A bold, convincing call for new voices and perspectives in cinema.

THE WRONG KIND OF WOMEN

INSIDE OUR REVOLUTION TO DISMANTLE THE GODS OF HOLLYWOOD

An investigation of how the male-dominated film industry silences women’s stories.

Drawing on more than 100 hours of interviews and abundant studies and news articles, actress, writer, and producer Jones makes her book debut with a spirited critique of the film industry’s treatment of women at all levels. “I have lived and experienced the harassment, the casual dismissals, the closed doors, the patronizing head-pats, the blatant sexism, the indifference toward women in film for over a decade,” she writes, mounting compelling evidence that her experiences are widespread—and persist even after #MeToo, #OscarsSoWhite, and the Harvey Weinstein scandal. Fresh out of drama school, Jones knew she would have to spend a few years “furiously battling to get auditions” and working for little or no money in order to build a resume. She soon discovered that along with competition and disappointment, “sexual harassment, assault, and degradation make up the constant, thrumming, crushing backdrop of being an actress.” With men predominant as casting directors, agents, directors, and producers, she found that when trying out for a part, she was “being held up against a set of stereotypes of the type of women who are allowed to appear in films and on television” and “make sense to the creators and gatekeepers.” Frustrated as an actress, she faced gender discrimination, as well, as a film producer. Female film school graduates, argues the author, “have a far harder time than their male peers acquiring even the lowest-level entry jobs in the industry,” meaning less access to financial support and networking. Women behind the camera, moreover, have “to fight to command the respect from typically majority-male crews.” Sexism directly affects film’s cultural impact: Since 95% of movies have been directed by white men, the images they perpetuate “have shaped everybody’s cinematic visual language,” turning women into the objects of male protagonists’ “actions, desires, and gaze[s].” Jones offers concrete suggestions for change within and outside of the industry, including by filmgoers who should “vote with your dollars.”

A bold, convincing call for new voices and perspectives in cinema.

Pub Date: Feb. 4, 2020

ISBN: 978-0-80-703345-6

Page Count: 256

Publisher: Beacon Press

Review Posted Online: Oct. 8, 2019

Kirkus Reviews Issue: Nov. 1, 2019

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If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.

THE 48 LAWS OF POWER

The authors have created a sort of anti-Book of Virtues in this encyclopedic compendium of the ways and means of power.

Everyone wants power and everyone is in a constant duplicitous game to gain more power at the expense of others, according to Greene, a screenwriter and former editor at Esquire (Elffers, a book packager, designed the volume, with its attractive marginalia). We live today as courtiers once did in royal courts: we must appear civil while attempting to crush all those around us. This power game can be played well or poorly, and in these 48 laws culled from the history and wisdom of the world’s greatest power players are the rules that must be followed to win. These laws boil down to being as ruthless, selfish, manipulative, and deceitful as possible. Each law, however, gets its own chapter: “Conceal Your Intentions,” “Always Say Less Than Necessary,” “Pose as a Friend, Work as a Spy,” and so on. Each chapter is conveniently broken down into sections on what happened to those who transgressed or observed the particular law, the key elements in this law, and ways to defensively reverse this law when it’s used against you. Quotations in the margins amplify the lesson being taught. While compelling in the way an auto accident might be, the book is simply nonsense. Rules often contradict each other. We are told, for instance, to “be conspicuous at all cost,” then told to “behave like others.” More seriously, Greene never really defines “power,” and he merely asserts, rather than offers evidence for, the Hobbesian world of all against all in which he insists we live. The world may be like this at times, but often it isn’t. To ask why this is so would be a far more useful project.

If the authors are serious, this is a silly, distasteful book. If they are not, it’s a brilliant satire.

Pub Date: Sept. 1, 1998

ISBN: 0-670-88146-5

Page Count: 430

Publisher: Viking

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: July 15, 1998

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The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...

NIGHT

Elie Wiesel spent his early years in a small Transylvanian town as one of four children. 

He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions. 

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the sphere of suffering shared, and in this case extended to the death march itself, there is no spiritual or emotional legacy here to offset any reader reluctance.

Pub Date: Jan. 16, 2006

ISBN: 0374500010

Page Count: 120

Publisher: Hill & Wang

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: Jan. 15, 2006

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