Word: post-feminist
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Despite these influences, “Friends with Money” transcends becoming a clichéd dystopian narrative or chick flick, in part because of its pensive cinematography and a mournful, unique Rickee Lee Jones soundtrack. The film really captivates, though, because of its freshness as a distinctly post-feminist, post-boomer, twenty-first century story. It frightened me so much that these familiar feeling women—who have broken the glass ceiling, had their perfect children, built their Barbie dream home, and still have amazing social lives and fabulous shoes—are supposed...
...difficult for us to extricate ourselves from the idealistic Harvard bubble, to realize that an often imperfect world exists outside of our ivy-covered walls. To have such degrading, illegal—and, yes, kind of hilarious—behavior going on is a shock to our post-Calvinist, post-modern, post-feminist ideals. I also get the sense that you harbor some tacit guilt for supporting this illegal trade. Your dollars were used, maybe not for the act(ion), but certainly for the scissors. Moreover, you haven’t just hurt yourself, you’ve hurt your...
Dad’s DVD gift can be none other than the remake of The Stepford Wives. Though the film has a lot of difficulty presenting women as anything but bimbo-blonde housewives or bull-dyke businesswomen, and thus fits nicely into a shameful tradition of post-feminist narratives that ultimately regress to gender stereotypes and thinly-veiled Victorianism, Dad can still learn a few lessons from the film. For example, don’t turn your wife into a sex robot because she is occasionally bothersome. Most importantly, Christopher Walken is actually a machine, carefully programmed by Glenn Close...
...self-actualization, fantasy and queer identities in a world constrained by morality aren’t new to Almodovar, but rarely has he so effectively correlated these themes with the tenets of his unique cinema. Bad Education utilizes the typically Almodovarian production schemes, quirky dialogue, ambiguous moral codes and post-feminist politics to create a cinematic space that is more usefully reflexive than his past work. As the film moves toward and comments upon the post-modern “reality” embodied in Ignacio’s development, Almodovar productively pushes the envelope as he weaves...
...called genders at college-age. It highlights both the old-fashion sexual subjugation of young women who “slut it up” on the weekends to the delight of their male counterparts—as well as these same women’s newfound post-feminist sexual liberation...