I’ve been wanting to tell you this for awhile – I don’t post on my Other Sociologist Facebook page as often as I used to because Facebook is a racqueteering platform. Research has shown that since 2014, pages have lost at least 60% of ‘organic reach’ (that is, individual followers seeing page posts without promotions paid by brand pages). Some market research has determined that for most pages, only 6% of followers see their content, while other analysis shows it’s closer to 2%. My discussion is not new; social media analysts have been attuned to these patterns for the past decade. While the issues I discuss apply to many different companies and brand pages, I’m focusing on the impact that the Facebook model has on not-for-profit pages, specifically those like mine, which aim to educate the public for free.Continue reading How Facebook Squashes Not-For-Profit Pages
Jump in for part 2 of my film reviews for this year’s Spanish Film Festival! All of these films are centred on women and issues of class, as directed by non-Indigenous, non-Black women. But there are other themes of intersectionality that I will draw out.
We start with The Good Girls, a much-celebrated tale about greed and White femininity during the 1982 financial crisis in Mexico. Ana by Day starts from an interesting premise – a White woman comes home to find someone else already in her home: her doppelganger. What to do? We move through risque escapism, as envisioned from a place of class privilege. Two of the strongest films of the festivals follow. For the most thoughtful exploration of patriarchy, sexuality and race I’ve ever seen on film, Carmen y Lola is unsurpassed. It was an engrossing story of a young, lesbian Gitana minority woman in Spain, falling in love in a context where ‘compulsory heterosexuality’ and its complex ties to culture and family are unpacked. Another highlight is a methodical and complex look at the lives of Brown Mexican women who service hotels. If you think that sounds mundane, The Chambermaid will floor you with its poignant study of a woman who has always made herself small to survive. She finds subtle ways to subvert servitude. Finally, with its weighty ideals and harrowing topic of human trafficking, The Longest Night is superb filmmaking but utterly horrific for anyone committed to women’s rights. Let’s find out why.
(Read Spanish Film Festival 2019, Part 1) Trigger warning: discussion of depicted sexual violence, family violence. Continue reading Spanish Film Festival 2019, Part 2: The Good Girls, Ana by Day, Carmen y Lola, The Chambermaid, The Longest Night
It’s an exciting season in Sydney, with multiple festivals concurrently keeping us entertained from April to the end of June. First up is one of my favourites, the Spanish Film Festival. I bought a pass to see 10 films, mostly from Latin America and half by non-Indigenous, non-Afro women directors. We have a long way to go with stories reflecting the writing and direction of minorities. The festival has, however, included stories with disabled, queer and/or other ethnic minorities as protagonists. Those are the films I’ve predominantly chosen. The rest are political stories. Today, I bring you the first of two posts reviewing films from an intersectionality perspective. The festival began in Sydney on 16 April and ends 8 May, before travelling to all metropolitan cities.
Let’s take a look at the political thriller, The Realm, which sweeped this year’s Goya Awards (the ‘Spanish Oscars’). Tremors is the compelling but distressing story of a devoutly religious gay man from Guatemala. Champions is a highly successful Spanish movie featuring an ensemble cast of disabled actors playing a famous basketball team. Crime Wave takes a serious premise (an emotionally abusive man is murdered) and turns it into a cascading set of comedic deaths. Yikes! Finally, another political drama, Rojo, swells from the early days of the devastating Argentinean coup. The players ponder: under which local conditions do national tyrants rise? The answer is from ordinary towns, where people are too polite to notice men arguing and boys “disappearing.”
Central Park Mall, where Palace Cinemas Central and Platinum is hosting the Festival
Why is swearing on TV more offensive than graphic depictions of violence?
In December 2011, The then-Australian Minister for Communications, Senator Stephen Conroy, created a media controversy when he swore during a live address on the national public broadcaster, the ABC. This live gaff had me thinking about swearing, the power of ‘bad words’ and the regulatory bodies that set and enforce the standards for television programming. It’s popped back into my mind as I’ve been thinking and reading a lot about power dynamics and the changes in linguistic practices.
Speaking to the National Press Club about the proposed tax for the National Broadband Network, Conroy said:
“If a tax goes up, God, that is sovereign risk, but if a tax goes down, its fucking fantastic. Excuse me – that is fantastic.”
This comment went to air during 12:30 pm and 1:30 pm. As Aidan Wilson (2011) points out, Conroy’s offence was not simply using a ‘vulgar’ word, but also that his address was followed by the ABC’s afternoon children’s shows.
