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#joey soloway
mediademon · 5 months
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ENDLESS LIST OF FAVORITE FILMS:
AFTERNOON DELIGHT (2013) dir. Joey Soloway
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graphicpolicy · 2 years
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Matilda Lutz, Wallis Day, and Robert Sheehan join Red Sonja
Matilda Lutz, Wallis Day, and Robert Sheehan join Red Sonja #redsonja #comics #comicbooks
The leads for Millennium Media‘s Red Sonja have been set. The movie will star Matilda Lutz, Wallis Day, and Robert Sheehan and be directed by M.J. Bassett. The film is based on the comics by Dynamite Entertainment and the heroine created by Robert E. Howard for Marvel and later adapted by Roy Thomas. Details of the film have been kept quiet. Joey Soloway and Tasha Huo handled the script for the…
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bethlapides · 10 months
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Don’t miss UnCabaret at El Cid! Friday night 6/23. Our monthly revival tent/pep rally/group therapy with all star line up Joey Soloway, Julia Sweeney, Laura Kightlinger, Jared Goldstein, Aparna Nancherla, Jamie Bridgers join Beth. Plus Alex Burke sitting in for Mitch Kaplan - plus the band. “A comedy be in!” Rolling Stone. Doors at 6 show at 7. Food and full bar including mock tails:) See you there and then 🔥🎟️🔥🌈🎟️🌈 💫🎟️💫❤️🎟️❤️💋
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feliciagarrivan · 1 year
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Joey Soloway discusses the Female Gaze at TIFF
youtube
In 2016 Joey Soloway gave a keynote address at the Toronto International Film Festival (TIFF) about the female gaze. The official Youtube blurb says: Joey Soloway asks what it would take to bring it the forefront of film, art, and culture. By making space for women to take the lead in shaping female protagonism, can we get one step closer to igniting a revolution to overthrow the patriarchy?
Joey’s speech is an hour long and meanders a little. It’s also very lyrical and ends with a kind of poetry. If you don’t have time to watch, you can read the full transcript here.
Defining The Female Gaze
Ultimately, Joey argues that the female gaze is more than a role reversal where women objectify men, or having a woman as the main character in a typical action film. It goes a step further and invites the viewer to feel as a woman feels. To go beyond simply seeing and instead to immerse oneself in feeling what the main character feels.
Soloway’s female gaze is also about communicating what it feels like to be looked at, to be objectified by the male gaze. And then, having pointed that out, to demand to become the subject, not the object.
Soloway says that there’s been 100 years of filmmaking and almost all films in that time have been made by men, about men’s experience. They suggest that society needs 100 years of just women filmmakers to even up the scales. 
They also joke about the ubiquity of sport in culture and how this caters primarily to men. They suggest a world where women’s needs are catered to just as extensively, using “feminist arguing” as something they themselves wish had as much media and coverage.
Select Quotes From The Speech
"Art is propaganda for the self… TV and filmmaking and fuck, all culture making — is people going, I’m okay! And people who are similar to me are okay!… We all need friends and so we make tribes with our art.
Protagonism is propaganda that protects and perpetuates privilege.
The Female Gaze. Part One. Reclaiming the body, using it with intention to communicate Feeling Seeing… It could be thought of as a subjective camera that attempts to get inside the protagonist, especially when the protagonist is not a cis male. It uses the frame to share and evoke a feeling of being in feeling, rather than seeing – the characters… Things maybe that you watch where you say, I can tell a woman wrote and directed it because I feel held… the emotions are being prioritized over the action.
Part Two. I also think the Female Gaze is also using the camera to take on the very nuanced, occasionally impossible task of showing us how it feels to be the object of the Gaze. The camera talks out at you from its position as the receiver of the gaze… This is how it feels to be seen. The gazed gaze.
This third thing involves the way the Female Gaze dares to return the gaze. It’s not the gazed gaze. It’s the gaze on the gazers. It’s about how it feels to stand here in the world having been seen our entire lives. Or, in a line I heard in a web series today, we don’t write culture, we’re written by it. It says we see you, seeing us. It says, I don’t want to be the object any longer, I would like to be the subject, and with that subjectivity I can name you as the object. 
This part of the female gaze is a sociopolitical justice-demanding way of art making.
Roger Ebert said “film is an empathy machine” and this is true of television, and all story. 
