The tomato soup is overcooked. The cranberry woman is coming. Jenny has a red dress on. Every country is equipped with a set of euphemisms to avoid talking about menstruation directly. When mentioned in the media, it’s usually the butt of a joke or the source of sales pitch. And you’ll be hard pressed to find a drop of actual blood on screen, even in Tampax commercials. With all the once-taboo topics we can now freely discuss at the dinner table, why is menstruation still rarely taken seriously?

Flow: The Cultural Story of Menstruation is a thoroughly researched confrontation on social discomfort with menstrual blood. Authors Elissa Stein and Susan Kim present information in a casual, familiar style, as if your older sisters have come to tell you about the facts of life. “The stages of our lives are in a sense defined by where we are on the menstrual time line,” they explain. (p.15) Puberty, PMS, contraception, child birth, and menopause all revolve around ovulation and monthly bleeding.

Among other things, this book studies the impact of language on our perceptions of menstruation. The term “feminine hygiene,” for instance, teaches us the process is inherently unsanitary. Tampon ads frequently use the words “protection” and “embarrassment,” implying our periods will harm and humiliate us if we aren’t careful.

Greek and Roman philosophers ignited some of these cultural stigmas centuries ago. Hippocrates and Plato believed a woman’s uterus could actually drive her insane, throwing tantrums in its desperation for children. Aristotle described women as passive receptacles for sperm, monthly menstruation being the burden of procreative failure. Pliny the Elder thought menstrual blood was toxic, saying it “could make seeds infertile, kill insects, kill flowers, kill grass, cause fruit to fall off trees, dull razors and drive dogs mad. The glance of a menstruating woman could kill bees, her touch could make a horse miscarry, and contact with her blood would cause another woman to lose her child, as well.” (p.36-37)

Most religions also treat menstruation with disgust and disdain. In Islam, menstruating women are not permitted to touch anyone, as echoed in the Koran 2:222, “Keep away from women in their courses, and do not approach them until they are clean.” Orthodox Judaism forbids men to touch their wives for two weeks per month – before, during, and after menstruation. In the Bible, Leviticus 15:19-23 says “If a woman has a discharge, and the discharge from her body is blood, she shall be set apart for seven days; and whoever touches her shall be unclean until evening.” (p. 80-82)

Beyond simply exploring stigmas, the authors reveal all the ways menstruation has shaped cultural practices. Bloodletting, for instance, began as a way to mimic periods, purging the body of supposedly bad blood. Vibrators were initially used by doctors to treat hysteria, a mental disease thought to be caused by a woman’s uterus. Even the word “taboo” is linked to the concept of menstruation.

While the authors’ colloquial delivery may not appeal to everyone, they’ve nevertheless built a comprehensive overview of social, political, and economic issues connected to menstruation. It’s a fascinating read, and a potential springboard for further conversation. Over 3 billion people have a monthly cycle, so there’s no reason to feel uncomfortable addressing it honestly and openly.

Source:

Stein, Elissa, and Kim Susan. Flow: The Cultural Story of Menstruation. New York: St. Martin’s Press, 2009.

10. The Burning Plain

Director: Guillermo Arriaga

Sylvia (Charlize Theron) is a successful Portland restaurant owner, plagued by trauma from her past and suicidal thoughts. She abandoned her daughter, until a reunion is thrust upon them years later. Gina (Kim Basinger), was a mother of four who betrayed her family in an affair with another married man, before they both were killed in a fire. Both stories are deeply connected, gradually pieced together through the film’s non-linear style. These women, flawed as they may be, nevertheless show depth, intelligence, and vulnerability. The story addresses the profound repercussions of adultery or promiscuity as a means of escape, and the complex bond that mothers and daughters share.

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“She’s a kid. I wouldn’t know what to do with her. I can barely look her in the eyes. … I can’t run away anymore.” – Sylvia, to the father of her child, when forced to face her daughter after years of absence.

