While we have come a long way with on-screen representation, much of mainstream television and film fails to provide relatable, authentic representations for everyone. That’s the beauty of podcasts: up-to-date content in an accessible format that often enables different demographics to have a voice at the table — or better yet, create your own platform. This week’s podcast extols queer, Black, and Asian American creators who are taking control of their own narratives. They provide us with a new lens through which we can revisit old favorites or learn about the media we have yet to engage with. These podcasts will make you feel like you’re sitting in a meeting with friends, talking about what you know best: your life experience.
Check out the latest podcast selections from Women and Hollywood here.
Launched in 2021, “Queer Girl Film Club” is a podcast featuring “three queer women watching and discussing the classics (and non-classics) of queer girl cinema,” according to its description, Covering films such as Jamie Babbitt’s 1999 teen classic “But I’m a Cheerleader” with recent releases such as Jennifer Katyn Robinson’s “Do Revenge” starring Camila Mendes and Maya Hawke, “Queer Girl Film Club” among friends One hour conversation. Offers a new perspective on films.
In Season 2, Episode 12, “Queer BAIT Film Club – Bend It Like Beckham (2002),Holly, Alice and Georgie host Gurinder Chaddha’s queer film – though not apparently -. “There’s a lot of valuable conversation about movies that aren’t queer, but Huh Queer,” observes Alice. In 2002, when the film was produced, there was a severe lack of adequate queer representation on the screen, which the film industry still suffers today. In discussing whether “Bend It Like Beckham” should have been more explicit with the sexuality of its characters, the hosts pause to emphasize that the film was released when England was still “Section 28″. of age.” This piece of law, abolished in November 2003, prohibited “promoting homosexuality by local authorities” and meant that any positive portrayal of the 2SLGBTQIA+ community was illegal. It would very rarely have been possible to make a film that would have been as successful, sold for less, if both leads were openly identified as queer.
Recent Movie Theaters in Oklahoma Posted Alerts About a gay kiss in Pixar’s “Lightyear” and even announced they would fast-forward the scene. Would “Bend It Like Beckham” have had a chance to be released in 2002 with openly queer characters?
The “Queer Girl Film Club” notes that a lot of queer audiences have walked away from the film with the message that “it’s okay to be gay, even if both of them aren’t.” Holly even says that “the notion that we are seeing two heterosexual characters is pushing the limits of credibility.” As the host observes, “The fact that we’re still talking about ‘Bend It Like Beckham’ 20 years later is a really good sign that it managed to advance the conversation about queerness and How it is represented in British culture.” Holly recognizes how the film struck a chord with so many viewers, and she doesn’t think it “wouldn’t happen if there wasn’t a really thick layer of weirdness running all over it.”
As noted in the “Queer Girl Film Club”, the film is not just about queerness or friendship. It helped popularize women’s football at a time when little attention was paid to women in sports, and it brought to life the live experience of Jess, played by Parminder Nagra, through the societal pressures, subtle attacks, and family expectations of British Asians. also highlighted. bear. The hosts concluded that it was remarkable that “Bend It Like Beckham” was able to represent a strange and racist experience, both consciously and unconsciously. with such success.
The “Black Girl Film Club” provides a place for black women to watch and discuss movies. With multi-hour episodes released twice a month, hosts Brittany and Ashley “analyze movies and the film industry from their unique, and often underrepresented perspectives,” as described on its website,
From Jordan Peele’s 2022 sci-fi horror “Nope” to Rob Reiner’s 1989 rom-com classic “When Harry Met Sally,” podcasters have pretty much covered it. In most of their monthly installments, the hosts are seen chatting about two films on the same topic. In Episode 80: “Passing (2021),” “Black Girl Film Club” discusses the concept of passing in Rebecca Hall’s 2021 adaptation of Nella Larson’s novel “Passing” and Douglas Sirk’s “The Imitation of Life”, which takes a deep dive into passing and ” What does it do to the human psyche,” whether it is a black person experiencing the privileges of a white person because of their light complexion, or a white person embodying a certain (appropriate) image as a black person. To develop online.
Before digging into the movies themselves, Brittany and Ashley explore the concept of colorism, because as they see in the episode, people usually don’t “get to the root” of why people who look a certain way are privileged. Huh. They break down Eurocentric standards of beauty and how certain features make someone more desirable in Western society. Hosts Inquiry Why? “What are those features supposed to be beautiful?” In the first place – and this is usually because they are rooted in white supremacist ideology, and are preferable if the facial feature is similar to or closely related to whiteness.
This leads to his discussion of Hall’s “passing” and why a black person, especially a black woman, may have chosen to be racially passed out during the historical context of the 1920s. Brittany and Ashley pull off the rich, complex adaptation for it: It’s “everything about power and agency.” He argues that Act of Passage is about people trying to secure power and agency, and “how they are finding it is through the white supremacy notion of ideals.” The hosts recognize how these 1920s conflicts pervade the social media world in the present day—whether it’s brands catering to a white-established notion of beauty, or those enforcing black culture and fashion. Be white women. Passing, colorism, and all their implications are still prevalent today, and as the hosts emphasize, it is critically important to get to the core issues associated with image and power.
focus on building “Serious infrastructure for Asian Americans to be writers of their own stories,” “Self-Evidence: Asia America’s Stories” brings the microphone to an inclusive range of producers and guest hosts, while also “putting tangible resources in the hands of under-served producers, journalists, filmmakers and listeners from every corner of Asian America.” Is.”
Podcast host Cathy, along with producers James and Julia, dive into a variety of topics, such as reconciling with the history and culture behind spam, in the 30-minute episode. “Specially Processed” And how music and art can facilitate personal restoration in the midst of anti-Asian violence “Say goodbye to tomorrow.”
one in Special bonus feature at the start of podcast run in 2020Senior producer Julia took the reins about Disney’s animated “Mulan”, describing the film as a “divisive and important time in Asian American history”.
Li hosts “Self Evident” on Mulan’s romance with Shang and several perspectives emerge: Julia, who identifies as Chinese American, notes that she was upset that there was a romance plot, because Her beloved childhood folktale had none – the original legend Hua Mulan portrayed a shrewd heroine who is never exposed to posing as a male soldier. Cathy also acknowledged her misgivings, noting that Disney’s princesses’ second travels around the world during the 1990s “cherry chooses a fable or folktale from each culture”.
While James notes that, at times, the film feels like “a white eye to Asian American culture” and depicts how white audiences can fail to separate stereotypes from the reality of racial experience. Kathy nevertheless appreciates Disney’s efforts to represent Chinese culture and philosophy. Julia also observes that many Asian Americans like herself are drawn to “Mulan” because the experience of second- or third-generation Chinese Americans who are familiar with East Asian concepts, such as the culture of the ancestry, but still retain their ” Strange” coming from. Filtered the American version of things. ,
Their conversation extends beyond the topic of cultural representation. The “Self Evident” hosts also discuss the film’s resonance with the queer community. Aside from the more open gender-bending moments like Mulan cutting her hair and going to war as a man, there are a number of subtleties that viewers have picked up on. Julia addresses the 2020 live-action reboot and the reaction of fans when it was announced that Li Shang was not going to film at all: “The loss of what some people see as a bisexual hero at Disney Were mourning. Universe. She has an affair with Mulan before she ever knows that she is a woman and this can be interpreted to mean that Li Shang is bisexual. She accepts that even though on Disney’s side That reading was not intentional, many queer people hold this character and that story close to their hearts.