The language guidelines for TV shows can be confusing. Why are some words allowed in some contexts and not in others? It’s not simply a timing issue – some swear words are only allowed to escape the mouths of thespians late at night but not during the day. This makes sense if you’re trying to protect children from being exposed to certain swear words.
The again, some words are generally considered to be more offensive than others – but the social norms on this are not clearly articulated by law.
I have a rule of faith when it comes to film festivals – I don’t watch trailers or read reviews. I read the program and decide to see movies based on the blurb. I make an effort to see movies written or directed by women first and foremost (documentaries or dramas especially), or about minority groups and women in general in the second instance. Third, I try my hardest to see horrors because they’re rarely released in Australian cinemas. ‘What Keeps You Alive’ hits two of three: a movie about two (White) women and a horror flick. Directed by Colin Minihan (of Grave Encounters, which I disliked) was not what I expected. What I knew about the plot: Jules and Jackie are celebrating their one year anniversary in an isolated cabin in the woods. It is a horror. That’s it! The leap of faith paid off. It was so strong! Great characters. Lots of bad decisions but cleverness too. I won’t say more. Slick 7/10.
(Postscript: Now on Netflix)
Another Cine Latino film: Woodpeckers (Carpinteros). Unsettling but excellent Dominican film entirely focused on Afro-Latino characters. Julián (Jean Jean) is awaiting sentencing when he’s put into one of the “less hellish” prisons in Najayo. That is to say, an overcrowded, filthy and violent place where many prisoners sleep on the concrete floor. Julián is second generation Haitian-Dominican. In a terse exchange with his brother, we learn he is an entrepreneurial “low level” criminal who doesn’t want to be locked into a low-paid menial job.
Julián quickly earns a job communicating with Yanelly (Judith Rodriguez), the girlfriend of another high-profile inmate who is banned from an open area. Men and women communicate across prison using invented sign language which changes often to stop guards from learning conversations. Julián is soon captivated by straight-talking Yanelly.
The guards and inmates are all Black, and while it’s not ideal to have yet another film focus on crime, it is a story with complex characters. The film is highly violent and it deals with sex, anger and high octane emotions in a compelling way. The film is billed as partially depicting true events and the extras are all prisoners. The film makes for a searing sociological study on social norms and institutional functions. One long, continuous take as Julián walks tautly across the prison is utterly breathtaking.
All the actors are tremendous, but Rodriguez as Yanelly will linger in your memory.
Photo: The Other Sociologist. [Entrance to a cinema with the word “Palace” over the doorway. A man looks at his phone in front of the door.]
At CineLatino, the Latin American film festival, I watched, You’re Killing Me Susana, starring Gael Garcia Bernal. As always, his performance is charming and the movie has lots of affable comedy. But his character and the story is not endearing. He is an unfaithful and selfish husband who does not take any interest in his wife and her writing. He is disparaging of her teaching, which supplements her writing aspirations. He has repeatedly talked his wife out of going away on writing trips because he is suspicious and jealous. Continue reading You’re Killing Me Susana: Film Review
Yes women-centred films! 29 + 1, written and directed by a woman, Kearen Pang is a wonderful film about two women who’ve never officially met but who share a birthday, and eventually “form a deep and invisible bond.“ The film is set in 2005 and it plays with memory and time. Christy has a hectic but glamorous job, a long term boyfriend and supportive friends. Christy doesn’t want to get married and is proud of her independence. Her life is full of light colours, bodily discipline and stifling routine. Continue reading 29 + 1: Film Review
Part of the Spanish Film Festival, Felices 140 (Happy 140) stars Mirabel Verdu as Elia, a woman throwing herself an elaborate 40th birthday party in a remote villa. She invites her sister’s family and her lifelong friends as well as an old lover, who shows up in a helicopter with a self-centred and vain girlfriend half his age. This consistently amusing film takes a twisted turn, after Elia reveals she’s won €140 million.
Envy and resentment bubbling below the surface rises quickly as a moral crisis threatens Elia’s happiness. Interestingly, Elia’s grand romantic gesture to sweep her old flame off his feet is an unfamiliar twist on usual romantic comedy fodder. Continue reading Felices 140 (Happy 140): Film Review
Shock Wave, written and directed by Herman Yau, stars Andy Lau, who also acts as producer. The film has a ridiculous plot centred on Cheung Choi-san (Lau), a policeman and explosives expert who inexplicably goes undercover with criminals and subsequently allows them to blow up half of Hong Kong before arresting only one of them. Years later, he’s disarming bombs left, right and centre in the city without wearing protective gear. Hot shot men don’t need to follow the rules, they are made of reinforced steel! Continue reading Shock Wave: Film Review