Cast your ballot at the box office

by rania
June 10, 2008 5:57 AM
1 Comment
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It's as if every ticket sold is a vote cast for fair representation in Hollywood.

"Sex and the City," now an international hit, is the latest to galvanize an underrepresented constituency, (as the female population sadly is).

"The Passion of the Christ" and "Brokeback Mountain" come to mind as previous campaigns-at-the-movie-theater, for Christian and gay electorates. Did those films permanently alter the moviemaking landscape?

And is it inevitable that the Hollywood status quo will steal this election?

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More: Women

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1 Comment

  • gabe | June 10, 2008 11:28 AMReply

    I'd hardly hail SEX AND THE CITY as evidence of a feminist uprising in Hollywood.



    In what way does a film written and directed by a man empower women? (Wouldn't a successful run for Kimberly Pierce's STOP-LOSS, or Nanette Burstein's AMERICAN TEEN, Ellen Kuras' THE BETRAYAL: Nerakhoonor, or Helen Hunt's THEN SHE FOUND ME represent real progress?) How exactly does the fashion-conscious, materialistic world of upper-class New York women qualify as a galvanizing moment? And why is anyone surprised that girls and women go to the movies? (Didn't the box office gross of Titanic over a decade ago put this notion to rest? Is ANYONE paying attention to the career of Tyler Perry?)



    Much as I hate the term, isn't the prevalence of (so-called) "chick flicks" evidence that Hollywood regularly manufactures films for female audiences?



    How SEX AND THE CITY differs from MADE OF HONOR, DEFINITELY, MAYBE, MISS PETTIGREW LIVES FOR A DAY, or any contemporary formula romance remains to be seen. Is SEX AND THE CITY anything more than DEVIL WEARS PRADA redux?



    Little has changed since this Salon story first appeared in 2002:

    http://dir.salon.com/story/ent/movies/feature/2002/08/27/women_directors/



    What IS worthy of note is that SEX AND THE CITY originally found its audience on television. It is here where adults looking to see stories about mature women can find a host of interesting, complex female charcters: from MEDIUM to SAVING GRACE, from THE CLOSER to WEEDS to DIRT, from THE L-WORD to DESPERATE HOUSEWIVES, from THE NEW ADVENTURES OF OLD CHRISTINE to MY BOYS to 30 ROCK to EVERYBODY HATES CHRIS, television is populated with strong and fully developed female characters. Even more noteworthy: the presence of women writers, and directors like Nicole Holofcener, Rose Troche, Kathy Bates, Agnieszka Holland, Christine Moore, Angela Robinson, Ilene Chaiken, Lynne Stopkewich, Tricia Brock etc.