Video, Film & TV

Feminist Science Fiction, Fantasy & Utopia

[HOME] [CHECKLIST | anthologies | lists | writers]   [criticism]   [community | listserves | blogs | WIKI]   [SEARCH]

critical resources: Tiptree Award | Wiscon | Broad Universe

Brief Index for This Page:
Movies, Films & Videos || Television Programming

Also See:
Documentary Film & Videos


Feature-Length Movies, Films, & Videos

(longer than an hour) ** SPOILER WARNING ** plots are discussed

"Alien"
1979
Director: Ridley Scott
Cast: Sigourney Weaver, Veronica Cartwright, Tom Skerritt
OK, how could I write a thing about feminist science fiction movies without including "Alien"? While there has been lots of argument about how this film is feminist, or how it is sexist, one thing is sure: the woman ends up surviving. -- lq

"Aliens"
1986
Director: James Cameron
Cast: Sigourney Weaver, Jenette Goldstein (as Private J. Vasquez) The sequel to "Alien," in this one, the survivor of "Alien" turns out to be a real warrior woman. She kicks the asses of a slavering egg-laying female alien and her hench-aliens, and saves a little girl-child, thus providing for lots of interesting discussion about maternal instincts etc. Regardless, if you like tough warrior women, check out Sigourney Weaver in this one. (Among the other, less-successful, warriors in the film, there is a Latina woman.) This one, along with "Terminator 2," was one of several movies in the early 90s with tough wimmin. -- lq

"Alien 3"
1992
Director: David Fincher
Cast: Sigourney Weaver and a lot of men ...
The third in the "Alien" series, this one has our hero -- a strong, tough woman -- duking it out with, yes, more aliens, this time on an all-male prison colony. The ending gave a lot of people the green queasies. If you like corporate / government conspiracy stories and tough women (or one tough woman, anyway), here you go.
-- lq

"Alien: Resurrection"
1997
Director: Jean-Pierre Jeunet
Cast: Sigourney Weaver, Winona Ryder

"Antonia's Line"
(aka "Antonia")
1995; 1996 USA
Director: Marleen Gorris
Won Academy Award (3/96) for Best Foreign Film, 1995.
OK, it's kind of a stretch. I wouldn't really call it science fiction. OK, I wouldn't call it science fiction at all. I would call it magic realism, though. Whatever category I'd put it in, I'd still tell you to go and see it. This was the best movie I've seen in years. -- lq.

"Born in Flames"
1982, Lizzie Borden, USA, 90 min.
The description from Chicago's FILM CENTER AT THE ART INSTITUTE schedule (it's playing March 23 at 6:00 in case anyone's around at that time): "Set in the future, ten years after a Social Democratic cultural `revolution' in America, BORN IN FLAMES audaciously explores the question of whether the oppression of women will be eliminated under any kind of social system. Disenchanted with the instability, or lack of interest, of the `Socialist' government to address fundamental issues concerning male domination, groups of women seek other avenues for political change. A charismatic opposition leader, Adelaide Norris, attempts to form a Women's Army; her work brings her into contact with two illegally operated radio stations, Phoenix Radio (run by black women) and Radio Regazza (run by white women), as well as with a group of intellectuals struggling to change the Party from within. After Adelaide is killed by government agents, members of the Women's Army are forced into terrorist activities, as the disparate opposition groups, now radicalized, come together to form a united front. Beyond its critique of traditional 'progressive' politics, BORN IN FLAMES is a celebration of the possibility of women working together, putting aside the bitter conflicts that have existed in the women's community in order to achieve common goals." (FC). Quoted without permission. -- lq

"Buffy the Vampire Slayer"
(1992; US).
Cast: Kristy Swanson; Donald Sutherland; Paul Reubens; Rutger Hauer; Luke Perry.
Based on the core of an idea--"What if [that blonde girl who's always being stalked and killed in movies] went into the alley and kicked the monster's ass?"--the movie was a camp comedy, generally not too inspiring. From a feminist perspective, the originating idea was interesting. There were other interesting aspects. First, the notion that the world is protected by a long line of teenage girls, albeit watched over by [as far as we can tell] a long line of older men. Second, the relationship between Buffy and her boyfriend, in which she saves him, and at the end of the movie, while they're rolling around, makes an explicit comment about him not being on top. But far more fluff than feminism.
Joss Whedon, the creator, however, had other ideas. [Of the film, he has said it is "not totally without its merits."] He shopped the idea around as a TV series, and in the age of "Xena," he was able to get a sale. The TV series was an altogether different matter.

