Skip to main content

A Lorde #fangirl Preps For #Oscars16


I missed the BRITS. And regretted it. Because it took a while to find the full version of Lorde's glorious Life on Mars, with David Bowie's very own band. Here she is after she sang, I think.



So, I don't want to miss Lorde if she sings at #Oscars16 (& the performer lists all add 'so far', so are not definitive). Especially as her fabulous mother, Sonja Yelich, posted this golden picture this morning, with the note–
old shot of #Lorde – don't even know who took it – don't even know where it was – only know that I steamed it before every show #goldencape


O wow, she *steamed* that cape *before every show*: my admiration for Sonja Yelich deepened even further. And then she posted another image. Are they connected?




Perhaps? So yes, I might search for an Oscar stream that will reach me here in Aotearoa New Zealand (where I have no TV or Sky). And hope to see and hear Lorde.

But I also know that the #OscarsSoWhite (& #SoMale) are deeply problematic.

Guerrilla Girls


And I haven't got a free day.

So I might access #JUSTICEFORFLINT, a live benefit concert for the people of Flint, during the city’s disturbing water crisis, organised byBlackout for Human Rights, 'a network of concerned artists, activists, filmmakers, musicians and citizens who committed their energy and resources to immediately address the staggering level of human rights violations against fellow Americans throughout the United States'. Collective members include Ava DuVernay, Ryan Cooler, David Oyelowo. The concert starts in a few minutes.



And it's an easy stream. REVOLT.TV comes through loud and clear and beautifully.

Well. What to do? Perhaps I can manage bits of the Oscars and some of #JUSTICEFOR FLINT. But no, I haven't got a free day and I have something I have to concentrate on.

Regardless, here's my #Oscars16 prep list, in case there's info you can use.

The Reports –

Three big ones the last couple of weeks. They record, in various useful ways, the larger industry problems that affect the Oscars and influence social behaviours that allow human rights violations like those in Flint.
European Women's Audiovisual Network's WHERE ARE THE WOMEN DIRECTORS? Report on gender equality in the European film industry
The Media Diversity & Social Change Initiative's Inclusion or Invisibility? report.
Darnell Hunt's 2016 Hollywood Diversity Report, which demonstrates that showed that films and television shows with casts that roughly reflect the United States' racial and ethnic diversity posted the highest box office and ratings numbers on average (in New Zealand, Maori and Pasifika films also do spectacularly well and I can't wait for some that are written and directed by women).

The Clips

Via Agnès Films and Women & Hollywood (where there are various other Oscar posts, including this one, 'The Roles That Win Actresses Oscars (Hint: Wedding Rings Are A Good-Luck Charm)' .






The Revelations

Writing that amplifies some of the history and issues. This week, these were my faves. First, one on agents–
Jen Chaney's long interview with an anonymous agent, 'A Hollywood Agent Explains How Negotiations Work and Why Actresses Get Paid Less', which includes the unsurprising statement that "Women all across the board are just not valued."
And another about a group of women who tried to sue Hollywood (I wept when I read it)–
Rachel Syme's 'The Original Six: The Story of Hollywood's Forgotten Feminist Crusaders': a long and rewarding read.
And a third, by Melena Ryzik, 'What It’s Really Like to Work in Hollywood* (*If you’re not a straight white man.)' (H/T Waking Dream Collective!)

Women in Oscar History–

Deb Verhoeven's just published 'A Brief History of Women Accepting Oscars', an engaging read. It includes this clip of Jane Campion accepting hers for Best Original Screenplay (The Piano) always so special to see: it gives me the same feeling as watching Lorde in her monochrome St Laurent at the BRITS.



And then I read last week's interview with Sacheen Littlefeather, who declined Marlon Brando's Oscar in 1973 (H/T Sophie Mayer!).



I wept again, when I watched and listened to Sacheen Littlefeather in this clip. And now I'm not sure I can watch any of #Oscars16. Even for Lorde.


Comments

Popular posts from this blog

After the Waterfall—

above: Antony Starr as John

After The Waterfallis the only New Zealand feature in the New Zealand International Film Festival that a woman—Simone Horrocks—has written and directed. It premiered in Beijing earlier this month, as part of the 5th New Zealand Film Festival in the People’s Republic of China. Here's Simone speaking at the premiere.


Simone first attracted international attention when she was a semi-finalist for the prestigious Sundance Institute/NHK Filmmaker's Award in 2001. She has written and directed several short films, notably Spindrift, winner of the Best Panorama Short Film award at the Berlin Film Festival, and New Dawn, commissioned by the Edinburgh Film Festival to mark the launch of UK Film Four's Lab. I knew almost nothing about her. So I peppered her with emailed questions. And was truly delighted with her generous responses.

Dana Rotberg and White Lies|Tuakiri Huna

Cushla Parekowhai and I went to previews for Dana Rotberg's new feature White Lies/Tuakiri Huna – Cush in Auckland and me down here in Wellington. And the film excited us. White Lies/Tuakiri Huna, described as 'a story about the nature of identity: those who deny it and those who strive to protect it', comes from Medicine Woman, a novella by Witi Ihimaera, who also wrote Whale Rider. (Witi is Cushla's cousin. Witi's father, Tom Smiler, and Cush's grandmother, Pani Turangi, were raised in the same household in Manutuke.)

Dana wrote, in the book that accompanies the film, that after she read Medicine Woman –
...Paraiti, the medicine woman, was a stubborn presence who refused to leave. I felt that was a clear sign that the story...was speaking to me from places other than where the original work had come from. Places that belonged to my intimate family history and my most unresolved conflicts as a person in the world. It was a call from the core of my origins to l…

NZ Update #17.1 Safety Revisited

(This is easier to read over on Medium)

Back in October, just before the #directedbywomen screenings in Auckland, I tumbled down a steep flight of wooden steps in Auckland's Ayr Street Reserve. Cracked one ankle and broke the fibula in my other leg. Missed spring gardening. Missed all of Wanuri Kahiu's visit (but not some beautiful responses from the many people she inspired and revitalised).

Couldn't transcribe or edit my #directedbywomen Skype interview with Isabel Coixet. Couldn't edit and publish other almost-ready interviews I cherished. Couldn't organise more screenings that filmmakers had requested, with the films' directors beamed in to Te Auaha's small treasure of a cinema for Q & As, also via Skype.

After two months almost entirely at home, half-way down a pedestrian-access steep zigzag, I'm fully mobile again. With thanks to the Accident Compensation Corporation's (ACC, our universal no-fault accidental injury scheme) fine services; to…