A modern day feminist film review

A modern day feminist film review

In this socially developing day and age, we find more reasons to dissect the beliefs , cultures and practices that surround us in everyday life, especially in technology. People are more aware than ever of the subliminal messages used in advertising, movies, songs, etc. that embed themselves in our subconscious and shape our perspective and how we interpret situations. A product of these detections is the Mako Mori and Bechdel Tests, where we are forced to look in from, for some, a relatively unfamiliar perspective. Both of these inventions are the result of something, that something being most closely related to the misogyny and toxic masculinity constantly portrayed in the media. More often than not, in American media a woman’s most frequent roles include being obedient, submissive, and important only if they are talking about a man. The Mako Mori method tests the inclusivity of well developed female characters that don’t contribute to a man’s story. The bechdel test follows a similar dynamic, asking whether a work of fiction has at least two women can share dialogue that doesn’t involve the topic of men.

If the question is why these tests must exist, you’ll find that it’s much easier to recover a time you watched a movie that involved men, whose main purpose wasn’t to get a woman’s attention or please them, but in fact the women just happen to be a factor in their story. Take the movie 50/50, for instance. Adam, a middle aged man who prided himself in his health has his life turned around when malignant tumors are found in his spine, docking his mortality rate by 50%. Along with his family, he tries to keep good spirits, even though everyone around him is prepared for the worst. He falls for his therapist, one of the three women represented in the entire movie. Aside from talking about Adam’s doctor, who is notably also male, his therapist and mother don’t discuss anything that isn’t regarding the main character or the supporting male roles. Enough information is given to conclude that this movie doesn’t pass either the mako mori or bechdel test, and it can’t be blamed on the plot of the movie, the year it came out, the actors, etc. It’s a combination of the choices made by the director, audience, and culture of hollywood movies in general.

The reclamation test

Based on how women are represented and depicted in a majority of these movies, I have decided to test how relevant a female character becomes or how her character diminishes when a male character is eliminated, regardless of if they’re main characters or not. It’s important that this criteria is met, because it shows the audience that a woman’s role doesn’t always have to be temporary or niche. There’s often little diversity in the role of a woman, she only displays a limited number of emotions and concerns, which frequently reflects the actions in the role of a man. To show that a female character can develop freely, without any other permission than the progression of the plot itself, sends a more positive and encouraging message to viewers furthermore changing the way in which they’re influenced by movies.

Lady bloodfight

This movie is about an American woman, Jane, who travels to Hong Kong to fulfill her destiny of becoming a champion in the fight of the “Kumite”, an underground, full-contact martial arts competition for women. The movie focuses on another integral relationship regarding her trainer Shu, who is also a woman. Shu and her rival Wai both compete for the throne by training students like Jane to battle on their behalf.The judges of the competition worry themselves only with the monetary reward the popularity will bring, and therefore allow the fights to be limitless, brutal, and often fatal. Nearing the end of the story, we come to find that Shu and Wei were at each other’s necks for so long because Wei blamed Shu for the death of her brother, which was ruled as a suicide that nobody could wrap their heads around. Jane further investigates, and finds that one of the corrupt judges not only had to do with Wei’s brother’s death, but also the death of her own father, who traveled to Hong Kong many years before to battle in the same competition. Jane brings the man to public confession at the end of the final battle, ending the long-time contention between Shu and Wei and bringing honor to her father. Despite the main character’s motives being in the likeness of men, this information wasn’t relevant until the end of the movie. Up until then, the women trained and fought because they felt it was in their hearts to do so, to teach and learn internal peace and contentedness. Jane’s father, Wei’s brother, and the evil judge had relevance throughout the movie, sure, but they weren’t permanent or centerpieces for less than half of it. The only character that was physically seen was the evil judge, and even then his presence was quickly dismissed. The movie passes the reclamation test with flying colors because of this, because each female character was strong enough on their own, and for a change the male characters were only relevant because of the female’s role.