[Fantasia 2023 Shorts] TRANSYLVANIE / WHITE NOISE
DISCLAIMER:
The following short essays
contain SPOILERS!
You’ve been warned.
Transylvanie (2023)
Directed by Rodrigue Huart
Screenplay by Huart, David A. Cassan, & Axel Wursten
Starring Katell Varvat, Lucien Le Ho, Emma Gautier, Marylou Sampeur, Théodore Laloe, & Djack Hazan-Guéguin.
Horror
15 minutes
★★★★1/2 (out of ★★★★★)
Vampire stories have been around for centuries now and have been wildly…
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what baffles me is that he doesn't even realise how stupid his point is when talking about white supremacy. yes, we are all socialised under white supremacy. but some of us are socialised as the supreme, and others are socialised as the inferior. or is he really arguing that there is no substancial difference in growing up white vs. growing up Black??
yes, we are all socialised under patriarchy. BUT YOU WERE SOCIALISED AS THE PATRIARCH omg are you really that stupid or are you pretending
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Hey you said something about the my hero academia creator being unhinged about sexism, do you mind explaining?
I tried to write like, a thorough explanation of this and it just got longer and longer and longer and I have not touched this series in actual years and yet I've still got all these receipts a;lkjk;lfasd.
So rather than trying to build the whole massive case, here's a pared-down version. It's normal to have sexism in media, and shounen manga especially. Everyone does it. The level and mode and intentionality and so forth all vary, but of course it's there.
What's not normal is to have lots of varied and interesting female characters with discernible inner lives, and on-page discussion of how sexism is systemic and unjust and holds them back in specific ways, and then also deliberately make consistent sexist writing decisions even where they don't arise naturally from the flow of the narrative.
Horikoshi is actively interested in gender and sexism, he's aware of them in a way you rarely see outside of the context of, you know, fighting sexism. He is hung up on the thorny issue of what women are worth and deserve and how power and respect ties into it. He genuinely wants, I think, to have Good Female Characters, and not be (seen as) A Sexist Guy!
But. He doesn't actually want to fight sexism. He displays a lot of woman-oriented anxieties, and one of the many churning paddlewheels in his head seems to be that he knows intellectually that morally sexism is bad, but emotionally he really feels like it ought to probably be at least partly correct.
There are so many things I could cite, and maybe I'll get into some of them later, but the crowning item that highlights how the pattern is 1) at least partly conscious and deliberate and 2) about Horikoshi's own weird hangups rather than simply cynical market play, is Mineta Minoru.
The writer has stated Mineta is his favorite character. Mineta is also designed to be hated--that is, he is a particularly elaborate instantiation of a character archetype normally deployed to soak up audience contempt and (by being gross and shameless and unattractive and 'unthreatening') make it possible to include a range of sexual gratification elements into the narrative that would compromise the main characters' reputations as heroic and deserving, if they were the actors.
Good Guys don't grope girls' tits and run away snickering in triumph, after all. Non-losers don't focus intense effort around successfully stealing someone's panties. Nice Girls don't let themselves be seen half-dressed. And so forth. You need an underwear gremlin for that. So, in anime and manga, longstanding though declining tradition of including such a gremlin, for authorial deniability.
Horikoshi definitely uses him straight for this purpose, looping in Kaminari as needed to make a bit work. And yet he has Feelings about the archetype itself.
The passages dedicated to the vindication of Mineta, then, and the author's statements about him, let us understand that Horikoshi identifies with the figure of the underwear gremlin. He understands the underwear gremlin as a defining exemplar of male sexuality, at least if you are not hot, and finds the attached contempt and hostility to be a dehumanizing attack on all uh.
Incels, basically.
It's not fair to write Mineta off just because he's unattractive and horny (and commits sexual harassment). Doesn't he have a mind? Doesn't he have dreams? Doesn't he have human potential?
So what's going on with Horikoshi and gender, as far as I can figure out, is that he knows damn well that women are people and are treated unjustly by sexist society, but however.
He also understands the institutions of sexism as something protecting him and people like him from life being nebulously yet definitively Worse, and therefore wants to see them upheld.
So you get this really bizarre handling of gender where obviously women's rights good and women cool, women can be Strong, and the compulsory sexualization imposed by the industry isn't them or the author, and so forth.
But also it's very important that in the world he controls, women never win anything important or Count too much, and that jokes at their expense that disrupt the internal logic of their characters are always fair game, that women asked about sexism on TV will promptly get into catfights amongst themselves, and they are understood always in terms of their sexual and romantic interests and value, and sexual assertiveness and failures to perform femininity well enough are used to code them as dangerous and irrational, and that the sexy costumes are requisite and will never be subverted or rebelled against--at most they might be circumnavigated via leaning into cute appeal.
