Tag: racial stereotypes

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by guest contributor blackamazon, originally published at Having Read the Fine Print…

powdered wig sofia coppola marie antoinetteI have recently taken to using a term “Sofia Coppola feminism” and I intended to define it and then had an awesome/interesting time for the past couple of days but with the rising of the ugly head of this, felt it was apropos.

In short, SCF or “hipster feminism” is a parasitic feminism that not only ignores but is dependent on class, race, and cultural appropriation and subjugation. It is a feminism that demands emptiness (real or invented) of reflection, instead replacing it with self involvement. It requires that culture and emotion be reduced to tropes and materials so that possession of these trinkets is possession of the cultural significance. Removing it from actual experience and grounding it in blank slate whiteness and upper class (educationally or monetarily) wrenches it from the hands of those who experience it and tries to force them into a position of subjugation if they reject the positioning.

I came up with the term in my head when I was reading coverage of Marie Antoinette, Coppola’s most recent film. The article was in GQ and there was this kind of flip dismissal of the French booing

with words like

“It’s booing they do it more in Europe”

or

Well it’s art?

or

THEY’RE JUST JEALOUS

or

It’s what the French do….

Please understand I have not seen this film yet but my first reaction, being familiar with the director, the subject, and the director’s previous work is

VIVA LA FRANCE!

SCF ( the acronym) is a feminism that takes the idea “the personal is political” and runs AWAY with it in an awful, self absorbed, culturally decentering, yet culturally parasiting way.

SC’s three films have the proud distinction of being movies that I can’t sit through.

And I mean I can’t as in I watched The Virgin Suicides in bits and pieces over seven years before my rolling my eyes as the dumbshit kicks in.

Her talent is very visual and shehas an amazing facility for capturing ephemera.

Except she constantly tries to force this ephemera, this barely there-ness into some heavy social context.

The Virgin Suicides focuses on whiteness and pureness as the holy grail, meanwhile almost unmoors it entirely from the specificity of time frame, and the graveness of the matter. Read the Post Sofia Coppola feminism: dependent on class, race, and cultural subjugation

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