"Celine et Julie Vont en Bateau" (Celine and Julie Go Boating)
(1974; French) Director: Jaques Rivette. Said to be sort of magical realism. About a magician and a librarian ...

"Chocolat"
(2000)
English; French (121 minutes)
Director: Lasse Hallstrom
Based on novel by Joanne Harris
Cast: Juliette Binoche, Judi Dench, Alfred Molina, Leni Olin, Johnny Depp; Leslie Caron in a small role

A little bit of magic realism let me slide this one in. What I really liked about this movie is that it centered on mother-daughter relations, and a strong woman. Not as good as "Antonia's Line," the movie nonetheless managed to show a lot of interesting women characters taking control of their own lives.

"The Company of Wolves"
(1994) - written by Angela Carter & Neil Jordan; directed by Neil Jordan.

"Conceiving Ada"
(1997)
Director: Lynn Hershman-Leeson
Cast: Tilda Swinton, Timothy Leary, Karen Black
A modern computer genius manages to contact Ada Lovelace, who conceptualized the computer. Guest stars Mary Shelley.

"Daughters of Darkness"
(1970) (Belgian; West German; French; 87 minutes). Harry Kumel, director. camp lesbian vampire film.

"Flaming Ears"
(1992) - Austria; 84 minutes; 16mm; available on VHS; Angela Hans Scheirl; Dietmar Schipek; and Ursula Purrer, directors. Futuristic lesbian s/m experimental film.

"Fresh Kills"
(1999)

"Friendship's Death"
(1987)
Director: Peter Wollen
UK, 78 minutes
Cast: Tilda Swinton (of "Orlando")

"Ghosts of Mars"
Director: John Carpenter.

No sense that this is a feminist film; it's possibly even anti-feminist / feminist backlash. But note the portrayal of a matriarchal government with lesbian overtones [albeit ruled by a "cartel"].

See review at http://www-personal.umich.edu/~lormand/agenda/0109/movies.htm

"The Handmaid's Tale"
(1990)
Director: Volker Schlondorff
Writing Credits: Margaret Atwood, Harold Pinter
Cast: Natasha Richardson, Faye Dunaway, Elizabeth McGovern, Victoria Tennant, Aidan Quinn, Robert Duvall
Didn't think the movie was as good as the book. Is it ever? Had a few problems with it, but what the hell -- it's still worth seeing. It's not every day we get to see a novel that deals with these themes made into a film. -- lq.

"The Lathe of Heaven"
(1980; 2000, re-released in DVD)
Director: Fred Barzyk, David R Loxton
105 minutes; USA
Cast: Bruce Davison (as George Orr); Kevin Conway (as Dr. William Haber); Margaret Avery (as Heather LeLache); Candy Clark; Niki Flacks; Frank Miller; Peyton E. Park.

"The Lathe of Heaven"
2002. A new production.

"Like Water for Chocolate" / "Como agua para chocolate"
(1992, USA)
Director: Alfonso Arau
Writing Credits: Laura Esquivel
A fabulous movie based on a fabulous book, "Like Water For Chocolate" is an excellent example of magic-realism as well as fine Latin-American film-making. Directed by Esquivel's then-husband, Alfonso Arau. -- lq

"Liquid Sky"
(1982) Director: Slava Tsukerman. 118 minutes. Weird 80s drug sf.

"The Magic Toyshop"
(1989)
director: David Wheatley
Written by Angela Carter.

"Matilda"
Based on a Roald Dahl novel.

"Orlando"
(1992)
Director: Sally Potter
Cast: Tilda Swindon (as Orlando); Quentin Crisp (as Queen Elizabeth I)
93 minutes
Based on the Virginia Woolf novel, of course

"Rosemary's Baby"
(1968)
Director: Roman Polanski
Writing: Ira Levin (novel); Polanski (screenplay)
Starring: Mia Farrow; John Cassavetes; Ruth Gordon; Ralph Bellamy
USA 136 minutes
A feminist fable? Well, maybe not intentionally. But feminists would find a lot to study in this classic horror film about a newly-wed bride in NYC, finding herself carrying, literally, Satan's baby. See also "The Stepford Wives," also based on a novel by Ira Levin.