9. The Hurt Locker

Director: Kathryn Bigelow

One of the biggest strengths of The Hurt Locker is the fact that it’s a film by a woman about men at war. Bigelow tells the unexaggerated story of soldiers doing one of the most dangerous jobs in combat: defusing explosive devices. She not only tackles adrenaline junkies who spar with testosterone-fueled roughhousing, she also delves into the fears and pressures of fatherhood, and the complexity of a person who falls in love with near-death experiences. Many Hollywood-funded war films exploit the institution, pumping as much horsepower as they can into a two-hour time frame. Bigelow instead opts for restraint and honesty, exposing her characters not as bad ass men with guns, but as people just struggling to survive. The film is pertinent to men and women alike, because it touches the core of our commonalities as human beings.

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“The rush of battle is a potent and often lethal addiction, for war is a drug.” - Journalist Chris Hedges, the opening quote of the film

8. Whip It

Director: Drew Barrymore

In spite of it’s occasionally cheesy overtones, Whip It is an otherwise warm story about a small-town pageant dropout, trying to figure out where she fits in. Bliss Cavendar (Ellen Page) is inspired by the rowdy women’s roller derby team, The Hurl Scouts. She defies her family and spends as much time as she can with them, hoping to one day join the team. The sport not only offers her camaraderie and acceptance, it also teaches her how to be straightforward and aggressive – traits that would really benefit her in other areas of her life. It’s a film about sisterhood, stamina, and developing self worth.

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“Well, put some skates on and be your own hero.” – Maggie Mayhem, to Bliss, after she tells the Hurl Scouts they are her new heroes.

7. Skin

Director: Anthony Fabian

This is the true story of Sandra Laing, born to two white Afrikaaners during apartheid in South Africa. As a result of unknown African ancestry, Sandra appears black. Even before the government classifies her as “coloured”, the white community persecutes and abuses her. Sandra’s father fights to legally define her as white, and wins. When she falls in love with a black man, however, the fight begins to redefine her as coloured – even if it means losing everything, including her family. Sandra maintains strength and dignity, despite her meek demeanor, and perseveres through abusive situations. Her story has also been told in the book When She Was White: The True Story of a Family Divided by Race and in the short documentary Sandra Laing: A Spiritual Journey.

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“Look at me. I’m not white. Those boys want a white girl to marry!” -Sandra, to her father, after a series of painful dates with white men

6. Phoebe in Wonderland

Director: Daniel Barnz

Phoebe Lichten (Elle Fanning) is witty and outspoken, just like every woman in her family. She wants to be a child prodigy, and longs to live in a world “where everything isn’t so fixed.” She also has apparent obsessive compulsive disorder, maybe even Tourettes syndrome. She acts out at school, and only feels at home living in her own personal Wonderland – a dream that gets realized when she wins the part of Alice in her school’s production of Alice in Wonderland. Her parents (Bill Pullman & Felicity Huffman) struggle to understand their daughter’s bizarre tics, and try to refrain from labeling Phoebe or medicating her. It’s a story about childhood imagination, and the social constructs that progressively destroy it. It’s also about a mother raising her daughters, doing the best she can to help them openly express themselves, without putting them in harm’s way.

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“I have angst. … Mozart was 6 when he wrote his first opera. I’m 7! You don’t understand.” – Phoebe, to her parents, during a dinner party

5. American Violet

Director: Tim Disney

A single mother of four is the victim of racial profiling in a small Texas town. This is the true story of Dee Roberts (Nicole Beharie), who was falsely accused of drug dealing in 2000. She’s given two options: to plead guilty to a felony for a more lenient sentence, or go to trial and risk 16-25 years in jail. The ACLU suspects racism at the root of this indictment, and helps Dee sue the county, the District Attorney, and the Drug Task Force that arrested her. During the lawsuit, she undergoes a custody battle with the father of two of her children. The custody battle is moderated by the very D.A. she’s suing. Dee’s story is one of a persistent mother who endures a lot of stress, fear and intimidation, in a county where discrimination is secretly institutionalized. She holds her ground, hoping to keep this from happening to anyone else.

