ps: There are three more chapters blocked today and I cried to death. Now I am really hard to write about, and I accidentally cross the line.

In 1985, Alison Beckdel's newspaper comic strip published an unnamed female character in the comic "The Rule" saying that she only watches movies that meet the following three conditions: 1. Two women must appear in the movie; 2. These two women have conversations; 3. They talk about other topics besides men.

Then the comic attracted attention, especially the attention of feminists. For a short time, the rule became a brief quiz dedicated to making gender inequality attract attention, showing women's lack of representation in film works due to gender discrimination, and these three criteria are called the Beckdel Test.

In Hollywood, at least 45% of the movies that go up cannot pass the Beckdel test, and even more than half of the movies that won the best film in the most politically correct Oscars cannot pass the test.

This shows how women's rights in the United States are neglected.

This also leads to the fact that once a movie that meets the test conditions appears, female audiences can often burst into great enthusiasm for watching movies.

Anyway, according to statistics, movies that pass the test generally have a better return on investment.

From this point of view, whether it is sleeping with the enemy or a crazy flower in the end, success is not accidental, but inevitable with objective factors.

Just like in the end, the opening shot shows all kinds of people in the town, almost all female characters. The movie unfolds from a female daily perspective, and their dialogue and life indirectly show the situation of women at that time.

It is precisely this ubiquitous perspective from the perspective of female audiences, vivid characters and delicate psychological portrayals that arouse the resonance of female audiences without losing humanistic care.

Compared to sleeping with the enemy, the feminist consciousness in the end is much stronger, and the presentation to the audience is more straightforward.

For example, Louise exchanged all the jewelry on her body for an old man's cowboy hat, such as a white vest and a cowboy hat, which was full of heroic spirit; Selma's smart robbery store that was learned and sold; and to ask for an apology, the explosion tank truck was also very satisfying. They drove the Thunderbird convertible in the wind and sand, and were as casual as Western cowboys. The young white-faced and liar JD played by Brad Pitt, who took off the wedding ring of her left ring finger when playing games with Selma, and described the removal of the shackles of an unfortunate marriage as a relief. In addition, there are many plots that symbolize feminism.

The dialogues and psychological descriptions of women in the end of the road are also textbooks, which can be seen from them that the common thinking of some women: they are not nannies who do housework every day, nor are they just know how to dress up.

They will be sexually cold, they will give a lot of money to their family and love, and they need care and attention. The minimum respect: In the future, when you see a woman crying like that, she will not be happy.

Although many movies are about feminism, "The End of the Road" has its characteristic that can best bring the audience closer - ordinary.

Yes, it is not like the ordinary person who sleeps with the enemy.

The End of the Road is two biggest differences from the previous release of "The End of the Road" and "The End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the End of the En

The two of them in the end have begun to take the initiative to attack the men, and they have changed from the defensive side, the weak side, to the offensive side, and the dominant side.

The other is ordinary.

Dazui Zhu, who was sleeping with the enemy, married to a middle class with a good income. Therefore, when she was not good, she felt that material things were not all times, and she could choose to live a secluded life in a simple and underdeveloped town.

The two heroines in the end of the world are ordinary people, not middle-class people. They are at the bottom of society. One is a restaurant lady and the other is a housewife, both of whom are blue-collar workers.

How should they escape if their lives are not satisfactory?

There is no escape to go down.

So, when Louis accidentally killed the man who tried to rape Selma, the two had no choice but to embark on a crazy journey and became a pair of end-of-scenes wild flowers.

This is also the place that attracts and arouses the resonance of male audiences the most. Just as Foberle's realist masterpiece "Madame Bovary", it is as close to female psychology. "The End of the Way" may not be the most "feminist" movie, but it is more likely to resonate.

More than half of the audiences of the End of the Road are female audiences aged 25-40, because women of this age are the main supporters of the female *** movement.

From this point of view alone, we can see that at least for a specific group of people, the end of the road is extremely successful.

Regarding this point, Roger Albert, the most famous American film critic, commented: The film has gained strong resonance among female audiences of all ages, which shows that there is a big market for film and television works that challenge social authority. However, this time the challenger was replaced by women.

Yes, this time the challenger is female.

Even the evaluation of the end-of-the-road man is not an objection, saying that this movie is actually not a feminist movie, but an anti-feminist because the main characters become violent and masculine.

It is said that they gave up their femininity and took the so-called masculinity form to fight each other.

They seem to jump into a cultural system constructed by men, succumb to the output of male discourse, and succumb to males in a way that is assimilated with males.

However, such an argument does not have much market.

Because for feminist or women, it doesn't matter what the specific views expressed in the movie are, or what the director and screenwriter think when creating.

Important feminist or women themselves see what they themselves have in the movie.

Yes.

Whether it is feminist or not depends on the women's own opinions.

No matter how others say that this movie is anti-feminist. What is important is that women think that this movie expresses accusation and resistance to the current situation where men dominate society and women can only exist.

In the movie, two women are placed in a standard western scene, which is filled with elements of the ordinary male world, such as wilderness, hills, hormone bars, cowboy hats, pistols, smoking, etc.

Some people think that this is assimilating women, and the so-called resistance is just disguised masculinization.

But for feminist people, these are precisely an accusation of patriarchy, and are the two heroines who seize and tease a series of symbols that symbolize masculinity.

Therefore, when the passionate and unrestrained, light and exciting melody in the theater and the lyrics of "You are part of me, I am part of you, no matter where we sail, no matter how hard we go, no matter how time washes, the feeling of this moment will never change...", Louis and Selma drove out of the cliff in a thunderbird. When the unfairly treated women let out a cry that tear the sky, the box office of the end-of-road bust exploded.

The box office for the first weekend was $14.1 million, which exceeded the entire $1 million sleep with the enemy.

Two feminist films have completely ignited the feminist awareness of American women in 1991, and even women who are running for parliament have lingered the end.

The result was that the box office in the first week won 35 million US dollars, once again overwhelming the first week of box office results of sleeping with the enemy.

Of course, the benefits are not only the end of the game, but the box office of the box office that has been released for more than a month has also rebounded significantly.

This is obviously a win-win situation for both women and for both movies.

Seeing that playing feminist cards is so profitable, film companies naturally won’t watch it, and they all start to launch their own feminist film projects.

MGM naturally continues to work hard and takes advantage of the feminist dividends to make a few more money.

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Thanks to book friend Yuchen 888 for his 100-coin reward.
Chapter completed!