"Sexmission" (1984)
Poland. Apparently a very popular Eastern European sf film about two male astronauts who land in a female-dominated world. One Eastern European film syllabus notes that this film could be considered anti-feminist, or anti-authoritarian.

"The Stepford Wives"
(1975)
Director: Bryan Forbes
Writers: Ira Levin, William Goldman
Starring: Katharine Ross, Paula Prentiss
US 115 minutes
Based on a novel by Ira Levin, "The Stepford Wives," like "Rosemary's Baby," takes The Feminine Mystique and twists it into horror and black comedy. Suburban / small-town husbands replace their wives with Real Dolls -- robots who love housework and have big breasts.

"The Sticky Fingers of Time"
(1997)
Director: Hilary Brougher
USA: 81 minutes
Cast: Terumi Matthews, Nicole Zaray, Leo Marks
lesbian science fiction noir drama.

"Strange Days"
(1996)
Director: Kathryn Bigelow
USA: 145 min.
Cast: Ralph Fiennes, Angela Bassett, Juliette Lewis, Tom Sizemore, Michael Wincott, Vincent D'Onofrio
Music: by Graeme Revell and Deep Forest, but listen & watch for Skunk Anansie
Near-future (well, the turn of the millennium) action suspense. The technological premise is that a new technology (SQUID) allows the recording of perception, direct from the brain; these digital recordings of other people's experiences can then be distributed, on the black market only because playback is at least somewhat dangerous and definitely illegal. The backdrop is New Year's Eve, the millennium, in LA, when racial tensions, crime, and violence are running rampant. Lenny Nero, the protagonist, deals in the illegal recordings. His ex-girlfriend is strung out, and now involved in a dangerous crowd. A prominent African-American musical artist is murdered; the ex is afraid of something; and a mutual friend, a hooker, is on the run afraid for her life.

Highlights & lowlights: First the bad news: There's some extraordinarily disturbing violence against women, including one rape-murder that is just disgusting. There's also some casually dismissed violence against people of color. Lenny, viewing a recording of a robbery, lets pass without comment violence -- maybe murder -- against people of color in a restaurant / grocery. He rejects the recording because the recorder dies--he doesn't deal in "snuff." But the actual violence and death of other people didn't seem to disturb him at all--it's suggested this is what he deals in.

Violence permeates the film and is treated with extreme casualness by everyone, except when the violence is targeted at real characters. In part this is just the way many movies handle violence these days; and in part it's an attempt to show a near future when violence is so widely accepted. But the violence isn't all entirely unproblematic: as with the odd double standard at the beginning of the movie, there is an extremity of violence shown against women. And in one scene near the end of the movie police beat Angela Bassett's character in a way that is shocking and horrifying. Yes, it's intended to make a point about police brutality and racism. But still it was troubling.

Good news: Angela Bassett is awesome. She kicks ass and saves Lenny Nero, the male protagonist, numerous times. Of course, we're not really sure why she loves him, except for one tender little scene which shows a better side of Nero than we've seen in the movie. But aside from that plot hole, the movie is worth watching basically for Angela Bassett's character. She is totally in command and calm, as well as smart and principled.

More good news: The movie, while I thought it did have some troubling issues around its representations of violence against people of color, nevertheless is, at least in part, an exploration of those issues. The beating of Angela Bassett at the end of the film recalls the brutal beating of Rodney King. The murder of a prominent, politically active, Black artist, seems throughout the movie as if it might be the result of some sort of conspiracy; at the least it is the result of racism and extreme police brutality. Racial tensions throughout LA, caused by these problems, are the backdrop for the violence: you see constant scenes of cops in military drag, with shields and masks and clubs, implicitly targeting civilians, often people of color. And those racial tensions underlie a significant plot of the movie: what will happen in LA if and when the truth is revealed about the murder of the Black artist?