The Female Gaze is not a camera trick it is a privilege generator, It positions me, the woman, as the subject. On a journey. You will be on her side. You will be on my side. My camera, my script, my word on my notes, my side. I want you to see the Female Gaze as a conscious effort to create empathy as a political tool. It is a wresting away! Perhaps a wresting away of the point of view, of the power of the privilege propaganda for purposes – of changing the way the world feels for women when they move their bodies through the world feeling themselves as the subject.
It’s about bodies again, bodies of women. Ladies. Girls. Gender non-conforming people…
This Female Gaze is a political platform, it means we start to call out how awful it is to be offered access in exchange for succeeding at being seen. The Female Gaze calls out how the Male Gaze divides us…
The Female Gaze can be a cultural critic. We can use it to call out all of those fucking storylines on those procedurals — that are meant to work as public service – meant to educate us about rape but they actually are just more rape…. What if only women were allowed to craft storylines about our bodies, about rape or consent for the next 100 years? Could we change the laws with our gaze? As we write and direct and produce our own truths about the violence on our bodies, it’s back to our bodies again.
Creating from inside of our own bodies and generating our own gaze, we can ask the important questions, say the things the dominant narratives have tried to distract us with.
We get divided by the male gaze – but we want our subjectivity back, we want to knit it back together, our wholeness and make it uncomfortable unacceptable to blatantly use us as objects, to turn us into slices to push you towards your own plot climaxes, of rescue or revenge.
The Female Gaze is political protagonism and it is not afraid to ask: What is toxic masculinity? When are we going to be done with it?
The Female Gaze is more than a camera or a shooting style, it is that empathy generator that says I was there in that room."
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infamousmonkey-cat · 4 months
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i just saw that eileen myles was charged with disorderly conduct for saying "free free Palestine" to a cop and it reminded me that they used to date joey soloway and then soloway cast cherry jones as a thinly-veiled fictionalisation of them in transparent and had cherry jones boycott israeli goods and then fall in a HOLE? and then the next season they all went to israel? when cherry jones fell in the hole was the moment i stopped watching that fucked cursed show... fuck joey soloway for real
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bikinikillarchives · 8 months
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does everyone know about kathleen hanna's t-shirt company, Tees 4 Togo, where they work beside Peace Sisters to support young girls' education in Togo, West Africa? 100% of the profits go to Peace Sisters, a non-profit started by Tina Kampor who's mission is to provide equal education for girls in her hometown, Dapaong, Togo. every $40 t-shirt sends a girl to school for one year.
working besides local artists, these tshirts include art of: Joan Jett, Ad-Rock, Carrie Brownstein, Brontez Purnell, W. Kamau Bell, John Waters, Kathleen Hanna, Fugazi, Chuck D, Billie Joe Armstrong, Kim Gordon, Grimes, JD Samson, Justin Vivian Bond, Joey Soloway, Patton Oswalt, Hari Kondabolu, and Kristen Schaal. sizes ranging from a unisex small to unisex xxxx-large. not intrested in a t-shirt? you can still donate $40 though Tees4Togo, or donate directly through Peace Sisters!
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edwardalbee · 3 months
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my family life is constantly on some hbo prestige drama shit. jenji kohan joey soloway type beat
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maclovesmanga · 1 year
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New video is up, covering the history of rom com in anime and manga, how shojo dominated the genre for years and how shonen and seinen have taken it over and turned it into something else entirely. We analyze the male and female gaze and the impact they can have on the quality of a show. Rom coms have changed, but has it been for the better?
Some good sources to check out:
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deadlinecom · 1 year
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whattheforce · 2 years
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Thinking a lot about non-patriarchal story and how to make them. How fairy tale is more likely to project to the feminine mind. How musicals are almost always feminine gaze. It’s because of something Joey Soloway talks about called the feeling camera - which prioritizes emotions or the internal over action.
Joey Soloway talking about the Female gaze as “a way of feeling/seeing subjective camera - one that attempts to get inside the protagonist. Particularly when is not a cis male. Uses the frame to share and evoke a feeling - IN feeling rather than looking at the character.”
Joey talks about how this isn't from an intersectional perspective.
Okay so how can you produce this in a non-visual medium. This are my thoughts on Joey Soloway's conversation at Tiff (Link Below).
