The movie 'Good Stuff' is seen as a milestone because it places women in the central, active roles traditionally reserved for men, challenging societal norms. It humorously critiques the male gaze and reverses typical gender dynamics, such as portraying men as secondary characters who do not drive the plot. This shift in perspective encourages viewers to rethink gender roles and the inherent biases in media representation.
The discussion highlights that female directors tend to focus more on the agency and depth of female characters, portraying them as central to the narrative rather than as supporting or stereotypical roles. For example, in 'Good Stuff', the female director uses humor and role reversal to critique societal norms, whereas male-directed films often perpetuate traditional gender roles and stereotypes, as seen in the contrasting portrayals of the same story in 'I Am a Mountain' and 'When the Mountain Flowers Bloom'.
'Good Stuff' addresses gender equality by reversing traditional gender roles and expectations. It features women in dominant, decision-making roles and men in supportive, less central roles. The film also tackles issues like sexual harassment and the societal pressures on women, using humor and satire to make these points accessible and thought-provoking. This approach not only entertains but also educates the audience on the importance of viewing gender dynamics through a more equitable lens.
The podcast discusses how structural oppression, deeply rooted in patriarchal systems, affects women's roles in both family and society. It highlights the undervaluation of women's labor, especially in domestic settings, and the societal expectations that limit women's professional and personal growth. The conversation underscores the need for societal change to recognize and rectify these imbalances, advocating for a more equitable distribution of roles and responsibilities between genders.
In 'Good Stuff', humor is used as a strategic tool to discuss and critique serious societal issues like gender inequality and sexual harassment. By presenting these topics in a light-hearted and satirical manner, the film makes them more approachable and digestible for a broader audience. This method helps in breaking down resistance to these topics, facilitating a more open and engaging discussion about gender roles and the need for societal change.
没有人规定不清楚厌女的定义,就不能去理解女性主义欢迎你!毕不了业第30期的听众👏。借由最近热映并引起广泛讨论的电影《好东西》,宏宏和羊伊想以一个“女性主义”观察者的视角探讨性别差异带来的阶级问题,以及为什么它已经成为当下社会无论男性还是女性都无法避开且一定要重新开始思考的问题无论是否理解“厌女”这个词的学术定义,都不妨碍我们开始学习并习惯以女性为第一性别的视角。这个视角过去我们都不够清晰,根源是我们生活在一个父权制为主导的社会体系中。请记住一切以女性为第一视角独立存在的思考方式的对立面,就是厌女。“女性主义”其实是经由女性看向曾经被指认为他者、被放逐在文明之外的人群。当读过上野千鹤子,读过波伏娃,看过道长张春老师邵艺辉导演的作品和采访,我们也可以大方去承认一点:我,厌女。承认它的意义在于通过女性主义,女性需要开始审视自己未经审视的处境,男性则必须承认自己所拥有的千百年被理所应当到已很难辨认的巨大优势。女性曾被视为弱者,重新发现她们的声音和价值是我们重新看见和思考“弱者的意义”的钥匙。没有人永远都是强者,看向他人的同时我们也开始真正认识自己。本播客不主张男女对立,主播们欢迎男性听众收听本期节目并理性友好交流。因为你们虽然不安,但已无法避免,所以也不必害怕进入讨论。周轶君老师的观点同样是本播客主播认同的观点:女性主义不光是女性主义的福音,对男性也是存在一定实际好处的。最关键因为它是社会迈向更文明,经济迈向更发达,人类迈向更自由平等的必由之路。
“我都跟父权制决裂了——我TM还能是loser吗”?
02:53 从年初到年末,愿称2024年为“中女觉醒”元年
04:53 同一题材的两部作品评分口碑差异巨大:山花烂漫时🆚我本是高山
14:40 电影《好东西》中那些珍贵的平权色彩细节
16:30 从《爱情神话》到《好东西》,反映出导演性别意识的变化
21:26 “女人也可以享受性,你只是我的课间十分钟”
23:50 我们追求的从来只是平等
29:34 父权制根深蒂固也给了相当一部分男性群体以压迫
30:24一个更开放的探讨:让人权的边界更广泛
33:27《出走的决心》:更现实沉重的女性现状
38:24 “这是一部恐怖片,因为它演的就是我的活爹”
46:08 不仅家庭形态,整个社会形态对女性/母职的束缚体现在哪
47:56 上野千鹤子的测算:有孩女性和没孩女性的收入究竟相差多少?
51:14 中国社会倒推 30 年甚至不存在“性骚扰”这个词
54:04女性可以有意识地选择之前被刻板以“男性优先”的工作,争取经济权利与技术权利
1:00:11 女性的独特优势可以帮助她们获得所在领域行业中的成功
01:04:56 当知道苦难背后的原因,我们就不再去无尽地悲叹
01:05:06 🔔本期作业时间:如何理解男人最大的幸运和女人最大的不幸?
—————————————————🎙加入毕不了业听友群:搜索微信号“bibuliaoye123”,添加小毕微信即可💌宏宏小红书/B站/抖音账号:@宏宏跑步去💌羊伊也有小红书了:@懒羊羊伊🌱投稿&商务联[email protected]