Lesbians may be interested to note that, in addition to Angela Bassett being simply gorgeous & awesome, Juliette Lewis appears in a variety of virtually non-existent outfits. And there are a number of lesbian couples and woman-on-woman action scattered through the movie.

lq, 1/25/03

"Switch"
(1991)
Blake Edwards attempts to get points by showing a "real" (as opposed to him, I suppose) sexist man and his punishment (in a woman's body, to get a woman to love him). The ending is disturbing, and creepily misogynistic, packaged with a thin layer of hackneyed reverse sexism. On the plus side, Ellen Barkin is a fine actor; and the lesbian scene between Barkin & JoBeth Williams (of which apparently a longer more explicit version was censored / edited out) was worth watching. But that's about it. Ick. -- lq, 9/12/99, submitted to the IMDb which apparently doesn't like feminist critiques ...
In all fairness, mine is by no means a majority opinion. While probably nobody claims this is high art, some think it's not hateful & appreciate the gender switching. Try the IMDb for more positive feedback.

"Tank Girl"
(1995)
Director: Rachel Talalay
USA, 104 minutes
Cast: Lori Petty (as Tank Girl), Naomi Watts (as Jet Girl); Ice-T; Malcolm McDowell; Ann Cusack; Iggy Pop; others.
Tank Girl, Tank Girl, Tank Girl. Go rent this movie if you haven't seen it already. Or check out the web page. Tank Girl was a graphic novel before it was a movie. -- lq.

"Terminator 2: Judgment Day"
(1991)
The woman who bears the boy who becomes the man who saves the world (sound familiar?) really kicks ass in this movie. I list it here only because she is a warrior woman, and one of a number of movies in the late 80s/early 90s with tough ass-kicking wimmin. -- lq

"Whale Rider"
(2003)

"When Night is Falling"
(1995)
Director: Patricia Rozema
Cast: Pascale Bussieres (as Camille Baker); Rachael Crawford (as Petra)
USA: 96 minutes
Lesbian with minor fantastic elements.

"The Witches of Eastwick"
(1987)
Director: George Miller
Cast: Cher, Susan Sarandon, Michelle Pfeiffer star, with Jack Nicholson as the devil; Veronica Cartwright
USA: 121 minutes
Uppity women in New England; based on the novel by John Updike. Not exactly feminist, maybe, but cool women, and fun.

Television Programming

"Babylon 5" [1994-1998]
creator: J. Michael Straczynski

characters of particular note:
--Ambassador Delenn
--Commander Ivanova

Babylon 5 offers some of the best examples of strong female roles on television. Most important are the characters of the Mimbari Ambassador Delenn and Earthforce Commander Susan Ivanova.

Delenn is an alien who sacrifices herself and defies her government to become half human. She then organises and helps lead (along with Captain John Sheridan, who she also recruited) a secret army called the Rangers.

The character of Ivanova is simply a stroke of genius, a complex lead role given true justice by actress Claudia Christian. While having weaknesses that make her human, these don't come across in any way as fragility. Situations which could have made her a victim (her mother committed suicide as a telepath, her brother died in the war, her father died, and she is an illegal telepath) has simply made her more independent and dedicated to what and who she believes in. She's intelligent, domineering when necessary, funny, loyal, and affectionate. She's on of the first science-fiction characters on American television to have a lesbian affair (aired the same season as Lt. Jadzia Dax's kiss with her past wife on Star Trek: Deep Space Nine). More than a sidekick, she has often saved the station (and quite possibly the human race) by taking over where Captain Sheridan should have been.

All of the women in this programme are commendable, be they heros or villians, and especially when you can't tell which are which.

The Ivanova Mantra: 'Ivanova is always right. I will listen to Ivanova. I will not ignore Ivanova's recommendations. Ivanova is God. And if this ever happens again, Ivanova wil personally rip your lungs out. Babylon Control out. [looking up] Just kidding about the God part. No offense.'

-- tm.

"The Bionic Woman"
More 70s TV programming. See also "Wonder Woman."