And that Yaoyorozu Momo, who converts her body fat into physical objects, is being frivolous when she wants to use money to buy things instead (rather than as sensibly moderating her Quirk use) and is never encouraged to eat as much as possible at every opportunity to put on weight and even shown being embarrassed by hunger (even though Quirk overuse gives symptoms that suggest she's been stripping the lipids out of her cell walls or nervous system to keep fighting) and always, no matter how many Things she has made, has huge big round boobies.
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Positioning Louis as the "Edwardian wife who becomes trapped by her husband" in a literal sense does no justice to analyzing his actual place and role as a Black man in his society and in his relationship with Lestat. Any interpretation or analysis you do of him when it comes to their relationship cannot be stripped of the racial aspect because it's constantly there. Texts analyzing Edwardian wives (and particularly ones this fandom loves to bring up) typically were white and the dissection of their place in societal rules are always viewed from the aspect of gender that is within these texts only allowed to white women, but never to Black men or even Black women. And gender and race become inseparable when you discuss the latter, no matter how people may view it.
This is why I can't take this approach to analyzing Louis' story seriously because if you don't consider the racial aspect in his relationship even to himself and his sexuality, what's the point? You're still centering the standards that were more placed upon white male/female couples than you're willing to look into the unique structure of Black families, religion, their view of homosexuality and how that sooner heavily influences Louis than the family's "need" for him to be sold off to an Edwardian husband. Even in Louis' own story, him and Claudia being Black is more centered on than any demeaning "housewife" comment he tries to go against from Claudia's perspective. She makes that comment once, whereas we have at least two episodes from Louis' perspective that have very blatant hints and showings of the racism he still suffers from under the Jim Crow era and how it affects his self-worth as well as his relationship with Lestat who doesn't seem to take into consideration how any of the blatant racial aggressions and objections still affect Louis and what he considers to be important to achieve in his own life.
Then there's also the pointed topic of Louis' position as a Black man who is a pimp to the Black women he has as sex workers, as well as how his position as a Black father affects Claudia, another Black girl. If you insist on Louis being centered as this "Edwardian white wife" who is confined by his implicit gender in his marriage, where does that leave Claudia and the blatant misogyny and disrespect she gets from both him and Lestat? Lestat who is her white father abuses her. Positioning Louis within the strict confines of "being her mother" doesn't do her any favors because he didn't hesitate to choke her when he was deeply emotionally distressed, nor does it make him look any better when he's fine with chopping up her diaries and then delivering them on a silver platter so that Daniel, another white man, can read and dissect. Even if he does this under the sole pretense of "doing right by her", how does it in any way help when he also can't face up to his failures towards her?
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Me, watching Barbie and seeing the protagonist somewhat unwillingly go on a journey to save their perfect home and the world, having an "of course you are, and I'm coming with you" moment, be chased by numerous men dressed in black, and then in the end leaving their home because they were changed by their journey and can no longer live happily in their home:
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Eugenics, a program to improve the “quality” of the human population, gained popularity in the early twentieth century, when more than 30 states enacted laws authorizing the forced sterilization of the “unfit”—poor, disabled, immigrant, and otherwise socially undesirable persons.
Eugenics and evangelicalism have long been thought to be antithetical, as evangelicals largely opposed sterilization. But the evangelicals-versus-eugenics framing is too simple. Evangelicals fervently supported other eugenics programs, including anti-miscegenation laws, stringent immigration restrictions, and even so-called “responsible breeding.”
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One of my favorite things about Avatar the Last Airbender is that the whole story starts because Katara yells at Sokka for trying to enforce sexist gender roles.
A young girl’s anger at the patriarchy is the catalyst for the avatar returning and everything changing. Finally ending 100 years of war.
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There’s a reason white supremacy/the patriarchy systematically shames everyone who isn’t white men for feeling or showing anger. It is POWERFUL when expressed in a healthy way. It is transformative to ourselves and the world around us.
Many people have really negative associations with anger not only because of the societal conditioning that tries to make us believe only white men are allowed and entitled to their anger but also so much of the anger we see these days is misplaced aggression. Where people aren’t confronting the people and systems who are actually making them angry and instead taking it out on those with less power than them which is just abuse which only helps reinforce to everyone suffering at the hands of that abuse that anger is bad when unfortunately anger is our greatest protection to abuse and mistreatment.
And atla even gives us a very clear illustration between protective healthy anger like Katara’s and Zuko’s misplaced aggression he was taking out on everyone but his father until the eclipse and that shift in him is especially driven home when he has to find a new source for his fire bending.
This nickelodeon cartoon from 2005 was like “Girls your anger is a transformative superpower!! Don’t be afraid to use it!!” and that gives me just all kinds of joy.
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