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“If you want to hurt me because I’m suing you, go ahead. … I am not an unfit mother.” – Dee, to the D.A., at her custody hearings

4. La Teta Asustada

Director: Claudia Llosa

This Peruvian film, whose title translates to The Milk of Sorrow, takes place in a war-torn region of Peru in the 1980’s. The militant group called the Sendero Luminoso were known for employing mass rapes as a war strategy. Many women suffered, raped by as many as 30 men at a time. Women who were raped were thought to pass their trauma down to their children, through the milk of their breasts, the Milk of Sorrow. The film follows Fausta (Magaly Solier), who lives in constant fear that she will be victimized. Upon the sudden death of her mother, she works hard to ensure she doesn’t suffer the same fate. It’s not only a socially educational film, it’s a profoundly emotional film that confronts the aftermath of sexual abuse.

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“Anyone born that way [is] without a soul, because it hid underground out of fear.” – Tío Lúcido explaining The Milk of Sorrow

3. Precious

Director: Lee Daniels

Claireece Precious Jones (Gabourey Sidibe) is an overweight, illiterate, depressed teen girl in Harlem. She’s abused by her mother (Mo’Nique) and raped by her father. During the most painful times, she escapes into a fantasy of being rich and famous, with a handsome and loving boyfriend. After being expelled from public school, she gets a chance to go to an alternative school, a chance to finally stop feeling invisible. Powerful performances by Mo’Nique and Gaborey Sidibe bring us to the depths of despair in Precious’ life, as we try to overcome these traumatic situations with her. It’s a beautiful and brilliant film about a girl who keeps trudging forward, come what may.

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“I wanna be in one of them BET videos. Mama said I can’t dance. Plus she said who’d wanna see my big ass dancin’ anyhow?” – Precious, thinking to herself as she walks to class

2. An Education

Director: Lone Scherfig

Jenny (Carey Mulligan) is a witty high school student growing up in 1960’s London. She’s a bilingual cellist, prepping for Oxford. Then, an unlikely relationship with a man 20 years her senior (Peter Sarsgaard) leaves her wondering if she should invest time and money into an education of her own, when he can clearly provide everything she needs. Avoiding college seemed especially practical in the ’60s, since even women with a degree had limited career opportunities. Her family supports this decision as well, but her school teachers and administrators balk. Jenny soon realizes the gravity of sacrificing personal growth for spontaneous pleasure, and the terrible position a woman can put herself in when she chooses a life of dependence.

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“Oh you’re my father again, are you? Well what were you when you encouraged me to throw my life away?” -Jenny, to her father (Alfred Molina)

1. Coco Before Chanel

Director: Anne Fontaine

From orphan to seamstress to stage performer, Danielle “Coco” Chanel (Audrey Tatou) strategically worked her way up the social ladder. At first, she raised eyebrows by refusing to wear restrictive corsets or garish frills, and often cross-dressed in men’s clothing. As her sister pined away for an unlikely marriage, Coco earned respect among the Parisian elite by establishing a strong point of view and an independent sense of style. That’s not to say she didn’t love, or allow herself to be loved. She wanted marriage and convention too, if only for a fleeting moment. But overwhelming ambition drove her to start a business, which grew into the fashion empire that bears her name. This headstrong woman established herself in an otherwise male profession, creating opportunities for countless female designers who followed.

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“I want it tighter.” / “You’d prefer not to breathe?” – A customer’s complaint, and Chanel’s response, refusing to make the garment uncomfortable.

Note: Some films were completed in 2008, with a USA release dated in 2009.

“‘Female circumcision is a traditional practice that dates back hundreds of years in many African countries,’ explains Elizabeth Mwangi, justice and peacebuilding officer for Catholic Relief Services (CRS) in Kenya. ‘Some Kenyan communities are now recognizing the human rights and health issues involved and are taking measures to end the practice. At the same time, they want to retain the important rite of passage and cultural education that are also part of the ritual.’” [2]

The UN reports that over 91 million girls and women have already been circumcised, with roughly three million African girls at risk of circumcision annually. Consequences of the procedure include bleeding, infection, higher rates of infant mortality, physical and emotional trauma, sterility, and death. [1]

The short documentary below outlines the basic problem, as experienced by Egyptian women. Resistance to FGM continues to grow as more rural communities are educated about the risks.