"Buffy the Vampire Slayer" [1997 - present]
creator: Joss Whedon
starring: Sarah Michelle Gellar; Nicholas Brendon; Alyson Hannigan; Charisma Carpenter; Anthony Head; Kristine Sutherland; David Boreanaz; Seth Green; James Marsters; Marc Blucas; Emma Caulfield; Amber Benson; Michelle Trachtenberg

Buffy carries the "woman action hero gimmick" to a new level: not the action hero you'd expect, Buffy was a fluffy cheerleader in the 1992 movie, who developed skills and a personality throughout the movie. The concept really came into play in the TV series, which has developed some excellent writing and character development, and is not afraid to take TV risks (for example, the lesbian relationship between Tara and Willow; the almost realistic depiction of teens' sexual fears, romantic relationships; etc.). The series has maintained a remarkably high level of quality through its seven seasons, despite complaints about various seasons (season 6 is depressing, season 4 is boring). One hopes only that the creators can wind it to a more attractive close than happened with "The X-Files."

From a feminist perspective, Buffy is deeply interesting.

First, its groundbreaking (for primetime TV) depictions of female and teen sexuality. Showing young women's sexuality, while simultaneously remaining both non-exploitive and non-after-school-special, is surely a trick. While TV in general has been approaching greater realism around teen sexuality, "Buffy" has surely taken it to a new level by, again, centering it shamelessly on the woman's perspective. Women, like men, are interested in sex. In season 7, for instance, Anya, a female character known for her bluntness on sexual matters, bangs on the bathroom door when Andrew has been taking too long. "Why can't you be masturbating like the rest of us?" she asks him. A minor throw-away line, but it uses the m-word--rare on TV--and makes it not a source of shame but a source of casual sexual fulfillment--and for girls! "Buffy" has excelled at pushing the boundaries in this casual fashion. (See also side character Larry Blaisdell's coming out in season 2's "Phases"; Larry shows up in about two other episodes [Larry Bagby III]; vampire Willow is "kinda gay" in "Dopplegangland".)

Second, frankly, the basic concept of a line of teenage girls who save the world, is buttressed by an entire cast of strong women characters, who routinely save and/or threaten the world. The excellent writing has developed an emotional realism for the young characters, rarely matched on "realistic" shows. So while the female characters sometimes talk about "girly girls," main characters male and female are portrayed as whole, complex people, regardless of their gender. Well, maybe not whole--sometimes they're soulless or otherwise troubled--but always complex. The show is imbued with feminism, without explicitly referencing it ever, and some episodes show Buffy explicitly confronting sexism or sexist attitudes ("Ted": Buffy fights a man from the 50s who tells her women don't talk back to him; "Phases": Buffy gets to show up a werewolf-hunter who disrespects her because she's a girl; "I Only Have Eyes For You": Buffy references male violence with some anger, and then grows beyond her own assumptions).

Flaws: In some ways the show has not strayed far from Hollywood norms: the cast is notably middle-class WASPy, despite token references to Xander's working class and Willow's Jewish background and occasional non-white characters. Even though the primary cast, and the side characters, are non-stereotyped, villains are most frequently boys. And the show, even when breaking ground, is still bound by certain TV production norms: Willow & Tara's relationship was left a vague teaser for a long time, then portrayed in a relatively sexless way for an even longer time, while straight couples clearly Do It with frequency and gusto. The entire sexual orientation issue seems to be played more as a way to be politically correct, and demonstrate lesbian acceptance, than as actual character development. Given the attention devoted to other explorations of sexuality, one might reasonably have expected more attention to questions of Willow's coming out, bisexuality or lesbianism, the group's acceptance of her relationship, maybe even a little realistic homophobia. However, despite the criticisms, this is also a pretty good attempt at normalizing same-sex sexuality, within the constraints of prime-time broadcast TV. As such, fans looking for representations of same-sex sexuality, and teens struggling with sexuality issues, had a positive icon, albeit one not deeply explored.

And there are oddities, too, that are interesting from gender analysis perspectives. For instance, serious Oedipal themes: Drusilla / Spike; Riley / Maggie Walsh.

"Dark Angel"

"Star Trek"
Oh so many Star Treks. Where to begin. Just a quick capsule summary, then.

"Star Trek" (the original) [1966-1969; 47 minutes; 79 episodes] Applauded for having a diverse cast, including Nichelle Nichols, a Black woman, and being the first TV series to show an interracial kiss. Uhuru the character was the Communications Officer--in practice a glorified switchboard operator--but her role, and the series, were groundbreaking in many respects.