"art is propaganda for the self" - In my opinion, this is a tool to create an anti-patriarchal story. Privilege generator.
Part 1 In Feeling - Joey talks about how capturing the actors the cinematographer that they work with - they agree to “hold a feeling for the scene” they are working on - the camera is then part of the feeling. “You get the feels”.
Emotions are being prioritized. Feelings in your body should be prioritized - are you feeling as you are creating it will help.
It needs to come from deeeeeeep in you, and will speak deeply to what you have been missing. When you write, or create, are you feeling the feeling meant to be expressed in the creation.
Part 2 - The gazed gaze. being the object of the gaze. Using the story shape - like the heroines journey or Wild women. Growing power in the feminine aspect self. Stucture/DEEP Mythic experience.
Using the structure or non-patriarchal bases will allow for this feminine perspective to spring forth.
Part 3 - the gaze returned. Returning the gaze - the gazed being the subject. The power to name - to hold the object (not necessarily objectify). In my opinion, this helps express the power of the gaze and will SPEAK directly to the withered psyche.
To me, this is the full Goddess Power flex.
(See the drawing below)
I always knew the structure was important but thinking about how to make it happen in non-visual medium is interesting.
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Comments made while listening to this MasterClass at TIFF
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adultswim2022 · 2 years
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Baby Blues #6: Teddy-Cam | February 3, 2002 - 10:30PM | S01E11 Originally premiered on Adult Swim
My face when the show deadnames Joey Soloway in the credits: >_<; 
A fairly solid one. No laughs from me, but the story is okay. Pretty cookie-cutter stuff. Bizzy, the MacPhearson’s sitter, has started inviting her boyfriend over to the MacPhearson home to sit with her. Darryl doesn't like this turn of events, and turns to his paranoid neighbor for advice. He sets him up with a teddy bear cam to spy on Bizzy’s babysitting sessions.
Meanwhile Wanda, after spending some time with Bizzy, decides she wants to reconnect with the world by immersing herself in the popular culture she’s been missing out on as well as youthful experiences. When Darryl watches the Teddy-Cam tape he discovers that Bizzy’s no-good boyfriend is getting awfully flirty with Wanda, and Wanda seems more-than-willing to receive this attention from him. But just how harmless is this attraction? Should Darryl keep spying? Should he act like a jealous dickhead and drive her away? Who can say!
Again, it’s fairly cookie-cutter stuff, but I really don’t have a huge problem with basic-ass sitcoms, as long as they are funny. This is a uniquely adult episode, as the children of the various families fade into the background. Zoe exists in this episode merely to be sat by Bizzy so that the possibility of infidelity can happen. The Bitterman’s kids participation in this episode are mercifully brief. This one sorta earns it’s place as as “adult” animated show. But it’s still a far cry from being “Adult Swim” material.
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sarchive · 2 years
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1109. AFTERNOON DELIGHT / Joey Soloway / 2013 USA / Alexis’ / First viewing
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janamonji · 11 months
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'A Transparent Musical': A Cautious Farewell Party ⭐️⭐️⭐️
I didn’t follow the Amazon Prime Video comedy-drama streaming series “Transparent.” The series ended on 27 September 2019 with a feature-length finale: “Musicale Finale.” The “A Transparent Musical”  is a cozy farewell party for Maura’s story, with a book written by series creator Joey Soloway (with MJ Kaufman) and music, lyrics and vocal arrangements by Faith Soloway. The production had its…
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criticarter · 11 months
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Films Watched in 2023 - (56/???)
Afternoon Delight (2013) -- Joey Soloway (2.5/5)
Hahn and Temple both show a base of the talent we'd later see used in spades in future projects, but the view of sex work (either a term completely alien to the other characters or a life that the protagonist must save Temple's character from) didn't take long to be horribly dated.
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arun-pratap-singh · 1 year
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How M.J. Bassett broke the reboot out of development hell
How M.J. Bassett broke the reboot out of development hell
A reboot of Red Sonja spent nearly fifteen years in development hell before going into production last year with director M.J. Bassett (Solomon Kane) at the helm. Before Bassett signed on, the project had passed through the hands of directors Robert Rodriguez, Simon West, Bryan Singer, and Joey Soloway, with Hannah John-Kamen, Rose McGowan, and Amber Heard being considered for the lead role.…
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