#WomanWithAMovieCamera: Let’s Talk About Thirst

During her talk at this year’s Woman With a Movie Camera summit, Christine Newland argued that cinema, desire, and sex are deeply interlinked. For instance, while male critics are able to talk openly about desire with regards to female characters and stars, the more “recent” phenomenon of female critics openly expressing desire for their favourite celebrities’ acting abilities has drawn criticism from certain groups in the film industry.

Continue reading “#WomanWithAMovieCamera: Let’s Talk About Thirst”

#WomanWithAMovieCamera 2019: The Memefication of Feminism

If you’ve ever spent time on the internet, or if you grew up on it like I did, you know what a meme is. From innocent cats doing things to Vine (RIP) compilations to the the far right co-opting a cartoon frog, there is no doubt that they are central to much of our lives without anyone really paying much attention.

At this year’s Woman With A Movie Camera summit at the BFI, Associate Editor at Little White Lies Hannah Woodhead led one of the more lighthearted and funnier talks about feminism, memes and cinema.

Originally coined by Richard Dawkins (aka “the edgelord of atheism” to quote Woodhead) back in 1976, the meme was defined as a “unit of cultural transmission, or a unit of imitation.” It is something that can connect us across countries, borders and identities, that highlight aspects of culture and society. They are also hilarious.

Memes are a way we absorb and understand art. Think of the hundreds of ‘no context’ accounts on Twitter. From Louis Theroux to The Phantom Thread or First Reformed, we use these screenshots of memorable lines, or facial expressions to both show our love and appreciation for cinema and TV.

Continue reading “#WomanWithAMovieCamera 2019: The Memefication of Feminism”

Review: ‘Beanpole’ digs deep into the trauma of war

In the ruins of Leningrad in 1945, death has become a painful normality as its citizens adjust to life in the shadows of the tragedies of war. Iya (Viktoria Miroshnichenko) is dealing with dissociation due to PTSD, an after effect of the time she has spent on the frontline. Despite her PTSD, she works in a military hospital to support Pashka (Timofey Glazkov), a young boy she cares for. When Pashka dies during one of these fits, and his mother Masha (Vasilisa Perelygina) returns from the military, an uneasy friendship of convenience turns into a battle for control and power.

Continue reading “Review: ‘Beanpole’ digs deep into the trauma of war”