MCN Columnists
Kim Voynar

Voynaristic By Kim VoynarVoynar@moviecitynews.com

Kevin Smith vs. Film Critics

By now you’ve probably heard about this whole  Eric D. Snider, who Tweeted back thusly: “I don’t care what @thatkevinsmith thinks about movie reviews unless he paid to read them.” Let’s be clear here: attending free screenings is a privilege, not a First Amendment right, but it is a privilege that, generally speaking, benefits the…

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From Rapunzel to Tangled? Disney’s Dicey Decision

Hot on the heels of Kathryn Bigelow‘s historic moment as the first female to win a Best Director Oscar for making a decidedly “guy” film comes word via the LA Times from Disney that they’ve changed the title of their upcoming animated adaptation of Rapunzel to Tangled. Apparently someone at the Mouse House did a little research into why The…

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Thoughts on Oscar Night: Bigelow, Precious and a Screenplay Snub

Finally. History was made Sunday night when Kathryn Bigelow became the first woman to win an Oscar for Best Director. Surprisingly, there’s not been much posturing about whether Bigelow won the award because her work actually merited it above the work of the other nominees, or whether she won because it was “time” for a woman…

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Male vs. Female? On Double Standards in Film Criticism

A comment on a post over on Glenn Kenny’s blog got me pondering: Do the mostly male, mostly heterosexual writers who dominate the business of reviewing films have two standards — one by which they review films aimed at women, and another by which they judge films aimed at men — and does such a double-standard…

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Quote Unquotesee all »

“By the time the draft was completed, and passed on to my frequent collaborator, director Kathryn Bigelow, I’d written something quite unlike the singular focus and sole protagonists of The Hurt Locker and Zero Dark Thirty. The effort to make Detroit a mirror of the chaotic times led to an ensemble piece, quickly shifting between characters in a nesting doll of movies within movies, a riot film that gives way to racial horror-crime that switches to a courtroom drama, with several detours along the way into a band’s journey, the miseducation of rookie cops and the adventures of a pair of young women experimenting with sexual freedom. It was, in short, a lot of ground to cover in a single picture. But Kathryn was encouraging, and over the proceeding draft we collaborated closely to hone the themes and scope, while attempting to keep alive the spirit of a tough and untamed narrative.”
~ Mark Boal on researching and writing Detroit

What are we doing wrong?
“Well, first of all, by “we” I assume you mean the public, the public approach or the public discourse, which means the discourse that takes place in the media. And for the purposes of this discussion, let us imagine that the media is white and thus approaches the topic of race as if they (the white people) were the answer and them (the black people) were the question. And so, in the interest of fairness, they take their turn (having first, of course, given it to themselves) and then invite comment by some different white people and some similar black people. They give what purports to be simply their point of view and then everyone else gives their beside-the-point of view.

“The customary way for white people to think about the topic of race—and it is only a topic to white people—is to ask, How would it be if I were black? But you can’t separate the “I” from being white. The “I” is so informed by the experience of being white that it is its very creation—it is this “I” in this context that is, in fact, the white man’s burden. People who think of themselves as well intentioned—which is, let’s face it, how people think of themselves—believe that the best, most compassionate, most American way to understand another person is to walk a mile in their shoes. And I think that’s conventionally the way this thing is approached. And that’s why the conversation never gets anywhere and that’s why the answers always come back wrong and the situation stays static—and worse than static.”
~ Fran Lebowitz, 1997