‘independent’

Do women need “rescuing”?

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To describe the first day of Feminist Winter Term would be too challenging a task for a paragraph, so today I made the executive decision (for your benefit, as well) to simply blog about each day individually.

It began with the classic feminist icebreaker: “when did it click?” There was laughter and there were tears, and one heartbreaking story about someone’s four-year-old niece, who said she wanted to be a president when she grew up…and knew that in order to do so, she needed to grow up to be a boy. We checked out the local area, hit up Babeland and Bluestockings (what kind of feminists would we be in NYC without such things?), and then stopped in for our first meeting.

The Ms. Foundation. Speakers from were also in attendance from the Barnaba Institute as we crowded into a conference room and listened to stories of sex trafficking, girls as young as 9 forced into sex slavery and kidnapped off the streets by pimps who beat them and then convinced them they were meant for each other. The stories were a challenge to listen to, not only because of the wrenching imagery, but also because of my nagging gender studies conscience, which wanted so badly (and then raised my hand) to ask –

Do you think it’s a problem with sex work, or do you think a lot of this is also masculinity and sexuality and how we talk about them? If we gave women agency, and control, wouldn’t these pimps be powerless?

There was hesitation from the presenters and from the audience, although a few receptive voices backed me up. There is more to human trafficking, after all, than the capitalist needs and demands- there are people doing these things. And do women need “rescuing?” Well, I suppose anyone would need such a thing if they were being beaten, killed, and forced into sex slavery. But does it deny sex workers whom opt-in to sex work, and operate either independently or within an “organization,” and reap successful capital, to summarize sex work as inherently dangerous? And why are we worried only about rescuing the victims, and not finding those sniveling, pathetic people committing the real crime- abuse- against them? (As you can see, it was thoughtful to say the least.)

I left early and hopped the C Train with setting up to do.

Shelby Knox. She sat with her usual ease, blending in with us mere mortal feminists before she delivered her story. Some of us confessed to have never seeing The Education of Shelby Knox, but anyone who has ever met Shelby knows that that’s the least of her worries- instead, we tackled intergenerational feminist divides, how to unite our movement, and exactly what we young people, gathered by Soapbox Media, think of being called the “Forth Wave,” a term Shelby likes to use to describe herself.

If the people I’ve met so far, and the cards I’ve handed out, the smiles I’ve received, and the casual discussions about rape culture I’ve had at FWT so far have taught me anything, it’s that a term about what is to come is the best for us: because we’ve got a lot of energy in the works. (Also, cheers to encouraging someone to buy Yes Means Yes! – I remain loyal, ladies.)

My pussy has nothing to do with your masculinity

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Truly Free Film

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I’m about to get all film geek here, but lately (especially after certain drunken 2am round tables with students), I can’t shake the feeling that a feature film is growing out of conversations sparked by THE LINE. A feature film means years of work, so I’m trying not to get in over my head like I did with the first one… but I am getting excited and itchy to build on what’s there, and start teasing out something new. What’s exciting is how accessible media tools are, and how they lend themselves to collaborating with subject-audience-filmmaker.

This is an excerpt from the blog Truly Free Film, by indie film producer Ted Hope. Ted is part of a cohort of mainstream film professionals that have fully embraced digital and hybrid media distribution, as well social media and networking tools as the wave of the future, and a way to save and enhance indie film production. I’m happy to see a lot of the advice about “producing the distribution” has been applied to our strategy with THE LINE and campaign. The underlying message to filmmakers seems to be, make sure there is a need for the conversation you want to create. Here are some things to think about before you get started:

  1. Recognize it is about audience aggregation: Collect 5000 fans prior to seeking financing. Act to gain 500 fans/month during prep, prod., post processes.
  2. Determine how you will engage & collect audiences all throughout the process. Consider some portion to be crowd-funded — not so much for the money but for the engagement it will create.
  3. Create enough additional content to keep your audience involved throughout the process and later to bridge them to your next work.
  4. Develop an audience outreach schedule clarifying what is done when — both before and after the first public screening.
  5. Curate work you admire. Spread the word on what you love. Not only will people understand you further, but who knows, maybe someone will return the good deed.
  6. Be prepared to “produce the distribution”. Meet with potential collaborators from marketing, promotion, distribution, social network, bookers, exhibitors, widget manufacturers, charitable partners, to whatever else you can imagine.
  7. Brainstorm transmedia/cross-platform content to be associated with the film.
  8. Study at least five similar films in terms of what their release strategy & audience engagement strategy was and how you can improve upon them.
  9. Build a website that utilizes e-commerce, audience engagement, & data retrieval. Have it ready no later than 1 month prior to first public screening.
  10. Determine & manufacture at least five additional products you will sell other than DVDs.
  11. Determine content for multiple versions of your DVD.
  12. Design several versions of your poster. Track how your image campaign evolves through the process.
  13. Do a paper cut of what two versions of your trailer might be. Track how this changes throughout the process.
  14. Determine a list of the top 100 people to promote your film (critics, bloggers, filmmakers,etc)
  15. Determine where & how to utilize a more participatory process in the creation, promotion, exhibition, & appreciation process. Does it make sense for your project to embrace this?
  16. How will this project be more than a movie? Is there a live component? An ARG? An ongoing element?
  17. How can you reward those who refer others to you? How do you incentivize involvement? What are you going to give back?
  18. What will you do next and how can you move your audience from this to that? How will younot have to reinvent the wheel next time?
  19. What are you doing differently than everyone else? How will people understand this? Discover this?
  20. How are you going to share what you’ve learned on this project with others?

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