"Star Trek: The Next Generation" (ST:TNG) [1987-1994; 45 minutes; 178 episodes]. Some well-developed female characters. Aside from the initial presentation and quick death of the female Chief Security Officer, women, although Highly Respected, were in nurturing roles: doctor, ship's counselor, etc. TNG played with some interesting concepts, though, and did a pretty good job of updating the original and continuing to explore political issues through thinly veiled alien cultures and conflicts. However, the cast seemed to have hardly moved forward diversity-wise. Human diversity seemed to have migrated to other species, with a few exceptions.

"Star Trek: Deep Space Nine" [1993-1999; 60 minutes; 176 episodes]. Oddly timed with "Babylon Five," this very similarly-premised show about a space station, intended as a symbol of peace in a quadrant of the galaxy riddled with conflict, nevertheless did go its own way. Ultimately, DSN seemed more Star Trekky than B5-ish; less story arced and more episodic, although there was more long-term story development in DSN (and Voyager) than in the prior ST series. DSN and Voyager, started in the mid-90s, both made greater strides towards diversity, although they still seem to have some problems with sexual diversity. DSN managed to have a transgender species (sort of) character, and to deliberately dodge some of the gendered nurturing / feisty characteristics. The doctor was a boy, for instance, and there was a feisty headstrong female character. But DSN still managed to seem a little leery of dealing with the whole sexual orientation question raised by its transgender species characters, toying with same-sex sexuality but worried about expressing it too much. The plots seemed less interesting than the character development, over all.

"Star Trek: Voyager." [1995-2001; 60 minutes; 172 episodes.] The only ST with a female captain, and ST took some heat for it. Boys generally don't like Captain Janeway, saying basically that she's not "cool" enough. IMO she was plenty cool, and plenty tough. The show screwed up when it gave her all these maternal-type roles: mothering Kim, mothering 7-of-9. Picard in TNG had a paternal role with Will, but it was more distant, removed; for Voyager, the creators really wanted to focus on Janeway-the-woman more often than they focused on Picard-the-man, for instance. Be that as it may, the voyage home was interesting enough; filled with a variety of war-like cultures and a few interesting subplots. Some of the darkest ST episodes I've seen were in Voyager, a lapse from the series' usual optimism. Some more intresting female characters including Barbie Borg (7-of-9) who was actually an interesting character. Diversity -- still trying, still not making it. Sexuality: still straight and narrow.

"Star Trek: Enterprise." [2001- ]I haven't seen anything new in the few episodes of this I've watched. The ST franchise is still exploring the same old themes: conflict, humanity, morality. All very well and good, but they're not pushing themselves. It's sad.

-- lq, 1/25/2003

"Witchblade"

"Wonder Woman"
An icon in the 70s. Or perhaps more properly, an icon today of 70s tv programming about women.

"The X-Files" [1993-2002; 60 minutes; 202 episodes]
Creator: Chris Carter

Scully and Mulder, Mulder and Scully. Scully is the attractive female half of a team that investigates odd, often supernatural, occurrences, often discovering underlying government conspiracies. Here are a few good things to note about "The X-Files": One, Scully is very attractive but is not a cookie-cutter model-type. Two, Scully is a rational, scientific, doctor-type. Three, Scully and Mulder are equals; they both managed to rescue and get rescued by the other numerous times.

As a series, the show really got into its stride during the middle of its run. It had enough time to establish and develop the characters and the long-term plot angles, and in seasons 3-5 the show had some incredibly well-written episodes. It hit on numerous themes, sf'al and real, and mixed humor, tenderness, creepiness, and postmodern paranoia brilliantly. Alas, it ran too long. The last couple of years really ran out of steam, and brought us plot devices that just, well, screwed up the whole thing. Oh well. Watch the first 5 or 6 seasons on DVD and then drop it.

