:35:17,670 --> 01:35:19,589
Ugh!

1330
01:35:41,694 --> 01:35:46,824
Films about female rage
have been made by women

1331
01:35:46,908 --> 01:35:49,494
for many, many generations.

1332
01:35:49,577 --> 01:35:52,247
So there's a history,
there's a legacy,

1333
01:35:52,330 --> 01:35:56,209
but today there's something
very different in the climate,

1334
01:35:56,292 --> 01:35:58,086
social, political climate

1335
01:35:58,169 --> 01:36:00,213
that is connected
to mainstream media.

1336
01:36:00,296 --> 01:36:05,510
And so, it's a really
unique moment for filmmakers

1337
01:36:05,593 --> 01:36:08,263
for women filmmakers
who are interested

1338
01:36:08,346 --> 01:36:10,598
in taking on these issues.

1339
01:36:15,311 --> 01:36:18,815
What are you doing? It's okay.

1340
01:36:18,898 --> 01:36:20,566
What are you doing?

1341
01:36:23,111 --> 01:36:28,032
What are you doing?

1342
01:36:46,134 --> 01:36:49,804
Hey, I said what are you doing?

1343
01:36:53,224 --> 01:36:57,145
When it comes to money and
when it comes to opportunity,

1344
01:36:57,228 --> 01:36:59,605
things don't change
unless you force change.

1345
01:36:59,689 --> 01:37:03,860
My having been able to take
this issue to the aclu,

1346
01:37:03,943 --> 01:37:08,656
who began their campaign
for women directors in 2014,

1347
01:37:08,740 --> 01:37:13,619
and the eeoc, equal employment
opportunity commission,

1348
01:37:13,703 --> 01:37:16,956
that began
their investigation in 2015,

1349
01:37:17,040 --> 01:37:21,502
attacking the pocketbooks
of the studios for violation

1350
01:37:21,586 --> 01:37:24,797
of title 7, which is equal
employment opportunity law.

1351
01:37:26,841 --> 01:37:31,721
So right now, in 2021
we are beginning to see

1352
01:37:31,804 --> 01:37:33,765
the results of this action.

1353
01:37:36,267 --> 01:37:39,520
In a historic sign
of real change,

1354
01:37:39,604 --> 01:37:43,816
Chloe zhao, a woman of color,
won the academy award

1355
01:37:43,900 --> 01:37:46,694
for best picture
and best director.

1356
01:37:48,571 --> 01:37:51,866
Hey, find anything interesting?

1357
01:37:51,949 --> 01:37:54,077
Rocks!

1358
01:37:54,160 --> 01:37:56,579
Her film features
the perspective

1359
01:37:56,662 --> 01:37:59,415
of a woman in her 605.

1360
01:38:02,085 --> 01:38:03,795
What does desire look like

1361
01:38:03,878 --> 01:38:08,549
when it's not about subject
and object?

1362
01:38:08,633 --> 01:38:14,055
I think we're in a process
of discovery, you know.

1363
01:38:14,138 --> 01:38:17,475
Each of us obviously is
in a process of discovery

1364
01:38:17,558 --> 01:38:20,019
for ourselves in our own lives.

1365
01:38:20,103 --> 01:38:22,939
So now as a filmmaker,
as a non-binary filmmaker,

1366
01:38:23,022 --> 01:38:25,233
I'm asking myself,
where does the camera go?

1367
01:38:26,984 --> 01:38:28,344
These questions
that you're asking,

1368
01:38:28,403 --> 01:38:30,530
well, where does the camera go?

1369
01:38:30,613 --> 01:38:32,031
And who am I looking at?

1370
01:38:32,115 --> 01:38:34,325
Am I showing how
it feels to be looked at?

1371
01:38:36,452 --> 01:38:37,995
And am I showing
how it feels to see

1372
01:38:38,079 --> 01:38:40,581
while I'm being looked at?

1373
01:38:40,665 --> 01:38:42,917
What is the heroine's journey?

1374
01:38:46,796 --> 01:38:48,923
"Portrait of a lady on fire"

1375
01:38:49,006 --> 01:38:50,425
is concerned with the issue

1376
01:38:50,508 --> 01:38:54,429
of subject and object
in the case of two women

1377
01:38:54,512 --> 01:38:57,932
who seem to desire
each other equally.

1378
01:39:45,021 --> 01:39:47,940
Here we get the question
of, what is a subject,

1379
01:39:48,024 --> 01:39:49,442
what is an object?

1380
01:39:49,525 --> 01:39:53,738
And how does the object
find a way of becoming,

1381
01:39:53,821 --> 01:39:55,531
discovering their own
subjectivity,

1382
01:39:55,615 --> 01:39:58,451
having their own subjectivity
and becoming a subject,

1383
01:39:58,534 --> 01:40:01,120
which changes the power dynamic.

1384
01:40:14,133 --> 01:40:19,222
In my own films,
working with tinka,

1385
01:40:19,305 --> 01:40:23,643
she often broke through
the 4th wall

1386
01:40:23,726 --> 01:40:27,522
and confronted the camera,

1387
01:40:27,605 --> 01:40:32,652
claiming her own
subjective perception

1388
01:40:32,735 --> 01:40:35,655
of both herself and the world.

1389
01:41:59,780 --> 01:42:02,366
Would you like a ride?

1390
01:42:31,437 --> 01:42:33,856
Whether you're
a heterosexual man

1391
01:42:33,939 --> 01:42:36,776
or you're a woman or
you're anything in between

1392
01:42:36,859 --> 01:42:38,361
or on the sides or whatever,

1393
01:42:38,444 --> 01:42:43,949
you know, how do I
actually experience desire?

1394
01:42:44,033 --> 01:42:48,454
How do I actually experience
my day?

1395
01:42:48,537 --> 01:42:51,415
You know, because we've
been taught, what is time?

1396
01:42:51,499 --> 01:42:52,500
What is sex?

1397
01:42:52,583 --> 01:42:54,168
What is a man? What is a woman?

1398
01:42:54,251 --> 01:42:55,795
We've been taught
all these things

1399
01:42:55,878 --> 01:42:57,922
and if we just accept it,

1400
01:42:58,005 --> 01:43:02,426
we're trapped in the
collective consciousness

1401
01:43:02,510 --> 01:43:05,388
which tends to be on
a kind of low level.

1402
01:43:09,517 --> 01:43:12,937
What happens if you try
to listen inward,

1403
01:43:13,020 --> 01:43:18,818
if you try to tune in on
a very, very, very delicate

1404
01:43:18,901 --> 01:43:24,365
and quiet way to what
you're actually experiencing

1405
01:43:24,448 --> 01:43:30,037
and what would be actually
the true expression

1406
01:43:30,121 --> 01:43:33,165
of that experience as
translated into a shot.