We discuss what makes this film so bad it’s good, its director, Tommy Wiseau, The Disaster Artist and the Golden Globe winning performance by James Franco but most importantly we talk about the unique fandom around The Room.
Other topics we cover include fan communities and bonding via film, participatory cinema more generally, authenticity, performance and the nature Continue reading →
Earlier this month saw one of my yearly teaching highlights, the annual screening of ‘the best worst film ever,’ 2003 melodrama, The Room.
It is ironic that a film renowned in part for such poor performances became the ultimate performative text, prompting a whole range of audience behaviours at its regular screenings.
Every year for the past three years, a participatory screening of this film has served as the climax of my third year Cult Film module, and it is promised to students at the start of the module, as a reward for their hard work and inevitably enthusiastic contributions over the course of the eleven week undergraduate module.
I was recently interviewed by PhD candidate Becky Jones* for Phoenix Talks – her podcast in association with the Leicester’s independent cinema, the Phoenix.
Becky kindly invited me to talk with her about biopic The Battle Of The Sexes which recently ran at the cinema. The film tells the story of the famous tennis match of the same name that took place in 1973 between Billie Jean King and Bobby Riggs.
I wanted to talk with Becky about some of the ways in which this film raises issues around the media representation of sporting women’s bodies (which are often understood to be a problem as the power and potential they convey means they aren’t feminine or pliant enough) about toxic masculinity and about feminism. It’s a bit rambly, but hey, it was the end of term!
A couple of weeks ago I was part of an all-female panel discussion of the treatment of older women in Hollywood. The discussion followed a screening of the recent Paul McGuigan biopic Film Stars Don’t Die in Liverpoolwhich charts the relationship between ageing Hollywood star Gloria Grahame and younger British actor Peter Turner.
I enjoyed the film very much and was excited to be asked by marketing assistant and my PhD supervisee, Becky Jones, to be part of the discussion event at the wonderful Phoenix cinema in Leicester.
The film itself was very good, beautifully shot and both Benning and Bell’s performances were excellent. It also raised a number of issues around the idea of the ageing female star and the broader treatment of women in Hollywood which really seemed to chime with the recent Weinstein allegations and the public debate around the #MeToo campaign.
In this podcast I talk with PhD candidate Emma Purce about her research into the British seaside freak show in 20th century Britain. Whilst a lot has already been written on the freak show in the 19th century and particularly in America, Emma is really helping to shape our understanding of the 20th century freak show.
We discuss the notion of liminal, permissive working class spaces and the history, the legacy and the politics of the freak show and of the curious, scrutinising gaze employed when attending such an entertainment
Kiki onstage. Image courtesy of Joust Photography, taken at the Hebden Bridge Burlesque Festival, 2017
In this episode of Here’s Looking at You I chat with burlesque emcee, singer, teacher and former contestant in BBC’s The Voice, Kiki Deville. Kiki is a charismatic and hugely talented performer who is renowned for her big voice, big personality and big boobs and this has led her to be considered an unruly woman.
Inspired by Anne Helen Peterson’s recent book ‘Too Fat, Too Slutty, Too Loud: The Rise and Reign of The Unruly Woman,’ we got together to talk about Kiki’s experience of The Voice and subsequent attempts by the popular media at bullying and body shaming her, about being ‘fair game,’ picking your arguments, the pleasures and pitfalls of celebrity culture, appropriate online behaviour, and grief.
Following its success at the Emmy Awards, where it won best TV drama, best actress and best supporting actress, it is probably time to release my podcast about the TV adaptation of The Handmaid’s Tale.
In this podcast I talk with poet, teacher, writer, musician and community activist Josie Moon, about the Margaret Atwood source novel and its recent, television incarnation.
A strikingly prescient pair of texts, both prompt us to discuss all manner of contentious topics, from women’s reproductive rights, to the process of othering, to hierarchies, freedom of speech and star activism.
As you’ll hear, as is always the case when Josie and I get together, this conversation is quick fire and there are no holds barred. Josie is a very political creature and it’s one of the many Continue reading →
Whilst the issue of austerity and food banks might seem an odd subject to blog about on a website about the representation of gender and sexuality in the media, I’d argue it is an ideal subject.
I hadn’t really thought much about food banks until recently, having been lucky enough to have never had to use one. However, that changed when I saw Ken Loach’s extremely moving condemnation of the austerity agenda, I, Daniel Blake. I defy anyone to see the scene whereby Katie gorges on food in the food bank and then breaks down or the scene where she is forced to steal sanitary products, and not be moved. Imagine having a period and not being able to afford to keep yourself clean.
I have written a blog for the ‘Screening Sex’ website, an academic blog curated by Darren Kerr and Donna Peberdy.
The blog briefly examines the fetish films of Bettie Page and Irving and Paula Klaw. In particular it discusses Page’s performances, the repetitious nature of these films and how the original point of interest in these short films may have shifted over time and context.
I came across Jill Millard Shapiro first through her rather wonderful book Remembering Revudeville: A Souvenir of the Windmill Theatre, and then through social media. We got talking and she very kindly suggested I we have a face-to-face chat.
Jill was a performer at the Windmill theatre from 1959 to December of 1963 when she left to have her first child so she is a well-placed, as well as eloquent and engaging spokeswoman and expert-in-chief for the theatre that she called home for a short but clearly formative period of what turns out to have been a very eventful life.