Local and international movements alike have already initiated change. In February of 2003, the First Lady of Nigeria, Stella Obasanjo, called for “Zero Tolerance to FGM” in Africa. This prompted the UN to officially name February 6th the International Day of Zero Tolerance to FGM, and ceremonies marking this day occur around the globe. [3]

In 2007, The United Nations Population Fund (UNFPA) and the United Nations Children’s Fund (UNICEF) launched a $44 million campaign to reduce the practice by 40% in 16 African countries by 2015. The Norwegian government was the first major contributor to the campaign, donating $3.5 million to the cause. [4] Activist groups like CRS and End FGM Kenya also educate civilians and raise awareness internationally, in an effort to encourage women to not participate in the tradition. [5]

This decade has seen marked progress in the campaign to end female circumcision. Most recently, in December of 2009, Uganda officially banned it. Now, anyone in the country convicted of the practice “will face 10 years in jail, or a life sentence if the victim dies.” [1] Hopefully, as the resistance movement continues to grow, more nations will follow suit and take formal actions to eliminate FGM altogether.

Sources:

[1] “Uganda Bans Female Genital Mutiliation” BBC News Online. December 10, 2009

[2] “Saying ‘No’ to ‘The Cut’ in Kenya.” (Debbie DeVoe) Catholic Relief Services Online

[3] “Commemorating International Day of Zero Tolerance to Female Genital Mutilation.” (Charlotte Feldman-Jacobs) Population Reference Bureau. February 2009

[4] “FGM News: ‘UNFPA, UNICEF Step Up Efforts to End Female Genital Mutilation/Cutting.” Campaign to End FGM in Kenya. September 8, 2007

[5] End FGM Kenya

Her recent book, You’ve Come a Long Way, Maybe: Sarah, Michelle, Hillary, and the Shaping of the New American Woman, studies the impact of these women on the 2008 presidential campaign.

While her analysis is interesting, it’s far from objective. By inserting heavy-handed conservative judgments at every opportunity, she alienates and mocks readers who might disagree. The book, though thoroughly researched, reads more like a long op ed piece than legitimate journalism.

The quoted passages and reference materials do offer insight to the prevalence of sexism during the race. “Rush Limbaugh, speaking of a particularly unflattering photo of Clinton, … asked: ‘Will Americans want to watch a woman get older before their eyes on a daily basis?’” Though, he claimed aging men look “more authoritative, accomplished and distinguished.” Then, discussing Palin’s appeal, he said “she’s not going to remind anybody of their ex-wife, she’s going to remind men, ‘Gee, I wish she was single.’” (p.50-51). While Limbaugh is one of the more inflammatory pundits, many others described Hillary as too cold, and Palin as “exceptionally pretty,” and “a real honey.” (p.47) Even Michelle Obama, an accomplished lawyer and activist, had the media focus on her wardrobe and physique (particularly her arms) more than anything else.

“According to a poll of women conducted for Lifetime Networks after the 2008 election, ‘65 percent of women – majorities in every demographic and political group – said that male and female candidates are held to different standards on the campaign trail.’ Women thought it was easier for a man to be ‘taken seriously by the voters,’ or to be ‘covered seriously by the media.’” (p.125) Americans also frowned upon Palin as a working mom more than Obama as a working dad, and tended to view racism as a bigger problem than sexism.

Sanchez presents interesting points in this way, but veers into dangerous territory when revealing her biases. For one, she claims that any women who supported Hillary in the primaries, but didn’t switch teams to vote for Palin, were anti-feminist. “[My feminist friends] assumed that, as a career woman, I would be naturally offended by certain of the governor’s policy convictions. I was dumbfounded, and I turned the question around on them. ‘How could you not support Palin?’ … Didn’t the ’sisterhood’ mean anything to them?” (p.78) This superficial standpoint emphasizes only the biological similarities between the candidates, ignoring the fact that Clinton and Palin are political and ideological opposites.

The patronization and sexualization of women headed toward the White House was phenomenal last year, and You’ve Come a Long Way, Maybe couples valid arguments with revealing research. Still, Sanchez’s overt conservatism blurs the line between fact and opinion, and her casual, inconsistent writing style leaves much to be desired.

Sources:

[1] Leslie Sanchez Official Site: About Leslie Sanchez

[2] Sanchez, Leslie. You’ve Come a Long Way, Maybe: Sarah, Michelle, Hillary and the Shaping of the New American Woman. New York: Palgrave Macmillan, 2009.

