
It’s University Press Week! Today’s blog tour theme is ‘Speaking Up & Speaking Out’. Who better to reflect on the subject than activist and journalist Lewis Wallace, who was fired from his job in public radio for refusing to stay silent about the harmful and marginalizing myth of ‘objectivity’ perpetuated in the media world? Read on for his thoughts about today’s theme, and scroll for event info and a teaser trailer of Wallace’s new podcast, companion to his debut book, The View from Somewehere. “I was raised to believe that speaking out mattered, that we all had some responsibility to justice and fairness in the world. I remember lodging protests that only a child of privilege would: against the overly authoritarian school lunch supervisor; against a teacher who I believed insulted the sixth grade students’ intelligence. I circulated petitions and self-published newspapers about youth liberation and adult domination. But speaking out comes with consequences that are uneven and unfair, based on your position of power in the world. In my case, speaking out was easy until I came of age and came out as queer, and transgender in the late 1990s. Using my voice then became a necessity, rather than . . .
Molly Haskell: From Reverence to Rape
In a piece for TCM’s blog Movie Morlocks, critic Susan Doll posted a tribute to the new edition of Molly Haskell’s classic feminist takedown of the female cinematic imaginary, From Reverence to Rape: The Treatment of Women at the Movies (3rd edition; with a new foreword by Manohla Dargis), complete with outstanding captions, such as, ON ROSALIND RUSSELL: “NOT A FAVORITE WITH MEN.” Here’s a choice excerpt, which gives you a taste of Haskell’s contribution to writing film, a mix of ferociously idiosyncratic critical insight and bona fide enthusiasm that ran across taste, time, and genre: TCM viewers who are enjoying “Trailblazing Women” should check out the new, third edition of From Reverence to Rape: The Treatment of Women in the Movies by film historian Molly Haskell. Haskell, who sometimes cohosts on TCM, covers the silent era to the late 20th century, the same time frame as “Trailblazing Women.” While there is some overlap between the series and the book, Haskell’s focus is on the image of women in the movies, the stars who embodied these images, and the relationship of these images to women in society. Long ago, when I was in film school, I was introduced to feminist film theory, particularly the work . . .
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