-- lq, 1/25/2003

"Xena, Warrior Princess" [1995-2001; 60 minutes; 134 episodes]
starring: Lucy Lawless and Renee O'Connor

"Xena" was a fun little show. Started with fairly low ambition, to be an alternative-network not-quite-primetime filler, the show's creators and actors quickly saw its potential, and had fun playing with it. The sexual tension between Xena and Gabrielle was played with but never really explored. Xena was unquestionably a hero, with good and dark sides, and well in line with the kick-ass women heroes of the turn of the center. But it was really the development of the relationship between Xena and Gabrielle that made the show worth watching on a more than occasional basis. The last episodes were a little bit of a disappointment: why did Xena have to die, exactly? And if she died, why couldn't she just stay dead? The schmaltzy hoaky haunting of Gabrielle just depressed me. -- lq, 1/25/2003


Short Films & Videos

"The Ambiguously Gay Duo # 8 'Boys'"
(Director: J. J. Sedelmaier; 1999; USA; 3 minutes; video; animation) (Animated gay BatMan & Robin in high school spoof.)
"The Deal"
(Director: Lisa Girolami; 1999; USA; 10 minutes; video) (The devil is a woman, a producer, trying to cut a deal with an actress. Some sexy kissing.)
"Ginger Snaps"
(Director: Grace Walcott; 2000; USA; 12 minutes; video) (A frustrated actress discovers an amazing super-power.)
"Hete Roy"
(Director: J. J. Sedelmaier; 1998; USA; 3 minutes; video; animation) (Animated spoof of Christian Former Gay superheroes.)
"Lonely Without You"
(Director: Sarah De Bisschop; 1999; Belgium; 15 minute video) (Weird little video; the story is framed within the Website of Luuuv, which brings strange stories of love to viewers. This story is about a near-future young woman who has herself cloned and frozen in hopes of finally finding a soulmate. Remarkably well-acted and with some quite surprising bits of humor.)

"Multiple Futures and Other Paranoid Fantasies"
May 1995. Alyce Wittenstein, Director. Collection of three shorter films, "Betaville: A Post-Modern Nightmare," "No Such Thing as Gravity," and "The Deflowering." 108 minutes.
Contact: Subatomic Productions, 110-20 71st Road, Forest Hills, NY 11375; 718-520-0354; fax 718-520-1177; email alywitt@interramp.com for more information, or videotape rental or purchase ($40 home use; $80 video store or library license).
I'm not sure I can define "postmodern," but I recognize it when I see it. When I watched "Betaville" I saw a postmodern story about a detective who picks up a hot woman (Native American ballerina Holly Adams) and takes her to Betaville, which has been transformed by a dance-fashion scene that looks sort-of, but not quite, like the glam-rockers in the pre-punk and early punk days.
In "No Such Thing as Gravity," Earth is run by corporations. The corporate patriarch plans to blow up Nova Terra, a free and beautiful world created by humans.
"The Deflowering" has an Earth several hundreds years in the future, where people must use body condoms to avoid the mutated AIDS; children are produced via test tube and genetically engineered to avoid all disease, with the side affect that allergies have become a serious health hazard. The corporations that profit from the bioengineered children and the "safety suits" are threatened by a couple's solution to the problem. This was my favorite of the three. -- lq, 6/11/96

"Odds and Ends (A New-Age Amazon Fable)"
(1993, USA)
Director: Michelle Parkerson
28 minutes; video
distributed by American Film Institute
African-American lesbian sf fable

"Traditional Family Vampires"
(Director: Bob Poirier; 2000; USA; 15 minutes; 16mm) (All-American family of vampires, mom, dad, and little girl encounter a faggot during one of their nightly feedings; shocked they leave him only half-drained, and he survives to become a vampire himself. Quite funny.)

"Wonder Woman: Battle with the Basher"
(Directors: Cary Curran & Brian Winkowski; 1997; USA; 6 minutes; video) (Drag Wonder Woman spoof.)

 


[HOME] [CHECKLIST | anthologies | lists | writers]   [criticism]   [community | listserves | blogs | WIKI]   [SEARCH]

critical resources: Tiptree Award | Wiscon | Broad Universe

 

Donate towards our web hosting bill!

We welcome your comments, suggestions, and offers of assistance.
Please be patient while waiting for us to get back to you.

about | credits | disclaimer | faq | feedback | privacy

Watches Shop Top Fashion News Furniture Review Furnitures Info Handbags Shopping Shop Handbags and Shoes

attribution 
creative commons licensenoncommercial creative commons licensesharealike 
creative commons license
These pages are edited and maintained at http://www.feministsf.org/ by Laura Quilter.
updated 06/13/07 .