So yes, more women are victimized. And regardless of the victim’s gender, men are more often the abusers. 84% of domestic homicides are committed by men. That also means, though, that 1 in 6 domestic homicides are committed by women. [1] Omitting imagery of male victims in the media just gives us one side of the story.

This gallery shows ads and public service announcements depicting domestic violence. While many are effective and creative, none of them address male victimization.

“Verbal abuse can be just as horrific. But you don’t have to suffer in silence. Call the Aware Helpline for advice and support.”

CAMPAIGN: Aware Helpline (Singapore)

“He gave me this on our anniversary. / He gave me this for nothing at all.”

CAMPAIGN: City of Hope (Dubai)

“It happens when nobody is watching.”

CAMPAIGN: Amnesty International (Germany)

“78% of domestic abuse incidents resulting in death occur in the victim’s home.”

CAMPAIGN: Interval House

CAMPAIGN: The Family Place

ABC’s recent piece on domestic violence explores this double standard as well:

Sources:

* This is an approximate annual statistic. Data varies per year (e.g. From 1998-2002, 84% of domestic abuse victims were women. See Link #1)
[1] American Bar Association – Commission on Domestic Violence: Key Statistics
[2] AdsoftheWorld.com
[3] AdSneeze.com

“Fight Ageing.” (sic – alternate spelling)

WHAT IT’S SELLING: Anti-aging cream (Bahrain)

WHAT IT’S SAYING: Gear up for battle to save your youth.

Who is she fighting, other than herself? It’s interesting that a twenty-something woman is promoting “Minus 10,” a cream that supposedly sheds 10 years off your appearance. Is she trying to look 12?

“Fights against 7 signs of aging.”

WHAT IT’S SELLING: Anti-aging cream

WHAT IT’S SAYING: Wrinkle cream is a powerful weapon.

Olay takes the combative approach as well, but instead focuses on the product itself as a weapon. The bottles are lined up like artillery, aimed and ready to fire. It’s simple and strong, but this image perpetuates the idea that aging is your enemy.

WHAT IT’S SELLING: Anti-aging cream

WHAT IT’S SAYING: Pause the aging process.

Time passes, and everyone grows older. Nivea doesn’t recommend doing anything else to pause time other than smearing some cream on your face. It’s as if factors like diet, exercise, drug/alcohol consumption, stress levels, etc, play no part in your health or appearance.

America’s sharp economic downturn this year hit men harder than women, and “it’s expected that by the end of the year, for the first time in history, the majority of workers in the U.S. will be women.” TIME’s survey of roughly 3,500 adults (see poll details here) found that “men and women were in broad agreement about what matters most to them; gone is the notion that women’s rise comes at men’s expense.”

Below are some results from their latest poll, occasionally contrasted with data from the early 1970’s. The visual charts and graphs were assembled by Andrea Ford and Deirdre Van Dyk. (Click on images to see a larger view)

Accepting New Gender Roles

“Large majorities, across ages and incomes and ideologies, view women’s growing role in the work force as good for both the economy and society in general. … 84% [of those polled] affirm that husbands and wives negotiate the rules, relationships and responsibilities more than those of earlier generations.” Marriages and partnerships are predominately happy, which can likely be attributed to equality between partners.

Women in the Workplace, Government & Military

More Power Means More Stress

Marriage & Motherhood

Gaps Still Exist

Women might be working against themselves, perhaps prolonging the gender gap in some circumstances:

Why might women have more trouble working under female bosses than men do?

More women feel resented than men feel resentful. Do women feel insecure wielding power in the workplace?

Sharing the Fight for Equality

The commonalities between men and women vastly outweigh the differences, and it’s evident the women’s rights movement has accomplished a lot since the 1970’s. As Gibbs reports, “It’s as though sensible people are too busy to bother bickering about who takes out the garbage or who deserves the corner office; many of the deepest conflicts are now new ones that men and women share.”

Source:

Gibbs, Nancy, with Andrea Ford and Deirdre Van Dyk. “The State of the American Woman: What Women Want Now.” TIME Magazine. 26 October 2009: 25-33